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20220630 Culture 9

2022-07-07T16:30:04Z

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译颜媛 Yan Yuan 202170081603==

<center>'''Interpreting Chinese and Western Language Humor'''</center>

<center>Yan Yuan</center>

===Abstract===
Intercultural communication is currently a cutting-edge topic in the international academic community.Intercultural communication refers to communication activities between people with different cultural backgrounds.It studies the relationship between cultural and communication,with a particular focus on the cultural factors that interfere with communication.At present, English language teaching in universities competence, and neglects social meaning.Multidisciplinary by nature,the study of humor has been approached from various perspectives,such as philosophy ,psychology,linguistics ,literature,sociology and anthropology.However,the previous research ,though somewhat comprehensive ,hasn't yet generated systematic and thus convincing theories concerning the definition,the working mechanism of humor as well as its linguistic expressions.The study of humor language in different cultures is not only limited to the linguistic level,but also rises to the level of intercultural communication. The ultimate goal of cultural communication and integration is the overall development of human beings and their harmonious coexistence.
===Key words===
Chinese and western humor ;Cross-cultural communication; Humor;Culture
===Introduction===
Humor has always been an interesting topic in both ancient and modern times, and many people have studied the phenomenon from different perspectives,such as aesthetics,sociology ,psychology,linguistics,philosophy,etc.Theories about humor can also be described as a lot.Humor can be expressed in many different ways, in a dramatic way(comedy),in a pictorial way(cartoons), in a musical way, etc.Language, as a vehicle for the expression of human thought and ideas, is of course an important way and factor in constituting humor, and thus linguistic humor.Language is a complex system in which everything is based on relationships, and there is no such thing as a system of language system.The complexity of the language system is ,of course , a resource that can often used for humorous language. Humorous language is generated under certain conditions through certain linguistic elements and their relationships with each other.The current research on humor language in China is very one-sided and inadequate,mostly staying in the area of rhetorical patterns, words and the techniques of humor language formation,without a comprehensive, three-dimensional and explanatory study.In view of this,in this thesis we are interested in finding out the connection between the elements of the language system and their interrelationships with humor,i.e.,what forms or relationships are humorous?What forms or relationships are humorous and under what circumstances?In this way, we break the one-sidedness of the original research and think further about the study of humor language, deepen our understanding of the "surface structure"and "deep structure"of humor language , and identify some patterns between linguistic forms and humor language. It is an important reference for us to further understand the mechanism of humor language production and even the application of humor language.
===Literature Review===
As we are known,language is the most important communication tool for human being , though which people known the world and perceive it."The act of language , though not the whole state of human existence,is the basic state of human existence."(Qian Guanlian.2005) Heidegger said,"Man dwells in the dwelling built by language.Humor is also distinguishing feature of human beings (Nash,1985).Human beings mostly express humor through language, which can be divided into two man categories:oral language and written language. The spoken language is the basis of the written language, and the written language is only the expression of the spoken language.Therefore,humor can also be related to language through these two media,and the specific product is the general form of oral language humor,such as comedy ,skits and so on(Of course,they also include the body language of certain performs).Another form of expression is to record humorous scenes or stories in the form of words to make readers laugh,such as humorous stories in newspaper and magazines, humorous novels and so on. From this point of view, we can say that the relationship between language and humor is that language is the basis and the tool og humor.And without language, there would be no humor(except silent behavioral humor). This close relationship can be seen from the research history of language and humor.The research on the relationship between them has a long history and rich achievements.The study of humor has traditionally been concentrated and dominated within the disciplines of psychology,philosophy,and sociology. It was not until the the late 1970s that the study of humor in linguistics took its place and gained attention.Traditional linguistic studies of humor point out that humorous elements in oral jokes are more stable and explicit in phonological terms than in written jokes, and that linguistic humor arises when the first level of linguistic symbols(i.e., phonological or written units) moves to the second level(i.e.,the communicative system).This has led to a number of research approaches , such as ambiguity, which is prevalent in many humorous texts and can be divided into phonological-lexical ambiguity, semantic-pragmatic ambiguity,etc.
Since the publication of the first academic book titled ''Humor Linguistics'' in China, the study of humor linguistics in China has been exciting.Chinese scholars have studied humorous language,especially Chinese humor language, from perspectives.Mr.Hu Fanzhu's ''Humor Linguistics'' is the first linguistic book in China that systematically studies humor.Starting from a review of the history of laugh and the theory of "laugh" in China and the west.The book proposes that humor is a spiritual phenomenon with three levels,namely:humor in the broad sense is comparable to ludicrousness, humor in the normal sense refers to ludicrousness that appeals to reason,and the humor in the narrow sense specifically refers to humor that contains intellectual lightning and generosity, a sense of spirituality and life.The book was published and had a great impact on the academic world.A large number of similar books have been published, but it can be said that they basically do not deviate from the technical lines and research ideas outlined by Mr. Hu in that book.
According to incomplete statistics , in terms of published papers, we searched for 22 articles on the Chinese journals with the keywords "humor language"; 5 articles with the keyword " language humor";15 articles with the keywords "speech humor" ;9187 articles were searched by the keyword "humor". In terms of published monographs , in addition to "Humor linguistics", subsequent monographs on humor language or humor include Gua Tian's ''Humor Language Operations''
'',Gong Weicai's ''Humor Language Art'', Li Junhua's ''Humor Language'',Sun Shaozhen's ''Fundamentals of Humor'' and ''Fifty Methods of Humor Defense'' and so on. In terms of outstanding master's theses on China Journal Online, there are 15 master's theses with humor language as the topic or keywords.

===The Definition of Humor and Humor Language===
What is “humor”？There are many different answers to this question.People have interpreted and explained humor form a variety of perspectives, each with their own insights.However , it is a little known fact that the word “金数”is a foreign word in Chinese .The word “humor” in Chinese can be traced back to more than 200 years ago to the“Where silence and quietude reign” in “Longing for Changsha , The Nine Elegies，The Song of Chu”.Wang Yi notes，“Confucius is very good.As poetry written,“Confucius interpreted the word "默" as silence.The mountains in the south of the Yangtze River are high and the wild is very clean, and there is no voice in the desert.”In ''Shih Chi'',“默”（silence) is protrayed as "墨"(Chinese ink).It can be seen that at that time,the word "默"（humor） meant silence.Since then,the basic meaning of "默"(Humor) has not changed for more than 2,000 years.For example, Li Bai,a great romantic poet in Tang Dynasty,wrote in Song of River in Farewell to Cen zhengjun ,"And yet it is worrying to live alone in such a lonely place ."If we consider the meaning of the word "humor", that is , as an aesthetic category we want to study.It is an exotic and a foreign transliteration word in Chinese.In the last century,Mr.Lin Yutang was transliterated from English "Humor" .The reason why Mr.Lin transliterates "幽默" with the word "humor" is to consider their implied meaning(or instant impression meaning) and morpheme association color.Therefore, we can say that humorous words are both transliterated words and free translated words.Since then,the word "幽默" in modern Chinese has gradually deviated from its original meaning， that is , it no longer means "silent", but points to the meaning of humor.According to the related works published in China, there are definitions of humor as follows:
Humorous style is one of the key rhetoric style in Chinese......Humor is the use of language conditions to show the humorous interest in things.It is characterized by a light-heartedness and cheerfulness.It is based on " truth"
Humor is a rhetorical technique.
Humor is a spiritual phenomenon. This spiritual phenomenon has a broad sense,a common sense. There are three levels of humor.Humor in the broad sense is comparable to ridiculousness ,such as comic, witty ,gagging,funny......Humor in the narrow sense refers to the layer of spiritual phenomenon that is most aesthetically valuable.Humor in the conventional sense is a mental phenomenon that has an appeal to the "ridiculousness " of reason.
From the above definition of humor,we ca know how complicated its definition is, different viewpoint are different.This in itself shows its complexity as an object of study , and we can simplify it without getting entangled in the complexity of the definition.Based on the above viewpoints, we are more inclined to Hu Fanzhu's understanding and definition of humor in his monograph ''Humor Linguistic'' , that is , humor is a spiritual phenomenon, which can be divided into three levels:broad sense,ordinary sense and narrow sense.To sum up, in this paper we can define humor as laughable, that is, having the effect of inducing laughter.
'''1.1.1 The definition of humor language'''

From the above definition of humor, we know that humor is a multidisciplinary research topic,people from philosophy,psychology,sociology,linguistics,literature and many other aspects of the phenomenon of humor research.This thesis mainly studies the humor language, and the so-called humor language is "created by the use of various elements of language variation humor.In dynamic terms, it is the atmosphere in which language is used,or a style of language;in static terms, it is a fuzzy collection of linguistic variants, or an aggregation of ways.”（Hu,1987)From this definition,we can draw the following two conclusions:firstly,humor language must be related to linguistic symbols,humor that dose not use linguistic symbols as a carrier is not within the scope of this study,such as Ding Cong's cartoons and mime act are certainly funny, but they are not humor language; second , humor language should be created by the variation of linguistic elements, not just by the narration of language of language symbols.It is necessary to distinguish between humor expressed in language and humor created by language:in verbal humor, language is used only as a tool , and laughter is triggered by the recorded situation, while language itself may not be funny.From this definition, we can see that in fact, the humor expressed by language is to describe a ridiculous situation or thing by using language as a tool to express idea,so that the listener or reader will find the situation or thing ridiculous after appreciating it.It's like expressing a humorous situation in the form of a cartoon,except one is in the form of a cartoon and the other is in the form of language.Like this one:
午餐会发言人匆忙赶来赴约会，当他坐在第一张桌子前时，他突然意识到了他忘了带他的假牙。
The luncheon speaker was in a hurry to get his appointment,and as he sat down at the first table,he suddenly realized he had forgotten his dentures.
他转向他旁边位男士，说:“我忘了带假牙了。”
He turns to the man to hin and says，“I forgot my dentures.”
男士说:“没问题。”说着他手伸进口袋里并取出一-副假牙。“试试这一副。”他说。
The man said, “No problem.”He reaches into his pocket and takes out a pair of dentures.“Try this one.”He said.
发言人试了试。“太松，”他说。
“They’re too loose,”the speaker said.
男士接着说:“我还有一副....试试。 ”
The man said, “I have another pair...Try it .”
发言人试了试。说:“太紧。”
The speaker tries them on, says, “Too tight.”
男士根本不感到惊讶，他接着说:“我还有一副.....试试。”
Not surprised at all, the man continued, “I have another pair of ...Try them on.”
发言人说:“正合适。”他带着这副假牙吃饭，讲话。
“It fits.”The spokesman said.He ate and spoke with this pair of dentures.
午餐会结束后，发言人走过来，向那位帮助他的男上道谢。“我想谢谢您给我的帮助。您的办公室在哪里?我正在找一位好牙医。”
After the luncheon,the speaker came up to the man who had helped him and thanked him. “I wanted to thank you for the help you gave me.Where is your office?I am looking for a good dentist.”
男士回答:“我不是牙医。我是本地的殡仪员。”
The man replied, “I’m not a dentist.I’m a local mortician.”

=== Chinese and Western Humor ===
'''4.1 The Evolution of Chinese and Western Humor'''

Humor comes from the Latin word “humor”, a physiological term referring to “ fluids”.According to Hippocrates, the person’s health and different type of temperament depends on the human body fluid mixing proportion.Therefore, the original meaning of “humor” in human body is the proportion of four kinds of fluids to the people’s minds,constitution,the tendency of the habit,temperament,or the heart,mood.The first person to introduce humor into literature was the famous English dramatist Ben Jonson.At the end of the 17th century , humor took on its present meaning;in the 18th century , there were literary writers and artists who used humor as a creative style.When the form of humor spread around the world ,it became a symbol of wisdom.Mr.Lin Yutang introduced humor into China for the first time.Although humor is a foreign word,humor culture is as old as the history of the Chinese nation.Ancient Chinese contains profound philosophy and ingenious speculation.The contemporary works of Mr.Lin Yutang and Mr.Qian Zhongshu. They are full of humorous wisdom.

'''4.2 The Difference of Chinese and Western Humor'''

The difference between Chinese and Western humor is mainly due to the differences in many aspects of Chinese and western culture and way of thinking.Chinese people shaped typical introverted mainland farming culture,which aims to seek peace and contentment,forming a capitalist type of divergent thinking,ritualistic and subtle;while the Westerners are the outward-looking marine commercial culture that seeks only wealth and strength,forming a linear thinking of brush sketch type,spontaneous and open.The formation of Chinese and Western humor is the projection of their own cultures.In such a cultural atmosphere characterized by self-sufficient, China has formed a thinking pattern of “still letting,not fighting,still retreating, not moving”.Because of this cultural mindset , an intuitive way of thinking has been formed. This mindset and way of thinking determines that humor is expressed in an intuitive way.For example, in order to explain a person’s stupidity, we should focus on describing how stupid he is when he speaks and does things,so that people can draw an intuitive conclusion immediately after reading it.However,western culture belongs to extroverted marine culture and advocates innovation. Therefore westerners have formed a speculative thinking that emphasizes creation.In humor,it is embodied in the use of restrained statements, so that people can understand humor itself by understanding litotes.The differences between Chinese and Western humor are very obvious in many aspects, but people’s love and recognition of humor are surprisingly similar.
===The Different Characteristics of Chinese and Western Humor ===
Generally speaking,humor is not only the carrier of culture, but also the embodiment of different national cultures.The differences between the two cultures lead to the different interpretation and application of humor in China and West.Under the nourishment of different cultural systems,Chinese and Western humor has formed the characteristics of different cultural styles.Western humor is so profound that there is a saying that can explain this situation to the fullest,that is, “you can not be a good person, but you can never be a person who does not know humor.Western humor is mostly humor full of wisdom,subtle and thoughtful.They know how to self-deprecating,good at using self-deprecating methods to show humor , and at the same time trying to win each other’s affection.After thousands of years of feudal system in China,people have a strong sense of self-restraint and too many concerns. They prefer to show their perfect selves in communication with others , and it is difficult to laugh at themselves. Therefore , humor is mostly aimed at the third party,which is simple and direct.

'''5.1 The Different Content and Function of Humor'''

Humor is a kind of human aesthetic pursuit, is a reflection of the real life , the first in its theme and content reflects the national unique customs and cultural concept.The traditional Chinese Confucian thoughts influence deeply rooted, people talk about “sex” color changing, therefore, the traditional eastern humor neutral theme is the box.And this kind of theme in western humor but make up a large proportion.The functions of humor can be divided into: negative humor(is critical to life,shortcoming and negative phenomenon to negative),affirmative(to life advantages and positive phenomenon be sure and pure humor(neither contains sure, also does not contain negative,it is just for daily phenomena are abound of appeal reflects).Humor is more purely entertaining in the west,which is formed from the initial state oh humor.However,Chinese humor seems to have a heavier historical mission to serve politics.The traditional cross talk spread to the present, and the satirical jokes are mostly of this kind.Western humor culture is profound, the Russian literary scholar Chekhov said, “Do not know how to joke, is a hopeless person..”What's more, westerners are more open than Chinese, with a large proportion of pure entertainment humor. Therefore, they can have a quiet moment with anyone on any occasion, such as an American joke:A young man went to an old man’s birthday party.When he saw the old man, he sighed, “I’m sorry.I do not know whether I can come to your birthday party next year.”And the old man smiled and said : “Why not? You seem very healthy.”This is typical western humor, they play more of a function of relieving mental stress and establishing a sense of superiority, but also reflects their willingness to share and enjoy life by gathering together.
Due to the differences between Chinese and Western thinking and cultural heritage,there are obvious differences in the expressions of Chinese and Western humor.Chinese humor is typically expressed through the use of language and words, most typically in comedy,where the artist’s mouth borrows from the profound Chinese language to talk about heaven and earth and comment on the past and present.There are many examples of this in Guo Degang’s comedies.Western humor,on the other hand, focuses on action interpretation. The most representative one is the humorist Chaplin,a series of silent movies that brought a lot of joy to the world.And then the later animated blockbuster Cat and Mouse also won the applause the world with its unique American way.

'''5.2The Different Ideologies and Aims'''

An ideology is a set of ideas that constitutes one’s goals,expressions,and actions. An ideology can be through of as a comprehensive vision, as a way of looking at things, as in common sense and several philosophical tendencies, or a set of ideas proposed by the dominant class of a society to all members of this society.Compared with Chinese long history, the history of western countries is comparably short.Take America for example,it is only more 230 years since it was founded . So their awareness doesn’t have much time to develop.Their awareness consists of instant fragments so they are not as passionate about political matters as Chinese citizens.China has a cultural tradition with a five-thousand-year-long history.Chinese people have been influenced by systematic and strong political idea for a long time. Influenced by those ideas and Chinese traditional system,Chinese people show a strong political tendency when dealing with the daily affairs.So the content and characteristics of Chinese humor is influenced a lot by this politic system.
In China, literature works are closely related to education. So humor,as a popular culture, is aimed to satirize people with bad behavior and educate them and make them a good citizen. Although satire is one of the purpose of humor , the main purpose is to develop people’s sense of humor.Because humor is considered to be an important quality in western country,many leaders and scholar with a sense of humor are respected by people.This is because humor adds color to their personal charm and shows their wisdom.

'''5.3 The Different Grasp and Skills of Sense of Propriety'''

Chinese and Western humor has different styles and techniques due to their different cultural traditions and ideas.From the perspective of humor creation,China and Western countries develop in two different directions in the pursuit of implicature. On the macro level, humor in Western countries strives to combine subtlety with condensation and philosophizing, so that there is more room for humorous evocations. As for Chinese humor it is good at mastering the scale of subtlety and clarity.Chinese and Western humor is far less explicit in technique than in content. It is often rooted in the long-standing cultural traditions and psychological qualities of the nation, and is also very subtle and hidden. Chinese humor deliberately pursues consistent and progressive taste, and contains many “baggage” from beginning to end,which makes the audience always have strong interest , from nervous expectation to relaxed satisfaction, and then jump to new expectation and new satisfaction. However, western humor often has only suspense , but due to the requirements of the integrity and coherence of the story , there are many restriction on the use of “burden”.
===The Change and Integration of Chinese and Western Humor===
Cultural differences are neither superior or inferior, but rather compatible,complementary and gentle with world civilization.Various cultures coexist in the midst of exchange and conflict.Exchange and conflict are the driving force of cultural development ;coexistence is the guarantee of cultural integration.Culture autonomy and cultural self-awareness can be the way to dissolve the clash of cultures or civilizations. The future direction of cultural conflicts will be the gradual expansion of the field of human consensus, the gradual reduction of barriers to cultural exchange and integration, and the evolution of a mutually existing multicultural system in the context of globalization. Humor is a symbol of civilization and wisdom, and it brings people of different nationalities in a multicultural system , making people realize the power of humor in communication. It prompts national characteristics, express the historical accumulation of national cultural development, and reflects the appearance and status of the times from a unique perspective and in various fields. Humor’s mood and charm can only be understood by the members of the group who share the same culture.Therefore , whether we are analyzing humor techniques or studying its linguistic art, we need to first examine the cultural connotations on which it is based.In this way,humor can be better understood and cross-cultural communication can be successfully realized.The culture of humor reflects the development of the times , the progress of science and the change in social and cultural integration. It can be used from variety of starting points, and through the use of a variety of techniques, it is subtle but not revealing , light-hearted but not subversive, and subtly reflects the splendor of the culture of the times.This is the charm of humor.Humor is the words,actions and expressions that can make people laugh in the process of human communication, which is rich in content and diverse in forms .With the rapid development of information technology , the cost of transportation and communication has been greatly reduced , which makes the whole world more closely connected than ever before, and the humor between China and the West is gradually merging.While Chinese and Western humor merges gradually,we should keep national humor, at the same time, we should broaden our horizons and consider the problem as a whole,so as to keep national humor and boldly admit some commonalities and produce new humor ways.
===Conclusion===
Humor is a linguistic art that permeates every corner of life. It plays an immeasurable role in life with its unique artistic style, full of amusing and intriguing contexts, humor is a symbol of civilization and wisdom, bridging people of different nationalities under a multicultural system, and making people realize the power of humor in communication. Although the differences between Chinese and Western humor are obvious in many aspects, people's love and recognition of humor are surprisingly similar. In today's era of globalization, various cultures coexist in exchange and conflict, and cultures from different regions gain a certain consensus through cross-cultural communication, and Chinese and Western humor are gradually integrating. This cross-cultural integration of Chinese and Western humor is conducive to the successful communication between China and the West, as well as to the harmonious development of the world.
Globalization is an inherent requirement for the development of human society.Human development is in collision and conflict advance,human development is spiraling upward.Cultures from different regions have reached a certain consensus through cross-cultural communication , and human culture needs to be integrated through differences .With the strengthening of the interaction between China and foreign countries will reach an unprecedented level,and cross-cultural study of Chinese and Western humor is conducive to the successful communication between China and the United States, and more conducive to the harmonious development of the world.
===References===
[1]Freud,Sigmund.Joke and Their Relation to the Unconscious [M]. New York:Penguin,1976.

[2] Attardo,Salvatoreet.Script Oppositions and Logical Mechanisms Incongruities and Their Resolution [J]. Humor:International Journal of Humor Research,2000.

[3] Fauc Onnier,G&M. The Way We Think[M]. New York :Basic Book, 2002.

[4] 林大津，谢朝群[Lin Dajin,Xie Zhaoqun]. 跨文化交际学：理论与实践[M]. 福建: 福建人民出版社, 2005.

[5] 贾玉新[Jia Yuxin]. 跨文化交际学[M]. 上海: 上海外语教育出版社, 2003.

[6] 高一虹[Gao Yihong]. 语言文化差异的认识与超越[M]. 北京: 外语教学与研究出版社, 2000.

[7] 万晓艳[Wan Xiaoyan]. 从跨文化交际的角度解读中西方酒文化[J]. 甘肃科技纵横, 2009（03）.

[8] 万晓艳[Wan Xiaoyan]. 儒家文化与中华文化的碰撞与冲突[J]. 高等教育与研究, 2009（10）.

[9] 唐德根[Tang Gende]. 跨文化交际学[M]. 长沙: 中南大学出版社, 2000.

[10] 张弓[Zhang Gong]. 现代汉语修辞学[M]. 河北: 河北教育出版社, 2014.

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==英语笔译杨心怡 Yang Xinyi 202170081604==
<center>'''Gendering History on Chinese Movie'''</center>

<center>Yang Xinyi</center>

===Abstract===
Since the new period, with the vigorous development of Chinese movies, there have been many excellent movies.And the female image in the movie, it is very compelling.China movie culture is deeply influenced by traditional cultural ideas, and the idea of "male superiority over female inferiority" is deeply rooted.Therefore, the female images created in this period were restricted to a great extent.In this paper, the new era of Chinese women's image in the movie type analysis, on the one hand through the image of women focus on women's development and progress, the other side through the image of women reflect their shortcomings. In the survival of male hegemony of women is difficult to tell their true inner thoughts, women's own right to speak was ruthlessly deprived of, they are always a "second sex" identity in the men behind. the real equality between men and women, In the cultural media platform has not been achieved. I hope that through the analysis of the image of women in the movie, build an equal platform for dialogue between the sexes, so that more exciting images of women appear in front of everyone.
===Key words===
chinese movie； feminism；female character
===Introduction===
The famous French movie artist francois truffaut said: movie is the art of women.This is particularly evident in Chinese movies.In view of the development history of the movies in the new period and even the whole Chinese movies, the female images cannot be ignored in the character gallery of Chinese movies.
It should be noticed that the Chinese movie in the new era is gradually getting rid of the shackles of the original political discourse, turning to the artistic vision and new movie language to shape the image of women.With the opening of social culture and the awakening of gender consciousness, the female images in the new era of the movie presents a diversified trend, which makes the female image with greater charm.The first representative female image in the new period movies is the wife and mother image represented by Feng Qinglan in Xie Jin's Legend of Tianyun Mountain.They like men, also suffered the political disaster of the past, but they can with their own sacrifice to save the suffering of men.Therefore, this kind of female image has the brilliance of "Virgin Mary." In the movies of the "fifth generation directors,” whether it is Zhang Yimou's Red Sorghum, Ju Dou, Qiu Ju's Lawsuit or Chen Kaige's Yellow Earth, the female image is also worthy of praise. Different from Xie Jin, the wife and mother position familiar to critics in the past has been replaced by lover, such as Jiu Er in Red Sorghum. This is the gradual opening up of the cultural environment and economic system has a direct relationship. In the nineties, under the coercion of consumer culture, women who mean more and more heavy consumption, their bodies have become the spectacle of being stared at. Of course, women become the focus of the movie performance of the object is not just the above two reasons. In the feminist movie criticism of the vision, the male gaze for the female body is one of the determinants of movie-like state.（Li,1988:76)All in all, the image of women in the new era of transformation, we can not only see the development trajectory of Chinese movies, the same can also see the Chinese social and cultural and ideological concepts of the rheological process. This is the reason for this study, but also the value of this study.
===Literature Review===
Chinese movie since the birth of a hundred years, there have been a large number of excellent movies, but also created a large number of rich connotation of the role of women, so for these roles of historical research and comparative study has become an academic research entry point.Zhang Xuqing believes that feminist movie is a part of contemporary movie art that must be valued.Feminist movie theory has been distinguished by philosophical concepts such as Marxism, Freudian theory, post-structuralism, etc., which have been popular since the 1970s, and a series of concepts such as "the other" and "deconstruction" originally belong to these theories.Reading was transplanted into feminism.They use these theories for the image of women in the movie and in the ideology of women's consciousness has been criticized, pointed out that women are patriarchal culture and distorted repression one side. These criticism beyond the past simple image analysis and the appearance of social and cultural analysis, is astute.Laura Mulvey's Visual Pleasure and Narrative movie is a classic of this analysis. In the thesis, the most important manifestation of the alienation of women in movies is the materialization of women as carriers of male desires, which, in Mulvey's words, is "women in movies as images and men as bearers of voyeurism."Feminist theory was introduced into Chinese movie criticism since the 1990s.In this process, Yang Yuanying played a more important role.In the context of "feminism and China women's movie," Old time women in ancient China is a history, in which women's consciousness melted away in a male-dominated society and individual families. Yang Yuanying took the movies directed by female directors as the research object, and made a detailed analysis of the narrative characteristics and spiritual structure of female movies.Yang Yuanying believes that female movies are very different from male movies from narrative to internal logic, reflecting women's own emotions, and that "Ghost Love" will become a living fable of feminism.This analysis is very in place, so far scholars for the "ghost" analysis and research did not go beyond this thesis.Xie Xiaoxia believes that women's directors are basically the topics of women's lives, emotions and so on as the subject matter. Although the performance style and narrative techniques vary, but the basic theme can be summed up in three points: Growth, reincarnation and temptation. For example, Xu Jinglei's mental maturity shown in Me and Dad and the maturity of women in emotion and social life experience shown in many works. Samsara is manifested as a change of mother and daughter's fate, that is, the commonality of mother and daughter's fate. Generally speaking, such expressions are historical, showing the influence of times and society on women through the change of mother and daughter's fate. Wu Xiaoli believes in her paper that, With the implementation of the market economy, women directors work in the infiltration of the market and ideological factors are becoming more and more obvious. In other words, that is, the works of the female consciousness gradually reduced, began to compromise and surrender to the patriarchal society. In the past, women write in some works there is still, but in a way that can be male audience and the market access women's movie is struggling in this difficult to move forward.Through the above-mentioned image of women in Chinese movies, we can see that the researchers provide a more fruitful results, they are not tightly satisfied with the theoretical analysis, but also to creative practice and case studies in the form of exposing the existence of the movie text of gender, culture and power differences. As Foucault has pointed out, like the movie also exists in the discourse of the struggle field. On the other hand, these studies also have some shortcomings, which is this article to work on.
=== 1 The diversity of female image===
The new era for the creation of movie art provides a great social and cultural space, with the trend of cultural diversity. The development of female image also presents a diversified trend. In the 17 years of the movie, women are expressed as with the same group of men, so in which their sex is destroyed by mud.The so-called independence, but in fact is wiped to the female consciousness and in another identity into the ideological discourse. After entering the new period, the female body gradually be restored. But as a result of 17 years and the cultural revolution caused by the fracture between traditional and modern, China's female sex there is no way to find out the survival of self-awareness in modern society, so only to the history to find, so inn the early period of the new era, the image of women in the movie is mostly based on the image of his wife, mother and other inclusive, they are full enough to heal and moral expectations of people's desire.With the promotion of market economy and the change of women's economic status change, women’s desires and requirements to be publicized, women for their own positioning also gradually clear. In the eight or nine
ten years of the movie, there are two types of female image is noteworthy, one is the image of independent women, two categories is the image of the lover on behalf of desire. Into the century, the influence of consumerism gradually penetrate. Cosumer characteristics become increasingly apparent, which is the emergence of consumer images of women. As the new era of movie works very much, and the limited space of this article, so can only select some representative works and image.This paper discusses the process and overall context of social change in the new era.

1.1Wife and Mother

At the beginning of the new period, with the rise of scar literature and reflective literature, women were placed in the historical context to write. In the movie, women have the double identity of the strong and the weak. In the narrative discourse of the fourth generation of directors, women and men have experienced the cultural revolution, famine and other political and natural disaster damage, in front of the suffering of the irresistible, their nature is weak, but they also to the selfless and sacrifice aroused men around, from this perspective they are strong. As a result, this
The image is also known as the "Mother of the Wife" image.The appearance of these women not only changed the narrative of integration in the period of seventeen years, but also completed the transcendence of the traditional moral women.The typical representative of this aspect is the Feng Qinglan in the Legend of Tianyun Mountain and Li Xiuzhi in the Wrangler. Xie Jin's 'Legend of Tianyun Mountain' can be regarded as the image of this wife and mother of the movie, because of its work shown women's great tolerance and moral sense, this kind of women is also known as the image of the earth mother.In the day yunshan legend, the hero's identity is down and out scholar, although they were born in a scholarly family, has a very good culture, but the cruelty of political struggle but let them suddenly had nothing.In their down and out, xie jin arranged for a woman to save them. Xie Jin's arrangement, let the emergence of women with a strong sense of mission.In Xie Jin's works, women are not only lovers and wives, but also protectors of men.Their forbearance, strength, tolerance and generosity have established a harbor of expectation for men.Despite the storm or political struggle outside, but when the door was closed at that moment, everything is insignificant, The warmth of family removed everything.In fact, the emergence of this image is actually a male expectations, contains men in frequent complex political struggle after the exhaustion of seeking spiritual comfort and the idea of sustenance.
As we can see, in the day yunshan legend, when Feng Qing Luo Qun take back with a scooter, actually like a mother, accepted his son abandoned by society.And when Luo Qun was political recognition, Feng Qing years old has passed away.Therefore, Xie Jin with his deep lens language constantly shooting Feng Qing When I was young photos, rags vest, small wooden bridge, etc., line sent his praise for Feng Qingwei. Xu Lingjun in The Wrangler, like Luo Qun, is also a political exile.In xiu-zhi li appeared later, Xu Lingjun re-ignited hope for life. Xu Lingjun and Li Xiuzhi married and had children, Li Xiuzhi also Xu Lingjun's life is taken care of meticulously. Li Xiuzhi also has the characteristics of Mother Earth. She is not only diligent in keeping the house, but also dissolves Xu Lingjun's unhappy mood with her gentleness.
At the same time, it should be noted that Li Xiuzhi appears as a positive role in the movie, which also implies the affirmation of a mainstream discourse. Therefore, Li Xiuzhi said,"I have settled the rebellion for him since the day of marriage." After the vindication, Xu Ling has the qualification to inherit the property of his father. But he flatly refused. This is the thought that she has been in Li Xiuzhi's body to find the position of mother and father, so his break with his father is not only a moral break, but also means that the psychological level of break. In addition, there were many similar roles appear. They and men together, as men in different periods of different needs of the materialization, bear different historical functions. In short, in the affirmation of these women, their connotation and value of the image at the same time, need to see their value is based on the men and show her perseverance and suffering is to forgive men and happiness. Obviously, this woman's reversion was revealed. Women were banished to a history. In years later, these images gradually launched the screen, and with the fifth with the rise of acting directors, some new female images began to appear in people's vision.

1.2 Independent Female

In the late nineties, China appeared to work hot and hot to go abroad, a group of women in the era of inspiration get out of your home and find your place in society.They like men, the success of the career as the my value realization scale. At the time of the TV series, this theme is very common, but in the movie such female image is less.In this kind of female image of the movie, a warm to listen to the "sand bird" and huang shu sequence of "ghost" is a typical representative.
Movie sand hired is about the China women's volleyball team's main players sand step due to illness failed to participate First Volleyball International Championship.This is full of ideal sand is not acceptable, so the sand better constantly training hard, hope to be able to take part in the game.Sata was finally allowed to compete and won the silver medal, but she not relegated to this. Still want to try to win the championship. The image of Shahe not only reflects the charm of the individual, but also perfectly combines with the spirit of the times in the 1980s. In the movie, Sha Juan's boyfriend Shen Wei was killed in the process of climbing Mount Everest. Under this blow, Sha Ta chose to cheer up and eventually became the coach of the women's volleyball team.For the sand cuckoo, this choice is not only personal, but also national.In the preface to Huang Shu's Ghost Love, the actress Qiu Yun is also an artistic image worth mentioning. Huang Shuxu in the movie created the actress Qiuyun this independent, spicy, firm actor image.In the movie, Qiu Yun is a career pursuers. Qiu Yun from an early age to learn drama, the purpose is to seek their own self-help. His father did not allow Qiu Yun to learn drama, but was eventually moved by Qiu Yun, personally taught her, so that her career has a good start. Indeed, the movie showed the pressure faced by Qiu Yun, but Huang Shu Xu stressed that this movie focuses on Qiu Yun for their own destiny of the active choice.
For the emergence of independent female images during this period, Dai Jinhua(2000) said,"If we say that in contemporary literary circles, many women writers pursue and create their works of women’s style or become a deliberate, or not to do the women's strategy; In the movie world, the emergence of female style has become a mark of historical progress and a step in the difficult emergence of invisible women. Interestingly, most of their movies share the same cultural and social themes as the male directors of the same generation, but because of the selection of female stories and the unexpected entry and disclosure of female life experiences, they have translated and rewritten them into a female version. "This sentence affirms the efforts of female directors in creation. Pointed out that the previous works of women into the social stage when the neglect of their own gender identity. We admit this period of independent female image reflects the women in the process of entering society, the pressures and obstacles faced, but also concerned about their adherence to their own values. This makes their image three-dimensional up.

===2 Female consciousness in Chinese movie===
After combing the female images in the movies of the new period, the process of female images gradually becoming full is actually the process of female consciousness awakening. As far as the relationship between female consciousness and female image is concerned, the deeper female consciousness is, the fuller female image will be the image of women in the movie in the new era, although different from the past, but both are grown in China culture. However, in the new era, some new values and elements also take on new connotations. The new period movie began to women's self in-depth table.
Now, women's self-reliance, self-esteem and self-respect side was presented in front of the audience. And women are beginning to realize that since reputation and achievement, try to get rid of the influence of patriarchal consciousness, with their own efforts.

2.1 Female Identity Consciousness

In Second Sex, Beauvoir pointed out that women are not naturally occurring, but by social construuction. In the Chinese calendar history, the influence of patriarchy is very long, women in history is far away from the political and cultural center, is suddenly depending on the secondary. In Macro view, the center of the history of discourse is mastered by men, they become history set, women tend to appear in the image of the foil, is absent on the stage of history. At home family environment, the male is also the core of the family and the family, women became a reproductive tools. After her death, women still have no right to speak, as the so-called "husband died from the child."If we want to understand the relationship between men and women, we must discuss the concept of "home."It is well known that the family is made up of men and women, and that the history of the family constitutes the history of the nation and of mankind.In China traditional culture, the family is the foundation of the country and has an equally important position.Home country is regarded as a world expression of the whole and put forward by the power discourse, it is not only the basic form of China traditional social structure, but also the root of China culture and national psychology.In a family, women's identity is generally wife, mother and daughter, which is a kind of orientation of women's identity.Because men struggle outside, when men struggle frustrated, back home, women will assume the role of the soother.And if men are facing the test of life and death, so women are the saviors.From the perspective of this division of labor and role orientation, women were imprisoned in the home and became the victim of the patriarchal system.In the new period of the movie, women also play the role of the savior, but should see the female of this period sex rescuer role is in the context of ideological emancipation, is the identity and status of women are covered after complex.Now under the background of the movie, this rescue directly against the damage caused by the Cultural Revolution, it has distinct characteristics of the times.As the analysis of this article before, as this period of women's salvation is not pure the essence is to return to the traditional, they show is mainly a kind of personal spiritual pursuit and choice.In Legend of Tianyun Mountain, Feng Qingjian's love for Luo Qun comes from her worship of intellectuals, while in Horse Shepherd, Li Xiuzhi’s extreme rescue of Xu Lingjun is also because Xu Lingjun is the person she really likes. Therefore, this kind of salvation can not be simply understood as the virtue of traditional women, because this idea can only appear in the specific context of the new era. Although the two image is art, but certainly at the time China's hundreds of millions of people, must have a large number of women like set feng and xiu-zhi li, and these women in the previous era is difficult to appear. The ultimate significance of the emergence of this image is that in the past, they are not described as a single revolutionary role, but through this identity they have returned to the position of women, to find their own female identity. In other words, that is, as this section emphasizes, save the ideas and consciousness of female identity with the confluence. In Dai Jinhua's words, it is "if we say that women originally did not have their own language, always struggling the control of male culture and language. " If we say,"Hua Mulan type situation," is the modern female common face of gender, self predicament; In order to get out of the predicament of "Hua Mulan," women return to their families and become mothers, wives and daughters, which actually indicates the awakening of women's identity consciousness. Of course, we should see the strategy of this expression.In fact, after the end of the Cultural Revolution, in the continuous development of society, women are considered to be weak by society, and thus they do not have to struggle outside, it should be back to the family Xiangfujiaozi. It is through this description, women from the family to find their own value. As the analysis of this article before, in Xie Jin's movie , as the officer of the heroine eventually return to the family, became the mother and wife, it is also a scratch to save a representation of the fusion of knowledge and female identity consciousness.

2.2 Independent consciousness

The development of the new era has given people to change the reality of expectations and opportunities, so women are increasingly willing to seize this opportunity. So when the background of the whole narrative with society to replace the family, women want to be able to prove that they can because of a place in social affairs and qualified in the family as well as men.For example, in Middle Age, Liu Wenting shoulders the pressure of family and career, not only to face up to the plight of women, but also to safeguard the role of wife and mother.Lu Wenting's image profoundly shows the double confusion faced by women in life and work.In Zhou Xiaowen's "Second Aunt," the significance of the second aunt is that she has been eager to get rid of the influence of male values, and the television has become the most distinctive symbol in the movie.At the same time two aunts also has another identity--the lover of the blind.In the pursuit of mother, family, career identity, the pressure faced by the second aunt is palpable.And the same wavelength of the final outcome, though helpless, but her pursuit is valuable from the new era of the movie as a whole, for the discussion of these issues has become a mainstream in the field of movie.The words.Using art to reflect society has also become the pursuit of some directors.At the same time, women also open beginning for some reflection and analysis of their own.The reflection of women have a very distinct personality, also to have their own skills, to be able to live independently and from the bondage of men, so as to realize the value of self.
For example, in the ghost, autumn non-success in order to escape the fate of women and play men, as the doors, this became a classic metaphor for women to escape. In the 'sand raven', the sand is also faced with career and family dilemma. In addition,Daughter House,Childhood Friends,Youth Festival and other movies, women are faced with the pressure of this dual force, so their struggle also appears to be extremely decisive.In general, this period of women in the process of moving towards society to strengthen self-awareness, self-realization and value has become a driving force for their struggle. Although most of their struggles have experienced great hardships and pain, and most of the struggle is also a failure as the outcome, but their pursuit of the spirit and enthusiasm has never changed. It can be seen that the new era of movie from the original in accordance with the standards of men to express the awakening of women to women's consciousness, body reveal the process of women's pursuit of self-improvement, the expression of women's consciousness in the movie in the new era to a new situation.

===Conclusion===
Before the New Age, the most characteristic feature of the portrayal of women in Chinese cinema was the integration of a single "revolutionary" woman as the classic representative of subjectivity. The single 'revolutionary' image of women became the classic representation of subjectivity. These images embodied the gender consciousness of "gender equality".But in the call of the times for 'equality', women lost their gender identity and became masculine images. These images reflect the existence of a gender consciousness of 'equality between men and women', but in the call of the times for 'equality' women lose their gender identity and become masculine.Since the beginning of the new era, the portrayal of women in Chinese cinema has undergone a historical transformation. The image of women and gender narratives gradually reveal gender. The difference between the sexes gradually emerged in the portrayal of women and gender narratives. The first is the emergence of the 'Madonna' image, which began in the 1930s.The image of the Madonna has a strong sense of relief and salvation, as she uses her body and mind to save men from the suffering of history. The connotation of this giving is not a replication of traditional virtues, but rather an autonomous identification and choice of the object of their giving. They have the autonomy to identify and choose their own objects of giving.After a new period of transformation in the image of women and their consciousness, new gender relations are being constructed and positioned in Chinese cinema, especially with regard to the definition of women, which is entering the world of thought at an unprecedented pace. There is every reason to believe that with the development of the times, the image of women and women in Chinese cinema will certainly make greater progress.
===References===
*Li Ercang(1988).Zhangyimou’s saying.Liaoning:Chunfeng Literature and Art Press,76
*Yangyuanyin(1990).Feminism and Chinese Women's Films: Communication University of Chin Press,23-25
*Dai Jinhua(2000).Chnese Movie Culture(1978-1998):Peking University Press
*Li Bin(2007).Recent research on female-themed films:Movie Art Press,121-123

==英语笔译杨紫微 Yang Ziwei 202170081605==
<center>'''Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theory of "San Hua"'''</center>

<center>Yang Ziwei</center>

===Abstract===
Classical Chinese poetry is a gem of Chinese traditional culture. As for the translation of classical Chinese poetry, Mr. Xu Yuanchong is one of the most influential translator of classical Chinese poetry, and his translated works have been unanimously recognized and highly praised by many people at home and abroad. With more than 60 years of translation experience, he has summed up a set of translation theories of his own, which can be summed up in ten words in Chinese as “美化之艺术，创优似竞赛”. This paper mainly focuses on the analysis of the application and embodiment of the mainly translation theories-- the method of "San Hua" (equalization, deepenization and generalization) in Xu Yuanchong's translation of Tang poetry.

===Key words===
Xu Yuanchong; “San Hua” ; Tang poetry

===Introduction===
For a long time, translation has been playing an important role as one of the means to promote cultural communication and communication. The translation of many literary works has also achieved high achievements, but the translation of poetry has been mediocre, and it is difficult to produce high-quality translations, especially for the translation of ancient Chinese poetry. Mr. Xu Yuanchong, a modern translation master, has been engaged in literary translation for more than 60 years and has translated numerous works. His focuses on the English translation of ancient Chinese poems and has formed the method and theory of poem translation in rhyme form. In translation, he emphasized the subjectivity of the translator, the creativity and artistry of translation, and innovated and developed the translation theories of his predecessors. He believed that the translated works could not only convey the beauty of the original text, but even surpass it. In particular, his translation theory of "the art of beautification" has proved to be successful in the English translation of ancient Chinese poems. This paper focuses on the application of Xu Yuanchong's theory of "San Hua" in the translation of Tang poetry, and analyzes and explores its role and expression effect in the translation of ancient Chinese poetry into English. This thesis consists of four main parts, we will learn a lot about the previous study of translation of Tang poetry, the introduction and application of the method of "San Hua" in the translation of Tang poetry as well as the value and influence of Xu Yuanchong's translation theories. The purpose of the thesis is to search for realizing the beauty in form, sense and sound as well as making readers and translators themselves comprehend, enjoy and take delight in reading translation of Chinese classical poetry.

===Literature Review===
In the past research, people focused on the analysis and exploration of the three aspects of beauty of Xu Yuanchong, therefore, the analysis and research of another theory-- "San Hua" is a field that few people pay attention to. In this thesis, I focus on the analysis and application of the method of "San Hua" in the translation of Tang Poetry. Then in the dissertation of A Study On Xu Yuanchong As A Translator （2006）written by Chen Youyang, he introduce the source and definition of the method of "San Hua" which originates from Qian Zhongshu's "the realm of sublimation". In the Literature and Translation (2016) of Xu Yuanchong, it explains the method of "San Hua" in details and gives some examples to demonstrate its application of equalization（等化）、generalization（浅化） and deepenization（深化）. In addition, it analyzes the relationship between the method of "San Hua" and the three aspects of beauty as well as the "San Zhi". "San Hua" is the method to achieve beauty in sound, sense and form, what's more, it produces the translation works that bring joy and pleasure to readers. Now that my thesis stresses on the analysis of Tang poetry through the method of "San Hua", then I should learn clear about the features and categories of Tang poetry. In the article The Discussion of English Translation of Tang Poetry (1994), Gao Yukun analyzes the characteristics and development of Tang poetry translation and he holds that Chinese classical poetry are translatable. Academic journals of Su Lin and Wang Chengcheng, both of them analyze the significance of the expression of the beauty in sense through the method of "San Hua". Since there are culture–laden words and allusions that are difficult to translate, the proper application of "San Hua" cam help us deal with it well. Then I introduce several Tang poems translated by Xu Yuanchong to illustrate the detailed application and appreciation through the method of "San Hua".
In conclusion, the method of "San Hua” is applied in literary and poem translation frequently and many translators praise it. Although sometimes in order to realize the three aspects of beauty, it causes some disputes in the accuracy and faithfulness of translation works, it makes great contributions to the translation field and spread of Chinese culture. Thus, the thesis will pay more attention to the analysis, application and appreciation of translation of Tang poetry through "San Hua" to get a clearer and deeper understanding of the translation method.

===Methods and Theories===
Research method: Literature analysis.
By reading journal articles data online and entity books such as "beautiful suffocation of tang poetry", the selection of classic poetry translation works explore the analysis theory of "three concrete application as well as the significance of the translation method, to explore the untranslatability phenomenon in ancient Chinese poetry and the translator's clever translation method in Chinese and English is how to build a bridge; At the same time, it studies the value and function of the "three Modernizations" translation theory in translation and cultural transmission.
Theories: "San Hua"--Equalization,deepenization and generalization.

===Subtitle 1===
The Previous Study on Translation of Tang Poetry at Home and Abroad

The Tang dynasty is one of the most prosper dynasties in Chinese history. At that time, the development of Tang poetry has reached the highest level and left Chinese people a large number of valuable assets. Tang poetry possesses a very significant position in Chinese culture.

The ancient poetry of the Tang Dynasty are mainly five–or–seven–character regulated verse（五言或七言诗）. There are also two kinds of modern poetry, one is called quatrains（绝句） and the other is called metrical verse（律诗）. What's more, the quatrains and the metrical verse have five characters and seven characters respectively, so there are basically six basic forms of Tang poetry: five-character ancient style poem, seven-character ancient style poem, five-character quatrains, seven-character quatrains, five-character metrical verse, and seven-character metrical verse. Ancient poetry requires a wide range of rhymes: in a poem, the number of sentences can be more or less, the chapter can be long or short, and the rhyme can be changed. However, modern poetry has strict requirements on rhyme and disciplines of metre: a poem has a limited number of sentences, that is, the quatrains consist of four sentences while the metrical verse of eight sentences. The rhyme schemes or level and oblique tone of the words in each line has a certain regularity, and rhyme cannot be converted. It also requires the middle four lines to be antitheses. The style of ancient poetry is handed down from previous generations, so it is also called gufeng or ancient style. And modern poetry has a strict meter, so some people call it metrical poetry.
The forms and styles of Tang poetry are colorful and innovative. It not only inherited the Han and Wei folk songs, Yuefu tradition, and greatly developed the style of free verse; It not only inherited the five and seven ancient poems of the previous generation, but also developed into a long epic narrative; It not only expanded the use of five-character and seven-character forms, but also created modern poetry with a particularly beautiful and neat style. It pushed the artistic characteristics of the harmony of syllables and the refinement of words to an unprecedented height, and found a most typical form for the ancient lyric poetry, which is still particularly popular with the people. However, due to the strict metrical restrictions in modern poetry, the content of the poem is easily fettered and cannot be created and played freely, which is a great defect brought by its advantages and creates troubles for its translation as well.

It is a hard work to produce high–quality and beautiful translation work of Tang poetry. Since there are not only various themes and styles in Tang poetry, but also allusions, numerals, images, phonetic words, customs, natural scenery, place names and etc. All of these pose greater troubles for translating Tang poetry. Therefore, different translators hold different views in translating Tang poetry and they have their own translation theories.

Since 80s century, there are lots of English versions of Tang poetry, such as Poetry and Prose of Tang and Song, which is translated by Yang Xianyi and Gladys, Xu Zhongjie's New Translations of Two Hundred Tang Poems, Wu Juntao's Translation of Du Fu's Poetry, Xu Yuanchong's New Translation of Three Hundred Tang Poems and Selective Translation of Li Bai's Poems, Zhang Tingchen and Bruce M.Willson's Translation of One Hundred Tang Poems and Weng Xianliang's Translation of Classical Chinese Poetry. In early times, some people thought that poems can not be translated. P.B.Shelly and R.Frost were supporters. Frost said that poetry is what gets lost in translation (Gao,1994). An Austrian philosopher, R. Jakobson believes that poetry is strictly untranslatable (Gao,1994). Although there were such opinions, most people believed that poems are translatable and many translators have explored and formed new translation theories. In addition, E.A. Nida's equivalent effect and functional equivalence theories support that poems can be translated because of language regularity. Among them, some hold to translate poems with English metrical verse, such as Xu Yuanchong and Wu Juntao; while others use free verse on poetry translation, such as Weng Xianliang and Wang Shouyi. Because of intricate features of Tang poetry, translation work is difficult to realize its original beauty in form, sound and sense at the same time, so the former pays much attention to maintain the beauty in form, sound and sense and pursues to realize the combination of sense and form, and the latter emphasizes the importance of sense and seek to reproduce the meaning of the original poem and convey the true feelings of the poet, but sometimes it lost the original beauty of rhyme and sound. As L. Wittgenstein said, "translating from one language to another is doing a ma-thematic task. And translating an emotional poem into another language is like addressing a ma-thematic problem..., which can be solved but lack of a systematic method" (Gao Yukun,1994,22). The French translator, Le Marquis d'Henvey–Saint–Denys also wrote in the preface of his translation work Collection of Tang Poetry in 1862, "Poem translation is taking great risk and it is also hard and painful, because we found that those true beauties lie in the poetry can not be expressed in any foreign language."

No matter what translation theories they use, all of them believe that the translation of poetry is an art. Under the guidance of Yan Fu's translating standards--faithfulness, expressiveness and elegance, they have been trying to achieve the beauty in form, sound and sense. Xu Yuanchong, who has been translating Chinese classical poetry for more than 60 years, made great contributions to the translation field and had remarkable achievements.

===Subtitle 2===
Main Ideas of Xu Yuanchong’s Literature Translation Theory

2.1 An introduction to Xu Yuanchong

Xu Yuanchong was born in Nanchang, the capital city of Jiangxi province in 1921. He graduated from the Department of Foreign Languages of Tsinghua University in 1943. He entered the Institute of Foreign Literature of Tsinghua University in 44 years and then went to Europe to study. After returning to China, he served as a professor of English and French in foreign languages schools in Beijing, Zhangjiakou and Luoyang. He has been a professor of international culture at Peking University since 1983. He has been teaching the course Translation and Appreciation of Ancient Chinese Poetry at Tsinghua University since 1999. Xu is a famous translator in our country and is called the only expert in translating classical Chinese poetry into English and French verse. He has been nominated for the Nobel Prize in Literature. Xu's business card reads "the only person who translates poetry into English and French". He advocated "Dare to be the first in translation studies", and was regarded as a crazy talent in the field of translation. "I used to like to go my own way by myself, I still like to go my own way by myself, and I will continue to like to go my own way by myself." This is the last thing Xu said to everyone.

Xu's 42 works are all translated works, except for a memoir--Remembrance of the Past, and three works on translation theory--The Art of Translation, On Chinese Verse in English Rhyme, and On Literary Translation. These translations can be divided into four categories. One is Chinese-English translation, including 22 titles such as 600 Ancient Chinese Poems, 300 Immortal Chinese Poems, The Book of Songs, Romance of the Western Chamber, and Selected Poems of Mao Zedong. The second is the Chinese translation, which includes 150 Poems of the Tang and Song Dynasties and 100 Selected Lyrics of the Tang and Song Dynasties and so on. The third type is the Chinese-English translation, including Dryden's All for Love, Scott's Quentin Duward and so on. The fourth category is French-Chinese translation, including Hugo's Selected Plays, Stendhal's Red and Black and other eight kinds. Among them, the most striking is that he translated the literary masterpieces of the past 3,000 years into English and French verse and published them one by one, which has initially outlined the development of verse in the history of Chinese literature. It can be called a great feat in the field of translation. Among his works, 300 immortal Chinese poems, published by the British Penguin Publishing Company, is listed in its "Penguin series". Mr. Xu Yuanchong is the first Chinese to publish translated books in this world famous publishing house.

In 2010, Xu Yuanchong was awarded the "Lifetime Achievement Award in Translation Culture" by the Translators Association of China. On August 2, 2014, Xu Yuanchong won the Northern Lights Award for Outstanding Literary Translation, one of the highest awards in the international translation circle. He is the first Asian translator to win this award.

2.2 A Detailed Introduction to the Method of “San Hua”--Equalization, Deepenization and Generalization

As we have mentioned that the beauty of sense is hard to reach, and these measures can help us to improve our translation capability and learn to deal with translation problems in a appropriate manner. These three measures are methodologies of translation. Xu was inspired by Qian Zhongshu's theory of " the realm of sublimation" and came up with the free translation methods.

Equalization aims to achieve the equivalence between the source language and the target language, and it can only be used when the surface meaning and the deep meaning of a poem are the same. It includes word formation, syntactic transfer, affirmation and negation and allusion transplantation, etc. For instance, Xu Yuanchong translates “孤山寺北贾亭西，水面初平云脚低”into " West of Jia Pavilion and north of Lonely Hill, Water brims level with the bank and clouds hang low". The translation of place names is consistent with the original work. This sentence belongs to literal translation and it is easy to understand. Another sentence“树深时见鹿，溪午不闻钟”is translated into " In the thick woods a deer is seen at times, Along the stream I hear no noonday chimes". It also uses the method of equalization and realize the functional equivalence.

Deepenization refers to the fact that when there are differences between English and Chinese in the process of translation, the expression of the source language and the target language is not consistent, it is necessary to complete the unspoken content in the source language in the translation, so that the target reader can understand it. This method mainly includes amplification, creating something out of nothing, splitting translation or adding some content in the translation that is not explicitly stated in the original text but has this meaning. Here are examples of Xu's translation of Tang poems:

(1)白雪却嫌春色晚，故穿庭树作飞花。
But white snow dislikes the late coming vernal breeze,
It plays the parting flowers flying through the trees.

In the translation, the words " dislikes, plays and flying" show us the lovely and brisk white snow with the personification. It expresses the poet's avid expectation for spring with the help of flying snowflakes.

(2)随意春芳歇，王孙自可留。
Though fragrant spring may pass away,
Still here's the place for you to stay.

This translation explicitly convey the deep meaning of the sentence. Although the spring is gone, but the autumn scenery is better. The poet is willing to stay. He likes to return to nature, loves the landscape and advocates quiet and pastoral life. It shows the poet's noble feelings and the pursuit of his ideal life.
In contrast to " deepenization", there are contents involving different cultures in the two languages. Sometimes it is not easy to translate directly, so we need to use a certain method, such as subtraction, to delete the culture-heavy contents in the original text and replace them with more general and understandable contents.

(3)相见时难别亦难，东风无力百花残。
It’s difficult for us to meet and hard to part；
The east wind is too weak to revive flowers dead.

In this translation, it omits the word “百”which has no influence on the meaning expression. In this way, Xu also maintains the beauty in form and sound. What's more, the word "flowers" has involved the meaning of hundreds of flowers. This is what we call subtraction, which is one of the methods of generalization.
Among them, deepenization is the best way to show us the beauty of sense. It is the high standard of literary translation and generally the translation work supersedes the original one. Thus, it is regarded as creation.
In the translation of Tang poetry, we have to be clear that which method we should use in the process of translation to achieve the three aspects of beauty, especially the beauty in sense. The ultimate goal of translation is to produce high–quality translation works which are better than the original ones.

===Subtitle 3===
The Analysis and Appreciation of Xu's Translation of Tang Poetry through the Method of “San Hua”
In this part, we will study Xu Yuanchong's translation methods of “San Hua” deeply and know more about their use in translation of Tang poetry.

3.1 An analysis of Happy Rain on a Spring Night through the Method of “San Hua”

春夜喜雨
（唐）杜甫
好雨知时节，当春乃发生。
随风潜入夜，润物细无声。
野径云俱黑，江船火独明。
晓看红湿处，花重锦官城。

Happy Rain on a Spring Night
Du Fu
Good rain knows its time right,
it will fall when comes spring.
With wind it steals in night;
mute, it wets everything.
Over wild lanes dark cloud spreads;
in boat a lantern looms.
Dawn sees saturated reds;
the town's heavy with blooms(Xu Yuanchong,2020,32).

This poem describes the poet's happy and brisk feelings to see the spring rain. It was written in the spring of 761 (the second year of Shangyuan). After a period of exile, Du Fu finally settled down in Chengdu, Sichuan Province due to the drought in Shaanxi Province and began a relatively stable life in the middle of Sichuan Province. When he wrote this poem, he had been living in a cottage in Chengdu for two years. He personally cultivated, planted vegetables and flowers, and socialized with farmers. He had a deep love for spring rain, so he wrote this beautiful poem describing the rain on a spring night that moistens everything.

Spring rain knows to adapt to the season. When all things germinate and grow, accompanied by the spring breeze, spring rain secretly in time to come at night to nourish all things silently. The country path and the clouds in the sky hide in the darkness, the lights of the fishing boats on the river are particularly bright. Till dawn, I saw that drizzle had moistened red flowers, which made them more charming. And beautiful flowers are full of Jin Guan City.
At first, from the perspective of the beauty in three aspects, this is a five–character metrical poem and every sentence is divided into two parts. The first part includes two syllables and the second part includes three syllables. When translated into English, there are five syllables in each sentence and the first part includes two or three syllables and the second part includes three or two syllables. Moreover, the first and second sentences rhyme and so do the third and fourth sentences in both original and translation works. These show the beauty in form and sound. With regard to the expression of beauty in sense, it is not hard to know that the title and the whole poem basically used equalization(等化) so that it is easy for us to understand. In the first sentence, in order to maintain the end rhyme, Xu reversed the order of words "when spring comes" but translated it into "when comes spring". The words "good rain" express the poet's love to spring rain, which sets the general tone for the poem. And in the second sentence, he used "steals" to describe the falling rain which adopted personification and presented us a lively and dramatic picture. He also reversed words in the sentence of "mute, it wets everything", such kind of inverted sentences also seen in the second and third lines. The clouds are spreading the sky gradually indicates the upcoming of the very rain. And "looms" also reveals the carefulness of Xu's word selection. Because of the sullen weather and distance, the light from a lantern in a boat is weak and flickering due to the wind, so he chose the word "looms". Besides, words like "saturated" and "heavy" are appropriate choices. As for “锦官城”, he just translated it into "the town", which is the use of generalization(浅化) that omitted the explanation to allusion.
As a whole, by means of the “San Hua”, readers can understand the poem without any difficulty and they can also feel the poet’s true feelings. Meanwhile, the choice of words, lengths of sentences and rhymes are pleasing to read and the meaning of the poem as well as the poet's true emotion are showed in the translation work. We can not only feel the poet's excited and surprised mood but also appreciate the musical beauty of the poem through reading it, which means this translation let readers enjoy and love it.

3.2 An analysis of The Sad Zither through the Method of “San Hua”

锦瑟
(唐）李商隐
锦瑟无端五十弦，
一弦一柱思华年。
庄生晓梦迷蝴蝶，
望帝春心托杜鹃。
沧海月明珠有泪，
蓝田日暖玉生烟。
此情可待成追忆，
只是当时已惘然。

The Sad Zither
Li Shangyin
Why should the sad zither have fifty strings?
Each string, each strain evokes but vanished springs:
Dim morning dream to be a butterfly;
Amorous heart poured out in cuckoo’s cry.
In moonlit pearls see tears in mermaid’s eyes;
From sunburnt jade in Blue Field let smoke rise.
Such feeling cannot be recalled again:
It seemed lost even when it was felt then(Xu Yuanchong,2020,124).

It is one of the most significant poems of Li Shangyin. From the title -- the Sad Zither, we can know that the main focus of the poem is "sad".

This poem has been variously annotated. Some people thought it was a mourning work, some thought it was patriotic, and some thought it was deploring with sighs for all his talent, and others thought it was a description of missing the poet's maid Jin Se. But most people agreed with the first idea.
In Xu's translation, most poems use the end rhyme and so does this. From the structure of the poem, we can see that forms of the original and translated works are the same. In regard to the full expression of its meaning, we can analyse it one by one sentence. The first couplet expresses the poet mourns for the lost golden years which we can see from words “思华年”, he translated “华年”into "springs" instead of "golden years" for the beauty of sound by means of generalization. Moreover, as the beginning of a year, spring represents vitality, energy and beauty which is like the most valuable years of people and expresses the poet cherish the golden years greatly. And "vanished springs" uses deepenization which told us that his golden years were lost forever and he was very regretful. Going forward, the second and third sentences include many allusions which is the most difficult task to deal with. The second couplet uses an allusion from Zhuangzi. It says that Zhuangzhou dreamed that he was a butterfly when he woke up from his dream, he found that Zhuangzhou was still there and he did not know where the butterfly was going. The poet took this as a metaphor for the beautiful situation he indulged in when he was young. “望帝春心托杜鹃”comes from a legend that in the late Zhou Dynasty, Shu monarch Du Yu abdicated and retired from public life, but he was unfortunately died. After death, his soul into the cuckoo, crying sadly and moving people's hearts. The poet used the story to convey his hatred and also the ardent miss for his wife. In Xu's translation, he did not translated these allusions directly into "Zhuangsheng" or "the emperor Wang", but omitted the subject. This is the adoption of generalization which avoids complicate and unnecessary explanation of allusions. Then he used the word "dim" actually showed the poet's confusion and melancholy, and "amorous heart" indicated the emperor Wang as well as the poet himself and the word "cry" expressed his sorrow for the vanished golden years and his dead wife directly. In this translation, Xu directly expresses the poet's true feelings which is hid in allusions, it is the method of specification in deepenization. In the third couplet, “沧海月明珠有泪”refers to the tears of mermaids that can turn into pearls. The poet combines the moon beads and tears into a hazy wonderland, expressing a kind of complex feelings of dis-consolation, which includes both the love for its high and clear, and the sadness for its cold and loneliness. And “蓝田日暖玉生烟”refers to the phenomenon that the jade mountain of Blue Field is often illuminated by the sun and the essence of the beautiful jade in it is rising gradually, which is as fine as hair from a distance, but nothing at all from a close look. The poet took advantage of the ideal scenery with high aesthetic meaning to express a kind of regret that can not be close to noble spirits. It is the same as the third allusion. Different from the second couplet, the first half of the third sentence roughly explained what the allusion talked about to readers while the second half used literal translation. If not understand these allusions, it will be hard for us to make it clear that what the poet want to express. Therefore, the proper translation of allusions is really formidable. The last couplet conveys the poet's grief and regrets again but it is much stronger than before. “可待成追忆”was translated into " cannot be recalled again" by Xu Yuanchong, which used negation translation in equalization. In fact, it emphasized that the beautiful days and loved ones were gone for good and it was too late to redeem for him. The word "lost" was tantamount to “惘然”that revealed the inner world of the poet. Xu had not translated“当时”into "when it was felt then" instead of “at that time”, which also belongs to the specification in deepenization, he described the feelings of the poet in details and made it clear to readers.

So from this piece of work, we can get to know that how difficult to deal with allusions properly because of the cultural differences between China and foreign countries. In my opinion, Xu did a really remarkable work. Through his translation, we can not only feel the beauty in form, sound and sense of the Chinese version, but also learn to make full use of the method of “San Hua” to help us understand its main idea and the poet's emotions. Particularly the translation of allusions that eliminates the tedious and unnecessary explanation of them which foreigners can not understand, and maintains the original beauty in form and expresses the important things involved in them as well.

3.3 An analysis of The Mourning Day through the Method of “San Hua”
清明
（唐）杜牧
清明时节雨纷纷，
路上行人欲断魂。
借问酒家何处有，
牧童遥指杏花村。

The Mourning Day
Du Mu
A drizzling rain falls like tears on the Mourning Day；
The mourner' heart is going to break on his way.
Where can a wine shop be found to drown his sad hours?
A cowherd points to a cot' mid apricot flowers(Xu YUanchong,2020,160).

The first line of the poem points to the natural conditions in which the poet is exposed, such as the time and weather. Tomb-sweeping day is one of the big festivals of the tang dynasty on which people will hold family reunion, visit a grave, outing, and attend various activities. Du Mu did not see the sun in the Qingming Festival in Chizhou（池州）, but only drizzle. The second sentence turns from the perspective of objective to the subjective, focusing on the poet's emotional world. He saw passers-by on the road were busy mourning their dead loved ones, and he felt very sad and grieve. In the third sentence, the poet's feelings mingled with scenes. He was very sad when traveled in the rain. The rain wet his clothes and the weather was chilly. Then the poet sought to drown his sorrows in wine, so he asked the way. The last line tells us to whom the poet asks for directions. "A cowherd points to a cot' mid apricot flowers" brings the reader into a completely new realm, which is completely different from the previous melancholy and misery. The cowherd's warm and sweet voice, distant apricot flowers blooming like brocade, the spring is in the air, and the wine flag at the village head is fluttering. The first two lines of the poem create a sad and sentimental picture, while the last two lines show a vivid and lively one, which is contrasted and interlaced with each other. It also shows us the change of emotions of the poet.

First and foremost, from the three aspects of beauty, Xu still adopts the end rhyme. The number of words in every sentence varies by only one or two, so from the perspective of form, the whole poem is relatively neat after translation.

Then what matters most is the adoption of the method of “San Hua” in the expression of the beauty in sense. Firstly, the title “清明”was not translated into "Pure Brightness Day" or "the Qingming festival", but "the mourning day" because the poem mainly talks about the scenes and poet's feelings on mourning relatives on this very day. And for target readers, especially foreigners, they do not understand what is the Qingming festival or Pure Brightness Day and what people do on this day. Comparatively speaking, " the mourning day" makes the main idea of the poem clear and it is also in line with the original meaning. Therefore, in this poem, Xu mainly used the method of deepenization. In the first sentence,"a drizzling rain" depicts the features of spring rain which is not thick and fast. "Fall like tears" is not showed in the original work, but it is implicated in the sentence. The falling rain is like mourners' tears on their way to visit their dead loved ones. Xu excavates and expresses the implicit meanings of the original text, which eases the burden to fully understand the poem. Then “路上行人” actually do not "pedestrians" or "travelers", but "mourners". Because on the mourning day, those people were engaged in paying respect to the dead and they hurried on the road due to the rain. Xu translated “欲断魂” into "heart is going to break" which belongs to free translation and expressed the mourner's deep sorrow. In the third line, "wineshop" points out that the poet wants to drink down his sorrow, and "drown his sad hours" makes it clear and touching. In the original text, there is also not the purpose why the poet looks for a wineshop, but Xu's translation reveals everything. It belongs to specification and amplification. The last sentence is the answer to the question before--There is a wineshop mid apricot flowers. If let us translate“杏花村”, it could be "apricot village". But after thinking twice, we will notice that it could not be an apricot village, but a cot hid among the apricot flowers which is more appropriate and beautiful. On the whole, through reading Xu's The Mourning Day, we tapped the implicit meaning of every sentence out. And in this English version, Xu directly expressed the poet's heartfelt sorrow, dis-consolation and gratification. In reading this poem, we sympathize with the poet, mourn with him, and find comfort in the discovery of a wineshop hidden in an apricot flowers.

In conclusion, through the analysis and appreciation of the three poems translated by Xu Yuanchong, we further understand the use of his translation methods ”San Hua” in poetry. In general, equalization and deepenization are used frequently in poetry while generalization is mostly used to deal with allusions and etc.
Generally speaking, to reverse the disadvantages of the target language, we can use the generalization method to make readers understand the text. Striving for the same high quality of translation as the original work, we can use the equalization method to make readers appreciate it. Developing the advantage of translation and make it surpass the original text, we can use the deepenization method to make readers admire it. This is Xu's skopos theory of literary translation.

===Subtitle 4===
The Influence of Xu's Translation Theories
As an expert of translation, Xu Yuanchong forms his own systematic translation theories which are applauded by most people. And these theories are clearly showed in every piece of his work. We have to admit that his translation theories indeed shed new lights on translation and make tremendous contributions to the exchange between Chinese and foreign cultures. His translation work not only let Chinese people enjoy the foreign literary works in a fresh manner, but also present the original beauty of Chinese literature to foreigners. Under the guidance of his specific translation theories, we get a clearer map to translate poetry, novel and etc.
Xu Yuanchong's translation theories “美化之艺术”is combined by extracting one word from predecessors' translation theories. It is based on their experiences and his own translation practice for more than sixty years. He inherited and developed these theories and explained them explicitly. Firstly, He believed that "elegant" no longer means quaint in today's world, but elegance or beauty. Xu said:"According to my own translation practice, I think Yan Fu's 'faithfulness, expressiveness and elegance' can be understood today as 'faithfulness to the original content, smooth translation form and giving play to the linguistic advantages of the translation.' "In my opinion,'faithfulness, expressiveness and elegance' can be understood as 'faithfulness, expressiveness and excellence'. Excellent is to give full play to the advantages of the target language, which is to use the best way of expression of the target language with words of beautiful meaning, sound and form, in other words, 'excellent' is' beautiful '." Secondly, he explains the relationship between science and art, translation words and taste or styles, truth and beauty with simple formulas. Xu says:" Chinese poetry often has multiple meanings with endless aftertaste, while English poetry expresses the literal meaning." Thus, the western science school put forward the theory of "equivalence", "equivalence of function", "equivalence of effect" and literal translation theories. Because the meaning is greater than the words, the Chinese school of art puts forward the theory of free translation and spiritual resemblance, giving play to the advantages of the target language, that is to say, the translator can not only translate all the contents of the original text but also contents are not showed in the original text. Therefore, the formula for literary translation is 1+1>2. Thirdly, he advocates literary translation should create beauty, so he proposes the advantage theory. The translation of cultural allusions is the most difficult. Literal translation cannot preserve beauty even if it can preserve truth. But if we adopt free translation, even if it can be beautiful, it is often hard to avoid distortion. A true translation can make readers comprehend it; a beautiful one can readers enjoy it, and a translation that preserves both truth and beauty will delight the reader. Therefore, the translation of poems should preserve the beauty of the original poems with as little distortion as possible. Since literary translation is an art and literary works are about people, so they have to be fascinating and exciting. If we only pursue truth without paying attention to beauty, it may be not a beautiful work, so the beauty of it is more significant than the truth.

===Conclusion===
Xu is a very confident, talented and prolific translator with strong character and innovative spirits in the translation field. He has a special calling card; in it there are two phrases "over sixty books published in China and aboard,the one and only person translated series of Classical Chinese poetry into English and French." In another calling card reads "without the title of academician, but he excels an academician; translated over one thousand classical Chinese poems to Europe and America". His translation theories and practices gained a wide range of recognition at home and abroad. Reading his translation of Tang poetry is an enjoyment. Nowadays, there are still many translators and translation theorists support his translation theories, particularly three aspects of beauty and the method of “San Hua”. Looking at the translation of Tang poetry in history, Xu Yuanchong's translation makes our eyes shine. The beauty of classical Chinese poetry, which is thought could not be translated, came to life in his writing. Under the guidance of the beauty in form, sound and sense, translators adopt approaches of equalization, generalization and deepenization to pursue their goals of letting readers comprehend, appreciate and even admire their translations.
Although some of his translation theories are still controversial and questioned by some translation staffs, as the saying goes:" There are spots even on the sun", this does neither affect his lofty status in the translation field, nor does it negate his great contribution to the inheritance and dissemination of translation field and culture. Mr. Xu Yuanchong devoted his whole life to the cause of translation and the pursuit of beauty. He spent most of his life summarizing his valuable translation experience and forming his own translation theory system, which is helpful for us to further understand translation and further practice it. His works let us appreciate the local conditions and customs of foreign countries, but also bring foreigners to enjoy the beauty of classical Chinese poetry. In this paper, we studied Xu's mainly translation theories and cited several Tang poems to illustrate his translation methods. Through the analysis of his works, we get a clearer picture on the use of his translation theories, and we also know more about the defects of his translation which casses our reflection. After all, translation theory system can not be completed in one day. It requires us to explore and improve it through trial and error.

===References===
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*Duan Min(2003). A Study On Xu Yuanchong As A Translator. Sichuan University.
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==英语笔译张国浩 Zhang Guohao 202170081606==

<center>'''The Influence of Electronic Language on Chinese Language and Culture in the Internet Age'''</center>

<center>Zhang Guohao</center>

===Abstract===

Language is the most important communication tool and the carrier of culture. Language itself is also a cultural phenomenon. The Chinese nation has a long history of thousands of years, and its language and culture are an indispensable part of Chinese traditional culture. With the development of electronic network and information technology, electronic language is also booming under this background. Electronic language is the product of the times. It has both positive and negative effects on Chinese language and culture. Starting with the analysis of the emergence and characteristics of electronic language, this paper focuses on the positive and negative impact of electronic language on Chinese traditional language and culture in the new media era, and further puts forward a series of measures to protect Chinese traditional language and culture.

===Key words===

New media; Electronic language; Language culture

===Introduction===

With the development of current information technology and network technology, a large number of electronic languages, also known as network languages, have appeared on the Internet. And they have increasingly penetrated into people’s daily life with the development of the Internet. Electronic languages reflect the current hot social issues, and have the characteristics of simplicity. With the increase of electronic languages, it is bound to have a certain impact on Chinese traditional language and culture. Electronic languages have both positive and negative effects on Chinese traditional language and culture. While expanding the vocabulary of modern Chinese, some vulgar and malicious electronic languages are eroding the traditional Chinese language and culture. How to make electronic language and Chinese traditional language and culture coexist harmoniously in the new media era is a topic that is worth studying and discussing. This paper will introduce the background of electronic languages, the characteristics of electronic languages and the impact of electronic languages on Chinese traditional language and culture, and explore measures to protect Chinese traditional culture in the new media era.

===The Electronic Language in the New Media Era===

'''1.1. The Emergence of Electronic Language in the New Media Era'''

After three technological revolutions, the new media era has finally arrived. With the rapid development of the Internet, the momentum of new media in people’s lives is also growing. And the electronic language that followed became one of the most important parts of it. Today, under the circumstance of the new media era, electronic language has developed with the development of the network. The continuous development of society has made the traditional language unable to meet people’s spiritual needs. People are now facing a colorful language world on the computer screen. While lamenting people’s strong adaptability, we have to say that this is the result of the transformation of the media. The media carrier has to decide the trend of culture. When we look at the characteristics of electronic language in the era of fresh media, it is not difficult for us to have such results.

'''1.2. The Definition of the Electronic Language'''

Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on. It was born in the electronic media and developed with the popularity of the network. Electronic language is participated by the public and can not be separated from the carrier of electronic media. It passes between the instructors of electronic media. Compared with the traditional language, there is no classical version of the electronic language because the electronic media has only appeared for a few decades. Therefore, the grammar and word order of it do not seem to conform to the traditional language norms.

'''1.3. The Characteristics of Electronic Language in the New Media Era'''

1.3.1 Electronic language is the combination of written language and spoken language.

According to different media, language can be divided into written language and spoken language. Written language has very restrictive grammar rules, a standard punctuation system and a very strong logic. With no intuitive feeling like spoken language, written language has a deterrent to people and help to form people’s rigorous rational thinking. However, spoken language is very flexible, and is not stick to one pattern. It has the characteristics of immediacy and transience, which makes spoken language not as easy to store and popularize as written language. There is a confrontation between written language and spoken language inadvertently, and this confrontation has been eased in today’s new media era. Electronic language acts as such a bridge. Electronic language not only has the expression environment of written language, but also has an obvious tendency of colloquialism. Whether it is online chat, forum post or mobile phone short message, it is not completely the same as the traditional expression. Since electronic language requires users to type what they want to say on the screen, and requires the receiver to browse the information through their eyes, so it has obvious characteristics of written style in this way. However, it is also influenced by the colloquial style, so there is obvious mutual penetration from both sides. Generally speaking, electronic language is a kind of colloquial written language, which fully integrates the two types to serve its own needs.

1.3.2 Electronic language is pictorial and vivid.

In the new media era, the recipients of electronic media can not learn the rich body language of the communicator from the electronic screen, but they can get some information by some vivid dynamic expressions sent by the messenger. People often use various symbols on the keyboard to create a lot of very vivid and humorous facial expressions to express their body language at that time, in which there is almost no difference between happiness and sadness in real life. These electronic languages are very interesting on the electronic screen and often make people laugh, which instantly shorten the distance between the information sender and the receiver. Through these vivid cartoon symbols which are different from words, the communicator penetrates parts of the meaning he wants to convey, making the virtual electronic media full of reality and immediacy. As a result, many relaxing and humorous electronic languages have emerged. They are not only humorous, but also easy to understand. This kind of relaxing and humorous style caters to the needs of modern people to relax their body and mind, so that the tense young generation can speak freely. When facing a boring topic, they can also discuss with each other in a humorous tone, which undoubtedly brings an unparalleled happy experience to the users of new media.

1.3.3 The expression of electronic language depends on the context and its meaning is vague.

Context refers to the speech environment, which includes both linguistic factors and non-linguistic factors. Contextual factors such as context, time, space, situation, object, and discourse premise, are all related to the use of words. Context includes specific time, specific space, specific scenes, specific characters and so on. Electronic context mainly refers to some new media such as electronic bulletin boards and e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Electronic context mainly refers to some new media such as e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Therefore, electronic language is bound to be misunderstood without a big context. The context of electronic language has always been open, allowing everyone to join freely. Different media will produce different languages. Electronic language is generated with the arrival of the new media era and will develop with the continuous development of the new media. The characteristics of electronic language are inseparable from the convenience of transmission, fast replication and various presentations of new media. Therefore, with the continuous development of new media, the era of electronic language has come.

1.3.4 Electronic language is highly dependent on network information technology media.

The intelligent terminals represented by computer, electronic information technology and Internet technology have created electronic language and the unique paralanguage of electronic language such as emoji, which not only makes up for the lack of body language such as expressions, movements and moods of language users, but also makes electronic language form multiple forms of expression, such as structured, semi-structured and unstructured forms. At the same time, network information technology has built a platform for the use of electronic languages, such as various forums, QQ groups, micro-blogs, We Chat and other virtual spaces, so that spoken or written languages and other different types of languages and dialects communicate with each other. Without the network information technology, the electronic language cannot exist. This technology also breaks the limitation of traditional spoken and written language, making the electronic language a super language without the limitation of time, space and region. Therefore, the modern information technology with computer, communication, network and electronic technology as the core is the material basis for the generation and use of electronic language.

===The Influence of Electronic Language on Chinese Traditional Language Culture===

The new media era is a multilingual society, so there is an obvious language-mixing phenomenon in electronic language. In electronic language, there is no absolute authority and anyone can speak freely, which makes the electronic language have a strong vitality and a huge impact on the traditional Chinese language and culture.

'''2.1 The Positive Influence'''

2.1.1 It can promote the development of Chinese language and culture

The electronic language has a variety of changes. Its simple, fast and vivid features not only meet the needs of the new media era, but also give people a fresh and lively feeling. Any language in the world is constantly updated and developed in use. Language innovation is an extremely important factor and a manifestation of vitality of a language. Without innovation, there is no development of language. Denying innovation and resisting innovation are equal to killing the vitality of a language. With the continuous development of electronic language, a large number of new words have emerged and the number of loanwords have increased. And with the extensive use of lettered words and numerals, Chinese vocabulary has been greatly enriched and developed. In the aspect of pronunciation, we use some homophonies to replace some Chinese words. For example, now we use “酱紫”to replace “这样子”. In terms of grammar, electronic language does not adhere to traditional grammar, which enriches and transforms the grammar system, and distorts conventions. In addition, electronic language has accelerated the demise of some old words. This series of characteristics makes the Chinese language fully nourished and breaks the barriers to knowledge. As a result, Chinese language spreads rapidly. At the same time, it adds the fun and color of people’s lives, making cultural exchanges unprecedentedly free and prosperous.

2.1.2 It can promote the transformation of reading methods.

In the era of new media, electronic language is constantly innovating and changing. With the continuous progress of technology, people’s reading methods are changing. Today’s electronic media reading is basically replaced by “hypertext” and “hyperlink”. People can read everything related to the text by clicking on links one by one, which is much more convenient than before. This way also satisfies people’s psychology of seeking knowledge and curiosity. In addition, with the popularization of high-tech products such as mobile phones and tablet PCs, mobile reading begins to prevail. People’s reading is no longer confined to a place. Through these new media, people can easily read anytime and anywhere, which generally improves the reading efficiency.

'''2.2 The Negative Influence'''

Firstly, the emergence of electronic language may make Chinese traditional language and culture be in danger of dating. Chinese traditional language and culture is the summary of experience of the continuous development of the Chinese nation. And it is also the national spirit gradually condensed in the long-term social practice. The language culture full of the fine tradition of the Chinese nation not only provided great power for the development of the Chinese nation in the past, but also will play an important role in the future of the Chinese nation. However, in today’s new media era, young students are the main users of electronic media. Since they are particularly sensitive to new things and electronic language has the characteristics of convenience, rapidity and image, it has a fatal attraction for young students who like to pursue new things. While they continue to create electronic language, they also continue to penetrate electronic language into their own lives, which makes Chinese traditional language and culture more and more distant from them. If things go on like this, it will inevitably lead to the dating of Chinese traditional language and culture, and make the future of traditional language and culture bleak.

Secondly, the trend of vulgarization of some electronic language has produced cultural garbage. In the new media era, electronic language constantly pursues individuality and innovation. However, there are also some shortcomings. The virtuality and obscurity of the network make it easy for both sides of the dialogue to relax or even unbridled in their communication, which results in the uncivilized electronic language. Some electronic languages abuse other people or even carry out personal attacks with rude words and dirty words, losing the minimum civilization. And information surplus will produce information garbage, making people consume more time to filter the information. This is a manifestation of information pollution. All these phenomena will seriously affect people’s normal life order. Nowadays, the vulgarization trend of electronic language is becoming more and more serious, and it begins to penetrate into the traditional media. If it is not guided as soon as possible, our traditional language and culture will be destroyed.

Thirdly, electronic language does not conform to grammatical norms. Since electronic language does not conform to grammatical norms and blindly pursues novelty and convenience, it violates Chinese language norms in many ways. Some typos and words and phrases with misinterpreted meanings will have a negative impact on the education of Chinese language. Although these nondescript languages are novel, their damages to Chinese or other languages are obvious. Adolescents are extremely sensitive groups and are willing to accept new things. However, their ability to generally distinguish between right and wrong is not strong. Therefore, in the process of learning, it is easy for them to be affected by these electronic languages, which makes them easy to develop bad habits of not using standard words and standard expressions. As a result, it is detrimental to the learning of traditional language and culture, and their appreciation ability will be decreased.

Fourthly, electronic language can form linguistic generation gap and cause communication difficulties. Electronic language represents a certain type of language and culture in the new media era, and has been widely used in the new media era. It continues to penetrate into the life of the young generation pursuing fashion. In this specific new media language environment, electronic language has its significance. However, when it leaves this specific environment, it will no longer become a tool for people to communicate with each other. If people do not understand it, it will hinder normal communication between people. In terms of the communication effect of a language, this generation gap misleads the communication between the communicator and the receiver, and has a great impact on the traditional language and culture. Many electronic languages cause generation gap between parents and children. Due to the non-standard use of language, parents often don’t know what their children mean. The gap between the two generations is hard to erase. Now, coupled with the novel electronic language, the generation gap between the two generations is bound to deepen and the communication between them will become more and more difficult.

===The Measures to Protect Chinese Traditional Language and Culture===

First of all, the government should introduce relevant laws and regulations to regulate electronic language. The support of the government is like a beacon, which can guide Chinese traditional language and culture to a bright road. In this aspect, China has also made some attempts, such as popularizing Mandarin Chinese nationwide, which is not only the necessary measures to facilitate communication, but also can effectively regulate the Chinese language so as to promote effective dissemination of Chinese language and culture. In addition, in the aspect of creating a good new media environment, the role of national laws and regulations cannot be replaced by other methods. This kind of compelling force can guide the development of electronic language towards the right path. While standardizing itself, it will also promote the traditional language and culture and electronic language to absorb the advantages of each other, learn from each other, and finally achieve a win-win situation.

Secondly, the government should popularize the education of Chinese traditional language and culture. Education has always been the foundation of people’s livelihood. Improving education has no harm to the spread of traditional language and culture. In order to strengthen the proportion of Chinese studies and standardized the use of Chinese language in compulsory education, teachers should pay attention to the cultivation of students’ traditional language accomplishment. High school period can’t pay more attention to the science education but to grasp both sides. In addition, it is necessary to popularize quality education and improve the overall quality of students from all aspects in order to lay a good foundation for entering university. In the university curriculum, we should add the curriculum of Chinese traditional language and culture and the comparative appreciation of Chinese language and culture with other countries, especially in western countries. In this way, we can increase students’ appreciation ability, so that the majority of students can feel the charm of Chinese traditional language and culture, deepen the understanding of Chinese traditional language and culture in the process of comparison with other countries, and make more efforts to protect our traditional language and culture. Many attempts have been made in folk such as the rise of modern private school. Although there is a conflict with the law of compulsory education, but its spirit of exploration should be affirmed and supported.

Thirdly, we need greater efforts to enhance the development of traditional media. Under the pressure of new media, traditional media has a trend of decline. Newspapers are in danger of dying out in the new media age; book sales are also declining year by year. Although journals have entered the digital age, the cultural capacity of them is not high and the transmission channel is not unblocked. If all of these are not solved in time, the consequences will be serious. Moreover, traditional media is an excellent way to spread traditional language and culture. Therefore, it is necessary to continuously explore the new advantages of traditional media and learn advantages from other media, so as to make the traditional language and culture flourish in the traditional media.

Fourthly, The media should hold more programs about traditional culture. The traditional language and culture should be consciously or unconsciously integrated into the program, so that the audience can get spiritual sublimation. Traditional cultural programs may have low viewing rate due to their monotony and slow rhythms. This requires the media director to find a way. In this regard, CCTV’s Lecture Room is a good example. It integrates traditional language and culture into the program in a novel and unique way. It not only spreads Chinese traditional language and culture to the audience, but also leads to an active atmosphere and increase the attraction. As a result, the viewing rate will naturally be higher. In recent years, the film about traditional language and culture is also very popular. The film Confucius and Sacrifice have achieved good earnings. These films show the charm of Chinese traditional style to the world, and have a great significance for the inheritance and development of traditional language and culture. The media therefore has a long way to go in this regard.

Fifthly, we need to speed up the construction of websites that can inherit Chinese traditional language and culture. In the new media era, with the rapid development of science and technology, electronic language is also sweeping the whole network. How to open up a new world of Chinese traditional language and culture in this new field has attracted more and more attention. From my perspective, it is very important for us to adhere to our own principles in the virtual network. In order to protect the traditional language and culture and resist the invasion of electronic language, we must first make the traditional language itself become strong. It is a good choice to run a website that can inherit Chinese traditional language and culture. The website we want is not a pile of meaningless electronic language, but to carry forward the development of Chinese traditional language and culture. This is a spirit that needs to be firmly observed. There is no doubt that if all of these are truly achieved, it will be of great significance to the standardization of language.

===Inheritance and Innovation of Chinese Traditional Language and Culture through New Media Means===

The above measures are general protection measures for Chinese traditional language and culture. With the continuous development of the new media era and the continuous innovation of science and technology, we need to learn to use the means of new media to protect and inherit Chinese traditional language and culture. This part takes cultural TV programs as an example to discuss how to use TV cultural programs to effectively inherit traditional language and culture.

In recent years, TV cultural programs have become increasingly popular. Under this background, many TV media have participated in the creation of traditional cultural TV programs. The explosive and hot broadcast of TV cultural programs can not only give full play to the communication function of TV programs, but also realize the role of TV program communication in promoting traditional language and cultural spirit. Therefore, how to maintain the original intention of traditional cultural heritage of TV cultural programs is the main purpose of its development. At the same time, through the continuous optimization of the content of the program, it realizes the effective dissemination of traditional language and culture, and thus plays a good role in promoting the construction of a harmonious society.

The first thing is to innovate the program content so as to inherit our excellent language and culture. As a kind of mass media, TV has its own artistic variability. This is mainly because television provides a lot of communication channels, and also shows the diversity of traditional cultural content in the process of inheriting traditional language and culture. Therefore, television should be the main channel for inheriting traditional language and culture. When disseminating knowledge, TV cultural programs also choose higher quality traditional language and culture and realize the inheritance of high-quality traditional language and culture through the continuous innovation of communication forms, thus showing the vitality of traditional language and culture and the responsibility of mainstream media. As early as 2016, the State Administration of Radio made a new deployment for the innovation of radio and television programs. At the same time, it also guided radio and television stations at all levels to actively do a good job in building cultural self-confidence, encouraged radio and television stations to actively innovate, so as to lay a good foundation for the prosperity and development of socialism and high-quality traditional language and cultural programs. It also constantly promotes the effective integration between television media and traditional language and culture. The innovation and creation of excellent TV cultural programs can not only realize the inheritance of traditional language and culture, but also guide young people to actively undertake the main task of inheriting traditional language and culture, which provides reliable support for traditional culture education. At the same time, young people can be striven to be the promoter of traditional language and culture. Students have a certain leading ability and exemplary role. They can not only show the cultural confidence of contemporary young people through the program and enhance the educational function of traditional culture, but also accumulate traditional language and culture in the process of continuous exploration.

With the advent of the information age, there has been an ideological collision between various cultures, which has also affected the traditional consumption concept. With the rapid development of modern information technology, television, as an important cultural industry, plays an important role in cultural communication and transmission of Chinese cultural ideas. Under the background of cultural infiltration, China should actively publicize traditional language and culture and take it as the key content of its soft power development. Cultural strength is an important factor for the prosperity of a nation. TV cultural programs should actively enhance their comprehensive strength in the process of its development. At present, the diversified world culture is booming and the culture of various countries are infiltrating each other. The national cultural soft power plays a major role in the world development competition. TV media should actively undertake the task of spreading the traditional language and culture of the Chinese nation, and take TV cultural programs as the main way to enhance the development of national cultural soft power. In addition, the content of traditional language and culture spread by TV media should also have unique characteristics and highlight the advantages of traditional culture. Only by strengthening the dissemination of traditional language and culture can we lay a good foundation for the future development of China. At the same time, we can also spread the high-quality traditional cultural spirit for young people so that 5000 years of brilliant treasures can be inherited and carried forward. As an important carrier of socialist core values, television should realize the arduous task of carrying forward traditional culture, accelerate the popularization and inheritance of Chinese traditional language and culture and guide teenagers to correctly understand excellent traditional language and culture so as to realize the effective penetration of socialist core values. Although the Internet has had a great impact on the media, and also made the cultural communication have a new direction and mode, the television communication media still occupy a dominant position and should take the responsibility of the mainstream media. Therefore, TV cultural programs should take full use of the advantages of TV media, choose innovative communication methods, fully display the characteristics of traditional language and culture through the optimization of communication content. With the assistance of Internet media, we can inherit and carry forward traditional language and culture, and promote the sustainable development of traditional language and culture in the era of new media.

On the other hand, cultural TV programs should enrich their forms and highlight characteristics of Chinese language and culture. TV cultural programs should actively use the interactive mode of all media. Many TV cultural programs in their production process are integrated with variety show forms to attract audience attention. In addition to the traditional on-site interaction, TV programs should also actively mobilize the participation and interaction of off-site audience in the new media era. In addition, we should also actively enrich the stage manifestation of TV programs. Through the effective application of modern data technology, high-tech elements can be added to the broadcast of TV programs, so that the audience can be immersive and close the distance between traditional language and culture and them. Especially with the continuous improvement of people’s aesthetic level, the design of TV cultural programs should actively innovate the stage design, show the charm of cultural programs under the support of high-tech forces, and build a dynamic artistic space.

At the same time, in the new information age, the mainstream TV media should actively take full advantages of new media, increase the dissemination of traditional language and culture through media integration, improve the national cultural soft power, and shoulder the arduous task of inheriting culture. In addition, we should also actively create original program content with our own characteristics. Under the influence of traditional language and culture, we should increase the communication effect through the form of media integration, so that the influence of traditional language and culture can be fully displayed.

===Conclusion===

In a word, Chinese language and culture has a long history, which has made great contributions to the progress of human civilization. The inheritance of traditional Chinese language and culture needs our continuous efforts. In the new media era, the electronic language is characterized by humor and vague context, which makes it a double-edged sword. Therefore, it will also have an impact on the traditional language and culture in the process of its development, which has both positive and negative sides. This requires the state and society to actively guide the electronic language. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language. It is believed that electronic language can coexist peacefully with traditional language and culture and develop together through continuous efforts of all parties in the near future.

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==英语笔译张姣玲 Zhang Jiaoling 202170081607==
<center>'''The comparison of the translations of Li Bai’s poem Changgan Xing(Ezra.Pound's Version and Xu Yuanchong's)'''</center>

<center>Zhang Jiaoling</center>

===Abstract===

As one of the representatives of Traditional Chinese culture, poetry and its English translation are favored by literati. Li Bai's masterpiece Changgan Xing has been translated by many Chinese and foreign scholars. This paper makes a comparative study of Ezra Pound's and Xu Yuanchong's translations under the guidance of functional equivalence theory, and finally points out the translation steps that should be followed when translating poems under the guidance of this theory.

===Key words===

Comparison; ChangGanXing; Ezra Pound; Xu Yuanchong; Functional Equivalence

===Introduction===

As a literary genre, poetry is rich in thoughts, emotions and imagination, with refined language and beautiful rhyme, and particularly strong imagery. The translation of poetry not only requires accurate reflection of the original content and its imagery, but also requires the translation to be consistent with the original in form and style. When it comes to Chinese poetry, especially Romantic poetry, one can easily associate it with the Poet Immortal Li Bai. He wrote more than 1000 poems throughout his life, which occupy an important position in the development of Chinese classical poetry. His poems is wild and unrestrained, dashing and bold, thus leaving a deep impression on readers. Li Bai's life was unusual in that he revered freedom, loathed the worldly officialdom, and lived his own life. His romantic life provided material for his poetry, and he left many masterpieces in the history of Chinese poetry. It is noteworthy that it was his rich life experiences that had a profound influence on his poetic creation. The poem Changgan Xing is a household Yuefu poem written by Li Bai. The whole poem is written in the form of a merchant woman living in Changganli self-talking, recalling her loving past with her husband and expressing her undying love for her husband in another country. The poem mainly describes the merchant woman’s memory of her and her husband’s innocent childhood, then their wonderful married life, and the protagonist’s endless missing of for her husband after his departure.

Xu Yuanchong is a professor at Peking University and a renowned translator. He has been engaged in literary translation for more than 60 years, and his achievements are so high that he was awarded the Aurora Borealis Prize for Outstanding Translation of Literature in 2014, one of the highest awards in the international translation community. He has been publishing his translations since 1956, and his major works include The Songs of Chu, Three Hundred Tang Poems, and Three Hundred Song Lyrics. Mr. Xu Yuanchong's translation works have promoted the exchange between Chinese and Western cultures and brought outstanding Chinese literary works to the world, especially his translations of classical Chinese poems. In addition, he put forward a series of translation theories, which enriched the traditional Chinese translation theory and promoted the development of translation studies. Mr. Xu Yuanchong's translation theory is mainly based on his "Three Beauties" principle, which holds that "the beauty of meaning means that translated poems should touch the reader's heart as much as the original poems do; while the beauty of sound is that they should have pleasant rhythm as the original poems have; and the beauty of form means that the translated ones should maintain the form of the original poem as much as possible.” Mr. Xu once talked about the relationship between the "Three Beauties" in his article on translating poems: "the beauty of meaning" is the most important, "the beauty of sound" the second, and "the beauty of form" is even less important. (Xu Yuanchong, 1979).

Ezra Pound (1885-1972), a leading representative of 20th century imagist poetry, was also a major founder of British and American modernist poetry. Both a poet and a translator, Pound translated many Confucian classics as well as classical Chinese poems. In 1915, Pound published his English translation of an ancient Chinese poetry anthology, Cathay, which was immediately received by Western society as "one of the best ten or so American poems of the 20th century”. Jeff Twitchell says, "Before Pound, China had no literature worthy of her name popular in English-speaking countries." (Jeff Twitchell, 1992) Pound's idea of poetry creation greatly influenced his idea of translation. Pound advocated translation without emphasizing fidelity to the meaning of the original text; what he sought was to reproduce the details and imagery of the original text in the translation. Imagery is the soul of the poetry translation, without which the translation of poetry would be meaningless.

This paper takes Li Bai's Changgan Xing as the object of study and compares and analyzes Pound's translation “TheRiver-Merchant’s Wife: a Letter” and Xu Yuanchong's translation “Ballad of a Trader’s Wife” under the perspective of Eugene Nida’s functional equivalence theory.

===Methods and Theories===

The term "dynamic equivalence" was first proposed by Eugene Nida in his 1964 book Toward A Science of Translating, emphasizing that "the relationship between receptor and messageIn such a translation (dynamic equivalent translation) one is not so concerned with matching the receptor-language message should be substantially the same as that existed between the original receptors and the message"(1964:159). In The Theory and Practice of Translation, Nida proposed that "Translating consists in reproducing in the receptor language the closest natural equivalence of the source-language message, first in terms of meaning and secondly in terms of style." (Nida & Taber 1982: 74). By the end of the 1980s, Nida replaced "dynamic equivalence" with "functional equivalence" in order to emphasize the concept of "function" and to avoid the misunderstandings of "dynamics" by some people, emphasizing that translation is a form of communication focused on reproducing the original language. Functional equivalence requires "not only the equivalence of the content of the message, but also, as far as possible, the equivalence of the form.” Nida clearly states that "the closest natural equivalence" is used to reproduce the original message. In the early 1990s, "functional equivalence" was further divided into two categories including the maximal level of equivalence and the minimal level of equivalence; the former is defined as “The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did" , which is the highest level pursued by the translation, while the latter is stated as “The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it”.(Nida 1995:224;1993:118) The highest level of functional equivalence is an ideal state, which is rarely achieved in texts other than those with little aesthetic value of factual information. The lowest level of functional equivalence is more realistic, and any translation below this level is unacceptable (Nida, 1993: 118). A good translation always lies somewhere between the two levels (Nida, 1995). The theory of "functional equivalence" is flexible, and there is considerable diversity between the highest and lowest levels. Compared with other translation theories that focus on a single theoretical criterion, the "functional equivalence theory" allows for diversity in the translation process. Translators have more autonomy to "deal with some of the problems of variability in different texts, of significant differences between readers, and of differences in the use of translation for research, for publicity, for pleasure, etc." (Nida, 1996: 114).

===On the level of word===

First, from the translation of the title, Xu Yuanchong translated it as "Ballad of a Trader's Wife", while Pound translated it as "The River-merchant's Wife: A Letter". Both of them are translated by understanding the whole poem, rather than simply translating it as "Changgan Xing". This is because the whole poem is mainly about the woman's longing for her husband through the description of various imagery. Such a translation is also closely related to the context in which the poem was composed. In the middle and lower reaches of the Yangtze River and the Han River valley, business was flourishing back then, and cities were prosperous with frequent trade contacts, and merchants were running their businesses from region to region. The wives of merchants had to wait and miss their husbands at home. Xu Yuanchong's and Pound's translations are all appropriate in this respect.

Every word in Changgan Xing is carefully chosen as it describes the merchant wife's longing for her husband. As words are the smallest unit in poetry, they are nevertheless the first step in translating poetry. In the first six sentences of this poem, Li Bai described the growth of two children, depicting the happy childhood of a boy and a girl playing merrily, leaving readers a good memory of the protagonist and her husband, and creating a pair of innocent and lively children images.

妾发初覆额，折花门前剧。
郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: While my hair was still cut straight across my forehead：
I played about the front gate：pulling flowers.
You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people：without dislike or suspicion.

Xu Yuanchong’s version: My forehead barely covered by my hair：
outdoors I plucked and played with flowers fair.
On hobby horse you came upon the scene：
around the well we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Analyzing the translation of these sentences, it is easy for us to see that Pound only tried to express the meaning of the original poem, while Xu tried to make the translation more like the original poem. In the first line, Pound chose the word "still" to emphasize the time and state, making the translation closer to the original. As for the understanding of the two’s playground, Pound translated it literally as "front-gate", while Xu chose "outdoors", the same thing was meant with their different choice of words. Then concerning the understanding and illustrating of an ancient toy made of bamboo, Pound chose "bamboo stilts," which is less faithful but easier for foreigners to understand, while Xu chose the word "hobby horse," which is easy to understand for the Chinese, but not so easy for foreigners. The word "bed" in modern times has a different meaning than it does in ancient times, so Pound chose "seat", while Xu chose "well" according to his understanding. In the last sentence, Li Bai described the friendship between two children, and Pound chose "two small people" to indicate their childhood, while Xu's "children twain" is a further explanation, which is more faithful to the original poem as it shows the happy sporting and innocent friendship between the boy and the girl.

These two lines delicately depict the shyness and sweetness of the newly married.

十四为君妇，羞颜未尝开。
低头向暗壁，千唤不一回。

Pound’s version: When I was fourteen: I married my master.
I never laughed: and I was shy.
I lowered my head and looked at the wall.
I had never looked back at one thousand calls.

Xu Yuanchong’s version: When I was fourteen：I became his bride.
I often turned my shyness face to the side.
I hung my head on the dark wall：
and I refused to answer his call.

In the translation of these two sentences, Pound chose to use "my master" to explain the meaning of "husband" to expresses the wife's respect and obedience to her husband, which is very appropriate for the time. Compared with Xu's choice of "he", "my master" seemed to be more appropriate. As for Pound's choice of the phrase "one thousand calls", it clearly showed the girl's shyness and her respect for her husband. Taking the fact that the girl is only 14 years old, and they live in a feudal society, so Pound's choice of words was very appropriate. As for Xu's choice of "dark wall", he actually misunderstood the original meaning, so his choice of words seemed to be inferior.

The following two sentences indicate the wife’s worries about her husband's business trip, showing her genuine concern and love for her husband, creating a heavier atmosphere for the reader.

十六君远行，瞿塘滟滪堆。
五月不可触，猿声天上哀。

Pound’s version: At sixteen years old：you leave：
you go to a distant place：in a swirling whirlpool.
You’ve been away for five months.
The monkey made a sad voice on the top of his head.

Xu Yuanchong’s version: When I was sixteen years old： he went far away：
through three Canyon covered with rock gray.
In the ship crash： when the spring flood was rising：
The crying in Gibbons seemed to come from the sky.

Pound chose to translate these two verses indirectly. The biggest problem with his translation is the misunderstanding of five months. In the original poem, Li Bai meant May. While Xu wisely skipped the time marker and used only phrases to express the time.

门前迟行迹，一一生绿苔。
苔深不能扫，落叶秋风早。
八月蝴蝶来，双飞西园草。
感此伤妾心，坐愁红颜老。

Pound’s version: You’ve dragged your feet when you go out.
Now：the moss are green：
different moss：too deep to clear them!
In autumn the leaves fall early in the wind.
The pairs of butterflies have turned yellow on
the lawn of the Western Garden in August.
They hurt me. I’m getting old.

Xu Yuanchong’s version: Now the green moss in front of our door are slight;
his footprints：hidden：can no longer be seen.
The moss cannot be washed away：the dense leaves will grow：
and when the wind blows： the leaves will fall early.
The yellow butterflies in the autumn will pass two on the
grass on the west side of the garden.
The scene would break my heart：
and I was afraid to sit alone：
and my cheeks would fade.

In these next four lines, in Li Bai's description, the protagonist was touched by the scene she saw and then fell into a constant state of anxiety. The description of the scene gives the reader an immersive experience as well. Pound's translation of these four lines also created a more vivid picture than Xu's. In order to show worry and fear, Pound chose the word "hurt" to imply the double meaning, referring to both psychological and physical injuries. The protagonist's mourning showed her helplessness as a feudal woman. Xu's choosing of "cheeks" and “fade” was even better, because women's cheeks are like roses which only shine their beauty in youth, while fading indicated her growth and fear of growing old.

===On the level of sentence===

In the translation process, when the translator has decided and embellished the words to be used, they must also take the entire sentence pattern into account.

郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people: without dislike or suspicion.

Xu Yuanchong’s version: On hobby horse you came upon the scene：
around the wall we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Through analysis, it is easy to see that Pound used different syntactic techniques, such as "playing" to express two actions at the same time, while Xu only used simple past tense to imply the time, which is slightly inferior.

The last two lines of the poem express the protagonist's hope and deep love for her husband, and her wishes of him coming home early and promises that she will meet him not far from home.

早晚下三巴，预将书报家。
相迎不道远，直至长风沙。

Pound’s version: If you are coming down through the narrows of the river Kiang：
please let me know beforehand.
And I will come out to meet you as far as Cho-fu-sa.

Xu Yuanchong’s version: O when are you to leave the western land?
Do not forget to tell me beforehand!
I’ll walk to meet you and would not call it far
Even to go to Long Wind Beach where you are.

By comparing the two translations, Pound used "If you are coming down" to express the wife’s longing for her husband; Xu chose direct words to show what the wife wanted to say to her husband, creating a more vivid scene. For readers, Xu's inner monologue is more touching than Pound's.

===On the level of culture===

1.Translation of Idioms and Allusions. There are two idioms and two allusions in the overall content of Changgan Xing. They are "青梅竹马（Qingmei Zhuma）" and "两小无猜（Liangxiaowucai）"; "抱柱信（Baozhuxin）" and "望夫台（Wangfutai）". The cultural interpretation of "Qingmei Zhuma": Qingmei refers to green plum; Zhuma is a bamboo pole played by children as a symbol of horse. It describes the innocence and playfulness of young children. Now it refers to the intimacy between men and women when they were young. Pound obviously failed to interpret the cultural meaning of it, and mistook it for the boy stepping on bamboo stilts and playing horse, which is a ridiculous mistranslation in Chinese readers’ eyes, but fills English readers with a surprised and fresh feeling and making them impressed on how romantic the young boys and girls in ancient China were! This unintentionally became his punch line. Professor Xu Yuanchong's translation cleverly replaces the "Zhuma" in the original poem with the "hobby horse", a common childhood game tool, so that English readers can easily appreciate the true meaning of the innocent game of boys and girls in the original poem according to their own life experience. This not only preserves the real intention of the original poem, but also makes it easy to be understood by English readers. It may seem to be unfaithful to the original poem in the surface, but in fact it is an evocative interpretation of the classical Chinese culture contained. In addition, "around the well" is even more impressive, vividly depicting the happy scene of boys and girls chasing and playing in the courtyard and by the well.

The allusion "Baozhuxin" is from Zhuangzi, a man named Weisheng made an appointment with a woman to met under a bridge, Weisheng arrived first, and suddenly the water rose, he kept his promise and refused to leave, so as a result, he was drowned while holding to the pillar of the bridge. Since then, people used "Baozhuxin" as a metaphor for keeping faith with love. "Wangfu tai" is taken from the Southern Dynasty Liu Yiqing’s The Book of Ghost Stories: there is a stone resembling a woman in Beishan, Yangxin County, Wuchang; Legend has it that: in the past, there is a chaste woman, her husband joined the army to save their country, so the woman together with their weak son bid farewell to him to this mountain, standing there lookout and turned into a stone, therefore got the name of “Wangfutai”. This is an allusion used to describe a wife missing her husband, or to describe the utmost sincerity. These two lines mainly express the wishes of the merchant woman to her husband, who should remember the vow he made on that day and never leave her and adhere to their love, so that the merchant woman will never have to climb up the mountain to look at her husband’s direction. These two lines contain both the wife to her husband's entrust as well as her hidden worry for him. Pound failed to translate these two allusions, and delivered a weak transformation in the cultural dimension. Xu Yuanchong's translation adopted the domesticating method, as he avoided a direct translation of the allusions but managed to convey the spirit of the allusions: that is men should keep their promises.

2.Translation of rhetorical devices. Figures of speech are used to express the true feelings of the protagonist. Therefore, translators must pay attention to the translation of those devices. The use of simile, metaphor, personification and other figures of speech are prominent features of Li Bai's poems. Both Pound and Xu Yuanchong are flexible in dealing with exaggeration in this poem, which can also reflect the translator's skills in choosing appropriate sentence patterns in translation. The change of words or sentence patterns will affect the feeling of translation, so the artistic conception of the original poem must be taken into consideration by the translator.

===Conclusion===

This paper mainly studies two translated versions of Changgan Xing. One is Pound's interpretation and translation. , because Pound himself knew little about Chinese as well as about Chinese historical background. Pound, American poet and literary critic, is a representative of the magist. He is one of the leading figures of postsymbolism. From the study of the Chinese classical poetry and the Japanese haiku, he put forward the theory of “poetic imagery”, and made great contributions to the study of Eastern and Western poetry. Pound does not understand Chinese. The Chinese classical poetry can be translated because he got Earnest Fenollosa’s private manuscript. Pound chooses 19 Chinese classical poems and translates them into English, including Li Bai’s Changgan Xing. Pound’s translation of Li Bai’s works has already been the second interpretation, which can cause misunderstanding to the poem. Although Pound’s translated poem has enjoyed a high popularity in the western literature and is named as one of the excellent translations, it has some obvious mistakes, which deserve our attention and discussion. The other translator is Xu Yuanchong, an expert in translation of the classical poetry, who has published numbers of works of translation and translation theories. As a representative of the imagist movement, Pound is very fond of imagist poetry which especially emphasizes the hazy beauty. Therefore, the interpretation of concrete words is not taken very seriously. In order to pursue the creation of hazy beauty, Pound’s interpretation of Li Bai’s poetry damages the poetic mood and rhythmic beauty of the original poem. And Pound himself also explained that he was eager to pursue the image of the poem and did not blindly interpret the meaning of poem but to grasp more details and compress the author’s thoughts and feelings. As the first translator to win the Aurora Borealis Prize for Outstanding Translation of Literature, one of the highest awards in the international translation community, he has made great contributions to Chinese literary translation. In his translation career, Mr. Xu not only translated a large number of Chinese and Western cultural classics, but also wrote several books on translation theory. In particular, his views of "Three Beauties" (beauty of sound, meaning and form) and "Three Perfections" (equalization, simplification and deepening) in poetry translation have been gradually accepted by the translation community. In particular, his principle of "Three Beauties" has been regarded by many scholars as the criterion for judging poetry translation. In Xu Yuanchong’s opinion, “to preserve the beauty in sense we may use the method of ‘paraphrase’ (free or liberal translation); to preserve the beauty in sound, we may use the method of ‘imitation’ (or adaptation); to preserve the beauty in form, we may use the method of ‘metaphrase’ (or literal
translation)” (2006: 131).
Different translations have distinctive styles. In the process of translation, complete equivalence with the original is not advocated. The translator's aim is to satisfy the needs of readers, not to cater to them. Choosing how to translate the original text is actually a balancing process between the target language and the source language. When translators try to translate some works, they can be guided by functional equivalence in order to be faithful to the original text. For functional equivalence to be achieved in poetry translation, the following steps need to be followed: The first step is to understand not only the literal meaning of the original text, but also the implied meaning of it, so as to achieve functional equivalence in poetry translation. The second step is to use one’s own words to express, to translate the allusion properly, and also to choose the appropriate rhetoric. Only in this way can the translation be easier to understand for its receiver.

===Terms and Expressions===
Changgan Xing; TheRiver-Merchant’s Wife: a Letter; Ballad of a Trader’s Wife: 《长干行》

"Three Beauties" (beauty of sound, meaning and form)：“三美”（音美，意美，形美）

"Three Perfections" (equalization, simplification and deepening)：“三化”（等化，浅化，深化）

functional equivalence theory：功能对等理论

Eugene Nida：尤金·奈达

Toward A Science of Translating：《翻译科学探索》

The Theory and Practice of Translation：《翻译理论与实践》

Zhuangzi：《庄子》

The Book of Ghost Stories：《幽明录》

the Aurora Borealis Prize for Outstanding Translation of Literature：“北极光”杰出文学翻译奖

poetic imagery: 诗学意象

===Questions===

1.What are the main methods adopted by Pound in his translation?

2.What are the main methods adopted by Xu Yuanchong in his translation?

3.Since there are many mistranslations in Pound’s version of Chang Gan Xing, is it ok for us to draw the conclusion that Pound’s translation is inferior than Xu’s?

4.Is it possible for us to find the best or a precisly equivalent translation of the original poem?

===Answers===

1.Free translation and domestication.

2.A combination of literal translation and free translation, domestication and foreignization.

3.No, it’s not. Different translations have distinctive styles. Pound’s translation has its own merits and demerits and so has Xu’s translation.

4.It is almost impoosible for us to find a precisly equivalent translation since there are always something untranslatable because of the cultural differences, and it is also difficult for us to choose the best version that everyone agrees on as each has one’s own standards.

===References===

*Eugene A. Nida. Toward a Science ofTranslating. Leiden: Brill, 1964.

*Eugene A. Nida. and C. Taber. The Theory and Practice of Translating. Leiden: Brill,1969.

*Wu Min Hua. Xu Yuanchong as a Touchstone for Ezra Pound’s Translation of Tang Poetry[J]. Comparative Literature: East & West,2021,5(1).

*Li Xingyuan,李幸原.生态翻译学视域下《长干行》三个英译本比较研究[A Comparative Study of Three English Versions of Changgan Xing from the Perspective of Ecological Transliteration][J].海外英语[Overseas English],2020(08):22-24.

*Zhang Yuan,张媛.《长干行》两个英译本的对比赏析[A Contrastive Appreciation of Two English Versions of Changgan Xing][J].延安职业技术学院学报[Journal of Yan 'an Vocational and Technical College],2019,33(06):57-60+73.DOI:10.13775/j.cnki.cn61-1472/g4.2019.06.018.

*Xu Yifan,许昳凡.目的论视角下《长干行》文化意象翻译研究——以埃兹拉·庞德译本为例[A Study on the Cultural Image Translation of Changgan Xing from the Perspective of Skopos Theory: A Case Study of Ezra Pound's Translation][J].作家天地[For Writers],2019(19):32-33.

*Liao qian, Luo Dijiang, 廖倩,罗迪江.许渊冲“三美”翻译原则和庞德创意翻译理论对比研究——以李白《长干行》为例[A Contrastive Study of Xu Yuanchong's "Three Beauties" Translation Principle and Pound's Creative Translation Theory -- A Case Study of Li Bai's Changgan Xing][J].牡丹江大学学报[Journal of Mudanjiang University],2018,27(12):103-105.DOI:10.15907/j.cnki.23-1450.2018.12.029.

*Tian Dong,Xiaolin Lin. Attitude in Appraisal Theory: A Comparative Analysis of English Versions of Changgan Xing[J]. International Journal of Comparative Literature and Translation Studies,2018,6(1).

*He Chunfang, Shi Huihui, 何春芳,石慧慧.论庞德对李白《长干行》的文化误译[On Pound's Cultural Mistranslation of Li Bai's Changgan Xing][J].湖北经济学院学报(人文社会科学版)[Journal of Hubei University of Economics:Humanities and Social Sciences][,2017,14(08):110-113.

*Zhang Qiaoping, 张巧平.诗学视域下李白《长干行》两英译本的对比研究——以庞德、许渊冲译本为例[A Comparative Study of the Two English Versions of Changgan Xing by Li Bai from the Perspective of Poetics -- A Case Study of the Two Versions by Pound and Xu Yuanchong][J].发展[The Development],2017(01):89-90.

*Han Lizhao, 韩立钊.《长干行》三个英译本的对比解读[A Contrastive Interpretation of the Three English Versions of Changgan Xing][J].西藏民族学院学报(哲学社会科学版)[Journal of Xizang Minzu University(Philosophy and Social Sciences Edition)],2015,36(03):138-141.

*Yang Meiru, 杨梅如.解析《长干行》的两个英译文本——基于许渊冲的“文化竞赛论”[An Analysis of Two English Translations of Changgan Xing -- Based on Xu Yuanchong's "Cultural Competition Theory"][J].考试周刊[Kao Shi Zhou Kan],2014(78):8-10.

*Wang Shanmei, 王善美. 功能对等视角下许渊冲与庞德英译中国古典诗歌之比较研究[A Comparative Study of Xu Yuanchong's and Pound's English Translations of Classical Chinese Poetry from the Perspective of Functional Equivalence][D].青岛大学[Qingdao University],2014.

20220630 Culture 9

2022-07-07T16:29:29Z

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
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*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译颜媛 Yan Yuan 202170081603==

<center>'''Interpreting Chinese and Western Language Humor'''</center>

<center>Yan Yuan</center>

===Abstract===
Intercultural communication is currently a cutting-edge topic in the international academic community.Intercultural communication refers to communication activities between people with different cultural backgrounds.It studies the relationship between cultural and communication,with a particular focus on the cultural factors that interfere with communication.At present, English language teaching in universities competence, and neglects social meaning.Multidisciplinary by nature,the study of humor has been approached from various perspectives,such as philosophy ,psychology,linguistics ,literature,sociology and anthropology.However,the previous research ,though somewhat comprehensive ,hasn't yet generated systematic and thus convincing theories concerning the definition,the working mechanism of humor as well as its linguistic expressions.The study of humor language in different cultures is not only limited to the linguistic level,but also rises to the level of intercultural communication. The ultimate goal of cultural communication and integration is the overall development of human beings and their harmonious coexistence.
===Key words===
Chinese and western humor ;Cross-cultural communication; Humor;Culture
===Introduction===
Humor has always been an interesting topic in both ancient and modern times, and many people have studied the phenomenon from different perspectives,such as aesthetics,sociology ,psychology,linguistics,philosophy,etc.Theories about humor can also be described as a lot.Humor can be expressed in many different ways, in a dramatic way(comedy),in a pictorial way(cartoons), in a musical way, etc.Language, as a vehicle for the expression of human thought and ideas, is of course an important way and factor in constituting humor, and thus linguistic humor.Language is a complex system in which everything is based on relationships, and there is no such thing as a system of language system.The complexity of the language system is ,of course , a resource that can often used for humorous language. Humorous language is generated under certain conditions through certain linguistic elements and their relationships with each other.The current research on humor language in China is very one-sided and inadequate,mostly staying in the area of rhetorical patterns, words and the techniques of humor language formation,without a comprehensive, three-dimensional and explanatory study.In view of this,in this thesis we are interested in finding out the connection between the elements of the language system and their interrelationships with humor,i.e.,what forms or relationships are humorous?What forms or relationships are humorous and under what circumstances?In this way, we break the one-sidedness of the original research and think further about the study of humor language, deepen our understanding of the "surface structure"and "deep structure"of humor language , and identify some patterns between linguistic forms and humor language. It is an important reference for us to further understand the mechanism of humor language production and even the application of humor language.
===Literature Review===
As we are known,language is the most important communication tool for human being , though which people known the world and perceive it."The act of language , though not the whole state of human existence,is the basic state of human existence."(Qian Guanlian.2005) Heidegger said,"Man dwells in the dwelling built by language.Humor is also distinguishing feature of human beings (Nash,1985).Human beings mostly express humor through language, which can be divided into two man categories:oral language and written language. The spoken language is the basis of the written language, and the written language is only the expression of the spoken language.Therefore,humor can also be related to language through these two media,and the specific product is the general form of oral language humor,such as comedy ,skits and so on(Of course,they also include the body language of certain performs).Another form of expression is to record humorous scenes or stories in the form of words to make readers laugh,such as humorous stories in newspaper and magazines, humorous novels and so on. From this point of view, we can say that the relationship between language and humor is that language is the basis and the tool og humor.And without language, there would be no humor(except silent behavioral humor). This close relationship can be seen from the research history of language and humor.The research on the relationship between them has a long history and rich achievements.The study of humor has traditionally been concentrated and dominated within the disciplines of psychology,philosophy,and sociology. It was not until the the late 1970s that the study of humor in linguistics took its place and gained attention.Traditional linguistic studies of humor point out that humorous elements in oral jokes are more stable and explicit in phonological terms than in written jokes, and that linguistic humor arises when the first level of linguistic symbols(i.e., phonological or written units) moves to the second level(i.e.,the communicative system).This has led to a number of research approaches , such as ambiguity, which is prevalent in many humorous texts and can be divided into phonological-lexical ambiguity, semantic-pragmatic ambiguity,etc.
Since the publication of the first academic book titled ''Humor Linguistics'' in China, the study of humor linguistics in China has been exciting.Chinese scholars have studied humorous language,especially Chinese humor language, from perspectives.Mr.Hu Fanzhu's ''Humor Linguistics'' is the first linguistic book in China that systematically studies humor.Starting from a review of the history of laugh and the theory of "laugh" in China and the west.The book proposes that humor is a spiritual phenomenon with three levels,namely:humor in the broad sense is comparable to ludicrousness, humor in the normal sense refers to ludicrousness that appeals to reason,and the humor in the narrow sense specifically refers to humor that contains intellectual lightning and generosity, a sense of spirituality and life.The book was published and had a great impact on the academic world.A large number of similar books have been published, but it can be said that they basically do not deviate from the technical lines and research ideas outlined by Mr. Hu in that book.
According to incomplete statistics , in terms of published papers, we searched for 22 articles on the Chinese journals with the keywords "humor language"; 5 articles with the keyword " language humor";15 articles with the keywords "speech humor" ;9187 articles were searched by the keyword "humor". In terms of published monographs , in addition to "Humor linguistics", subsequent monographs on humor language or humor include Gua Tian's ''Humor Language Operations''
'',Gong Weicai's ''Humor Language Art'', Li Junhua's ''Humor Language'',Sun Shaozhen's ''Fundamentals of Humor'' and ''Fifty Methods of Humor Defense'' and so on. In terms of outstanding master's theses on China Journal Online, there are 15 master's theses with humor language as the topic or keywords.

===The Definition of Humor and Humor Language===
What is “humor”？There are many different answers to this question.People have interpreted and explained humor form a variety of perspectives, each with their own insights.However , it is a little known fact that the word “金数”is a foreign word in Chinese .The word “humor” in Chinese can be traced back to more than 200 years ago to the“Where silence and quietude reign” in “Longing for Changsha , The Nine Elegies，The Song of Chu”.Wang Yi notes，“Confucius is very good.As poetry written,“Confucius interpreted the word "默" as silence.The mountains in the south of the Yangtze River are high and the wild is very clean, and there is no voice in the desert.”In ''Shih Chi'',“默”（silence) is protrayed as "墨"(Chinese ink).It can be seen that at that time,the word "默"（humor） meant silence.Since then,the basic meaning of "默"(Humor) has not changed for more than 2,000 years.For example, Li Bai,a great romantic poet in Tang Dynasty,wrote in Song of River in Farewell to Cen zhengjun ,"And yet it is worrying to live alone in such a lonely place ."If we consider the meaning of the word "humor", that is , as an aesthetic category we want to study.It is an exotic and a foreign transliteration word in Chinese.In the last century,Mr.Lin Yutang was transliterated from English "Humor" .The reason why Mr.Lin transliterates "幽默" with the word "humor" is to consider their implied meaning(or instant impression meaning) and morpheme association color.Therefore, we can say that humorous words are both transliterated words and free translated words.Since then,the word "幽默" in modern Chinese has gradually deviated from its original meaning， that is , it no longer means "silent", but points to the meaning of humor.According to the related works published in China, there are definitions of humor as follows:
Humorous style is one of the key rhetoric style in Chinese......Humor is the use of language conditions to show the humorous interest in things.It is characterized by a light-heartedness and cheerfulness.It is based on " truth"
Humor is a rhetorical technique.
Humor is a spiritual phenomenon. This spiritual phenomenon has a broad sense,a common sense. There are three levels of humor.Humor in the broad sense is comparable to ridiculousness ,such as comic, witty ,gagging,funny......Humor in the narrow sense refers to the layer of spiritual phenomenon that is most aesthetically valuable.Humor in the conventional sense is a mental phenomenon that has an appeal to the "ridiculousness " of reason.
From the above definition of humor,we ca know how complicated its definition is, different viewpoint are different.This in itself shows its complexity as an object of study , and we can simplify it without getting entangled in the complexity of the definition.Based on the above viewpoints, we are more inclined to Hu Fanzhu's understanding and definition of humor in his monograph ''Humor Linguistic'' , that is , humor is a spiritual phenomenon, which can be divided into three levels:broad sense,ordinary sense and narrow sense.To sum up, in this paper we can define humor as laughable, that is, having the effect of inducing laughter.
'''1.1.1 The definition of humor language'''

From the above definition of humor, we know that humor is a multidisciplinary research topic,people from philosophy,psychology,sociology,linguistics,literature and many other aspects of the phenomenon of humor research.This thesis mainly studies the humor language, and the so-called humor language is "created by the use of various elements of language variation humor.In dynamic terms, it is the atmosphere in which language is used,or a style of language;in static terms, it is a fuzzy collection of linguistic variants, or an aggregation of ways.”（Hu,1987)From this definition,we can draw the following two conclusions:firstly,humor language must be related to linguistic symbols,humor that dose not use linguistic symbols as a carrier is not within the scope of this study,such as Ding Cong's cartoons and mime act are certainly funny, but they are not humor language; second , humor language should be created by the variation of linguistic elements, not just by the narration of language of language symbols.It is necessary to distinguish between humor expressed in language and humor created by language:in verbal humor, language is used only as a tool , and laughter is triggered by the recorded situation, while language itself may not be funny.From this definition, we can see that in fact, the humor expressed by language is to describe a ridiculous situation or thing by using language as a tool to express idea,so that the listener or reader will find the situation or thing ridiculous after appreciating it.It's like expressing a humorous situation in the form of a cartoon,except one is in the form of a cartoon and the other is in the form of language.Like this one:
午餐会发言人匆忙赶来赴约会，当他坐在第一张桌子前时，他突然意识到了他忘了带他的假牙。
The luncheon speaker was in a hurry to get his appointment,and as he sat down at the first table,he suddenly realized he had forgotten his dentures.
他转向他旁边位男士，说:“我忘了带假牙了。”
He turns to the man to hin and says，“I forgot my dentures.”
男士说:“没问题。”说着他手伸进口袋里并取出一-副假牙。“试试这一副。”他说。
The man said, “No problem.”He reaches into his pocket and takes out a pair of dentures.“Try this one.”He said.
发言人试了试。“太松，”他说。
“They’re too loose,”the speaker said.
男士接着说:“我还有一副....试试。 ”
The man said, “I have another pair...Try it .”
发言人试了试。说:“太紧。”
The speaker tries them on, says, “Too tight.”
男士根本不感到惊讶，他接着说:“我还有一副.....试试。”
Not surprised at all, the man continued, “I have another pair of ...Try them on.”
发言人说:“正合适。”他带着这副假牙吃饭，讲话。
“It fits.”The spokesman said.He ate and spoke with this pair of dentures.
午餐会结束后，发言人走过来，向那位帮助他的男上道谢。“我想谢谢您给我的帮助。您的办公室在哪里?我正在找一位好牙医。”
After the luncheon,the speaker came up to the man who had helped him and thanked him. “I wanted to thank you for the help you gave me.Where is your office?I am looking for a good dentist.”
男士回答:“我不是牙医。我是本地的殡仪员。”
The man replied, “I’m not a dentist.I’m a local mortician.”

=== Chinese and Western Humor ===
'''4.1 The Evolution of Chinese and Western Humor'''

Humor comes from the Latin word “humor”, a physiological term referring to “ fluids”.According to Hippocrates, the person’s health and different type of temperament depends on the human body fluid mixing proportion.Therefore, the original meaning of “humor” in human body is the proportion of four kinds of fluids to the people’s minds,constitution,the tendency of the habit,temperament,or the heart,mood.The first person to introduce humor into literature was the famous English dramatist Ben Jonson.At the end of the 17th century , humor took on its present meaning;in the 18th century , there were literary writers and artists who used humor as a creative style.When the form of humor spread around the world ,it became a symbol of wisdom.Mr.Lin Yutang introduced humor into China for the first time.Although humor is a foreign word,humor culture is as old as the history of the Chinese nation.Ancient Chinese contains profound philosophy and ingenious speculation.The contemporary works of Mr.Lin Yutang and Mr.Qian Zhongshu. They are full of humorous wisdom.

'''4.2 The Difference of Chinese and Western Humor'''

The difference between Chinese and Western humor is mainly due to the differences in many aspects of Chinese and western culture and way of thinking.Chinese people shaped typical introverted mainland farming culture,which aims to seek peace and contentment,forming a capitalist type of divergent thinking,ritualistic and subtle;while the Westerners are the outward-looking marine commercial culture that seeks only wealth and strength,forming a linear thinking of brush sketch type,spontaneous and open.The formation of Chinese and Western humor is the projection of their own cultures.In such a cultural atmosphere characterized by self-sufficient, China has formed a thinking pattern of “still letting,not fighting,still retreating, not moving”.Because of this cultural mindset , an intuitive way of thinking has been formed. This mindset and way of thinking determines that humor is expressed in an intuitive way.For example, in order to explain a person’s stupidity, we should focus on describing how stupid he is when he speaks and does things,so that people can draw an intuitive conclusion immediately after reading it.However,western culture belongs to extroverted marine culture and advocates innovation. Therefore westerners have formed a speculative thinking that emphasizes creation.In humor,it is embodied in the use of restrained statements, so that people can understand humor itself by understanding litotes.The differences between Chinese and Western humor are very obvious in many aspects, but people’s love and recognition of humor are surprisingly similar.
===The Different Characteristics of Chinese and Western Humor ===
Generally speaking,humor is not only the carrier of culture, but also the embodiment of different national cultures.The differences between the two cultures lead to the different interpretation and application of humor in China and West.Under the nourishment of different cultural systems,Chinese and Western humor has formed the characteristics of different cultural styles.Western humor is so profound that there is a saying that can explain this situation to the fullest,that is, “you can not be a good person, but you can never be a person who does not know humor.Western humor is mostly humor full of wisdom,subtle and thoughtful.They know how to self-deprecating,good at using self-deprecating methods to show humor , and at the same time trying to win each other’s affection.After thousands of years of feudal system in China,people have a strong sense of self-restraint and too many concerns. They prefer to show their perfect selves in communication with others , and it is difficult to laugh at themselves. Therefore , humor is mostly aimed at the third party,which is simple and direct.

'''5.1 The Different Content and Function of Humor'''

Humor is a kind of human aesthetic pursuit, is a reflection of the real life , the first in its theme and content reflects the national unique customs and cultural concept.The traditional Chinese Confucian thoughts influence deeply rooted, people talk about “sex” color changing, therefore, the traditional eastern humor neutral theme is the box.And this kind of theme in western humor but make up a large proportion.The functions of humor can be divided into: negative humor(is critical to life,shortcoming and negative phenomenon to negative),affirmative(to life advantages and positive phenomenon be sure and pure humor(neither contains sure, also does not contain negative,it is just for daily phenomena are abound of appeal reflects).Humor is more purely entertaining in the west,which is formed from the initial state oh humor.However,Chinese humor seems to have a heavier historical mission to serve politics.The traditional cross talk spread to the present, and the satirical jokes are mostly of this kind.Western humor culture is profound, the Russian literary scholar Chekhov said, “Do not know how to joke, is a hopeless person..”What's more, westerners are more open than Chinese, with a large proportion of pure entertainment humor. Therefore, they can have a quiet moment with anyone on any occasion, such as an American joke:A young man went to an old man’s birthday party.When he saw the old man, he sighed, “I’m sorry.I do not know whether I can come to your birthday party next year.”And the old man smiled and said : “Why not? You seem very healthy.”This is typical western humor, they play more of a function of relieving mental stress and establishing a sense of superiority, but also reflects their willingness to share and enjoy life by gathering together.
Due to the differences between Chinese and Western thinking and cultural heritage,there are obvious differences in the expressions of Chinese and Western humor.Chinese humor is typically expressed through the use of language and words, most typically in comedy,where the artist’s mouth borrows from the profound Chinese language to talk about heaven and earth and comment on the past and present.There are many examples of this in Guo Degang’s comedies.Western humor,on the other hand, focuses on action interpretation. The most representative one is the humorist Chaplin,a series of silent movies that brought a lot of joy to the world.And then the later animated blockbuster Cat and Mouse also won the applause the world with its unique American way.

'''5.2The Different Ideologies and Aims'''

An ideology is a set of ideas that constitutes one’s goals,expressions,and actions. An ideology can be through of as a comprehensive vision, as a way of looking at things, as in common sense and several philosophical tendencies, or a set of ideas proposed by the dominant class of a society to all members of this society.Compared with Chinese long history, the history of western countries is comparably short.Take America for example,it is only more 230 years since it was founded . So their awareness doesn’t have much time to develop.Their awareness consists of instant fragments so they are not as passionate about political matters as Chinese citizens.China has a cultural tradition with a five-thousand-year-long history.Chinese people have been influenced by systematic and strong political idea for a long time. Influenced by those ideas and Chinese traditional system,Chinese people show a strong political tendency when dealing with the daily affairs.So the content and characteristics of Chinese humor is influenced a lot by this politic system.
In China, literature works are closely related to education. So humor,as a popular culture, is aimed to satirize people with bad behavior and educate them and make them a good citizen. Although satire is one of the purpose of humor , the main purpose is to develop people’s sense of humor.Because humor is considered to be an important quality in western country,many leaders and scholar with a sense of humor are respected by people.This is because humor adds color to their personal charm and shows their wisdom.

'''5.3 The Different Grasp and Skills of Sense of Propriety'''

Chinese and Western humor has different styles and techniques due to their different cultural traditions and ideas.From the perspective of humor creation,China and Western countries develop in two different directions in the pursuit of implicature. On the macro level, humor in Western countries strives to combine subtlety with condensation and philosophizing, so that there is more room for humorous evocations. As for Chinese humor it is good at mastering the scale of subtlety and clarity.Chinese and Western humor is far less explicit in technique than in content. It is often rooted in the long-standing cultural traditions and psychological qualities of the nation, and is also very subtle and hidden. Chinese humor deliberately pursues consistent and progressive taste, and contains many “baggage” from beginning to end,which makes the audience always have strong interest , from nervous expectation to relaxed satisfaction, and then jump to new expectation and new satisfaction. However, western humor often has only suspense , but due to the requirements of the integrity and coherence of the story , there are many restriction on the use of “burden”.
===The Change and Integration of Chinese and Western Humor===
Cultural differences are neither superior or inferior, but rather compatible,complementary and gentle with world civilization.Various cultures coexist in the midst of exchange and conflict.Exchange and conflict are the driving force of cultural development ;coexistence is the guarantee of cultural integration.Culture autonomy and cultural self-awareness can be the way to dissolve the clash of cultures or civilizations. The future direction of cultural conflicts will be the gradual expansion of the field of human consensus, the gradual reduction of barriers to cultural exchange and integration, and the evolution of a mutually existing multicultural system in the context of globalization. Humor is a symbol of civilization and wisdom, and it brings people of different nationalities in a multicultural system , making people realize the power of humor in communication. It prompts national characteristics, express the historical accumulation of national cultural development, and reflects the appearance and status of the times from a unique perspective and in various fields. Humor’s mood and charm can only be understood by the members of the group who share the same culture.Therefore , whether we are analyzing humor techniques or studying its linguistic art, we need to first examine the cultural connotations on which it is based.In this way,humor can be better understood and cross-cultural communication can be successfully realized.The culture of humor reflects the development of the times , the progress of science and the change in social and cultural integration. It can be used from variety of starting points, and through the use of a variety of techniques, it is subtle but not revealing , light-hearted but not subversive, and subtly reflects the splendor of the culture of the times.This is the charm of humor.Humor is the words,actions and expressions that can make people laugh in the process of human communication, which is rich in content and diverse in forms .With the rapid development of information technology , the cost of transportation and communication has been greatly reduced , which makes the whole world more closely connected than ever before, and the humor between China and the West is gradually merging.While Chinese and Western humor merges gradually,we should keep national humor, at the same time, we should broaden our horizons and consider the problem as a whole,so as to keep national humor and boldly admit some commonalities and produce new humor ways.
===Conclusion===
Humor is a linguistic art that permeates every corner of life. It plays an immeasurable role in life with its unique artistic style, full of amusing and intriguing contexts, humor is a symbol of civilization and wisdom, bridging people of different nationalities under a multicultural system, and making people realize the power of humor in communication. Although the differences between Chinese and Western humor are obvious in many aspects, people's love and recognition of humor are surprisingly similar. In today's era of globalization, various cultures coexist in exchange and conflict, and cultures from different regions gain a certain consensus through cross-cultural communication, and Chinese and Western humor are gradually integrating. This cross-cultural integration of Chinese and Western humor is conducive to the successful communication between China and the West, as well as to the harmonious development of the world.
Globalization is an inherent requirement for the development of human society.Human development is in collision and conflict advance,human development is spiraling upward.Cultures from different regions have reached a certain consensus through cross-cultural communication , and human culture needs to be integrated through differences .With the strengthening of the interaction between China and foreign countries will reach an unprecedented level,and cross-cultural study of Chinese and Western humor is conducive to the successful communication between China and the United States, and more conducive to the harmonious development of the world.
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==英语笔译杨心怡 Yang Xinyi 202170081604==
<center>'''Gendering History on Chinese Movie'''</center>

<center>Yang Xinyi</center>

===Abstract===
Since the new period, with the vigorous development of Chinese movies, there have been many excellent movies.And the female image in the movie, it is very compelling.China movie culture is deeply influenced by traditional cultural ideas, and the idea of "male superiority over female inferiority" is deeply rooted.Therefore, the female images created in this period were restricted to a great extent.In this paper, the new era of Chinese women's image in the movie type analysis, on the one hand through the image of women focus on women's development and progress, the other side through the image of women reflect their shortcomings. In the survival of male hegemony of women is difficult to tell their true inner thoughts, women's own right to speak was ruthlessly deprived of, they are always a "second sex" identity in the men behind. the real equality between men and women, In the cultural media platform has not been achieved. I hope that through the analysis of the image of women in the movie, build an equal platform for dialogue between the sexes, so that more exciting images of women appear in front of everyone.
===Key words===
chinese movie； feminism；female character
===Introduction===
The famous French movie artist francois truffaut said: movie is the art of women.This is particularly evident in Chinese movies.In view of the development history of the movies in the new period and even the whole Chinese movies, the female images cannot be ignored in the character gallery of Chinese movies.
It should be noticed that the Chinese movie in the new era is gradually getting rid of the shackles of the original political discourse, turning to the artistic vision and new movie language to shape the image of women.With the opening of social culture and the awakening of gender consciousness, the female images in the new era of the movie presents a diversified trend, which makes the female image with greater charm.The first representative female image in the new period movies is the wife and mother image represented by Feng Qinglan in Xie Jin's Legend of Tianyun Mountain.They like men, also suffered the political disaster of the past, but they can with their own sacrifice to save the suffering of men.Therefore, this kind of female image has the brilliance of "Virgin Mary." In the movies of the "fifth generation directors,” whether it is Zhang Yimou's Red Sorghum, Ju Dou, Qiu Ju's Lawsuit or Chen Kaige's Yellow Earth, the female image is also worthy of praise. Different from Xie Jin, the wife and mother position familiar to critics in the past has been replaced by lover, such as Jiu Er in Red Sorghum. This is the gradual opening up of the cultural environment and economic system has a direct relationship. In the nineties, under the coercion of consumer culture, women who mean more and more heavy consumption, their bodies have become the spectacle of being stared at. Of course, women become the focus of the movie performance of the object is not just the above two reasons. In the feminist movie criticism of the vision, the male gaze for the female body is one of the determinants of movie-like state.（Li,1988:76)All in all, the image of women in the new era of transformation, we can not only see the development trajectory of Chinese movies, the same can also see the Chinese social and cultural and ideological concepts of the rheological process. This is the reason for this study, but also the value of this study.
===Literature Review===
Chinese movie since the birth of a hundred years, there have been a large number of excellent movies, but also created a large number of rich connotation of the role of women, so for these roles of historical research and comparative study has become an academic research entry point.Zhang Xuqing believes that feminist movie is a part of contemporary movie art that must be valued.Feminist movie theory has been distinguished by philosophical concepts such as Marxism, Freudian theory, post-structuralism, etc., which have been popular since the 1970s, and a series of concepts such as "the other" and "deconstruction" originally belong to these theories.Reading was transplanted into feminism.They use these theories for the image of women in the movie and in the ideology of women's consciousness has been criticized, pointed out that women are patriarchal culture and distorted repression one side. These criticism beyond the past simple image analysis and the appearance of social and cultural analysis, is astute.Laura Mulvey's Visual Pleasure and Narrative movie is a classic of this analysis. In the thesis, the most important manifestation of the alienation of women in movies is the materialization of women as carriers of male desires, which, in Mulvey's words, is "women in movies as images and men as bearers of voyeurism."Feminist theory was introduced into Chinese movie criticism since the 1990s.In this process, Yang Yuanying played a more important role.In the context of "feminism and China women's movie," Old time women in ancient China is a history, in which women's consciousness melted away in a male-dominated society and individual families. Yang Yuanying took the movies directed by female directors as the research object, and made a detailed analysis of the narrative characteristics and spiritual structure of female movies.Yang Yuanying believes that female movies are very different from male movies from narrative to internal logic, reflecting women's own emotions, and that "Ghost Love" will become a living fable of feminism.This analysis is very in place, so far scholars for the "ghost" analysis and research did not go beyond this thesis.Xie Xiaoxia believes that women's directors are basically the topics of women's lives, emotions and so on as the subject matter. Although the performance style and narrative techniques vary, but the basic theme can be summed up in three points: Growth, reincarnation and temptation. For example, Xu Jinglei's mental maturity shown in Me and Dad and the maturity of women in emotion and social life experience shown in many works. Samsara is manifested as a change of mother and daughter's fate, that is, the commonality of mother and daughter's fate. Generally speaking, such expressions are historical, showing the influence of times and society on women through the change of mother and daughter's fate. Wu Xiaoli believes in her paper that, With the implementation of the market economy, women directors work in the infiltration of the market and ideological factors are becoming more and more obvious. In other words, that is, the works of the female consciousness gradually reduced, began to compromise and surrender to the patriarchal society. In the past, women write in some works there is still, but in a way that can be male audience and the market access women's movie is struggling in this difficult to move forward.Through the above-mentioned image of women in Chinese movies, we can see that the researchers provide a more fruitful results, they are not tightly satisfied with the theoretical analysis, but also to creative practice and case studies in the form of exposing the existence of the movie text of gender, culture and power differences. As Foucault has pointed out, like the movie also exists in the discourse of the struggle field. On the other hand, these studies also have some shortcomings, which is this article to work on.
=== 1 The diversity of female image===
The new era for the creation of movie art provides a great social and cultural space, with the trend of cultural diversity. The development of female image also presents a diversified trend. In the 17 years of the movie, women are expressed as with the same group of men, so in which their sex is destroyed by mud.The so-called independence, but in fact is wiped to the female consciousness and in another identity into the ideological discourse. After entering the new period, the female body gradually be restored. But as a result of 17 years and the cultural revolution caused by the fracture between traditional and modern, China's female sex there is no way to find out the survival of self-awareness in modern society, so only to the history to find, so inn the early period of the new era, the image of women in the movie is mostly based on the image of his wife, mother and other inclusive, they are full enough to heal and moral expectations of people's desire.With the promotion of market economy and the change of women's economic status change, women’s desires and requirements to be publicized, women for their own positioning also gradually clear. In the eight or nine
ten years of the movie, there are two types of female image is noteworthy, one is the image of independent women, two categories is the image of the lover on behalf of desire. Into the century, the influence of consumerism gradually penetrate. Cosumer characteristics become increasingly apparent, which is the emergence of consumer images of women. As the new era of movie works very much, and the limited space of this article, so can only select some representative works and image.This paper discusses the process and overall context of social change in the new era.

1.1Wife and Mother

At the beginning of the new period, with the rise of scar literature and reflective literature, women were placed in the historical context to write. In the movie, women have the double identity of the strong and the weak. In the narrative discourse of the fourth generation of directors, women and men have experienced the cultural revolution, famine and other political and natural disaster damage, in front of the suffering of the irresistible, their nature is weak, but they also to the selfless and sacrifice aroused men around, from this perspective they are strong. As a result, this
The image is also known as the "Mother of the Wife" image.The appearance of these women not only changed the narrative of integration in the period of seventeen years, but also completed the transcendence of the traditional moral women.The typical representative of this aspect is the Feng Qinglan in the Legend of Tianyun Mountain and Li Xiuzhi in the Wrangler. Xie Jin's 'Legend of Tianyun Mountain' can be regarded as the image of this wife and mother of the movie, because of its work shown women's great tolerance and moral sense, this kind of women is also known as the image of the earth mother.In the day yunshan legend, the hero's identity is down and out scholar, although they were born in a scholarly family, has a very good culture, but the cruelty of political struggle but let them suddenly had nothing.In their down and out, xie jin arranged for a woman to save them. Xie Jin's arrangement, let the emergence of women with a strong sense of mission.In Xie Jin's works, women are not only lovers and wives, but also protectors of men.Their forbearance, strength, tolerance and generosity have established a harbor of expectation for men.Despite the storm or political struggle outside, but when the door was closed at that moment, everything is insignificant, The warmth of family removed everything.In fact, the emergence of this image is actually a male expectations, contains men in frequent complex political struggle after the exhaustion of seeking spiritual comfort and the idea of sustenance.
As we can see, in the day yunshan legend, when Feng Qing Luo Qun take back with a scooter, actually like a mother, accepted his son abandoned by society.And when Luo Qun was political recognition, Feng Qing years old has passed away.Therefore, Xie Jin with his deep lens language constantly shooting Feng Qing When I was young photos, rags vest, small wooden bridge, etc., line sent his praise for Feng Qingwei. Xu Lingjun in The Wrangler, like Luo Qun, is also a political exile.In xiu-zhi li appeared later, Xu Lingjun re-ignited hope for life. Xu Lingjun and Li Xiuzhi married and had children, Li Xiuzhi also Xu Lingjun's life is taken care of meticulously. Li Xiuzhi also has the characteristics of Mother Earth. She is not only diligent in keeping the house, but also dissolves Xu Lingjun's unhappy mood with her gentleness.
At the same time, it should be noted that Li Xiuzhi appears as a positive role in the movie, which also implies the affirmation of a mainstream discourse. Therefore, Li Xiuzhi said,"I have settled the rebellion for him since the day of marriage." After the vindication, Xu Ling has the qualification to inherit the property of his father. But he flatly refused. This is the thought that she has been in Li Xiuzhi's body to find the position of mother and father, so his break with his father is not only a moral break, but also means that the psychological level of break. In addition, there were many similar roles appear. They and men together, as men in different periods of different needs of the materialization, bear different historical functions. In short, in the affirmation of these women, their connotation and value of the image at the same time, need to see their value is based on the men and show her perseverance and suffering is to forgive men and happiness. Obviously, this woman's reversion was revealed. Women were banished to a history. In years later, these images gradually launched the screen, and with the fifth with the rise of acting directors, some new female images began to appear in people's vision.

1.2 Independent Female

In the late nineties, China appeared to work hot and hot to go abroad, a group of women in the era of inspiration get out of your home and find your place in society.They like men, the success of the career as the my value realization scale. At the time of the TV series, this theme is very common, but in the movie such female image is less.In this kind of female image of the movie, a warm to listen to the "sand bird" and huang shu sequence of "ghost" is a typical representative.
Movie sand hired is about the China women's volleyball team's main players sand step due to illness failed to participate First Volleyball International Championship.This is full of ideal sand is not acceptable, so the sand better constantly training hard, hope to be able to take part in the game.Sata was finally allowed to compete and won the silver medal, but she not relegated to this. Still want to try to win the championship. The image of Shahe not only reflects the charm of the individual, but also perfectly combines with the spirit of the times in the 1980s. In the movie, Sha Juan's boyfriend Shen Wei was killed in the process of climbing Mount Everest. Under this blow, Sha Ta chose to cheer up and eventually became the coach of the women's volleyball team.For the sand cuckoo, this choice is not only personal, but also national.In the preface to Huang Shu's Ghost Love, the actress Qiu Yun is also an artistic image worth mentioning. Huang Shuxu in the movie created the actress Qiuyun this independent, spicy, firm actor image.In the movie, Qiu Yun is a career pursuers. Qiu Yun from an early age to learn drama, the purpose is to seek their own self-help. His father did not allow Qiu Yun to learn drama, but was eventually moved by Qiu Yun, personally taught her, so that her career has a good start. Indeed, the movie showed the pressure faced by Qiu Yun, but Huang Shu Xu stressed that this movie focuses on Qiu Yun for their own destiny of the active choice.
For the emergence of independent female images during this period, Dai Jinhua(2000) said,"If we say that in contemporary literary circles, many women writers pursue and create their works of women’s style or become a deliberate, or not to do the women's strategy; In the movie world, the emergence of female style has become a mark of historical progress and a step in the difficult emergence of invisible women. Interestingly, most of their movies share the same cultural and social themes as the male directors of the same generation, but because of the selection of female stories and the unexpected entry and disclosure of female life experiences, they have translated and rewritten them into a female version. "This sentence affirms the efforts of female directors in creation. Pointed out that the previous works of women into the social stage when the neglect of their own gender identity. We admit this period of independent female image reflects the women in the process of entering society, the pressures and obstacles faced, but also concerned about their adherence to their own values. This makes their image three-dimensional up.

===2 Female consciousness in Chinese movie===
After combing the female images in the movies of the new period, the process of female images gradually becoming full is actually the process of female consciousness awakening. As far as the relationship between female consciousness and female image is concerned, the deeper female consciousness is, the fuller female image will be the image of women in the movie in the new era, although different from the past, but both are grown in China culture. However, in the new era, some new values and elements also take on new connotations. The new period movie began to women's self in-depth table.
Now, women's self-reliance, self-esteem and self-respect side was presented in front of the audience. And women are beginning to realize that since reputation and achievement, try to get rid of the influence of patriarchal consciousness, with their own efforts.

2.1 Female Identity Consciousness

In Second Sex, Beauvoir pointed out that women are not naturally occurring, but by social construuction. In the Chinese calendar history, the influence of patriarchy is very long, women in history is far away from the political and cultural center, is suddenly depending on the secondary. In Macro view, the center of the history of discourse is mastered by men, they become history set, women tend to appear in the image of the foil, is absent on the stage of history. At home family environment, the male is also the core of the family and the family, women became a reproductive tools. After her death, women still have no right to speak, as the so-called "husband died from the child."If we want to understand the relationship between men and women, we must discuss the concept of "home."It is well known that the family is made up of men and women, and that the history of the family constitutes the history of the nation and of mankind.In China traditional culture, the family is the foundation of the country and has an equally important position.Home country is regarded as a world expression of the whole and put forward by the power discourse, it is not only the basic form of China traditional social structure, but also the root of China culture and national psychology.In a family, women's identity is generally wife, mother and daughter, which is a kind of orientation of women's identity.Because men struggle outside, when men struggle frustrated, back home, women will assume the role of the soother.And if men are facing the test of life and death, so women are the saviors.From the perspective of this division of labor and role orientation, women were imprisoned in the home and became the victim of the patriarchal system.In the new period of the movie, women also play the role of the savior, but should see the female of this period sex rescuer role is in the context of ideological emancipation, is the identity and status of women are covered after complex.Now under the background of the movie, this rescue directly against the damage caused by the Cultural Revolution, it has distinct characteristics of the times.As the analysis of this article before, as this period of women's salvation is not pure the essence is to return to the traditional, they show is mainly a kind of personal spiritual pursuit and choice.In Legend of Tianyun Mountain, Feng Qingjian's love for Luo Qun comes from her worship of intellectuals, while in Horse Shepherd, Li Xiuzhi’s extreme rescue of Xu Lingjun is also because Xu Lingjun is the person she really likes. Therefore, this kind of salvation can not be simply understood as the virtue of traditional women, because this idea can only appear in the specific context of the new era. Although the two image is art, but certainly at the time China's hundreds of millions of people, must have a large number of women like set feng and xiu-zhi li, and these women in the previous era is difficult to appear. The ultimate significance of the emergence of this image is that in the past, they are not described as a single revolutionary role, but through this identity they have returned to the position of women, to find their own female identity. In other words, that is, as this section emphasizes, save the ideas and consciousness of female identity with the confluence. In Dai Jinhua's words, it is "if we say that women originally did not have their own language, always struggling the control of male culture and language. " If we say,"Hua Mulan type situation," is the modern female common face of gender, self predicament; In order to get out of the predicament of "Hua Mulan," women return to their families and become mothers, wives and daughters, which actually indicates the awakening of women's identity consciousness. Of course, we should see the strategy of this expression.In fact, after the end of the Cultural Revolution, in the continuous development of society, women are considered to be weak by society, and thus they do not have to struggle outside, it should be back to the family Xiangfujiaozi. It is through this description, women from the family to find their own value. As the analysis of this article before, in Xie Jin's movie , as the officer of the heroine eventually return to the family, became the mother and wife, it is also a scratch to save a representation of the fusion of knowledge and female identity consciousness.

2.2 Independent consciousness

The development of the new era has given people to change the reality of expectations and opportunities, so women are increasingly willing to seize this opportunity. So when the background of the whole narrative with society to replace the family, women want to be able to prove that they can because of a place in social affairs and qualified in the family as well as men.For example, in Middle Age, Liu Wenting shoulders the pressure of family and career, not only to face up to the plight of women, but also to safeguard the role of wife and mother.Lu Wenting's image profoundly shows the double confusion faced by women in life and work.In Zhou Xiaowen's "Second Aunt," the significance of the second aunt is that she has been eager to get rid of the influence of male values, and the television has become the most distinctive symbol in the movie.At the same time two aunts also has another identity--the lover of the blind.In the pursuit of mother, family, career identity, the pressure faced by the second aunt is palpable.And the same wavelength of the final outcome, though helpless, but her pursuit is valuable from the new era of the movie as a whole, for the discussion of these issues has become a mainstream in the field of movie.The words.Using art to reflect society has also become the pursuit of some directors.At the same time, women also open beginning for some reflection and analysis of their own.The reflection of women have a very distinct personality, also to have their own skills, to be able to live independently and from the bondage of men, so as to realize the value of self.
For example, in the ghost, autumn non-success in order to escape the fate of women and play men, as the doors, this became a classic metaphor for women to escape. In the 'sand raven', the sand is also faced with career and family dilemma. In addition,Daughter House,Childhood Friends,Youth Festival and other movies, women are faced with the pressure of this dual force, so their struggle also appears to be extremely decisive.In general, this period of women in the process of moving towards society to strengthen self-awareness, self-realization and value has become a driving force for their struggle. Although most of their struggles have experienced great hardships and pain, and most of the struggle is also a failure as the outcome, but their pursuit of the spirit and enthusiasm has never changed. It can be seen that the new era of movie from the original in accordance with the standards of men to express the awakening of women to women's consciousness, body reveal the process of women's pursuit of self-improvement, the expression of women's consciousness in the movie in the new era to a new situation.

===Conclusion===
Before the New Age, the most characteristic feature of the portrayal of women in Chinese cinema was the integration of a single "revolutionary" woman as the classic representative of subjectivity. The single 'revolutionary' image of women became the classic representation of subjectivity. These images embodied the gender consciousness of "gender equality".But in the call of the times for 'equality', women lost their gender identity and became masculine images. These images reflect the existence of a gender consciousness of 'equality between men and women', but in the call of the times for 'equality' women lose their gender identity and become masculine.Since the beginning of the new era, the portrayal of women in Chinese cinema has undergone a historical transformation. The image of women and gender narratives gradually reveal gender. The difference between the sexes gradually emerged in the portrayal of women and gender narratives. The first is the emergence of the 'Madonna' image, which began in the 1930s.The image of the Madonna has a strong sense of relief and salvation, as she uses her body and mind to save men from the suffering of history. The connotation of this giving is not a replication of traditional virtues, but rather an autonomous identification and choice of the object of their giving. They have the autonomy to identify and choose their own objects of giving.After a new period of transformation in the image of women and their consciousness, new gender relations are being constructed and positioned in Chinese cinema, especially with regard to the definition of women, which is entering the world of thought at an unprecedented pace. There is every reason to believe that with the development of the times, the image of women and women in Chinese cinema will certainly make greater progress.
===References===
*Li Ercang(1988).Zhangyimou’s saying.Liaoning:Chunfeng Literature and Art Press,76
*Yangyuanyin(1990).Feminism and Chinese Women's Films: Communication University of Chin Press,23-25
*Dai Jinhua(2000).Chnese Movie Culture(1978-1998):Peking University Press
*Li Bin(2007).Recent research on female-themed films:Movie Art Press,121-123

==英语笔译杨紫微 Yang Ziwei 202170081605==
<center>'''Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theory of "San Hua"'''</center>

<center>Yang Ziwei</center>

===Abstract===
Classical Chinese poetry is a gem of Chinese traditional culture. As for the translation of classical Chinese poetry, Mr. Xu Yuanchong is one of the most influential translator of classical Chinese poetry, and his translated works have been unanimously recognized and highly praised by many people at home and abroad. With more than 60 years of translation experience, he has summed up a set of translation theories of his own, which can be summed up in ten words in Chinese as “美化之艺术，创优似竞赛”. This paper mainly focuses on the analysis of the application and embodiment of the mainly translation theories-- the method of "San Hua" (equalization, deepenization and generalization) in Xu Yuanchong's translation of Tang poetry.

===Key words===
Xu Yuanchong; “San Hua” ; Tang poetry

===Introduction===
For a long time, translation has been playing an important role as one of the means to promote cultural communication and communication. The translation of many literary works has also achieved high achievements, but the translation of poetry has been mediocre, and it is difficult to produce high-quality translations, especially for the translation of ancient Chinese poetry. Mr. Xu Yuanchong, a modern translation master, has been engaged in literary translation for more than 60 years and has translated numerous works. His focuses on the English translation of ancient Chinese poems and has formed the method and theory of poem translation in rhyme form. In translation, he emphasized the subjectivity of the translator, the creativity and artistry of translation, and innovated and developed the translation theories of his predecessors. He believed that the translated works could not only convey the beauty of the original text, but even surpass it. In particular, his translation theory of "the art of beautification" has proved to be successful in the English translation of ancient Chinese poems. This paper focuses on the application of Xu Yuanchong's theory of "San Hua" in the translation of Tang poetry, and analyzes and explores its role and expression effect in the translation of ancient Chinese poetry into English. This thesis consists of four main parts, we will learn a lot about the previous study of translation of Tang poetry, the introduction and application of the method of "San Hua" in the translation of Tang poetry as well as the value and influence of Xu Yuanchong's translation theories. The purpose of the thesis is to search for realizing the beauty in form, sense and sound as well as making readers and translators themselves comprehend, enjoy and take delight in reading translation of Chinese classical poetry.

===Literature Review===
In the past research, people focused on the analysis and exploration of the three aspects of beauty of Xu Yuanchong, therefore, the analysis and research of another theory-- "San Hua" is a field that few people pay attention to. In this thesis, I focus on the analysis and application of the method of "San Hua" in the translation of Tang Poetry. Then in the dissertation of A Study On Xu Yuanchong As A Translator （2006）written by Chen Youyang, he introduce the source and definition of the method of "San Hua" which originates from Qian Zhongshu's "the realm of sublimation". In the Literature and Translation (2016) of Xu Yuanchong, it explains the method of "San Hua" in details and gives some examples to demonstrate its application of equalization（等化）、generalization（浅化） and deepenization（深化）. In addition, it analyzes the relationship between the method of "San Hua" and the three aspects of beauty as well as the "San Zhi". "San Hua" is the method to achieve beauty in sound, sense and form, what's more, it produces the translation works that bring joy and pleasure to readers. Now that my thesis stresses on the analysis of Tang poetry through the method of "San Hua", then I should learn clear about the features and categories of Tang poetry. In the article The Discussion of English Translation of Tang Poetry (1994), Gao Yukun analyzes the characteristics and development of Tang poetry translation and he holds that Chinese classical poetry are translatable. Academic journals of Su Lin and Wang Chengcheng, both of them analyze the significance of the expression of the beauty in sense through the method of "San Hua". Since there are culture–laden words and allusions that are difficult to translate, the proper application of "San Hua" cam help us deal with it well. Then I introduce several Tang poems translated by Xu Yuanchong to illustrate the detailed application and appreciation through the method of "San Hua".
In conclusion, the method of "San Hua” is applied in literary and poem translation frequently and many translators praise it. Although sometimes in order to realize the three aspects of beauty, it causes some disputes in the accuracy and faithfulness of translation works, it makes great contributions to the translation field and spread of Chinese culture. Thus, the thesis will pay more attention to the analysis, application and appreciation of translation of Tang poetry through "San Hua" to get a clearer and deeper understanding of the translation method.

===Methods and Theories===
Research method: Literature analysis.
By reading journal articles data online and entity books such as "beautiful suffocation of tang poetry", the selection of classic poetry translation works explore the analysis theory of "three concrete application as well as the significance of the translation method, to explore the untranslatability phenomenon in ancient Chinese poetry and the translator's clever translation method in Chinese and English is how to build a bridge; At the same time, it studies the value and function of the "three Modernizations" translation theory in translation and cultural transmission.
Theories: "San Hua"--Equalization,deepenization and generalization.

===Subtitle 1===
The Previous Study on Translation of Tang Poetry at Home and Abroad

The Tang dynasty is one of the most prosper dynasties in Chinese history. At that time, the development of Tang poetry has reached the highest level and left Chinese people a large number of valuable assets. Tang poetry possesses a very significant position in Chinese culture.

The ancient poetry of the Tang Dynasty are mainly five–or–seven–character regulated verse（五言或七言诗）. There are also two kinds of modern poetry, one is called quatrains（绝句） and the other is called metrical verse（律诗）. What's more, the quatrains and the metrical verse have five characters and seven characters respectively, so there are basically six basic forms of Tang poetry: five-character ancient style poem, seven-character ancient style poem, five-character quatrains, seven-character quatrains, five-character metrical verse, and seven-character metrical verse. Ancient poetry requires a wide range of rhymes: in a poem, the number of sentences can be more or less, the chapter can be long or short, and the rhyme can be changed. However, modern poetry has strict requirements on rhyme and disciplines of metre: a poem has a limited number of sentences, that is, the quatrains consist of four sentences while the metrical verse of eight sentences. The rhyme schemes or level and oblique tone of the words in each line has a certain regularity, and rhyme cannot be converted. It also requires the middle four lines to be antitheses. The style of ancient poetry is handed down from previous generations, so it is also called gufeng or ancient style. And modern poetry has a strict meter, so some people call it metrical poetry.
The forms and styles of Tang poetry are colorful and innovative. It not only inherited the Han and Wei folk songs, Yuefu tradition, and greatly developed the style of free verse; It not only inherited the five and seven ancient poems of the previous generation, but also developed into a long epic narrative; It not only expanded the use of five-character and seven-character forms, but also created modern poetry with a particularly beautiful and neat style. It pushed the artistic characteristics of the harmony of syllables and the refinement of words to an unprecedented height, and found a most typical form for the ancient lyric poetry, which is still particularly popular with the people. However, due to the strict metrical restrictions in modern poetry, the content of the poem is easily fettered and cannot be created and played freely, which is a great defect brought by its advantages and creates troubles for its translation as well.

It is a hard work to produce high–quality and beautiful translation work of Tang poetry. Since there are not only various themes and styles in Tang poetry, but also allusions, numerals, images, phonetic words, customs, natural scenery, place names and etc. All of these pose greater troubles for translating Tang poetry. Therefore, different translators hold different views in translating Tang poetry and they have their own translation theories.

Since 80s century, there are lots of English versions of Tang poetry, such as Poetry and Prose of Tang and Song, which is translated by Yang Xianyi and Gladys, Xu Zhongjie's New Translations of Two Hundred Tang Poems, Wu Juntao's Translation of Du Fu's Poetry, Xu Yuanchong's New Translation of Three Hundred Tang Poems and Selective Translation of Li Bai's Poems, Zhang Tingchen and Bruce M.Willson's Translation of One Hundred Tang Poems and Weng Xianliang's Translation of Classical Chinese Poetry. In early times, some people thought that poems can not be translated. P.B.Shelly and R.Frost were supporters. Frost said that poetry is what gets lost in translation (Gao,1994). An Austrian philosopher, R. Jakobson believes that poetry is strictly untranslatable (Gao,1994). Although there were such opinions, most people believed that poems are translatable and many translators have explored and formed new translation theories. In addition, E.A. Nida's equivalent effect and functional equivalence theories support that poems can be translated because of language regularity. Among them, some hold to translate poems with English metrical verse, such as Xu Yuanchong and Wu Juntao; while others use free verse on poetry translation, such as Weng Xianliang and Wang Shouyi. Because of intricate features of Tang poetry, translation work is difficult to realize its original beauty in form, sound and sense at the same time, so the former pays much attention to maintain the beauty in form, sound and sense and pursues to realize the combination of sense and form, and the latter emphasizes the importance of sense and seek to reproduce the meaning of the original poem and convey the true feelings of the poet, but sometimes it lost the original beauty of rhyme and sound. As L. Wittgenstein said, "translating from one language to another is doing a ma-thematic task. And translating an emotional poem into another language is like addressing a ma-thematic problem..., which can be solved but lack of a systematic method" (Gao Yukun,1994,22). The French translator, Le Marquis d'Henvey–Saint–Denys also wrote in the preface of his translation work Collection of Tang Poetry in 1862, "Poem translation is taking great risk and it is also hard and painful, because we found that those true beauties lie in the poetry can not be expressed in any foreign language."

No matter what translation theories they use, all of them believe that the translation of poetry is an art. Under the guidance of Yan Fu's translating standards--faithfulness, expressiveness and elegance, they have been trying to achieve the beauty in form, sound and sense. Xu Yuanchong, who has been translating Chinese classical poetry for more than 60 years, made great contributions to the translation field and had remarkable achievements.

===Subtitle 2===
Main Ideas of Xu Yuanchong’s Literature Translation Theory

2.1 An introduction to Xu Yuanchong

Xu Yuanchong was born in Nanchang, the capital city of Jiangxi province in 1921. He graduated from the Department of Foreign Languages of Tsinghua University in 1943. He entered the Institute of Foreign Literature of Tsinghua University in 44 years and then went to Europe to study. After returning to China, he served as a professor of English and French in foreign languages schools in Beijing, Zhangjiakou and Luoyang. He has been a professor of international culture at Peking University since 1983. He has been teaching the course Translation and Appreciation of Ancient Chinese Poetry at Tsinghua University since 1999. Xu is a famous translator in our country and is called the only expert in translating classical Chinese poetry into English and French verse. He has been nominated for the Nobel Prize in Literature. Xu's business card reads "the only person who translates poetry into English and French". He advocated "Dare to be the first in translation studies", and was regarded as a crazy talent in the field of translation. "I used to like to go my own way by myself, I still like to go my own way by myself, and I will continue to like to go my own way by myself." This is the last thing Xu said to everyone.

Xu's 42 works are all translated works, except for a memoir--Remembrance of the Past, and three works on translation theory--The Art of Translation, On Chinese Verse in English Rhyme, and On Literary Translation. These translations can be divided into four categories. One is Chinese-English translation, including 22 titles such as 600 Ancient Chinese Poems, 300 Immortal Chinese Poems, The Book of Songs, Romance of the Western Chamber, and Selected Poems of Mao Zedong. The second is the Chinese translation, which includes 150 Poems of the Tang and Song Dynasties and 100 Selected Lyrics of the Tang and Song Dynasties and so on. The third type is the Chinese-English translation, including Dryden's All for Love, Scott's Quentin Duward and so on. The fourth category is French-Chinese translation, including Hugo's Selected Plays, Stendhal's Red and Black and other eight kinds. Among them, the most striking is that he translated the literary masterpieces of the past 3,000 years into English and French verse and published them one by one, which has initially outlined the development of verse in the history of Chinese literature. It can be called a great feat in the field of translation. Among his works, 300 immortal Chinese poems, published by the British Penguin Publishing Company, is listed in its "Penguin series". Mr. Xu Yuanchong is the first Chinese to publish translated books in this world famous publishing house.

In 2010, Xu Yuanchong was awarded the "Lifetime Achievement Award in Translation Culture" by the Translators Association of China. On August 2, 2014, Xu Yuanchong won the Northern Lights Award for Outstanding Literary Translation, one of the highest awards in the international translation circle. He is the first Asian translator to win this award.

2.2 A Detailed Introduction to the Method of “San Hua”--Equalization, Deepenization and Generalization

As we have mentioned that the beauty of sense is hard to reach, and these measures can help us to improve our translation capability and learn to deal with translation problems in a appropriate manner. These three measures are methodologies of translation. Xu was inspired by Qian Zhongshu's theory of " the realm of sublimation" and came up with the free translation methods.

Equalization aims to achieve the equivalence between the source language and the target language, and it can only be used when the surface meaning and the deep meaning of a poem are the same. It includes word formation, syntactic transfer, affirmation and negation and allusion transplantation, etc. For instance, Xu Yuanchong translates “孤山寺北贾亭西，水面初平云脚低”into " West of Jia Pavilion and north of Lonely Hill, Water brims level with the bank and clouds hang low". The translation of place names is consistent with the original work. This sentence belongs to literal translation and it is easy to understand. Another sentence“树深时见鹿，溪午不闻钟”is translated into " In the thick woods a deer is seen at times, Along the stream I hear no noonday chimes". It also uses the method of equalization and realize the functional equivalence.

Deepenization refers to the fact that when there are differences between English and Chinese in the process of translation, the expression of the source language and the target language is not consistent, it is necessary to complete the unspoken content in the source language in the translation, so that the target reader can understand it. This method mainly includes amplification, creating something out of nothing, splitting translation or adding some content in the translation that is not explicitly stated in the original text but has this meaning. Here are examples of Xu's translation of Tang poems:

(1)白雪却嫌春色晚，故穿庭树作飞花。
But white snow dislikes the late coming vernal breeze,
It plays the parting flowers flying through the trees.

In the translation, the words " dislikes, plays and flying" show us the lovely and brisk white snow with the personification. It expresses the poet's avid expectation for spring with the help of flying snowflakes.

(2)随意春芳歇，王孙自可留。
Though fragrant spring may pass away,
Still here's the place for you to stay.

This translation explicitly convey the deep meaning of the sentence. Although the spring is gone, but the autumn scenery is better. The poet is willing to stay. He likes to return to nature, loves the landscape and advocates quiet and pastoral life. It shows the poet's noble feelings and the pursuit of his ideal life.
In contrast to " deepenization", there are contents involving different cultures in the two languages. Sometimes it is not easy to translate directly, so we need to use a certain method, such as subtraction, to delete the culture-heavy contents in the original text and replace them with more general and understandable contents.

(3)相见时难别亦难，东风无力百花残。
It’s difficult for us to meet and hard to part；
The east wind is too weak to revive flowers dead.

In this translation, it omits the word “百”which has no influence on the meaning expression. In this way, Xu also maintains the beauty in form and sound. What's more, the word "flowers" has involved the meaning of hundreds of flowers. This is what we call subtraction, which is one of the methods of generalization.
Among them, deepenization is the best way to show us the beauty of sense. It is the high standard of literary translation and generally the translation work supersedes the original one. Thus, it is regarded as creation.
In the translation of Tang poetry, we have to be clear that which method we should use in the process of translation to achieve the three aspects of beauty, especially the beauty in sense. The ultimate goal of translation is to produce high–quality translation works which are better than the original ones.

===Subtitle 3===
The Analysis and Appreciation of Xu's Translation of Tang Poetry through the Method of “San Hua”
In this part, we will study Xu Yuanchong's translation methods of “San Hua” deeply and know more about their use in translation of Tang poetry.

3.1 An analysis of Happy Rain on a Spring Night through the Method of “San Hua”

春夜喜雨
（唐）杜甫
好雨知时节，当春乃发生。
随风潜入夜，润物细无声。
野径云俱黑，江船火独明。
晓看红湿处，花重锦官城。

Happy Rain on a Spring Night
Du Fu
Good rain knows its time right,
it will fall when comes spring.
With wind it steals in night;
mute, it wets everything.
Over wild lanes dark cloud spreads;
in boat a lantern looms.
Dawn sees saturated reds;
the town's heavy with blooms(Xu Yuanchong,2020,32).

This poem describes the poet's happy and brisk feelings to see the spring rain. It was written in the spring of 761 (the second year of Shangyuan). After a period of exile, Du Fu finally settled down in Chengdu, Sichuan Province due to the drought in Shaanxi Province and began a relatively stable life in the middle of Sichuan Province. When he wrote this poem, he had been living in a cottage in Chengdu for two years. He personally cultivated, planted vegetables and flowers, and socialized with farmers. He had a deep love for spring rain, so he wrote this beautiful poem describing the rain on a spring night that moistens everything.

Spring rain knows to adapt to the season. When all things germinate and grow, accompanied by the spring breeze, spring rain secretly in time to come at night to nourish all things silently. The country path and the clouds in the sky hide in the darkness, the lights of the fishing boats on the river are particularly bright. Till dawn, I saw that drizzle had moistened red flowers, which made them more charming. And beautiful flowers are full of Jin Guan City.
At first, from the perspective of the beauty in three aspects, this is a five–character metrical poem and every sentence is divided into two parts. The first part includes two syllables and the second part includes three syllables. When translated into English, there are five syllables in each sentence and the first part includes two or three syllables and the second part includes three or two syllables. Moreover, the first and second sentences rhyme and so do the third and fourth sentences in both original and translation works. These show the beauty in form and sound. With regard to the expression of beauty in sense, it is not hard to know that the title and the whole poem basically used equalization(等化) so that it is easy for us to understand. In the first sentence, in order to maintain the end rhyme, Xu reversed the order of words "when spring comes" but translated it into "when comes spring". The words "good rain" express the poet's love to spring rain, which sets the general tone for the poem. And in the second sentence, he used "steals" to describe the falling rain which adopted personification and presented us a lively and dramatic picture. He also reversed words in the sentence of "mute, it wets everything", such kind of inverted sentences also seen in the second and third lines. The clouds are spreading the sky gradually indicates the upcoming of the very rain. And "looms" also reveals the carefulness of Xu's word selection. Because of the sullen weather and distance, the light from a lantern in a boat is weak and flickering due to the wind, so he chose the word "looms". Besides, words like "saturated" and "heavy" are appropriate choices. As for “锦官城”, he just translated it into "the town", which is the use of generalization(浅化) that omitted the explanation to allusion.
As a whole, by means of the “San Hua”, readers can understand the poem without any difficulty and they can also feel the poet’s true feelings. Meanwhile, the choice of words, lengths of sentences and rhymes are pleasing to read and the meaning of the poem as well as the poet's true emotion are showed in the translation work. We can not only feel the poet's excited and surprised mood but also appreciate the musical beauty of the poem through reading it, which means this translation let readers enjoy and love it.

3.2 An analysis of The Sad Zither through the Method of “San Hua”

锦瑟
(唐）李商隐
锦瑟无端五十弦，
一弦一柱思华年。
庄生晓梦迷蝴蝶，
望帝春心托杜鹃。
沧海月明珠有泪，
蓝田日暖玉生烟。
此情可待成追忆，
只是当时已惘然。

The Sad Zither
Li Shangyin
Why should the sad zither have fifty strings?
Each string, each strain evokes but vanished springs:
Dim morning dream to be a butterfly;
Amorous heart poured out in cuckoo’s cry.
In moonlit pearls see tears in mermaid’s eyes;
From sunburnt jade in Blue Field let smoke rise.
Such feeling cannot be recalled again:
It seemed lost even when it was felt then(Xu Yuanchong,2020,124).

It is one of the most significant poems of Li Shangyin. From the title -- the Sad Zither, we can know that the main focus of the poem is "sad".

This poem has been variously annotated. Some people thought it was a mourning work, some thought it was patriotic, and some thought it was deploring with sighs for all his talent, and others thought it was a description of missing the poet's maid Jin Se. But most people agreed with the first idea.
In Xu's translation, most poems use the end rhyme and so does this. From the structure of the poem, we can see that forms of the original and translated works are the same. In regard to the full expression of its meaning, we can analyse it one by one sentence. The first couplet expresses the poet mourns for the lost golden years which we can see from words “思华年”, he translated “华年”into "springs" instead of "golden years" for the beauty of sound by means of generalization. Moreover, as the beginning of a year, spring represents vitality, energy and beauty which is like the most valuable years of people and expresses the poet cherish the golden years greatly. And "vanished springs" uses deepenization which told us that his golden years were lost forever and he was very regretful. Going forward, the second and third sentences include many allusions which is the most difficult task to deal with. The second couplet uses an allusion from Zhuangzi. It says that Zhuangzhou dreamed that he was a butterfly when he woke up from his dream, he found that Zhuangzhou was still there and he did not know where the butterfly was going. The poet took this as a metaphor for the beautiful situation he indulged in when he was young. “望帝春心托杜鹃”comes from a legend that in the late Zhou Dynasty, Shu monarch Du Yu abdicated and retired from public life, but he was unfortunately died. After death, his soul into the cuckoo, crying sadly and moving people's hearts. The poet used the story to convey his hatred and also the ardent miss for his wife. In Xu's translation, he did not translated these allusions directly into "Zhuangsheng" or "the emperor Wang", but omitted the subject. This is the adoption of generalization which avoids complicate and unnecessary explanation of allusions. Then he used the word "dim" actually showed the poet's confusion and melancholy, and "amorous heart" indicated the emperor Wang as well as the poet himself and the word "cry" expressed his sorrow for the vanished golden years and his dead wife directly. In this translation, Xu directly expresses the poet's true feelings which is hid in allusions, it is the method of specification in deepenization. In the third couplet, “沧海月明珠有泪”refers to the tears of mermaids that can turn into pearls. The poet combines the moon beads and tears into a hazy wonderland, expressing a kind of complex feelings of dis-consolation, which includes both the love for its high and clear, and the sadness for its cold and loneliness. And “蓝田日暖玉生烟”refers to the phenomenon that the jade mountain of Blue Field is often illuminated by the sun and the essence of the beautiful jade in it is rising gradually, which is as fine as hair from a distance, but nothing at all from a close look. The poet took advantage of the ideal scenery with high aesthetic meaning to express a kind of regret that can not be close to noble spirits. It is the same as the third allusion. Different from the second couplet, the first half of the third sentence roughly explained what the allusion talked about to readers while the second half used literal translation. If not understand these allusions, it will be hard for us to make it clear that what the poet want to express. Therefore, the proper translation of allusions is really formidable. The last couplet conveys the poet's grief and regrets again but it is much stronger than before. “可待成追忆”was translated into " cannot be recalled again" by Xu Yuanchong, which used negation translation in equalization. In fact, it emphasized that the beautiful days and loved ones were gone for good and it was too late to redeem for him. The word "lost" was tantamount to “惘然”that revealed the inner world of the poet. Xu had not translated“当时”into "when it was felt then" instead of “at that time”, which also belongs to the specification in deepenization, he described the feelings of the poet in details and made it clear to readers.

So from this piece of work, we can get to know that how difficult to deal with allusions properly because of the cultural differences between China and foreign countries. In my opinion, Xu did a really remarkable work. Through his translation, we can not only feel the beauty in form, sound and sense of the Chinese version, but also learn to make full use of the method of “San Hua” to help us understand its main idea and the poet's emotions. Particularly the translation of allusions that eliminates the tedious and unnecessary explanation of them which foreigners can not understand, and maintains the original beauty in form and expresses the important things involved in them as well.

3.3 An analysis of The Mourning Day through the Method of “San Hua”
清明
（唐）杜牧
清明时节雨纷纷，
路上行人欲断魂。
借问酒家何处有，
牧童遥指杏花村。

The Mourning Day
Du Mu
A drizzling rain falls like tears on the Mourning Day；
The mourner' heart is going to break on his way.
Where can a wine shop be found to drown his sad hours?
A cowherd points to a cot' mid apricot flowers(Xu YUanchong,2020,160).

The first line of the poem points to the natural conditions in which the poet is exposed, such as the time and weather. Tomb-sweeping day is one of the big festivals of the tang dynasty on which people will hold family reunion, visit a grave, outing, and attend various activities. Du Mu did not see the sun in the Qingming Festival in Chizhou（池州）, but only drizzle. The second sentence turns from the perspective of objective to the subjective, focusing on the poet's emotional world. He saw passers-by on the road were busy mourning their dead loved ones, and he felt very sad and grieve. In the third sentence, the poet's feelings mingled with scenes. He was very sad when traveled in the rain. The rain wet his clothes and the weather was chilly. Then the poet sought to drown his sorrows in wine, so he asked the way. The last line tells us to whom the poet asks for directions. "A cowherd points to a cot' mid apricot flowers" brings the reader into a completely new realm, which is completely different from the previous melancholy and misery. The cowherd's warm and sweet voice, distant apricot flowers blooming like brocade, the spring is in the air, and the wine flag at the village head is fluttering. The first two lines of the poem create a sad and sentimental picture, while the last two lines show a vivid and lively one, which is contrasted and interlaced with each other. It also shows us the change of emotions of the poet.

First and foremost, from the three aspects of beauty, Xu still adopts the end rhyme. The number of words in every sentence varies by only one or two, so from the perspective of form, the whole poem is relatively neat after translation.

Then what matters most is the adoption of the method of “San Hua” in the expression of the beauty in sense. Firstly, the title “清明”was not translated into "Pure Brightness Day" or "the Qingming festival", but "the mourning day" because the poem mainly talks about the scenes and poet's feelings on mourning relatives on this very day. And for target readers, especially foreigners, they do not understand what is the Qingming festival or Pure Brightness Day and what people do on this day. Comparatively speaking, " the mourning day" makes the main idea of the poem clear and it is also in line with the original meaning. Therefore, in this poem, Xu mainly used the method of deepenization. In the first sentence,"a drizzling rain" depicts the features of spring rain which is not thick and fast. "Fall like tears" is not showed in the original work, but it is implicated in the sentence. The falling rain is like mourners' tears on their way to visit their dead loved ones. Xu excavates and expresses the implicit meanings of the original text, which eases the burden to fully understand the poem. Then “路上行人” actually do not "pedestrians" or "travelers", but "mourners". Because on the mourning day, those people were engaged in paying respect to the dead and they hurried on the road due to the rain. Xu translated “欲断魂” into "heart is going to break" which belongs to free translation and expressed the mourner's deep sorrow. In the third line, "wineshop" points out that the poet wants to drink down his sorrow, and "drown his sad hours" makes it clear and touching. In the original text, there is also not the purpose why the poet looks for a wineshop, but Xu's translation reveals everything. It belongs to specification and amplification. The last sentence is the answer to the question before--There is a wineshop mid apricot flowers. If let us translate“杏花村”, it could be "apricot village". But after thinking twice, we will notice that it could not be an apricot village, but a cot hid among the apricot flowers which is more appropriate and beautiful. On the whole, through reading Xu's The Mourning Day, we tapped the implicit meaning of every sentence out. And in this English version, Xu directly expressed the poet's heartfelt sorrow, dis-consolation and gratification. In reading this poem, we sympathize with the poet, mourn with him, and find comfort in the discovery of a wineshop hidden in an apricot flowers.

In conclusion, through the analysis and appreciation of the three poems translated by Xu Yuanchong, we further understand the use of his translation methods ”San Hua” in poetry. In general, equalization and deepenization are used frequently in poetry while generalization is mostly used to deal with allusions and etc.
Generally speaking, to reverse the disadvantages of the target language, we can use the generalization method to make readers understand the text. Striving for the same high quality of translation as the original work, we can use the equalization method to make readers appreciate it. Developing the advantage of translation and make it surpass the original text, we can use the deepenization method to make readers admire it. This is Xu's skopos theory of literary translation.

===Subtitle 4===
The Influence of Xu's Translation Theories
As an expert of translation, Xu Yuanchong forms his own systematic translation theories which are applauded by most people. And these theories are clearly showed in every piece of his work. We have to admit that his translation theories indeed shed new lights on translation and make tremendous contributions to the exchange between Chinese and foreign cultures. His translation work not only let Chinese people enjoy the foreign literary works in a fresh manner, but also present the original beauty of Chinese literature to foreigners. Under the guidance of his specific translation theories, we get a clearer map to translate poetry, novel and etc.
Xu Yuanchong's translation theories “美化之艺术”is combined by extracting one word from predecessors' translation theories. It is based on their experiences and his own translation practice for more than sixty years. He inherited and developed these theories and explained them explicitly. Firstly, He believed that "elegant" no longer means quaint in today's world, but elegance or beauty. Xu said:"According to my own translation practice, I think Yan Fu's 'faithfulness, expressiveness and elegance' can be understood today as 'faithfulness to the original content, smooth translation form and giving play to the linguistic advantages of the translation.' "In my opinion,'faithfulness, expressiveness and elegance' can be understood as 'faithfulness, expressiveness and excellence'. Excellent is to give full play to the advantages of the target language, which is to use the best way of expression of the target language with words of beautiful meaning, sound and form, in other words, 'excellent' is' beautiful '." Secondly, he explains the relationship between science and art, translation words and taste or styles, truth and beauty with simple formulas. Xu says:" Chinese poetry often has multiple meanings with endless aftertaste, while English poetry expresses the literal meaning." Thus, the western science school put forward the theory of "equivalence", "equivalence of function", "equivalence of effect" and literal translation theories. Because the meaning is greater than the words, the Chinese school of art puts forward the theory of free translation and spiritual resemblance, giving play to the advantages of the target language, that is to say, the translator can not only translate all the contents of the original text but also contents are not showed in the original text. Therefore, the formula for literary translation is 1+1>2. Thirdly, he advocates literary translation should create beauty, so he proposes the advantage theory. The translation of cultural allusions is the most difficult. Literal translation cannot preserve beauty even if it can preserve truth. But if we adopt free translation, even if it can be beautiful, it is often hard to avoid distortion. A true translation can make readers comprehend it; a beautiful one can readers enjoy it, and a translation that preserves both truth and beauty will delight the reader. Therefore, the translation of poems should preserve the beauty of the original poems with as little distortion as possible. Since literary translation is an art and literary works are about people, so they have to be fascinating and exciting. If we only pursue truth without paying attention to beauty, it may be not a beautiful work, so the beauty of it is more significant than the truth.

===Conclusion===
Xu is a very confident, talented and prolific translator with strong character and innovative spirits in the translation field. He has a special calling card; in it there are two phrases "over sixty books published in China and aboard,the one and only person translated series of Classical Chinese poetry into English and French." In another calling card reads "without the title of academician, but he excels an academician; translated over one thousand classical Chinese poems to Europe and America". His translation theories and practices gained a wide range of recognition at home and abroad. Reading his translation of Tang poetry is an enjoyment. Nowadays, there are still many translators and translation theorists support his translation theories, particularly three aspects of beauty and the method of “San Hua”. Looking at the translation of Tang poetry in history, Xu Yuanchong's translation makes our eyes shine. The beauty of classical Chinese poetry, which is thought could not be translated, came to life in his writing. Under the guidance of the beauty in form, sound and sense, translators adopt approaches of equalization, generalization and deepenization to pursue their goals of letting readers comprehend, appreciate and even admire their translations.
Although some of his translation theories are still controversial and questioned by some translation staffs, as the saying goes:" There are spots even on the sun", this does neither affect his lofty status in the translation field, nor does it negate his great contribution to the inheritance and dissemination of translation field and culture. Mr. Xu Yuanchong devoted his whole life to the cause of translation and the pursuit of beauty. He spent most of his life summarizing his valuable translation experience and forming his own translation theory system, which is helpful for us to further understand translation and further practice it. His works let us appreciate the local conditions and customs of foreign countries, but also bring foreigners to enjoy the beauty of classical Chinese poetry. In this paper, we studied Xu's mainly translation theories and cited several Tang poems to illustrate his translation methods. Through the analysis of his works, we get a clearer picture on the use of his translation theories, and we also know more about the defects of his translation which casses our reflection. After all, translation theory system can not be completed in one day. It requires us to explore and improve it through trial and error.

===References===
*Chen Youyang(2006). A Study On Xu Yuanchong As A Translator. Fuzhou University.
*Duan Min(2003). A Study On Xu Yuanchong As A Translator. Sichuan University.
*Hu Xiaoyin(2003). On the Translation and Reception of Tang Poetry in Britain and The United States. Sichuan University.
*Wang Peng(2008). A Study of Xu Yuanchong's Poetry Translation Thoughts. China University of Petroleum.
*Xu Xiufeng(2006). On the Aesthetic Transference of Poem Translation (From Chinese to English)––Xu Yuanchong's Thought on Poem Translation. Ocean University of China.
*Zhu Lin(2004). A Study of Xu Yuanchong’s Translation Theories and Practice. Guangxi Normal University.
*Gao Yukun 高玉昆(1994).论唐诗英译[On the English translation of Tang Poetry].国际关系学院学报[Journal of the Institute of International Relations],(4).
*Lu Su, Xu Yuanchong 陆苏,许渊冲(2020).美得窒息的唐诗[Suffocating Tang Poetry].湖北：长江文艺出版社[Hubei:Changjiang Literature and Art Publishing House].
*Su Lin 苏琳(2020).“变通”译唐典音美意深远——从“三化论”角度看唐诗中典故的英译[The Translation of Allusions in Tang Poetry from the Perspective of "San Hua"].四川职业技术学院学报[Journal of Sichuan Vocational and Technical College],30(2):73~77.
*Qian Zhongshu 钱钟书(1981).林纾的翻译[Translation by Lin Shu].北京：商务印书馆出版社[Beijing: The Commercial Press].
*Xu Yuanchong 许渊冲(2016).文学与翻译[Literature and Translation].北京：北京大学出版社[Beijing: Peking University Press].
*Xu Yuanchong 许渊冲(2006).翻译的艺术[The art of translation].北京：亚洲传播出版社[Beijing: Asia Communication Press].

==英语笔译张国浩 Zhang Guohao 202170081606==

<center>'''The Influence of Electronic Language on Chinese Language and Culture in the Internet Age'''</center>

<center>Zhang Guohao</center>

===Abstract===

Language is the most important communication tool and the carrier of culture. Language itself is also a cultural phenomenon. The Chinese nation has a long history of thousands of years, and its language and culture are an indispensable part of Chinese traditional culture. With the development of electronic network and information technology, electronic language is also booming under this background. Electronic language is the product of the times. It has both positive and negative effects on Chinese language and culture. Starting with the analysis of the emergence and characteristics of electronic language, this paper focuses on the positive and negative impact of electronic language on Chinese traditional language and culture in the new media era, and further puts forward a series of measures to protect Chinese traditional language and culture.

===Key words===

New media; Electronic language; Language culture

===Introduction===

With the development of current information technology and network technology, a large number of electronic languages, also known as network languages, have appeared on the Internet. And they have increasingly penetrated into people’s daily life with the development of the Internet. Electronic languages reflect the current hot social issues, and have the characteristics of simplicity. With the increase of electronic languages, it is bound to have a certain impact on Chinese traditional language and culture. Electronic languages have both positive and negative effects on Chinese traditional language and culture. While expanding the vocabulary of modern Chinese, some vulgar and malicious electronic languages are eroding the traditional Chinese language and culture. How to make electronic language and Chinese traditional language and culture coexist harmoniously in the new media era is a topic that is worth studying and discussing. This paper will introduce the background of electronic languages, the characteristics of electronic languages and the impact of electronic languages on Chinese traditional language and culture, and explore measures to protect Chinese traditional culture in the new media era.

===The Electronic Language in the New Media Era===

'''1.1. The Emergence of Electronic Language in the New Media Era'''

After three technological revolutions, the new media era has finally arrived. With the rapid development of the Internet, the momentum of new media in people’s lives is also growing. And the electronic language that followed became one of the most important parts of it. Today, under the circumstance of the new media era, electronic language has developed with the development of the network. The continuous development of society has made the traditional language unable to meet people’s spiritual needs. People are now facing a colorful language world on the computer screen. While lamenting people’s strong adaptability, we have to say that this is the result of the transformation of the media. The media carrier has to decide the trend of culture. When we look at the characteristics of electronic language in the era of fresh media, it is not difficult for us to have such results.

'''1.2. The Definition of the Electronic Language'''

Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on. It was born in the electronic media and developed with the popularity of the network. Electronic language is participated by the public and can not be separated from the carrier of electronic media. It passes between the instructors of electronic media. Compared with the traditional language, there is no classical version of the electronic language because the electronic media has only appeared for a few decades. Therefore, the grammar and word order of it do not seem to conform to the traditional language norms.

'''1.3. The Characteristics of Electronic Language in the New Media Era'''

1.3.1 Electronic language is the combination of written language and spoken language.

According to different media, language can be divided into written language and spoken language. Written language has very restrictive grammar rules, a standard punctuation system and a very strong logic. With no intuitive feeling like spoken language, written language has a deterrent to people and help to form people’s rigorous rational thinking. However, spoken language is very flexible, and is not stick to one pattern. It has the characteristics of immediacy and transience, which makes spoken language not as easy to store and popularize as written language. There is a confrontation between written language and spoken language inadvertently, and this confrontation has been eased in today’s new media era. Electronic language acts as such a bridge. Electronic language not only has the expression environment of written language, but also has an obvious tendency of colloquialism. Whether it is online chat, forum post or mobile phone short message, it is not completely the same as the traditional expression. Since electronic language requires users to type what they want to say on the screen, and requires the receiver to browse the information through their eyes, so it has obvious characteristics of written style in this way. However, it is also influenced by the colloquial style, so there is obvious mutual penetration from both sides. Generally speaking, electronic language is a kind of colloquial written language, which fully integrates the two types to serve its own needs.

1.3.2 Electronic language is pictorial and vivid.

In the new media era, the recipients of electronic media can not learn the rich body language of the communicator from the electronic screen, but they can get some information by some vivid dynamic expressions sent by the messenger. People often use various symbols on the keyboard to create a lot of very vivid and humorous facial expressions to express their body language at that time, in which there is almost no difference between happiness and sadness in real life. These electronic languages are very interesting on the electronic screen and often make people laugh, which instantly shorten the distance between the information sender and the receiver. Through these vivid cartoon symbols which are different from words, the communicator penetrates parts of the meaning he wants to convey, making the virtual electronic media full of reality and immediacy. As a result, many relaxing and humorous electronic languages have emerged. They are not only humorous, but also easy to understand. This kind of relaxing and humorous style caters to the needs of modern people to relax their body and mind, so that the tense young generation can speak freely. When facing a boring topic, they can also discuss with each other in a humorous tone, which undoubtedly brings an unparalleled happy experience to the users of new media.

1.3.3 The expression of electronic language depends on the context and its meaning is vague.

Context refers to the speech environment, which includes both linguistic factors and non-linguistic factors. Contextual factors such as context, time, space, situation, object, and discourse premise, are all related to the use of words. Context includes specific time, specific space, specific scenes, specific characters and so on. Electronic context mainly refers to some new media such as electronic bulletin boards and e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Electronic context mainly refers to some new media such as e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Therefore, electronic language is bound to be misunderstood without a big context. The context of electronic language has always been open, allowing everyone to join freely. Different media will produce different languages. Electronic language is generated with the arrival of the new media era and will develop with the continuous development of the new media. The characteristics of electronic language are inseparable from the convenience of transmission, fast replication and various presentations of new media. Therefore, with the continuous development of new media, the era of electronic language has come.

1.3.4 Electronic language is highly dependent on network information technology media.

The intelligent terminals represented by computer, electronic information technology and Internet technology have created electronic language and the unique paralanguage of electronic language such as emoji, which not only makes up for the lack of body language such as expressions, movements and moods of language users, but also makes electronic language form multiple forms of expression, such as structured, semi-structured and unstructured forms. At the same time, network information technology has built a platform for the use of electronic languages, such as various forums, QQ groups, micro-blogs, We Chat and other virtual spaces, so that spoken or written languages and other different types of languages and dialects communicate with each other. Without the network information technology, the electronic language cannot exist. This technology also breaks the limitation of traditional spoken and written language, making the electronic language a super language without the limitation of time, space and region. Therefore, the modern information technology with computer, communication, network and electronic technology as the core is the material basis for the generation and use of electronic language.

===The Influence of Electronic Language on Chinese Traditional Language Culture===

The new media era is a multilingual society, so there is an obvious language-mixing phenomenon in electronic language. In electronic language, there is no absolute authority and anyone can speak freely, which makes the electronic language have a strong vitality and a huge impact on the traditional Chinese language and culture.

'''2.1 The Positive Influence'''

2.1.1 It can promote the development of Chinese language and culture

The electronic language has a variety of changes. Its simple, fast and vivid features not only meet the needs of the new media era, but also give people a fresh and lively feeling. Any language in the world is constantly updated and developed in use. Language innovation is an extremely important factor and a manifestation of vitality of a language. Without innovation, there is no development of language. Denying innovation and resisting innovation are equal to killing the vitality of a language. With the continuous development of electronic language, a large number of new words have emerged and the number of loanwords have increased. And with the extensive use of lettered words and numerals, Chinese vocabulary has been greatly enriched and developed. In the aspect of pronunciation, we use some homophonies to replace some Chinese words. For example, now we use “酱紫”to replace “这样子”. In terms of grammar, electronic language does not adhere to traditional grammar, which enriches and transforms the grammar system, and distorts conventions. In addition, electronic language has accelerated the demise of some old words. This series of characteristics makes the Chinese language fully nourished and breaks the barriers to knowledge. As a result, Chinese language spreads rapidly. At the same time, it adds the fun and color of people’s lives, making cultural exchanges unprecedentedly free and prosperous.

2.1.2 It can promote the transformation of reading methods.

In the era of new media, electronic language is constantly innovating and changing. With the continuous progress of technology, people’s reading methods are changing. Today’s electronic media reading is basically replaced by “hypertext” and “hyperlink”. People can read everything related to the text by clicking on links one by one, which is much more convenient than before. This way also satisfies people’s psychology of seeking knowledge and curiosity. In addition, with the popularization of high-tech products such as mobile phones and tablet PCs, mobile reading begins to prevail. People’s reading is no longer confined to a place. Through these new media, people can easily read anytime and anywhere, which generally improves the reading efficiency.

'''2.2 The Negative Influence'''

Firstly, the emergence of electronic language may make Chinese traditional language and culture be in danger of dating. Chinese traditional language and culture is the summary of experience of the continuous development of the Chinese nation. And it is also the national spirit gradually condensed in the long-term social practice. The language culture full of the fine tradition of the Chinese nation not only provided great power for the development of the Chinese nation in the past, but also will play an important role in the future of the Chinese nation. However, in today’s new media era, young students are the main users of electronic media. Since they are particularly sensitive to new things and electronic language has the characteristics of convenience, rapidity and image, it has a fatal attraction for young students who like to pursue new things. While they continue to create electronic language, they also continue to penetrate electronic language into their own lives, which makes Chinese traditional language and culture more and more distant from them. If things go on like this, it will inevitably lead to the dating of Chinese traditional language and culture, and make the future of traditional language and culture bleak.

Secondly, the trend of vulgarization of some electronic language has produced cultural garbage. In the new media era, electronic language constantly pursues individuality and innovation. However, there are also some shortcomings. The virtuality and obscurity of the network make it easy for both sides of the dialogue to relax or even unbridled in their communication, which results in the uncivilized electronic language. Some electronic languages abuse other people or even carry out personal attacks with rude words and dirty words, losing the minimum civilization. And information surplus will produce information garbage, making people consume more time to filter the information. This is a manifestation of information pollution. All these phenomena will seriously affect people’s normal life order. Nowadays, the vulgarization trend of electronic language is becoming more and more serious, and it begins to penetrate into the traditional media. If it is not guided as soon as possible, our traditional language and culture will be destroyed.

Thirdly, electronic language does not conform to grammatical norms. Since electronic language does not conform to grammatical norms and blindly pursues novelty and convenience, it violates Chinese language norms in many ways. Some typos and words and phrases with misinterpreted meanings will have a negative impact on the education of Chinese language. Although these nondescript languages are novel, their damages to Chinese or other languages are obvious. Adolescents are extremely sensitive groups and are willing to accept new things. However, their ability to generally distinguish between right and wrong is not strong. Therefore, in the process of learning, it is easy for them to be affected by these electronic languages, which makes them easy to develop bad habits of not using standard words and standard expressions. As a result, it is detrimental to the learning of traditional language and culture, and their appreciation ability will be decreased.

Fourthly, electronic language can form linguistic generation gap and cause communication difficulties. Electronic language represents a certain type of language and culture in the new media era, and has been widely used in the new media era. It continues to penetrate into the life of the young generation pursuing fashion. In this specific new media language environment, electronic language has its significance. However, when it leaves this specific environment, it will no longer become a tool for people to communicate with each other. If people do not understand it, it will hinder normal communication between people. In terms of the communication effect of a language, this generation gap misleads the communication between the communicator and the receiver, and has a great impact on the traditional language and culture. Many electronic languages cause generation gap between parents and children. Due to the non-standard use of language, parents often don’t know what their children mean. The gap between the two generations is hard to erase. Now, coupled with the novel electronic language, the generation gap between the two generations is bound to deepen and the communication between them will become more and more difficult.

===The Measures to Protect Chinese Traditional Language and Culture===

First of all, the government should introduce relevant laws and regulations to regulate electronic language. The support of the government is like a beacon, which can guide Chinese traditional language and culture to a bright road. In this aspect, China has also made some attempts, such as popularizing Mandarin Chinese nationwide, which is not only the necessary measures to facilitate communication, but also can effectively regulate the Chinese language so as to promote effective dissemination of Chinese language and culture. In addition, in the aspect of creating a good new media environment, the role of national laws and regulations cannot be replaced by other methods. This kind of compelling force can guide the development of electronic language towards the right path. While standardizing itself, it will also promote the traditional language and culture and electronic language to absorb the advantages of each other, learn from each other, and finally achieve a win-win situation.

Secondly, the government should popularize the education of Chinese traditional language and culture. Education has always been the foundation of people’s livelihood. Improving education has no harm to the spread of traditional language and culture. In order to strengthen the proportion of Chinese studies and standardized the use of Chinese language in compulsory education, teachers should pay attention to the cultivation of students’ traditional language accomplishment. High school period can’t pay more attention to the science education but to grasp both sides. In addition, it is necessary to popularize quality education and improve the overall quality of students from all aspects in order to lay a good foundation for entering university. In the university curriculum, we should add the curriculum of Chinese traditional language and culture and the comparative appreciation of Chinese language and culture with other countries, especially in western countries. In this way, we can increase students’ appreciation ability, so that the majority of students can feel the charm of Chinese traditional language and culture, deepen the understanding of Chinese traditional language and culture in the process of comparison with other countries, and make more efforts to protect our traditional language and culture. Many attempts have been made in folk such as the rise of modern private school. Although there is a conflict with the law of compulsory education, but its spirit of exploration should be affirmed and supported.

Thirdly, we need greater efforts to enhance the development of traditional media. Under the pressure of new media, traditional media has a trend of decline. Newspapers are in danger of dying out in the new media age; book sales are also declining year by year. Although journals have entered the digital age, the cultural capacity of them is not high and the transmission channel is not unblocked. If all of these are not solved in time, the consequences will be serious. Moreover, traditional media is an excellent way to spread traditional language and culture. Therefore, it is necessary to continuously explore the new advantages of traditional media and learn advantages from other media, so as to make the traditional language and culture flourish in the traditional media.

Fourthly, The media should hold more programs about traditional culture. The traditional language and culture should be consciously or unconsciously integrated into the program, so that the audience can get spiritual sublimation. Traditional cultural programs may have low viewing rate due to their monotony and slow rhythms. This requires the media director to find a way. In this regard, CCTV’s Lecture Room is a good example. It integrates traditional language and culture into the program in a novel and unique way. It not only spreads Chinese traditional language and culture to the audience, but also leads to an active atmosphere and increase the attraction. As a result, the viewing rate will naturally be higher. In recent years, the film about traditional language and culture is also very popular. The film Confucius and Sacrifice have achieved good earnings. These films show the charm of Chinese traditional style to the world, and have a great significance for the inheritance and development of traditional language and culture. The media therefore has a long way to go in this regard.

Fifthly, we need to speed up the construction of websites that can inherit Chinese traditional language and culture. In the new media era, with the rapid development of science and technology, electronic language is also sweeping the whole network. How to open up a new world of Chinese traditional language and culture in this new field has attracted more and more attention. From my perspective, it is very important for us to adhere to our own principles in the virtual network. In order to protect the traditional language and culture and resist the invasion of electronic language, we must first make the traditional language itself become strong. It is a good choice to run a website that can inherit Chinese traditional language and culture. The website we want is not a pile of meaningless electronic language, but to carry forward the development of Chinese traditional language and culture. This is a spirit that needs to be firmly observed. There is no doubt that if all of these are truly achieved, it will be of great significance to the standardization of language.

===Inheritance and Innovation of Chinese Traditional Language and Culture through New Media Means===

The above measures are general protection measures for Chinese traditional language and culture. With the continuous development of the new media era and the continuous innovation of science and technology, we need to learn to use the means of new media to protect and inherit Chinese traditional language and culture. This part takes cultural TV programs as an example to discuss how to use TV cultural programs to effectively inherit traditional language and culture.

In recent years, TV cultural programs have become increasingly popular. Under this background, many TV media have participated in the creation of traditional cultural TV programs. The explosive and hot broadcast of TV cultural programs can not only give full play to the communication function of TV programs, but also realize the role of TV program communication in promoting traditional language and cultural spirit. Therefore, how to maintain the original intention of traditional cultural heritage of TV cultural programs is the main purpose of its development. At the same time, through the continuous optimization of the content of the program, it realizes the effective dissemination of traditional language and culture, and thus plays a good role in promoting the construction of a harmonious society.

The first thing is to innovate the program content so as to inherit our excellent language and culture. As a kind of mass media, TV has its own artistic variability. This is mainly because television provides a lot of communication channels, and also shows the diversity of traditional cultural content in the process of inheriting traditional language and culture. Therefore, television should be the main channel for inheriting traditional language and culture. When disseminating knowledge, TV cultural programs also choose higher quality traditional language and culture and realize the inheritance of high-quality traditional language and culture through the continuous innovation of communication forms, thus showing the vitality of traditional language and culture and the responsibility of mainstream media. As early as 2016, the State Administration of Radio made a new deployment for the innovation of radio and television programs. At the same time, it also guided radio and television stations at all levels to actively do a good job in building cultural self-confidence, encouraged radio and television stations to actively innovate, so as to lay a good foundation for the prosperity and development of socialism and high-quality traditional language and cultural programs. It also constantly promotes the effective integration between television media and traditional language and culture. The innovation and creation of excellent TV cultural programs can not only realize the inheritance of traditional language and culture, but also guide young people to actively undertake the main task of inheriting traditional language and culture, which provides reliable support for traditional culture education. At the same time, young people can be striven to be the promoter of traditional language and culture. Students have a certain leading ability and exemplary role. They can not only show the cultural confidence of contemporary young people through the program and enhance the educational function of traditional culture, but also accumulate traditional language and culture in the process of continuous exploration.

With the advent of the information age, there has been an ideological collision between various cultures, which has also affected the traditional consumption concept. With the rapid development of modern information technology, television, as an important cultural industry, plays an important role in cultural communication and transmission of Chinese cultural ideas. Under the background of cultural infiltration, China should actively publicize traditional language and culture and take it as the key content of its soft power development. Cultural strength is an important factor for the prosperity of a nation. TV cultural programs should actively enhance their comprehensive strength in the process of its development. At present, the diversified world culture is booming and the culture of various countries are infiltrating each other. The national cultural soft power plays a major role in the world development competition. TV media should actively undertake the task of spreading the traditional language and culture of the Chinese nation, and take TV cultural programs as the main way to enhance the development of national cultural soft power. In addition, the content of traditional language and culture spread by TV media should also have unique characteristics and highlight the advantages of traditional culture. Only by strengthening the dissemination of traditional language and culture can we lay a good foundation for the future development of China. At the same time, we can also spread the high-quality traditional cultural spirit for young people so that 5000 years of brilliant treasures can be inherited and carried forward. As an important carrier of socialist core values, television should realize the arduous task of carrying forward traditional culture, accelerate the popularization and inheritance of Chinese traditional language and culture and guide teenagers to correctly understand excellent traditional language and culture so as to realize the effective penetration of socialist core values. Although the Internet has had a great impact on the media, and also made the cultural communication have a new direction and mode, the television communication media still occupy a dominant position and should take the responsibility of the mainstream media. Therefore, TV cultural programs should take full use of the advantages of TV media, choose innovative communication methods, fully display the characteristics of traditional language and culture through the optimization of communication content. With the assistance of Internet media, we can inherit and carry forward traditional language and culture, and promote the sustainable development of traditional language and culture in the era of new media.

On the other hand, cultural TV programs should enrich their forms and highlight characteristics of Chinese language and culture. TV cultural programs should actively use the interactive mode of all media. Many TV cultural programs in their production process are integrated with variety show forms to attract audience attention. In addition to the traditional on-site interaction, TV programs should also actively mobilize the participation and interaction of off-site audience in the new media era. In addition, we should also actively enrich the stage manifestation of TV programs. Through the effective application of modern data technology, high-tech elements can be added to the broadcast of TV programs, so that the audience can be immersive and close the distance between traditional language and culture and them. Especially with the continuous improvement of people’s aesthetic level, the design of TV cultural programs should actively innovate the stage design, show the charm of cultural programs under the support of high-tech forces, and build a dynamic artistic space.

At the same time, in the new information age, the mainstream TV media should actively take full advantages of new media, increase the dissemination of traditional language and culture through media integration, improve the national cultural soft power, and shoulder the arduous task of inheriting culture. In addition, we should also actively create original program content with our own characteristics. Under the influence of traditional language and culture, we should increase the communication effect through the form of media integration, so that the influence of traditional language and culture can be fully displayed.

===Conclusion===

In a word, Chinese language and culture has a long history, which has made great contributions to the progress of human civilization. The inheritance of traditional Chinese language and culture needs our continuous efforts. In the new media era, the electronic language is characterized by humor and vague context, which makes it a double-edged sword. Therefore, it will also have an impact on the traditional language and culture in the process of its development, which has both positive and negative sides. This requires the state and society to actively guide the electronic language. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language. It is believed that electronic language can coexist peacefully with traditional language and culture and develop together through continuous efforts of all parties in the near future.

===Reference===

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==英语笔译张姣玲 Zhang Jiaoling 202170081607==
<center>'''The comparison of the translations of Li Bai’s poem Changgan Xing(Ezra.Pound's Version and Xu Yuanchong's)'''</center>

<center>Zhang Jiaoling</center>

===Abstract===

As one of the representatives of Traditional Chinese culture, poetry and its English translation are favored by literati. Li Bai's masterpiece Changgan Xing has been translated by many Chinese and foreign scholars. This paper makes a comparative study of Ezra Pound's and Xu Yuanchong's translations under the guidance of functional equivalence theory, and finally points out the translation steps that should be followed when translating poems under the guidance of this theory.

===Key words===

Comparison; ChangGanXing; Ezra Pound; Xu Yuanchong; Functional Equivalence

===Introduction===

As a literary genre, poetry is rich in thoughts, emotions and imagination, with refined language and beautiful rhyme, and particularly strong imagery. The translation of poetry not only requires accurate reflection of the original content and its imagery, but also requires the translation to be consistent with the original in form and style. When it comes to Chinese poetry, especially Romantic poetry, one can easily associate it with the Poet Immortal Li Bai. He wrote more than 1000 poems throughout his life, which occupy an important position in the development of Chinese classical poetry. His poems is wild and unrestrained, dashing and bold, thus leaving a deep impression on readers. Li Bai's life was unusual in that he revered freedom, loathed the worldly officialdom, and lived his own life. His romantic life provided material for his poetry, and he left many masterpieces in the history of Chinese poetry. It is noteworthy that it was his rich life experiences that had a profound influence on his poetic creation. The poem Changgan Xing is a household Yuefu poem written by Li Bai. The whole poem is written in the form of a merchant woman living in Changganli self-talking, recalling her loving past with her husband and expressing her undying love for her husband in another country. The poem mainly describes the merchant woman’s memory of her and her husband’s innocent childhood, then their wonderful married life, and the protagonist’s endless missing of for her husband after his departure.

Xu Yuanchong is a professor at Peking University and a renowned translator. He has been engaged in literary translation for more than 60 years, and his achievements are so high that he was awarded the Aurora Borealis Prize for Outstanding Translation of Literature in 2014, one of the highest awards in the international translation community. He has been publishing his translations since 1956, and his major works include The Songs of Chu, Three Hundred Tang Poems, and Three Hundred Song Lyrics. Mr. Xu Yuanchong's translation works have promoted the exchange between Chinese and Western cultures and brought outstanding Chinese literary works to the world, especially his translations of classical Chinese poems. In addition, he put forward a series of translation theories, which enriched the traditional Chinese translation theory and promoted the development of translation studies. Mr. Xu Yuanchong's translation theory is mainly based on his "Three Beauties" principle, which holds that "the beauty of meaning means that translated poems should touch the reader's heart as much as the original poems do; while the beauty of sound is that they should have pleasant rhythm as the original poems have; and the beauty of form means that the translated ones should maintain the form of the original poem as much as possible.” Mr. Xu once talked about the relationship between the "Three Beauties" in his article on translating poems: "the beauty of meaning" is the most important, "the beauty of sound" the second, and "the beauty of form" is even less important. (Xu Yuanchong, 1979).

Ezra Pound (1885-1972), a leading representative of 20th century imagist poetry, was also a major founder of British and American modernist poetry. Both a poet and a translator, Pound translated many Confucian classics as well as classical Chinese poems. In 1915, Pound published his English translation of an ancient Chinese poetry anthology, Cathay, which was immediately received by Western society as "one of the best ten or so American poems of the 20th century”. Jeff Twitchell says, "Before Pound, China had no literature worthy of her name popular in English-speaking countries." (Jeff Twitchell, 1992) Pound's idea of poetry creation greatly influenced his idea of translation. Pound advocated translation without emphasizing fidelity to the meaning of the original text; what he sought was to reproduce the details and imagery of the original text in the translation. Imagery is the soul of the poetry translation, without which the translation of poetry would be meaningless.

This paper takes Li Bai's Changgan Xing as the object of study and compares and analyzes Pound's translation “TheRiver-Merchant’s Wife: a Letter” and Xu Yuanchong's translation “Ballad of a Trader’s Wife” under the perspective of Eugene Nida’s functional equivalence theory.

===Methods and Theories===

The term "dynamic equivalence" was first proposed by Eugene Nida in his 1964 book Toward A Science of Translating, emphasizing that "the relationship between receptor and messageIn such a translation (dynamic equivalent translation) one is not so concerned with matching the receptor-language message should be substantially the same as that existed between the original receptors and the message"(1964:159). In The Theory and Practice of Translation, Nida proposed that "Translating consists in reproducing in the receptor language the closest natural equivalence of the source-language message, first in terms of meaning and secondly in terms of style." (Nida & Taber 1982: 74). By the end of the 1980s, Nida replaced "dynamic equivalence" with "functional equivalence" in order to emphasize the concept of "function" and to avoid the misunderstandings of "dynamics" by some people, emphasizing that translation is a form of communication focused on reproducing the original language. Functional equivalence requires "not only the equivalence of the content of the message, but also, as far as possible, the equivalence of the form.” Nida clearly states that "the closest natural equivalence" is used to reproduce the original message. In the early 1990s, "functional equivalence" was further divided into two categories including the maximal level of equivalence and the minimal level of equivalence; the former is defined as “The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did" , which is the highest level pursued by the translation, while the latter is stated as “The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it”.(Nida 1995:224;1993:118) The highest level of functional equivalence is an ideal state, which is rarely achieved in texts other than those with little aesthetic value of factual information. The lowest level of functional equivalence is more realistic, and any translation below this level is unacceptable (Nida, 1993: 118). A good translation always lies somewhere between the two levels (Nida, 1995). The theory of "functional equivalence" is flexible, and there is considerable diversity between the highest and lowest levels. Compared with other translation theories that focus on a single theoretical criterion, the "functional equivalence theory" allows for diversity in the translation process. Translators have more autonomy to "deal with some of the problems of variability in different texts, of significant differences between readers, and of differences in the use of translation for research, for publicity, for pleasure, etc." (Nida, 1996: 114).

===On the level of word===

First, from the translation of the title, Xu Yuanchong translated it as "Ballad of a Trader's Wife", while Pound translated it as "The River-merchant's Wife: A Letter". Both of them are translated by understanding the whole poem, rather than simply translating it as "Changgan Xing". This is because the whole poem is mainly about the woman's longing for her husband through the description of various imagery. Such a translation is also closely related to the context in which the poem was composed. In the middle and lower reaches of the Yangtze River and the Han River valley, business was flourishing back then, and cities were prosperous with frequent trade contacts, and merchants were running their businesses from region to region. The wives of merchants had to wait and miss their husbands at home. Xu Yuanchong's and Pound's translations are all appropriate in this respect.

Every word in Changgan Xing is carefully chosen as it describes the merchant wife's longing for her husband. As words are the smallest unit in poetry, they are nevertheless the first step in translating poetry. In the first six sentences of this poem, Li Bai described the growth of two children, depicting the happy childhood of a boy and a girl playing merrily, leaving readers a good memory of the protagonist and her husband, and creating a pair of innocent and lively children images.

妾发初覆额，折花门前剧。
郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: While my hair was still cut straight across my forehead：
I played about the front gate：pulling flowers.
You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people：without dislike or suspicion.

Xu Yuanchong’s version: My forehead barely covered by my hair：
outdoors I plucked and played with flowers fair.
On hobby horse you came upon the scene：
around the well we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Analyzing the translation of these sentences, it is easy for us to see that Pound only tried to express the meaning of the original poem, while Xu tried to make the translation more like the original poem. In the first line, Pound chose the word "still" to emphasize the time and state, making the translation closer to the original. As for the understanding of the two’s playground, Pound translated it literally as "front-gate", while Xu chose "outdoors", the same thing was meant with their different choice of words. Then concerning the understanding and illustrating of an ancient toy made of bamboo, Pound chose "bamboo stilts," which is less faithful but easier for foreigners to understand, while Xu chose the word "hobby horse," which is easy to understand for the Chinese, but not so easy for foreigners. The word "bed" in modern times has a different meaning than it does in ancient times, so Pound chose "seat", while Xu chose "well" according to his understanding. In the last sentence, Li Bai described the friendship between two children, and Pound chose "two small people" to indicate their childhood, while Xu's "children twain" is a further explanation, which is more faithful to the original poem as it shows the happy sporting and innocent friendship between the boy and the girl.

These two lines delicately depict the shyness and sweetness of the newly married.

十四为君妇，羞颜未尝开。
低头向暗壁，千唤不一回。

Pound’s version: When I was fourteen: I married my master.
I never laughed: and I was shy.
I lowered my head and looked at the wall.
I had never looked back at one thousand calls.

Xu Yuanchong’s version: When I was fourteen：I became his bride.
I often turned my shyness face to the side.
I hung my head on the dark wall：
and I refused to answer his call.

In the translation of these two sentences, Pound chose to use "my master" to explain the meaning of "husband" to expresses the wife's respect and obedience to her husband, which is very appropriate for the time. Compared with Xu's choice of "he", "my master" seemed to be more appropriate. As for Pound's choice of the phrase "one thousand calls", it clearly showed the girl's shyness and her respect for her husband. Taking the fact that the girl is only 14 years old, and they live in a feudal society, so Pound's choice of words was very appropriate. As for Xu's choice of "dark wall", he actually misunderstood the original meaning, so his choice of words seemed to be inferior.

The following two sentences indicate the wife’s worries about her husband's business trip, showing her genuine concern and love for her husband, creating a heavier atmosphere for the reader.

十六君远行，瞿塘滟滪堆。
五月不可触，猿声天上哀。

Pound’s version: At sixteen years old：you leave：
you go to a distant place：in a swirling whirlpool.
You’ve been away for five months.
The monkey made a sad voice on the top of his head.

Xu Yuanchong’s version: When I was sixteen years old： he went far away：
through three Canyon covered with rock gray.
In the ship crash： when the spring flood was rising：
The crying in Gibbons seemed to come from the sky.

Pound chose to translate these two verses indirectly. The biggest problem with his translation is the misunderstanding of five months. In the original poem, Li Bai meant May. While Xu wisely skipped the time marker and used only phrases to express the time.

门前迟行迹，一一生绿苔。
苔深不能扫，落叶秋风早。
八月蝴蝶来，双飞西园草。
感此伤妾心，坐愁红颜老。

Pound’s version: You’ve dragged your feet when you go out.
Now：the moss are green：
different moss：too deep to clear them!
In autumn the leaves fall early in the wind.
The pairs of butterflies have turned yellow on
the lawn of the Western Garden in August.
They hurt me. I’m getting old.

Xu Yuanchong’s version: Now the green moss in front of our door are slight;
his footprints：hidden：can no longer be seen.
The moss cannot be washed away：the dense leaves will grow：
and when the wind blows： the leaves will fall early.
The yellow butterflies in the autumn will pass two on the
grass on the west side of the garden.
The scene would break my heart：
and I was afraid to sit alone：
and my cheeks would fade.

In these next four lines, in Li Bai's description, the protagonist was touched by the scene she saw and then fell into a constant state of anxiety. The description of the scene gives the reader an immersive experience as well. Pound's translation of these four lines also created a more vivid picture than Xu's. In order to show worry and fear, Pound chose the word "hurt" to imply the double meaning, referring to both psychological and physical injuries. The protagonist's mourning showed her helplessness as a feudal woman. Xu's choosing of "cheeks" and “fade” was even better, because women's cheeks are like roses which only shine their beauty in youth, while fading indicated her growth and fear of growing old.

===On the level of sentence===

In the translation process, when the translator has decided and embellished the words to be used, they must also take the entire sentence pattern into account.

郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people: without dislike or suspicion.

Xu Yuanchong’s version: On hobby horse you came upon the scene：
around the wall we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Through analysis, it is easy to see that Pound used different syntactic techniques, such as "playing" to express two actions at the same time, while Xu only used simple past tense to imply the time, which is slightly inferior.

The last two lines of the poem express the protagonist's hope and deep love for her husband, and her wishes of him coming home early and promises that she will meet him not far from home.

早晚下三巴，预将书报家。
相迎不道远，直至长风沙。

Pound’s version: If you are coming down through the narrows of the river Kiang：
please let me know beforehand.
And I will come out to meet you as far as Cho-fu-sa.

Xu Yuanchong’s version: O when are you to leave the western land?
Do not forget to tell me beforehand!
I’ll walk to meet you and would not call it far
Even to go to Long Wind Beach where you are.

By comparing the two translations, Pound used "If you are coming down" to express the wife’s longing for her husband; Xu chose direct words to show what the wife wanted to say to her husband, creating a more vivid scene. For readers, Xu's inner monologue is more touching than Pound's.

===On the level of culture===

1.Translation of Idioms and Allusions. There are two idioms and two allusions in the overall content of Changgan Xing. They are "青梅竹马（Qingmei Zhuma）" and "两小无猜（Liangxiaowucai）"; "抱柱信（Baozhuxin）" and "望夫台（Wangfutai）". The cultural interpretation of "Qingmei Zhuma": Qingmei refers to green plum; Zhuma is a bamboo pole played by children as a symbol of horse. It describes the innocence and playfulness of young children. Now it refers to the intimacy between men and women when they were young. Pound obviously failed to interpret the cultural meaning of it, and mistook it for the boy stepping on bamboo stilts and playing horse, which is a ridiculous mistranslation in Chinese readers’ eyes, but fills English readers with a surprised and fresh feeling and making them impressed on how romantic the young boys and girls in ancient China were! This unintentionally became his punch line. Professor Xu Yuanchong's translation cleverly replaces the "Zhuma" in the original poem with the "hobby horse", a common childhood game tool, so that English readers can easily appreciate the true meaning of the innocent game of boys and girls in the original poem according to their own life experience. This not only preserves the real intention of the original poem, but also makes it easy to be understood by English readers. It may seem to be unfaithful to the original poem in the surface, but in fact it is an evocative interpretation of the classical Chinese culture contained. In addition, "around the well" is even more impressive, vividly depicting the happy scene of boys and girls chasing and playing in the courtyard and by the well.

The allusion "Baozhuxin" is from Zhuangzi, a man named Weisheng made an appointment with a woman to met under a bridge, Weisheng arrived first, and suddenly the water rose, he kept his promise and refused to leave, so as a result, he was drowned while holding to the pillar of the bridge. Since then, people used "Baozhuxin" as a metaphor for keeping faith with love. "Wangfu tai" is taken from the Southern Dynasty Liu Yiqing’s The Book of Ghost Stories: there is a stone resembling a woman in Beishan, Yangxin County, Wuchang; Legend has it that: in the past, there is a chaste woman, her husband joined the army to save their country, so the woman together with their weak son bid farewell to him to this mountain, standing there lookout and turned into a stone, therefore got the name of “Wangfutai”. This is an allusion used to describe a wife missing her husband, or to describe the utmost sincerity. These two lines mainly express the wishes of the merchant woman to her husband, who should remember the vow he made on that day and never leave her and adhere to their love, so that the merchant woman will never have to climb up the mountain to look at her husband’s direction. These two lines contain both the wife to her husband's entrust as well as her hidden worry for him. Pound failed to translate these two allusions, and delivered a weak transformation in the cultural dimension. Xu Yuanchong's translation adopted the domesticating method, as he avoided a direct translation of the allusions but managed to convey the spirit of the allusions: that is men should keep their promises.

2.Translation of rhetorical devices. Figures of speech are used to express the true feelings of the protagonist. Therefore, translators must pay attention to the translation of those devices. The use of simile, metaphor, personification and other figures of speech are prominent features of Li Bai's poems. Both Pound and Xu Yuanchong are flexible in dealing with exaggeration in this poem, which can also reflect the translator's skills in choosing appropriate sentence patterns in translation. The change of words or sentence patterns will affect the feeling of translation, so the artistic conception of the original poem must be taken into consideration by the translator.

===Conclusion===

This paper mainly studies two translated versions of Changgan Xing. One is Pound's interpretation and translation. , because Pound himself knew little about Chinese as well as about Chinese historical background. Pound, American poet and literary critic, is a representative of the magist. He is one of the leading figures of postsymbolism. From the study of the Chinese classical poetry and the Japanese haiku, he put forward the theory of “poetic imagery”, and made great contributions to the study of Eastern and Western poetry. Pound does not understand Chinese. The Chinese classical poetry can be translated because he got Earnest Fenollosa’s private manuscript. Pound chooses 19 Chinese classical poems and translates them into English, including Li Bai’s Changgan Xing. Pound’s translation of Li Bai’s works has already been the second interpretation, which can cause misunderstanding to the poem. Although Pound’s translated poem has enjoyed a high popularity in the western literature and is named as one of the excellent translations, it has some obvious mistakes, which deserve our attention and discussion. The other translator is Xu Yuanchong, an expert in translation of the classical poetry, who has published numbers of works of translation and translation theories. As a representative of the imagist movement, Pound is very fond of imagist poetry which especially emphasizes the hazy beauty. Therefore, the interpretation of concrete words is not taken very seriously. In order to pursue the creation of hazy beauty, Pound’s interpretation of Li Bai’s poetry damages the poetic mood and rhythmic beauty of the original poem. And Pound himself also explained that he was eager to pursue the image of the poem and did not blindly interpret the meaning of poem but to grasp more details and compress the author’s thoughts and feelings. As the first translator to win the Aurora Borealis Prize for Outstanding Translation of Literature, one of the highest awards in the international translation community, he has made great contributions to Chinese literary translation. In his translation career, Mr. Xu not only translated a large number of Chinese and Western cultural classics, but also wrote several books on translation theory. In particular, his views of "Three Beauties" (beauty of sound, meaning and form) and "Three Perfections" (equalization, simplification and deepening) in poetry translation have been gradually accepted by the translation community. In particular, his principle of "Three Beauties" has been regarded by many scholars as the criterion for judging poetry translation. In Xu Yuanchong’s opinion, “to preserve the beauty in sense we may use the method of ‘paraphrase’ (free or liberal translation); to preserve the beauty in sound, we may use the method of ‘imitation’ (or adaptation); to preserve the beauty in form, we may use the method of ‘metaphrase’ (or literal
translation)” (2006: 131).
Different translations have distinctive styles. In the process of translation, complete equivalence with the original is not advocated. The translator's aim is to satisfy the needs of readers, not to cater to them. Choosing how to translate the original text is actually a balancing process between the target language and the source language. When translators try to translate some works, they can be guided by functional equivalence in order to be faithful to the original text. For functional equivalence to be achieved in poetry translation, the following steps need to be followed: The first step is to understand not only the literal meaning of the original text, but also the implied meaning of it, so as to achieve functional equivalence in poetry translation. The second step is to use one’s own words to express, to translate the allusion properly, and also to choose the appropriate rhetoric. Only in this way can the translation be easier to understand for its receiver.

===Terms and Expressions===
Changgan Xing; TheRiver-Merchant’s Wife: a Letter; Ballad of a Trader’s Wife: 《长干行》

"Three Beauties" (beauty of sound, meaning and form)：“三美”（音美，意美，形美）

"Three Perfections" (equalization, simplification and deepening)：“三化”（等化，浅化，深化）

functional equivalence theory：功能对等理论

Eugene Nida：尤金·奈达

Toward A Science of Translating：《翻译科学探索》

The Theory and Practice of Translation：《翻译理论与实践》

Zhuangzi：《庄子》

The Book of Ghost Stories：《幽明录》

the Aurora Borealis Prize for Outstanding Translation of Literature：“北极光”杰出文学翻译奖

poetic imagery: 诗学意象

===Questions===

1.What are the main methods adopted by Pound in his translation?

2.What are the main methods adopted by Xu Yuanchong in his translation?

3.Since there are many mistranslations in Pound’s version of Chang Gan Xing, is it ok for us to draw the conclusion that Pound’s translation is inferior than Xu’s?

4.Is it possible for us to find the best or a precisly equivalent translation of the original poem?

===Answers===

1.Free translation and domestication.

2.A combination of literal translation and free translation, domestication and foreignization.

3.No, it’s not. Different translations have distinctive styles. Pound’s translation has its own merits and demerits and so has Xu’s translation.

4.It is almost impoosible for us to find a precisly equivalent translation since there are always something untranslatable because of the cultural differences, and it is also difficult for us to choose the best version that everyone agrees on as each has one’s own standards.

===References===

*Eugene A. Nida. Toward a Science ofTranslating. Leiden: Brill, 1964.

*Eugene A. Nida. and C. Taber. The Theory and Practice of Translating. Leiden: Brill,1969.

*Wu Min Hua. Xu Yuanchong as a Touchstone for Ezra Pound’s Translation of Tang Poetry[J]. Comparative Literature: East & West,2021,5(1).

*Li Xingyuan,李幸原.生态翻译学视域下《长干行》三个英译本比较研究[A Comparative Study of Three English Versions of Changgan Xing from the Perspective of Ecological Transliteration][J].海外英语[Overseas English],2020(08):22-24.

*Zhang Yuan,张媛.《长干行》两个英译本的对比赏析[A Contrastive Appreciation of Two English Versions of Changgan Xing][J].延安职业技术学院学报[Journal of Yan 'an Vocational and Technical College],2019,33(06):57-60+73.DOI:10.13775/j.cnki.cn61-1472/g4.2019.06.018.

*Xu Yifan,许昳凡.目的论视角下《长干行》文化意象翻译研究——以埃兹拉·庞德译本为例[A Study on the Cultural Image Translation of Changgan Xing from the Perspective of Skopos Theory: A Case Study of Ezra Pound's Translation][J].作家天地[For Writers],2019(19):32-33.

*Liao qian, Luo Dijiang, 廖倩,罗迪江.许渊冲“三美”翻译原则和庞德创意翻译理论对比研究——以李白《长干行》为例[A Contrastive Study of Xu Yuanchong's "Three Beauties" Translation Principle and Pound's Creative Translation Theory -- A Case Study of Li Bai's Changgan Xing][J].牡丹江大学学报[Journal of Mudanjiang University],2018,27(12):103-105.DOI:10.15907/j.cnki.23-1450.2018.12.029.

*Tian Dong,Xiaolin Lin. Attitude in Appraisal Theory: A Comparative Analysis of English Versions of Changgan Xing[J]. International Journal of Comparative Literature and Translation Studies,2018,6(1).

*He Chunfang, Shi Huihui, 何春芳,石慧慧.论庞德对李白《长干行》的文化误译[On Pound's Cultural Mistranslation of Li Bai's Changgan Xing][J].湖北经济学院学报(人文社会科学版)[Journal of Hubei University of Economics:Humanities and Social Sciences][,2017,14(08):110-113.

*Zhang Qiaoping, 张巧平.诗学视域下李白《长干行》两英译本的对比研究——以庞德、许渊冲译本为例[A Comparative Study of the Two English Versions of Changgan Xing by Li Bai from the Perspective of Poetics -- A Case Study of the Two Versions by Pound and Xu Yuanchong][J].发展[The Development],2017(01):89-90.

*Han Lizhao, 韩立钊.《长干行》三个英译本的对比解读[A Contrastive Interpretation of the Three English Versions of Changgan Xing][J].西藏民族学院学报(哲学社会科学版)[Journal of Xizang Minzu University(Philosophy and Social Sciences Edition)],2015,36(03):138-141.

*Yang Meiru, 杨梅如.解析《长干行》的两个英译文本——基于许渊冲的“文化竞赛论”[An Analysis of Two English Translations of Changgan Xing -- Based on Xu Yuanchong's "Cultural Competition Theory"][J].考试周刊[Kao Shi Zhou Kan],2014(78):8-10.

*Wang Shanmei, 王善美. 功能对等视角下许渊冲与庞德英译中国古典诗歌之比较研究[A Comparative Study of Xu Yuanchong's and Pound's English Translations of Classical Chinese Poetry from the Perspective of Functional Equivalence][D].青岛大学[Qingdao University],2014.

20220630 Culture 9

2022-07-07T16:27:34Z

Zhang Guohao: /* Reference */

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译颜媛 Yan Yuan 202170081603==

<center>'''Interpreting Chinese and Western Language Humor'''</center>

<center>Yan Yuan</center>

===Abstract===
Intercultural communication is currently a cutting-edge topic in the international academic community.Intercultural communication refers to communication activities between people with different cultural backgrounds.It studies the relationship between cultural and communication,with a particular focus on the cultural factors that interfere with communication.At present, English language teaching in universities competence, and neglects social meaning.Multidisciplinary by nature,the study of humor has been approached from various perspectives,such as philosophy ,psychology,linguistics ,literature,sociology and anthropology.However,the previous research ,though somewhat comprehensive ,hasn't yet generated systematic and thus convincing theories concerning the definition,the working mechanism of humor as well as its linguistic expressions.The study of humor language in different cultures is not only limited to the linguistic level,but also rises to the level of intercultural communication. The ultimate goal of cultural communication and integration is the overall development of human beings and their harmonious coexistence.
===Key words===
Chinese and western humor ;Cross-cultural communication; Humor;Culture
===Introduction===
Humor has always been an interesting topic in both ancient and modern times, and many people have studied the phenomenon from different perspectives,such as aesthetics,sociology ,psychology,linguistics,philosophy,etc.Theories about humor can also be described as a lot.Humor can be expressed in many different ways, in a dramatic way(comedy),in a pictorial way(cartoons), in a musical way, etc.Language, as a vehicle for the expression of human thought and ideas, is of course an important way and factor in constituting humor, and thus linguistic humor.Language is a complex system in which everything is based on relationships, and there is no such thing as a system of language system.The complexity of the language system is ,of course , a resource that can often used for humorous language. Humorous language is generated under certain conditions through certain linguistic elements and their relationships with each other.The current research on humor language in China is very one-sided and inadequate,mostly staying in the area of rhetorical patterns, words and the techniques of humor language formation,without a comprehensive, three-dimensional and explanatory study.In view of this,in this thesis we are interested in finding out the connection between the elements of the language system and their interrelationships with humor,i.e.,what forms or relationships are humorous?What forms or relationships are humorous and under what circumstances?In this way, we break the one-sidedness of the original research and think further about the study of humor language, deepen our understanding of the "surface structure"and "deep structure"of humor language , and identify some patterns between linguistic forms and humor language. It is an important reference for us to further understand the mechanism of humor language production and even the application of humor language.
===Literature Review===
As we are known,language is the most important communication tool for human being , though which people known the world and perceive it."The act of language , though not the whole state of human existence,is the basic state of human existence."(Qian Guanlian.2005) Heidegger said,"Man dwells in the dwelling built by language.Humor is also distinguishing feature of human beings (Nash,1985).Human beings mostly express humor through language, which can be divided into two man categories:oral language and written language. The spoken language is the basis of the written language, and the written language is only the expression of the spoken language.Therefore,humor can also be related to language through these two media,and the specific product is the general form of oral language humor,such as comedy ,skits and so on(Of course,they also include the body language of certain performs).Another form of expression is to record humorous scenes or stories in the form of words to make readers laugh,such as humorous stories in newspaper and magazines, humorous novels and so on. From this point of view, we can say that the relationship between language and humor is that language is the basis and the tool og humor.And without language, there would be no humor(except silent behavioral humor). This close relationship can be seen from the research history of language and humor.The research on the relationship between them has a long history and rich achievements.The study of humor has traditionally been concentrated and dominated within the disciplines of psychology,philosophy,and sociology. It was not until the the late 1970s that the study of humor in linguistics took its place and gained attention.Traditional linguistic studies of humor point out that humorous elements in oral jokes are more stable and explicit in phonological terms than in written jokes, and that linguistic humor arises when the first level of linguistic symbols(i.e., phonological or written units) moves to the second level(i.e.,the communicative system).This has led to a number of research approaches , such as ambiguity, which is prevalent in many humorous texts and can be divided into phonological-lexical ambiguity, semantic-pragmatic ambiguity,etc.
Since the publication of the first academic book titled ''Humor Linguistics'' in China, the study of humor linguistics in China has been exciting.Chinese scholars have studied humorous language,especially Chinese humor language, from perspectives.Mr.Hu Fanzhu's ''Humor Linguistics'' is the first linguistic book in China that systematically studies humor.Starting from a review of the history of laugh and the theory of "laugh" in China and the west.The book proposes that humor is a spiritual phenomenon with three levels,namely:humor in the broad sense is comparable to ludicrousness, humor in the normal sense refers to ludicrousness that appeals to reason,and the humor in the narrow sense specifically refers to humor that contains intellectual lightning and generosity, a sense of spirituality and life.The book was published and had a great impact on the academic world.A large number of similar books have been published, but it can be said that they basically do not deviate from the technical lines and research ideas outlined by Mr. Hu in that book.
According to incomplete statistics , in terms of published papers, we searched for 22 articles on the Chinese journals with the keywords "humor language"; 5 articles with the keyword " language humor";15 articles with the keywords "speech humor" ;9187 articles were searched by the keyword "humor". In terms of published monographs , in addition to "Humor linguistics", subsequent monographs on humor language or humor include Gua Tian's ''Humor Language Operations''
'',Gong Weicai's ''Humor Language Art'', Li Junhua's ''Humor Language'',Sun Shaozhen's ''Fundamentals of Humor'' and ''Fifty Methods of Humor Defense'' and so on. In terms of outstanding master's theses on China Journal Online, there are 15 master's theses with humor language as the topic or keywords.

===The Definition of Humor and Humor Language===
What is “humor”？There are many different answers to this question.People have interpreted and explained humor form a variety of perspectives, each with their own insights.However , it is a little known fact that the word “金数”is a foreign word in Chinese .The word “humor” in Chinese can be traced back to more than 200 years ago to the“Where silence and quietude reign” in “Longing for Changsha , The Nine Elegies，The Song of Chu”.Wang Yi notes，“Confucius is very good.As poetry written,“Confucius interpreted the word "默" as silence.The mountains in the south of the Yangtze River are high and the wild is very clean, and there is no voice in the desert.”In ''Shih Chi'',“默”（silence) is protrayed as "墨"(Chinese ink).It can be seen that at that time,the word "默"（humor） meant silence.Since then,the basic meaning of "默"(Humor) has not changed for more than 2,000 years.For example, Li Bai,a great romantic poet in Tang Dynasty,wrote in Song of River in Farewell to Cen zhengjun ,"And yet it is worrying to live alone in such a lonely place ."If we consider the meaning of the word "humor", that is , as an aesthetic category we want to study.It is an exotic and a foreign transliteration word in Chinese.In the last century,Mr.Lin Yutang was transliterated from English "Humor" .The reason why Mr.Lin transliterates "幽默" with the word "humor" is to consider their implied meaning(or instant impression meaning) and morpheme association color.Therefore, we can say that humorous words are both transliterated words and free translated words.Since then,the word "幽默" in modern Chinese has gradually deviated from its original meaning， that is , it no longer means "silent", but points to the meaning of humor.According to the related works published in China, there are definitions of humor as follows:
Humorous style is one of the key rhetoric style in Chinese......Humor is the use of language conditions to show the humorous interest in things.It is characterized by a light-heartedness and cheerfulness.It is based on " truth"
Humor is a rhetorical technique.
Humor is a spiritual phenomenon. This spiritual phenomenon has a broad sense,a common sense. There are three levels of humor.Humor in the broad sense is comparable to ridiculousness ,such as comic, witty ,gagging,funny......Humor in the narrow sense refers to the layer of spiritual phenomenon that is most aesthetically valuable.Humor in the conventional sense is a mental phenomenon that has an appeal to the "ridiculousness " of reason.
From the above definition of humor,we ca know how complicated its definition is, different viewpoint are different.This in itself shows its complexity as an object of study , and we can simplify it without getting entangled in the complexity of the definition.Based on the above viewpoints, we are more inclined to Hu Fanzhu's understanding and definition of humor in his monograph ''Humor Linguistic'' , that is , humor is a spiritual phenomenon, which can be divided into three levels:broad sense,ordinary sense and narrow sense.To sum up, in this paper we can define humor as laughable, that is, having the effect of inducing laughter.
'''1.1.1 The definition of humor language'''

From the above definition of humor, we know that humor is a multidisciplinary research topic,people from philosophy,psychology,sociology,linguistics,literature and many other aspects of the phenomenon of humor research.This thesis mainly studies the humor language, and the so-called humor language is "created by the use of various elements of language variation humor.In dynamic terms, it is the atmosphere in which language is used,or a style of language;in static terms, it is a fuzzy collection of linguistic variants, or an aggregation of ways.”（Hu,1987)From this definition,we can draw the following two conclusions:firstly,humor language must be related to linguistic symbols,humor that dose not use linguistic symbols as a carrier is not within the scope of this study,such as Ding Cong's cartoons and mime act are certainly funny, but they are not humor language; second , humor language should be created by the variation of linguistic elements, not just by the narration of language of language symbols.It is necessary to distinguish between humor expressed in language and humor created by language:in verbal humor, language is used only as a tool , and laughter is triggered by the recorded situation, while language itself may not be funny.From this definition, we can see that in fact, the humor expressed by language is to describe a ridiculous situation or thing by using language as a tool to express idea,so that the listener or reader will find the situation or thing ridiculous after appreciating it.It's like expressing a humorous situation in the form of a cartoon,except one is in the form of a cartoon and the other is in the form of language.Like this one:
午餐会发言人匆忙赶来赴约会，当他坐在第一张桌子前时，他突然意识到了他忘了带他的假牙。
The luncheon speaker was in a hurry to get his appointment,and as he sat down at the first table,he suddenly realized he had forgotten his dentures.
他转向他旁边位男士，说:“我忘了带假牙了。”
He turns to the man to hin and says，“I forgot my dentures.”
男士说:“没问题。”说着他手伸进口袋里并取出一-副假牙。“试试这一副。”他说。
The man said, “No problem.”He reaches into his pocket and takes out a pair of dentures.“Try this one.”He said.
发言人试了试。“太松，”他说。
“They’re too loose,”the speaker said.
男士接着说:“我还有一副....试试。 ”
The man said, “I have another pair...Try it .”
发言人试了试。说:“太紧。”
The speaker tries them on, says, “Too tight.”
男士根本不感到惊讶，他接着说:“我还有一副.....试试。”
Not surprised at all, the man continued, “I have another pair of ...Try them on.”
发言人说:“正合适。”他带着这副假牙吃饭，讲话。
“It fits.”The spokesman said.He ate and spoke with this pair of dentures.
午餐会结束后，发言人走过来，向那位帮助他的男上道谢。“我想谢谢您给我的帮助。您的办公室在哪里?我正在找一位好牙医。”
After the luncheon,the speaker came up to the man who had helped him and thanked him. “I wanted to thank you for the help you gave me.Where is your office?I am looking for a good dentist.”
男士回答:“我不是牙医。我是本地的殡仪员。”
The man replied, “I’m not a dentist.I’m a local mortician.”

=== Chinese and Western Humor ===
'''4.1 The Evolution of Chinese and Western Humor'''

Humor comes from the Latin word “humor”, a physiological term referring to “ fluids”.According to Hippocrates, the person’s health and different type of temperament depends on the human body fluid mixing proportion.Therefore, the original meaning of “humor” in human body is the proportion of four kinds of fluids to the people’s minds,constitution,the tendency of the habit,temperament,or the heart,mood.The first person to introduce humor into literature was the famous English dramatist Ben Jonson.At the end of the 17th century , humor took on its present meaning;in the 18th century , there were literary writers and artists who used humor as a creative style.When the form of humor spread around the world ,it became a symbol of wisdom.Mr.Lin Yutang introduced humor into China for the first time.Although humor is a foreign word,humor culture is as old as the history of the Chinese nation.Ancient Chinese contains profound philosophy and ingenious speculation.The contemporary works of Mr.Lin Yutang and Mr.Qian Zhongshu. They are full of humorous wisdom.

'''4.2 The Difference of Chinese and Western Humor'''

The difference between Chinese and Western humor is mainly due to the differences in many aspects of Chinese and western culture and way of thinking.Chinese people shaped typical introverted mainland farming culture,which aims to seek peace and contentment,forming a capitalist type of divergent thinking,ritualistic and subtle;while the Westerners are the outward-looking marine commercial culture that seeks only wealth and strength,forming a linear thinking of brush sketch type,spontaneous and open.The formation of Chinese and Western humor is the projection of their own cultures.In such a cultural atmosphere characterized by self-sufficient, China has formed a thinking pattern of “still letting,not fighting,still retreating, not moving”.Because of this cultural mindset , an intuitive way of thinking has been formed. This mindset and way of thinking determines that humor is expressed in an intuitive way.For example, in order to explain a person’s stupidity, we should focus on describing how stupid he is when he speaks and does things,so that people can draw an intuitive conclusion immediately after reading it.However,western culture belongs to extroverted marine culture and advocates innovation. Therefore westerners have formed a speculative thinking that emphasizes creation.In humor,it is embodied in the use of restrained statements, so that people can understand humor itself by understanding litotes.The differences between Chinese and Western humor are very obvious in many aspects, but people’s love and recognition of humor are surprisingly similar.
===The Different Characteristics of Chinese and Western Humor ===
Generally speaking,humor is not only the carrier of culture, but also the embodiment of different national cultures.The differences between the two cultures lead to the different interpretation and application of humor in China and West.Under the nourishment of different cultural systems,Chinese and Western humor has formed the characteristics of different cultural styles.Western humor is so profound that there is a saying that can explain this situation to the fullest,that is, “you can not be a good person, but you can never be a person who does not know humor.Western humor is mostly humor full of wisdom,subtle and thoughtful.They know how to self-deprecating,good at using self-deprecating methods to show humor , and at the same time trying to win each other’s affection.After thousands of years of feudal system in China,people have a strong sense of self-restraint and too many concerns. They prefer to show their perfect selves in communication with others , and it is difficult to laugh at themselves. Therefore , humor is mostly aimed at the third party,which is simple and direct.

'''5.1 The Different Content and Function of Humor'''

Humor is a kind of human aesthetic pursuit, is a reflection of the real life , the first in its theme and content reflects the national unique customs and cultural concept.The traditional Chinese Confucian thoughts influence deeply rooted, people talk about “sex” color changing, therefore, the traditional eastern humor neutral theme is the box.And this kind of theme in western humor but make up a large proportion.The functions of humor can be divided into: negative humor(is critical to life,shortcoming and negative phenomenon to negative),affirmative(to life advantages and positive phenomenon be sure and pure humor(neither contains sure, also does not contain negative,it is just for daily phenomena are abound of appeal reflects).Humor is more purely entertaining in the west,which is formed from the initial state oh humor.However,Chinese humor seems to have a heavier historical mission to serve politics.The traditional cross talk spread to the present, and the satirical jokes are mostly of this kind.Western humor culture is profound, the Russian literary scholar Chekhov said, “Do not know how to joke, is a hopeless person..”What's more, westerners are more open than Chinese, with a large proportion of pure entertainment humor. Therefore, they can have a quiet moment with anyone on any occasion, such as an American joke:A young man went to an old man’s birthday party.When he saw the old man, he sighed, “I’m sorry.I do not know whether I can come to your birthday party next year.”And the old man smiled and said : “Why not? You seem very healthy.”This is typical western humor, they play more of a function of relieving mental stress and establishing a sense of superiority, but also reflects their willingness to share and enjoy life by gathering together.
Due to the differences between Chinese and Western thinking and cultural heritage,there are obvious differences in the expressions of Chinese and Western humor.Chinese humor is typically expressed through the use of language and words, most typically in comedy,where the artist’s mouth borrows from the profound Chinese language to talk about heaven and earth and comment on the past and present.There are many examples of this in Guo Degang’s comedies.Western humor,on the other hand, focuses on action interpretation. The most representative one is the humorist Chaplin,a series of silent movies that brought a lot of joy to the world.And then the later animated blockbuster Cat and Mouse also won the applause the world with its unique American way.

'''5.2The Different Ideologies and Aims'''

An ideology is a set of ideas that constitutes one’s goals,expressions,and actions. An ideology can be through of as a comprehensive vision, as a way of looking at things, as in common sense and several philosophical tendencies, or a set of ideas proposed by the dominant class of a society to all members of this society.Compared with Chinese long history, the history of western countries is comparably short.Take America for example,it is only more 230 years since it was founded . So their awareness doesn’t have much time to develop.Their awareness consists of instant fragments so they are not as passionate about political matters as Chinese citizens.China has a cultural tradition with a five-thousand-year-long history.Chinese people have been influenced by systematic and strong political idea for a long time. Influenced by those ideas and Chinese traditional system,Chinese people show a strong political tendency when dealing with the daily affairs.So the content and characteristics of Chinese humor is influenced a lot by this politic system.
In China, literature works are closely related to education. So humor,as a popular culture, is aimed to satirize people with bad behavior and educate them and make them a good citizen. Although satire is one of the purpose of humor , the main purpose is to develop people’s sense of humor.Because humor is considered to be an important quality in western country,many leaders and scholar with a sense of humor are respected by people.This is because humor adds color to their personal charm and shows their wisdom.

'''5.3 The Different Grasp and Skills of Sense of Propriety'''

Chinese and Western humor has different styles and techniques due to their different cultural traditions and ideas.From the perspective of humor creation,China and Western countries develop in two different directions in the pursuit of implicature. On the macro level, humor in Western countries strives to combine subtlety with condensation and philosophizing, so that there is more room for humorous evocations. As for Chinese humor it is good at mastering the scale of subtlety and clarity.Chinese and Western humor is far less explicit in technique than in content. It is often rooted in the long-standing cultural traditions and psychological qualities of the nation, and is also very subtle and hidden. Chinese humor deliberately pursues consistent and progressive taste, and contains many “baggage” from beginning to end,which makes the audience always have strong interest , from nervous expectation to relaxed satisfaction, and then jump to new expectation and new satisfaction. However, western humor often has only suspense , but due to the requirements of the integrity and coherence of the story , there are many restriction on the use of “burden”.
===The Change and Integration of Chinese and Western Humor===
Cultural differences are neither superior or inferior, but rather compatible,complementary and gentle with world civilization.Various cultures coexist in the midst of exchange and conflict.Exchange and conflict are the driving force of cultural development ;coexistence is the guarantee of cultural integration.Culture autonomy and cultural self-awareness can be the way to dissolve the clash of cultures or civilizations. The future direction of cultural conflicts will be the gradual expansion of the field of human consensus, the gradual reduction of barriers to cultural exchange and integration, and the evolution of a mutually existing multicultural system in the context of globalization. Humor is a symbol of civilization and wisdom, and it brings people of different nationalities in a multicultural system , making people realize the power of humor in communication. It prompts national characteristics, express the historical accumulation of national cultural development, and reflects the appearance and status of the times from a unique perspective and in various fields. Humor’s mood and charm can only be understood by the members of the group who share the same culture.Therefore , whether we are analyzing humor techniques or studying its linguistic art, we need to first examine the cultural connotations on which it is based.In this way,humor can be better understood and cross-cultural communication can be successfully realized.The culture of humor reflects the development of the times , the progress of science and the change in social and cultural integration. It can be used from variety of starting points, and through the use of a variety of techniques, it is subtle but not revealing , light-hearted but not subversive, and subtly reflects the splendor of the culture of the times.This is the charm of humor.Humor is the words,actions and expressions that can make people laugh in the process of human communication, which is rich in content and diverse in forms .With the rapid development of information technology , the cost of transportation and communication has been greatly reduced , which makes the whole world more closely connected than ever before, and the humor between China and the West is gradually merging.While Chinese and Western humor merges gradually,we should keep national humor, at the same time, we should broaden our horizons and consider the problem as a whole,so as to keep national humor and boldly admit some commonalities and produce new humor ways.
===Conclusion===
Humor is a linguistic art that permeates every corner of life. It plays an immeasurable role in life with its unique artistic style, full of amusing and intriguing contexts, humor is a symbol of civilization and wisdom, bridging people of different nationalities under a multicultural system, and making people realize the power of humor in communication. Although the differences between Chinese and Western humor are obvious in many aspects, people's love and recognition of humor are surprisingly similar. In today's era of globalization, various cultures coexist in exchange and conflict, and cultures from different regions gain a certain consensus through cross-cultural communication, and Chinese and Western humor are gradually integrating. This cross-cultural integration of Chinese and Western humor is conducive to the successful communication between China and the West, as well as to the harmonious development of the world.
Globalization is an inherent requirement for the development of human society.Human development is in collision and conflict advance,human development is spiraling upward.Cultures from different regions have reached a certain consensus through cross-cultural communication , and human culture needs to be integrated through differences .With the strengthening of the interaction between China and foreign countries will reach an unprecedented level,and cross-cultural study of Chinese and Western humor is conducive to the successful communication between China and the United States, and more conducive to the harmonious development of the world.
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==英语笔译杨心怡 Yang Xinyi 202170081604==
<center>'''Gendering History on Chinese Movie'''</center>

<center>Yang Xinyi</center>

===Abstract===
Since the new period, with the vigorous development of Chinese movies, there have been many excellent movies.And the female image in the movie, it is very compelling.China movie culture is deeply influenced by traditional cultural ideas, and the idea of "male superiority over female inferiority" is deeply rooted.Therefore, the female images created in this period were restricted to a great extent.In this paper, the new era of Chinese women's image in the movie type analysis, on the one hand through the image of women focus on women's development and progress, the other side through the image of women reflect their shortcomings. In the survival of male hegemony of women is difficult to tell their true inner thoughts, women's own right to speak was ruthlessly deprived of, they are always a "second sex" identity in the men behind. the real equality between men and women, In the cultural media platform has not been achieved. I hope that through the analysis of the image of women in the movie, build an equal platform for dialogue between the sexes, so that more exciting images of women appear in front of everyone.
===Key words===
chinese movie； feminism；female character
===Introduction===
The famous French movie artist francois truffaut said: movie is the art of women.This is particularly evident in Chinese movies.In view of the development history of the movies in the new period and even the whole Chinese movies, the female images cannot be ignored in the character gallery of Chinese movies.
It should be noticed that the Chinese movie in the new era is gradually getting rid of the shackles of the original political discourse, turning to the artistic vision and new movie language to shape the image of women.With the opening of social culture and the awakening of gender consciousness, the female images in the new era of the movie presents a diversified trend, which makes the female image with greater charm.The first representative female image in the new period movies is the wife and mother image represented by Feng Qinglan in Xie Jin's Legend of Tianyun Mountain.They like men, also suffered the political disaster of the past, but they can with their own sacrifice to save the suffering of men.Therefore, this kind of female image has the brilliance of "Virgin Mary." In the movies of the "fifth generation directors,” whether it is Zhang Yimou's Red Sorghum, Ju Dou, Qiu Ju's Lawsuit or Chen Kaige's Yellow Earth, the female image is also worthy of praise. Different from Xie Jin, the wife and mother position familiar to critics in the past has been replaced by lover, such as Jiu Er in Red Sorghum. This is the gradual opening up of the cultural environment and economic system has a direct relationship. In the nineties, under the coercion of consumer culture, women who mean more and more heavy consumption, their bodies have become the spectacle of being stared at. Of course, women become the focus of the movie performance of the object is not just the above two reasons. In the feminist movie criticism of the vision, the male gaze for the female body is one of the determinants of movie-like state.（Li,1988:76)All in all, the image of women in the new era of transformation, we can not only see the development trajectory of Chinese movies, the same can also see the Chinese social and cultural and ideological concepts of the rheological process. This is the reason for this study, but also the value of this study.
===Literature Review===
Chinese movie since the birth of a hundred years, there have been a large number of excellent movies, but also created a large number of rich connotation of the role of women, so for these roles of historical research and comparative study has become an academic research entry point.Zhang Xuqing believes that feminist movie is a part of contemporary movie art that must be valued.Feminist movie theory has been distinguished by philosophical concepts such as Marxism, Freudian theory, post-structuralism, etc., which have been popular since the 1970s, and a series of concepts such as "the other" and "deconstruction" originally belong to these theories.Reading was transplanted into feminism.They use these theories for the image of women in the movie and in the ideology of women's consciousness has been criticized, pointed out that women are patriarchal culture and distorted repression one side. These criticism beyond the past simple image analysis and the appearance of social and cultural analysis, is astute.Laura Mulvey's Visual Pleasure and Narrative movie is a classic of this analysis. In the thesis, the most important manifestation of the alienation of women in movies is the materialization of women as carriers of male desires, which, in Mulvey's words, is "women in movies as images and men as bearers of voyeurism."Feminist theory was introduced into Chinese movie criticism since the 1990s.In this process, Yang Yuanying played a more important role.In the context of "feminism and China women's movie," Old time women in ancient China is a history, in which women's consciousness melted away in a male-dominated society and individual families. Yang Yuanying took the movies directed by female directors as the research object, and made a detailed analysis of the narrative characteristics and spiritual structure of female movies.Yang Yuanying believes that female movies are very different from male movies from narrative to internal logic, reflecting women's own emotions, and that "Ghost Love" will become a living fable of feminism.This analysis is very in place, so far scholars for the "ghost" analysis and research did not go beyond this thesis.Xie Xiaoxia believes that women's directors are basically the topics of women's lives, emotions and so on as the subject matter. Although the performance style and narrative techniques vary, but the basic theme can be summed up in three points: Growth, reincarnation and temptation. For example, Xu Jinglei's mental maturity shown in Me and Dad and the maturity of women in emotion and social life experience shown in many works. Samsara is manifested as a change of mother and daughter's fate, that is, the commonality of mother and daughter's fate. Generally speaking, such expressions are historical, showing the influence of times and society on women through the change of mother and daughter's fate. Wu Xiaoli believes in her paper that, With the implementation of the market economy, women directors work in the infiltration of the market and ideological factors are becoming more and more obvious. In other words, that is, the works of the female consciousness gradually reduced, began to compromise and surrender to the patriarchal society. In the past, women write in some works there is still, but in a way that can be male audience and the market access women's movie is struggling in this difficult to move forward.Through the above-mentioned image of women in Chinese movies, we can see that the researchers provide a more fruitful results, they are not tightly satisfied with the theoretical analysis, but also to creative practice and case studies in the form of exposing the existence of the movie text of gender, culture and power differences. As Foucault has pointed out, like the movie also exists in the discourse of the struggle field. On the other hand, these studies also have some shortcomings, which is this article to work on.
=== 1 The diversity of female image===
The new era for the creation of movie art provides a great social and cultural space, with the trend of cultural diversity. The development of female image also presents a diversified trend. In the 17 years of the movie, women are expressed as with the same group of men, so in which their sex is destroyed by mud.The so-called independence, but in fact is wiped to the female consciousness and in another identity into the ideological discourse. After entering the new period, the female body gradually be restored. But as a result of 17 years and the cultural revolution caused by the fracture between traditional and modern, China's female sex there is no way to find out the survival of self-awareness in modern society, so only to the history to find, so inn the early period of the new era, the image of women in the movie is mostly based on the image of his wife, mother and other inclusive, they are full enough to heal and moral expectations of people's desire.With the promotion of market economy and the change of women's economic status change, women’s desires and requirements to be publicized, women for their own positioning also gradually clear. In the eight or nine
ten years of the movie, there are two types of female image is noteworthy, one is the image of independent women, two categories is the image of the lover on behalf of desire. Into the century, the influence of consumerism gradually penetrate. Cosumer characteristics become increasingly apparent, which is the emergence of consumer images of women. As the new era of movie works very much, and the limited space of this article, so can only select some representative works and image.This paper discusses the process and overall context of social change in the new era.

1.1Wife and Mother

At the beginning of the new period, with the rise of scar literature and reflective literature, women were placed in the historical context to write. In the movie, women have the double identity of the strong and the weak. In the narrative discourse of the fourth generation of directors, women and men have experienced the cultural revolution, famine and other political and natural disaster damage, in front of the suffering of the irresistible, their nature is weak, but they also to the selfless and sacrifice aroused men around, from this perspective they are strong. As a result, this
The image is also known as the "Mother of the Wife" image.The appearance of these women not only changed the narrative of integration in the period of seventeen years, but also completed the transcendence of the traditional moral women.The typical representative of this aspect is the Feng Qinglan in the Legend of Tianyun Mountain and Li Xiuzhi in the Wrangler. Xie Jin's 'Legend of Tianyun Mountain' can be regarded as the image of this wife and mother of the movie, because of its work shown women's great tolerance and moral sense, this kind of women is also known as the image of the earth mother.In the day yunshan legend, the hero's identity is down and out scholar, although they were born in a scholarly family, has a very good culture, but the cruelty of political struggle but let them suddenly had nothing.In their down and out, xie jin arranged for a woman to save them. Xie Jin's arrangement, let the emergence of women with a strong sense of mission.In Xie Jin's works, women are not only lovers and wives, but also protectors of men.Their forbearance, strength, tolerance and generosity have established a harbor of expectation for men.Despite the storm or political struggle outside, but when the door was closed at that moment, everything is insignificant, The warmth of family removed everything.In fact, the emergence of this image is actually a male expectations, contains men in frequent complex political struggle after the exhaustion of seeking spiritual comfort and the idea of sustenance.
As we can see, in the day yunshan legend, when Feng Qing Luo Qun take back with a scooter, actually like a mother, accepted his son abandoned by society.And when Luo Qun was political recognition, Feng Qing years old has passed away.Therefore, Xie Jin with his deep lens language constantly shooting Feng Qing When I was young photos, rags vest, small wooden bridge, etc., line sent his praise for Feng Qingwei. Xu Lingjun in The Wrangler, like Luo Qun, is also a political exile.In xiu-zhi li appeared later, Xu Lingjun re-ignited hope for life. Xu Lingjun and Li Xiuzhi married and had children, Li Xiuzhi also Xu Lingjun's life is taken care of meticulously. Li Xiuzhi also has the characteristics of Mother Earth. She is not only diligent in keeping the house, but also dissolves Xu Lingjun's unhappy mood with her gentleness.
At the same time, it should be noted that Li Xiuzhi appears as a positive role in the movie, which also implies the affirmation of a mainstream discourse. Therefore, Li Xiuzhi said,"I have settled the rebellion for him since the day of marriage." After the vindication, Xu Ling has the qualification to inherit the property of his father. But he flatly refused. This is the thought that she has been in Li Xiuzhi's body to find the position of mother and father, so his break with his father is not only a moral break, but also means that the psychological level of break. In addition, there were many similar roles appear. They and men together, as men in different periods of different needs of the materialization, bear different historical functions. In short, in the affirmation of these women, their connotation and value of the image at the same time, need to see their value is based on the men and show her perseverance and suffering is to forgive men and happiness. Obviously, this woman's reversion was revealed. Women were banished to a history. In years later, these images gradually launched the screen, and with the fifth with the rise of acting directors, some new female images began to appear in people's vision.

1.2 Independent Female

In the late nineties, China appeared to work hot and hot to go abroad, a group of women in the era of inspiration get out of your home and find your place in society.They like men, the success of the career as the my value realization scale. At the time of the TV series, this theme is very common, but in the movie such female image is less.In this kind of female image of the movie, a warm to listen to the "sand bird" and huang shu sequence of "ghost" is a typical representative.
Movie sand hired is about the China women's volleyball team's main players sand step due to illness failed to participate First Volleyball International Championship.This is full of ideal sand is not acceptable, so the sand better constantly training hard, hope to be able to take part in the game.Sata was finally allowed to compete and won the silver medal, but she not relegated to this. Still want to try to win the championship. The image of Shahe not only reflects the charm of the individual, but also perfectly combines with the spirit of the times in the 1980s. In the movie, Sha Juan's boyfriend Shen Wei was killed in the process of climbing Mount Everest. Under this blow, Sha Ta chose to cheer up and eventually became the coach of the women's volleyball team.For the sand cuckoo, this choice is not only personal, but also national.In the preface to Huang Shu's Ghost Love, the actress Qiu Yun is also an artistic image worth mentioning. Huang Shuxu in the movie created the actress Qiuyun this independent, spicy, firm actor image.In the movie, Qiu Yun is a career pursuers. Qiu Yun from an early age to learn drama, the purpose is to seek their own self-help. His father did not allow Qiu Yun to learn drama, but was eventually moved by Qiu Yun, personally taught her, so that her career has a good start. Indeed, the movie showed the pressure faced by Qiu Yun, but Huang Shu Xu stressed that this movie focuses on Qiu Yun for their own destiny of the active choice.
For the emergence of independent female images during this period, Dai Jinhua(2000) said,"If we say that in contemporary literary circles, many women writers pursue and create their works of women’s style or become a deliberate, or not to do the women's strategy; In the movie world, the emergence of female style has become a mark of historical progress and a step in the difficult emergence of invisible women. Interestingly, most of their movies share the same cultural and social themes as the male directors of the same generation, but because of the selection of female stories and the unexpected entry and disclosure of female life experiences, they have translated and rewritten them into a female version. "This sentence affirms the efforts of female directors in creation. Pointed out that the previous works of women into the social stage when the neglect of their own gender identity. We admit this period of independent female image reflects the women in the process of entering society, the pressures and obstacles faced, but also concerned about their adherence to their own values. This makes their image three-dimensional up.

===2 Female consciousness in Chinese movie===
After combing the female images in the movies of the new period, the process of female images gradually becoming full is actually the process of female consciousness awakening. As far as the relationship between female consciousness and female image is concerned, the deeper female consciousness is, the fuller female image will be the image of women in the movie in the new era, although different from the past, but both are grown in China culture. However, in the new era, some new values and elements also take on new connotations. The new period movie began to women's self in-depth table.
Now, women's self-reliance, self-esteem and self-respect side was presented in front of the audience. And women are beginning to realize that since reputation and achievement, try to get rid of the influence of patriarchal consciousness, with their own efforts.

2.1 Female Identity Consciousness

In Second Sex, Beauvoir pointed out that women are not naturally occurring, but by social construuction. In the Chinese calendar history, the influence of patriarchy is very long, women in history is far away from the political and cultural center, is suddenly depending on the secondary. In Macro view, the center of the history of discourse is mastered by men, they become history set, women tend to appear in the image of the foil, is absent on the stage of history. At home family environment, the male is also the core of the family and the family, women became a reproductive tools. After her death, women still have no right to speak, as the so-called "husband died from the child."If we want to understand the relationship between men and women, we must discuss the concept of "home."It is well known that the family is made up of men and women, and that the history of the family constitutes the history of the nation and of mankind.In China traditional culture, the family is the foundation of the country and has an equally important position.Home country is regarded as a world expression of the whole and put forward by the power discourse, it is not only the basic form of China traditional social structure, but also the root of China culture and national psychology.In a family, women's identity is generally wife, mother and daughter, which is a kind of orientation of women's identity.Because men struggle outside, when men struggle frustrated, back home, women will assume the role of the soother.And if men are facing the test of life and death, so women are the saviors.From the perspective of this division of labor and role orientation, women were imprisoned in the home and became the victim of the patriarchal system.In the new period of the movie, women also play the role of the savior, but should see the female of this period sex rescuer role is in the context of ideological emancipation, is the identity and status of women are covered after complex.Now under the background of the movie, this rescue directly against the damage caused by the Cultural Revolution, it has distinct characteristics of the times.As the analysis of this article before, as this period of women's salvation is not pure the essence is to return to the traditional, they show is mainly a kind of personal spiritual pursuit and choice.In Legend of Tianyun Mountain, Feng Qingjian's love for Luo Qun comes from her worship of intellectuals, while in Horse Shepherd, Li Xiuzhi’s extreme rescue of Xu Lingjun is also because Xu Lingjun is the person she really likes. Therefore, this kind of salvation can not be simply understood as the virtue of traditional women, because this idea can only appear in the specific context of the new era. Although the two image is art, but certainly at the time China's hundreds of millions of people, must have a large number of women like set feng and xiu-zhi li, and these women in the previous era is difficult to appear. The ultimate significance of the emergence of this image is that in the past, they are not described as a single revolutionary role, but through this identity they have returned to the position of women, to find their own female identity. In other words, that is, as this section emphasizes, save the ideas and consciousness of female identity with the confluence. In Dai Jinhua's words, it is "if we say that women originally did not have their own language, always struggling the control of male culture and language. " If we say,"Hua Mulan type situation," is the modern female common face of gender, self predicament; In order to get out of the predicament of "Hua Mulan," women return to their families and become mothers, wives and daughters, which actually indicates the awakening of women's identity consciousness. Of course, we should see the strategy of this expression.In fact, after the end of the Cultural Revolution, in the continuous development of society, women are considered to be weak by society, and thus they do not have to struggle outside, it should be back to the family Xiangfujiaozi. It is through this description, women from the family to find their own value. As the analysis of this article before, in Xie Jin's movie , as the officer of the heroine eventually return to the family, became the mother and wife, it is also a scratch to save a representation of the fusion of knowledge and female identity consciousness.

2.2 Independent consciousness

The development of the new era has given people to change the reality of expectations and opportunities, so women are increasingly willing to seize this opportunity. So when the background of the whole narrative with society to replace the family, women want to be able to prove that they can because of a place in social affairs and qualified in the family as well as men.For example, in Middle Age, Liu Wenting shoulders the pressure of family and career, not only to face up to the plight of women, but also to safeguard the role of wife and mother.Lu Wenting's image profoundly shows the double confusion faced by women in life and work.In Zhou Xiaowen's "Second Aunt," the significance of the second aunt is that she has been eager to get rid of the influence of male values, and the television has become the most distinctive symbol in the movie.At the same time two aunts also has another identity--the lover of the blind.In the pursuit of mother, family, career identity, the pressure faced by the second aunt is palpable.And the same wavelength of the final outcome, though helpless, but her pursuit is valuable from the new era of the movie as a whole, for the discussion of these issues has become a mainstream in the field of movie.The words.Using art to reflect society has also become the pursuit of some directors.At the same time, women also open beginning for some reflection and analysis of their own.The reflection of women have a very distinct personality, also to have their own skills, to be able to live independently and from the bondage of men, so as to realize the value of self.
For example, in the ghost, autumn non-success in order to escape the fate of women and play men, as the doors, this became a classic metaphor for women to escape. In the 'sand raven', the sand is also faced with career and family dilemma. In addition,Daughter House,Childhood Friends,Youth Festival and other movies, women are faced with the pressure of this dual force, so their struggle also appears to be extremely decisive.In general, this period of women in the process of moving towards society to strengthen self-awareness, self-realization and value has become a driving force for their struggle. Although most of their struggles have experienced great hardships and pain, and most of the struggle is also a failure as the outcome, but their pursuit of the spirit and enthusiasm has never changed. It can be seen that the new era of movie from the original in accordance with the standards of men to express the awakening of women to women's consciousness, body reveal the process of women's pursuit of self-improvement, the expression of women's consciousness in the movie in the new era to a new situation.

===Conclusion===
Before the New Age, the most characteristic feature of the portrayal of women in Chinese cinema was the integration of a single "revolutionary" woman as the classic representative of subjectivity. The single 'revolutionary' image of women became the classic representation of subjectivity. These images embodied the gender consciousness of "gender equality".But in the call of the times for 'equality', women lost their gender identity and became masculine images. These images reflect the existence of a gender consciousness of 'equality between men and women', but in the call of the times for 'equality' women lose their gender identity and become masculine.Since the beginning of the new era, the portrayal of women in Chinese cinema has undergone a historical transformation. The image of women and gender narratives gradually reveal gender. The difference between the sexes gradually emerged in the portrayal of women and gender narratives. The first is the emergence of the 'Madonna' image, which began in the 1930s.The image of the Madonna has a strong sense of relief and salvation, as she uses her body and mind to save men from the suffering of history. The connotation of this giving is not a replication of traditional virtues, but rather an autonomous identification and choice of the object of their giving. They have the autonomy to identify and choose their own objects of giving.After a new period of transformation in the image of women and their consciousness, new gender relations are being constructed and positioned in Chinese cinema, especially with regard to the definition of women, which is entering the world of thought at an unprecedented pace. There is every reason to believe that with the development of the times, the image of women and women in Chinese cinema will certainly make greater progress.
===References===
*Li Ercang(1988).Zhangyimou’s saying.Liaoning:Chunfeng Literature and Art Press,76
*Yangyuanyin(1990).Feminism and Chinese Women's Films: Communication University of Chin Press,23-25
*Dai Jinhua(2000).Chnese Movie Culture(1978-1998):Peking University Press
*Li Bin(2007).Recent research on female-themed films:Movie Art Press,121-123

==英语笔译杨紫微 Yang Ziwei 202170081605==
<center>'''Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theory of "San Hua"'''</center>

<center>Yang Ziwei</center>

===Abstract===
Classical Chinese poetry is a gem of Chinese traditional culture. As for the translation of classical Chinese poetry, Mr. Xu Yuanchong is one of the most influential translator of classical Chinese poetry, and his translated works have been unanimously recognized and highly praised by many people at home and abroad. With more than 60 years of translation experience, he has summed up a set of translation theories of his own, which can be summed up in ten words in Chinese as “美化之艺术，创优似竞赛”. This paper mainly focuses on the analysis of the application and embodiment of the mainly translation theories-- the method of "San Hua" (equalization, deepenization and generalization) in Xu Yuanchong's translation of Tang poetry.

===Key words===
Xu Yuanchong; “San Hua” ; Tang poetry

===Introduction===
For a long time, translation has been playing an important role as one of the means to promote cultural communication and communication. The translation of many literary works has also achieved high achievements, but the translation of poetry has been mediocre, and it is difficult to produce high-quality translations, especially for the translation of ancient Chinese poetry. Mr. Xu Yuanchong, a modern translation master, has been engaged in literary translation for more than 60 years and has translated numerous works. His focuses on the English translation of ancient Chinese poems and has formed the method and theory of poem translation in rhyme form. In translation, he emphasized the subjectivity of the translator, the creativity and artistry of translation, and innovated and developed the translation theories of his predecessors. He believed that the translated works could not only convey the beauty of the original text, but even surpass it. In particular, his translation theory of "the art of beautification" has proved to be successful in the English translation of ancient Chinese poems. This paper focuses on the application of Xu Yuanchong's theory of "San Hua" in the translation of Tang poetry, and analyzes and explores its role and expression effect in the translation of ancient Chinese poetry into English. This thesis consists of four main parts, we will learn a lot about the previous study of translation of Tang poetry, the introduction and application of the method of "San Hua" in the translation of Tang poetry as well as the value and influence of Xu Yuanchong's translation theories. The purpose of the thesis is to search for realizing the beauty in form, sense and sound as well as making readers and translators themselves comprehend, enjoy and take delight in reading translation of Chinese classical poetry.

===Literature Review===
In the past research, people focused on the analysis and exploration of the three aspects of beauty of Xu Yuanchong, therefore, the analysis and research of another theory-- "San Hua" is a field that few people pay attention to. In this thesis, I focus on the analysis and application of the method of "San Hua" in the translation of Tang Poetry. Then in the dissertation of A Study On Xu Yuanchong As A Translator （2006）written by Chen Youyang, he introduce the source and definition of the method of "San Hua" which originates from Qian Zhongshu's "the realm of sublimation". In the Literature and Translation (2016) of Xu Yuanchong, it explains the method of "San Hua" in details and gives some examples to demonstrate its application of equalization（等化）、generalization（浅化） and deepenization（深化）. In addition, it analyzes the relationship between the method of "San Hua" and the three aspects of beauty as well as the "San Zhi". "San Hua" is the method to achieve beauty in sound, sense and form, what's more, it produces the translation works that bring joy and pleasure to readers. Now that my thesis stresses on the analysis of Tang poetry through the method of "San Hua", then I should learn clear about the features and categories of Tang poetry. In the article The Discussion of English Translation of Tang Poetry (1994), Gao Yukun analyzes the characteristics and development of Tang poetry translation and he holds that Chinese classical poetry are translatable. Academic journals of Su Lin and Wang Chengcheng, both of them analyze the significance of the expression of the beauty in sense through the method of "San Hua". Since there are culture–laden words and allusions that are difficult to translate, the proper application of "San Hua" cam help us deal with it well. Then I introduce several Tang poems translated by Xu Yuanchong to illustrate the detailed application and appreciation through the method of "San Hua".
In conclusion, the method of "San Hua” is applied in literary and poem translation frequently and many translators praise it. Although sometimes in order to realize the three aspects of beauty, it causes some disputes in the accuracy and faithfulness of translation works, it makes great contributions to the translation field and spread of Chinese culture. Thus, the thesis will pay more attention to the analysis, application and appreciation of translation of Tang poetry through "San Hua" to get a clearer and deeper understanding of the translation method.

===Methods and Theories===
Research method: Literature analysis.
By reading journal articles data online and entity books such as "beautiful suffocation of tang poetry", the selection of classic poetry translation works explore the analysis theory of "three concrete application as well as the significance of the translation method, to explore the untranslatability phenomenon in ancient Chinese poetry and the translator's clever translation method in Chinese and English is how to build a bridge; At the same time, it studies the value and function of the "three Modernizations" translation theory in translation and cultural transmission.
Theories: "San Hua"--Equalization,deepenization and generalization.

===Subtitle 1===
The Previous Study on Translation of Tang Poetry at Home and Abroad

The Tang dynasty is one of the most prosper dynasties in Chinese history. At that time, the development of Tang poetry has reached the highest level and left Chinese people a large number of valuable assets. Tang poetry possesses a very significant position in Chinese culture.

The ancient poetry of the Tang Dynasty are mainly five–or–seven–character regulated verse（五言或七言诗）. There are also two kinds of modern poetry, one is called quatrains（绝句） and the other is called metrical verse（律诗）. What's more, the quatrains and the metrical verse have five characters and seven characters respectively, so there are basically six basic forms of Tang poetry: five-character ancient style poem, seven-character ancient style poem, five-character quatrains, seven-character quatrains, five-character metrical verse, and seven-character metrical verse. Ancient poetry requires a wide range of rhymes: in a poem, the number of sentences can be more or less, the chapter can be long or short, and the rhyme can be changed. However, modern poetry has strict requirements on rhyme and disciplines of metre: a poem has a limited number of sentences, that is, the quatrains consist of four sentences while the metrical verse of eight sentences. The rhyme schemes or level and oblique tone of the words in each line has a certain regularity, and rhyme cannot be converted. It also requires the middle four lines to be antitheses. The style of ancient poetry is handed down from previous generations, so it is also called gufeng or ancient style. And modern poetry has a strict meter, so some people call it metrical poetry.
The forms and styles of Tang poetry are colorful and innovative. It not only inherited the Han and Wei folk songs, Yuefu tradition, and greatly developed the style of free verse; It not only inherited the five and seven ancient poems of the previous generation, but also developed into a long epic narrative; It not only expanded the use of five-character and seven-character forms, but also created modern poetry with a particularly beautiful and neat style. It pushed the artistic characteristics of the harmony of syllables and the refinement of words to an unprecedented height, and found a most typical form for the ancient lyric poetry, which is still particularly popular with the people. However, due to the strict metrical restrictions in modern poetry, the content of the poem is easily fettered and cannot be created and played freely, which is a great defect brought by its advantages and creates troubles for its translation as well.

It is a hard work to produce high–quality and beautiful translation work of Tang poetry. Since there are not only various themes and styles in Tang poetry, but also allusions, numerals, images, phonetic words, customs, natural scenery, place names and etc. All of these pose greater troubles for translating Tang poetry. Therefore, different translators hold different views in translating Tang poetry and they have their own translation theories.

Since 80s century, there are lots of English versions of Tang poetry, such as Poetry and Prose of Tang and Song, which is translated by Yang Xianyi and Gladys, Xu Zhongjie's New Translations of Two Hundred Tang Poems, Wu Juntao's Translation of Du Fu's Poetry, Xu Yuanchong's New Translation of Three Hundred Tang Poems and Selective Translation of Li Bai's Poems, Zhang Tingchen and Bruce M.Willson's Translation of One Hundred Tang Poems and Weng Xianliang's Translation of Classical Chinese Poetry. In early times, some people thought that poems can not be translated. P.B.Shelly and R.Frost were supporters. Frost said that poetry is what gets lost in translation (Gao,1994). An Austrian philosopher, R. Jakobson believes that poetry is strictly untranslatable (Gao,1994). Although there were such opinions, most people believed that poems are translatable and many translators have explored and formed new translation theories. In addition, E.A. Nida's equivalent effect and functional equivalence theories support that poems can be translated because of language regularity. Among them, some hold to translate poems with English metrical verse, such as Xu Yuanchong and Wu Juntao; while others use free verse on poetry translation, such as Weng Xianliang and Wang Shouyi. Because of intricate features of Tang poetry, translation work is difficult to realize its original beauty in form, sound and sense at the same time, so the former pays much attention to maintain the beauty in form, sound and sense and pursues to realize the combination of sense and form, and the latter emphasizes the importance of sense and seek to reproduce the meaning of the original poem and convey the true feelings of the poet, but sometimes it lost the original beauty of rhyme and sound. As L. Wittgenstein said, "translating from one language to another is doing a ma-thematic task. And translating an emotional poem into another language is like addressing a ma-thematic problem..., which can be solved but lack of a systematic method" (Gao Yukun,1994,22). The French translator, Le Marquis d'Henvey–Saint–Denys also wrote in the preface of his translation work Collection of Tang Poetry in 1862, "Poem translation is taking great risk and it is also hard and painful, because we found that those true beauties lie in the poetry can not be expressed in any foreign language."

No matter what translation theories they use, all of them believe that the translation of poetry is an art. Under the guidance of Yan Fu's translating standards--faithfulness, expressiveness and elegance, they have been trying to achieve the beauty in form, sound and sense. Xu Yuanchong, who has been translating Chinese classical poetry for more than 60 years, made great contributions to the translation field and had remarkable achievements.

===Subtitle 2===
Main Ideas of Xu Yuanchong’s Literature Translation Theory

2.1 An introduction to Xu Yuanchong

Xu Yuanchong was born in Nanchang, the capital city of Jiangxi province in 1921. He graduated from the Department of Foreign Languages of Tsinghua University in 1943. He entered the Institute of Foreign Literature of Tsinghua University in 44 years and then went to Europe to study. After returning to China, he served as a professor of English and French in foreign languages schools in Beijing, Zhangjiakou and Luoyang. He has been a professor of international culture at Peking University since 1983. He has been teaching the course Translation and Appreciation of Ancient Chinese Poetry at Tsinghua University since 1999. Xu is a famous translator in our country and is called the only expert in translating classical Chinese poetry into English and French verse. He has been nominated for the Nobel Prize in Literature. Xu's business card reads "the only person who translates poetry into English and French". He advocated "Dare to be the first in translation studies", and was regarded as a crazy talent in the field of translation. "I used to like to go my own way by myself, I still like to go my own way by myself, and I will continue to like to go my own way by myself." This is the last thing Xu said to everyone.

Xu's 42 works are all translated works, except for a memoir--Remembrance of the Past, and three works on translation theory--The Art of Translation, On Chinese Verse in English Rhyme, and On Literary Translation. These translations can be divided into four categories. One is Chinese-English translation, including 22 titles such as 600 Ancient Chinese Poems, 300 Immortal Chinese Poems, The Book of Songs, Romance of the Western Chamber, and Selected Poems of Mao Zedong. The second is the Chinese translation, which includes 150 Poems of the Tang and Song Dynasties and 100 Selected Lyrics of the Tang and Song Dynasties and so on. The third type is the Chinese-English translation, including Dryden's All for Love, Scott's Quentin Duward and so on. The fourth category is French-Chinese translation, including Hugo's Selected Plays, Stendhal's Red and Black and other eight kinds. Among them, the most striking is that he translated the literary masterpieces of the past 3,000 years into English and French verse and published them one by one, which has initially outlined the development of verse in the history of Chinese literature. It can be called a great feat in the field of translation. Among his works, 300 immortal Chinese poems, published by the British Penguin Publishing Company, is listed in its "Penguin series". Mr. Xu Yuanchong is the first Chinese to publish translated books in this world famous publishing house.

In 2010, Xu Yuanchong was awarded the "Lifetime Achievement Award in Translation Culture" by the Translators Association of China. On August 2, 2014, Xu Yuanchong won the Northern Lights Award for Outstanding Literary Translation, one of the highest awards in the international translation circle. He is the first Asian translator to win this award.

2.2 A Detailed Introduction to the Method of “San Hua”--Equalization, Deepenization and Generalization

As we have mentioned that the beauty of sense is hard to reach, and these measures can help us to improve our translation capability and learn to deal with translation problems in a appropriate manner. These three measures are methodologies of translation. Xu was inspired by Qian Zhongshu's theory of " the realm of sublimation" and came up with the free translation methods.

Equalization aims to achieve the equivalence between the source language and the target language, and it can only be used when the surface meaning and the deep meaning of a poem are the same. It includes word formation, syntactic transfer, affirmation and negation and allusion transplantation, etc. For instance, Xu Yuanchong translates “孤山寺北贾亭西，水面初平云脚低”into " West of Jia Pavilion and north of Lonely Hill, Water brims level with the bank and clouds hang low". The translation of place names is consistent with the original work. This sentence belongs to literal translation and it is easy to understand. Another sentence“树深时见鹿，溪午不闻钟”is translated into " In the thick woods a deer is seen at times, Along the stream I hear no noonday chimes". It also uses the method of equalization and realize the functional equivalence.

Deepenization refers to the fact that when there are differences between English and Chinese in the process of translation, the expression of the source language and the target language is not consistent, it is necessary to complete the unspoken content in the source language in the translation, so that the target reader can understand it. This method mainly includes amplification, creating something out of nothing, splitting translation or adding some content in the translation that is not explicitly stated in the original text but has this meaning. Here are examples of Xu's translation of Tang poems:

(1)白雪却嫌春色晚，故穿庭树作飞花。
But white snow dislikes the late coming vernal breeze,
It plays the parting flowers flying through the trees.

In the translation, the words " dislikes, plays and flying" show us the lovely and brisk white snow with the personification. It expresses the poet's avid expectation for spring with the help of flying snowflakes.

(2)随意春芳歇，王孙自可留。
Though fragrant spring may pass away,
Still here's the place for you to stay.

This translation explicitly convey the deep meaning of the sentence. Although the spring is gone, but the autumn scenery is better. The poet is willing to stay. He likes to return to nature, loves the landscape and advocates quiet and pastoral life. It shows the poet's noble feelings and the pursuit of his ideal life.
In contrast to " deepenization", there are contents involving different cultures in the two languages. Sometimes it is not easy to translate directly, so we need to use a certain method, such as subtraction, to delete the culture-heavy contents in the original text and replace them with more general and understandable contents.

(3)相见时难别亦难，东风无力百花残。
It’s difficult for us to meet and hard to part；
The east wind is too weak to revive flowers dead.

In this translation, it omits the word “百”which has no influence on the meaning expression. In this way, Xu also maintains the beauty in form and sound. What's more, the word "flowers" has involved the meaning of hundreds of flowers. This is what we call subtraction, which is one of the methods of generalization.
Among them, deepenization is the best way to show us the beauty of sense. It is the high standard of literary translation and generally the translation work supersedes the original one. Thus, it is regarded as creation.
In the translation of Tang poetry, we have to be clear that which method we should use in the process of translation to achieve the three aspects of beauty, especially the beauty in sense. The ultimate goal of translation is to produce high–quality translation works which are better than the original ones.

===Subtitle 3===
The Analysis and Appreciation of Xu's Translation of Tang Poetry through the Method of “San Hua”
In this part, we will study Xu Yuanchong's translation methods of “San Hua” deeply and know more about their use in translation of Tang poetry.

3.1 An analysis of Happy Rain on a Spring Night through the Method of “San Hua”

春夜喜雨
（唐）杜甫
好雨知时节，当春乃发生。
随风潜入夜，润物细无声。
野径云俱黑，江船火独明。
晓看红湿处，花重锦官城。

Happy Rain on a Spring Night
Du Fu
Good rain knows its time right,
it will fall when comes spring.
With wind it steals in night;
mute, it wets everything.
Over wild lanes dark cloud spreads;
in boat a lantern looms.
Dawn sees saturated reds;
the town's heavy with blooms(Xu Yuanchong,2020,32).

This poem describes the poet's happy and brisk feelings to see the spring rain. It was written in the spring of 761 (the second year of Shangyuan). After a period of exile, Du Fu finally settled down in Chengdu, Sichuan Province due to the drought in Shaanxi Province and began a relatively stable life in the middle of Sichuan Province. When he wrote this poem, he had been living in a cottage in Chengdu for two years. He personally cultivated, planted vegetables and flowers, and socialized with farmers. He had a deep love for spring rain, so he wrote this beautiful poem describing the rain on a spring night that moistens everything.

Spring rain knows to adapt to the season. When all things germinate and grow, accompanied by the spring breeze, spring rain secretly in time to come at night to nourish all things silently. The country path and the clouds in the sky hide in the darkness, the lights of the fishing boats on the river are particularly bright. Till dawn, I saw that drizzle had moistened red flowers, which made them more charming. And beautiful flowers are full of Jin Guan City.
At first, from the perspective of the beauty in three aspects, this is a five–character metrical poem and every sentence is divided into two parts. The first part includes two syllables and the second part includes three syllables. When translated into English, there are five syllables in each sentence and the first part includes two or three syllables and the second part includes three or two syllables. Moreover, the first and second sentences rhyme and so do the third and fourth sentences in both original and translation works. These show the beauty in form and sound. With regard to the expression of beauty in sense, it is not hard to know that the title and the whole poem basically used equalization(等化) so that it is easy for us to understand. In the first sentence, in order to maintain the end rhyme, Xu reversed the order of words "when spring comes" but translated it into "when comes spring". The words "good rain" express the poet's love to spring rain, which sets the general tone for the poem. And in the second sentence, he used "steals" to describe the falling rain which adopted personification and presented us a lively and dramatic picture. He also reversed words in the sentence of "mute, it wets everything", such kind of inverted sentences also seen in the second and third lines. The clouds are spreading the sky gradually indicates the upcoming of the very rain. And "looms" also reveals the carefulness of Xu's word selection. Because of the sullen weather and distance, the light from a lantern in a boat is weak and flickering due to the wind, so he chose the word "looms". Besides, words like "saturated" and "heavy" are appropriate choices. As for “锦官城”, he just translated it into "the town", which is the use of generalization(浅化) that omitted the explanation to allusion.
As a whole, by means of the “San Hua”, readers can understand the poem without any difficulty and they can also feel the poet’s true feelings. Meanwhile, the choice of words, lengths of sentences and rhymes are pleasing to read and the meaning of the poem as well as the poet's true emotion are showed in the translation work. We can not only feel the poet's excited and surprised mood but also appreciate the musical beauty of the poem through reading it, which means this translation let readers enjoy and love it.

3.2 An analysis of The Sad Zither through the Method of “San Hua”

锦瑟
(唐）李商隐
锦瑟无端五十弦，
一弦一柱思华年。
庄生晓梦迷蝴蝶，
望帝春心托杜鹃。
沧海月明珠有泪，
蓝田日暖玉生烟。
此情可待成追忆，
只是当时已惘然。

The Sad Zither
Li Shangyin
Why should the sad zither have fifty strings?
Each string, each strain evokes but vanished springs:
Dim morning dream to be a butterfly;
Amorous heart poured out in cuckoo’s cry.
In moonlit pearls see tears in mermaid’s eyes;
From sunburnt jade in Blue Field let smoke rise.
Such feeling cannot be recalled again:
It seemed lost even when it was felt then(Xu Yuanchong,2020,124).

It is one of the most significant poems of Li Shangyin. From the title -- the Sad Zither, we can know that the main focus of the poem is "sad".

This poem has been variously annotated. Some people thought it was a mourning work, some thought it was patriotic, and some thought it was deploring with sighs for all his talent, and others thought it was a description of missing the poet's maid Jin Se. But most people agreed with the first idea.
In Xu's translation, most poems use the end rhyme and so does this. From the structure of the poem, we can see that forms of the original and translated works are the same. In regard to the full expression of its meaning, we can analyse it one by one sentence. The first couplet expresses the poet mourns for the lost golden years which we can see from words “思华年”, he translated “华年”into "springs" instead of "golden years" for the beauty of sound by means of generalization. Moreover, as the beginning of a year, spring represents vitality, energy and beauty which is like the most valuable years of people and expresses the poet cherish the golden years greatly. And "vanished springs" uses deepenization which told us that his golden years were lost forever and he was very regretful. Going forward, the second and third sentences include many allusions which is the most difficult task to deal with. The second couplet uses an allusion from Zhuangzi. It says that Zhuangzhou dreamed that he was a butterfly when he woke up from his dream, he found that Zhuangzhou was still there and he did not know where the butterfly was going. The poet took this as a metaphor for the beautiful situation he indulged in when he was young. “望帝春心托杜鹃”comes from a legend that in the late Zhou Dynasty, Shu monarch Du Yu abdicated and retired from public life, but he was unfortunately died. After death, his soul into the cuckoo, crying sadly and moving people's hearts. The poet used the story to convey his hatred and also the ardent miss for his wife. In Xu's translation, he did not translated these allusions directly into "Zhuangsheng" or "the emperor Wang", but omitted the subject. This is the adoption of generalization which avoids complicate and unnecessary explanation of allusions. Then he used the word "dim" actually showed the poet's confusion and melancholy, and "amorous heart" indicated the emperor Wang as well as the poet himself and the word "cry" expressed his sorrow for the vanished golden years and his dead wife directly. In this translation, Xu directly expresses the poet's true feelings which is hid in allusions, it is the method of specification in deepenization. In the third couplet, “沧海月明珠有泪”refers to the tears of mermaids that can turn into pearls. The poet combines the moon beads and tears into a hazy wonderland, expressing a kind of complex feelings of dis-consolation, which includes both the love for its high and clear, and the sadness for its cold and loneliness. And “蓝田日暖玉生烟”refers to the phenomenon that the jade mountain of Blue Field is often illuminated by the sun and the essence of the beautiful jade in it is rising gradually, which is as fine as hair from a distance, but nothing at all from a close look. The poet took advantage of the ideal scenery with high aesthetic meaning to express a kind of regret that can not be close to noble spirits. It is the same as the third allusion. Different from the second couplet, the first half of the third sentence roughly explained what the allusion talked about to readers while the second half used literal translation. If not understand these allusions, it will be hard for us to make it clear that what the poet want to express. Therefore, the proper translation of allusions is really formidable. The last couplet conveys the poet's grief and regrets again but it is much stronger than before. “可待成追忆”was translated into " cannot be recalled again" by Xu Yuanchong, which used negation translation in equalization. In fact, it emphasized that the beautiful days and loved ones were gone for good and it was too late to redeem for him. The word "lost" was tantamount to “惘然”that revealed the inner world of the poet. Xu had not translated“当时”into "when it was felt then" instead of “at that time”, which also belongs to the specification in deepenization, he described the feelings of the poet in details and made it clear to readers.

So from this piece of work, we can get to know that how difficult to deal with allusions properly because of the cultural differences between China and foreign countries. In my opinion, Xu did a really remarkable work. Through his translation, we can not only feel the beauty in form, sound and sense of the Chinese version, but also learn to make full use of the method of “San Hua” to help us understand its main idea and the poet's emotions. Particularly the translation of allusions that eliminates the tedious and unnecessary explanation of them which foreigners can not understand, and maintains the original beauty in form and expresses the important things involved in them as well.

3.3 An analysis of The Mourning Day through the Method of “San Hua”
清明
（唐）杜牧
清明时节雨纷纷，
路上行人欲断魂。
借问酒家何处有，
牧童遥指杏花村。

The Mourning Day
Du Mu
A drizzling rain falls like tears on the Mourning Day；
The mourner' heart is going to break on his way.
Where can a wine shop be found to drown his sad hours?
A cowherd points to a cot' mid apricot flowers(Xu YUanchong,2020,160).

The first line of the poem points to the natural conditions in which the poet is exposed, such as the time and weather. Tomb-sweeping day is one of the big festivals of the tang dynasty on which people will hold family reunion, visit a grave, outing, and attend various activities. Du Mu did not see the sun in the Qingming Festival in Chizhou（池州）, but only drizzle. The second sentence turns from the perspective of objective to the subjective, focusing on the poet's emotional world. He saw passers-by on the road were busy mourning their dead loved ones, and he felt very sad and grieve. In the third sentence, the poet's feelings mingled with scenes. He was very sad when traveled in the rain. The rain wet his clothes and the weather was chilly. Then the poet sought to drown his sorrows in wine, so he asked the way. The last line tells us to whom the poet asks for directions. "A cowherd points to a cot' mid apricot flowers" brings the reader into a completely new realm, which is completely different from the previous melancholy and misery. The cowherd's warm and sweet voice, distant apricot flowers blooming like brocade, the spring is in the air, and the wine flag at the village head is fluttering. The first two lines of the poem create a sad and sentimental picture, while the last two lines show a vivid and lively one, which is contrasted and interlaced with each other. It also shows us the change of emotions of the poet.

First and foremost, from the three aspects of beauty, Xu still adopts the end rhyme. The number of words in every sentence varies by only one or two, so from the perspective of form, the whole poem is relatively neat after translation.

Then what matters most is the adoption of the method of “San Hua” in the expression of the beauty in sense. Firstly, the title “清明”was not translated into "Pure Brightness Day" or "the Qingming festival", but "the mourning day" because the poem mainly talks about the scenes and poet's feelings on mourning relatives on this very day. And for target readers, especially foreigners, they do not understand what is the Qingming festival or Pure Brightness Day and what people do on this day. Comparatively speaking, " the mourning day" makes the main idea of the poem clear and it is also in line with the original meaning. Therefore, in this poem, Xu mainly used the method of deepenization. In the first sentence,"a drizzling rain" depicts the features of spring rain which is not thick and fast. "Fall like tears" is not showed in the original work, but it is implicated in the sentence. The falling rain is like mourners' tears on their way to visit their dead loved ones. Xu excavates and expresses the implicit meanings of the original text, which eases the burden to fully understand the poem. Then “路上行人” actually do not "pedestrians" or "travelers", but "mourners". Because on the mourning day, those people were engaged in paying respect to the dead and they hurried on the road due to the rain. Xu translated “欲断魂” into "heart is going to break" which belongs to free translation and expressed the mourner's deep sorrow. In the third line, "wineshop" points out that the poet wants to drink down his sorrow, and "drown his sad hours" makes it clear and touching. In the original text, there is also not the purpose why the poet looks for a wineshop, but Xu's translation reveals everything. It belongs to specification and amplification. The last sentence is the answer to the question before--There is a wineshop mid apricot flowers. If let us translate“杏花村”, it could be "apricot village". But after thinking twice, we will notice that it could not be an apricot village, but a cot hid among the apricot flowers which is more appropriate and beautiful. On the whole, through reading Xu's The Mourning Day, we tapped the implicit meaning of every sentence out. And in this English version, Xu directly expressed the poet's heartfelt sorrow, dis-consolation and gratification. In reading this poem, we sympathize with the poet, mourn with him, and find comfort in the discovery of a wineshop hidden in an apricot flowers.

In conclusion, through the analysis and appreciation of the three poems translated by Xu Yuanchong, we further understand the use of his translation methods ”San Hua” in poetry. In general, equalization and deepenization are used frequently in poetry while generalization is mostly used to deal with allusions and etc.
Generally speaking, to reverse the disadvantages of the target language, we can use the generalization method to make readers understand the text. Striving for the same high quality of translation as the original work, we can use the equalization method to make readers appreciate it. Developing the advantage of translation and make it surpass the original text, we can use the deepenization method to make readers admire it. This is Xu's skopos theory of literary translation.

===Subtitle 4===
The Influence of Xu's Translation Theories
As an expert of translation, Xu Yuanchong forms his own systematic translation theories which are applauded by most people. And these theories are clearly showed in every piece of his work. We have to admit that his translation theories indeed shed new lights on translation and make tremendous contributions to the exchange between Chinese and foreign cultures. His translation work not only let Chinese people enjoy the foreign literary works in a fresh manner, but also present the original beauty of Chinese literature to foreigners. Under the guidance of his specific translation theories, we get a clearer map to translate poetry, novel and etc.
Xu Yuanchong's translation theories “美化之艺术”is combined by extracting one word from predecessors' translation theories. It is based on their experiences and his own translation practice for more than sixty years. He inherited and developed these theories and explained them explicitly. Firstly, He believed that "elegant" no longer means quaint in today's world, but elegance or beauty. Xu said:"According to my own translation practice, I think Yan Fu's 'faithfulness, expressiveness and elegance' can be understood today as 'faithfulness to the original content, smooth translation form and giving play to the linguistic advantages of the translation.' "In my opinion,'faithfulness, expressiveness and elegance' can be understood as 'faithfulness, expressiveness and excellence'. Excellent is to give full play to the advantages of the target language, which is to use the best way of expression of the target language with words of beautiful meaning, sound and form, in other words, 'excellent' is' beautiful '." Secondly, he explains the relationship between science and art, translation words and taste or styles, truth and beauty with simple formulas. Xu says:" Chinese poetry often has multiple meanings with endless aftertaste, while English poetry expresses the literal meaning." Thus, the western science school put forward the theory of "equivalence", "equivalence of function", "equivalence of effect" and literal translation theories. Because the meaning is greater than the words, the Chinese school of art puts forward the theory of free translation and spiritual resemblance, giving play to the advantages of the target language, that is to say, the translator can not only translate all the contents of the original text but also contents are not showed in the original text. Therefore, the formula for literary translation is 1+1>2. Thirdly, he advocates literary translation should create beauty, so he proposes the advantage theory. The translation of cultural allusions is the most difficult. Literal translation cannot preserve beauty even if it can preserve truth. But if we adopt free translation, even if it can be beautiful, it is often hard to avoid distortion. A true translation can make readers comprehend it; a beautiful one can readers enjoy it, and a translation that preserves both truth and beauty will delight the reader. Therefore, the translation of poems should preserve the beauty of the original poems with as little distortion as possible. Since literary translation is an art and literary works are about people, so they have to be fascinating and exciting. If we only pursue truth without paying attention to beauty, it may be not a beautiful work, so the beauty of it is more significant than the truth.

===Conclusion===
Xu is a very confident, talented and prolific translator with strong character and innovative spirits in the translation field. He has a special calling card; in it there are two phrases "over sixty books published in China and aboard,the one and only person translated series of Classical Chinese poetry into English and French." In another calling card reads "without the title of academician, but he excels an academician; translated over one thousand classical Chinese poems to Europe and America". His translation theories and practices gained a wide range of recognition at home and abroad. Reading his translation of Tang poetry is an enjoyment. Nowadays, there are still many translators and translation theorists support his translation theories, particularly three aspects of beauty and the method of “San Hua”. Looking at the translation of Tang poetry in history, Xu Yuanchong's translation makes our eyes shine. The beauty of classical Chinese poetry, which is thought could not be translated, came to life in his writing. Under the guidance of the beauty in form, sound and sense, translators adopt approaches of equalization, generalization and deepenization to pursue their goals of letting readers comprehend, appreciate and even admire their translations.
Although some of his translation theories are still controversial and questioned by some translation staffs, as the saying goes:" There are spots even on the sun", this does neither affect his lofty status in the translation field, nor does it negate his great contribution to the inheritance and dissemination of translation field and culture. Mr. Xu Yuanchong devoted his whole life to the cause of translation and the pursuit of beauty. He spent most of his life summarizing his valuable translation experience and forming his own translation theory system, which is helpful for us to further understand translation and further practice it. His works let us appreciate the local conditions and customs of foreign countries, but also bring foreigners to enjoy the beauty of classical Chinese poetry. In this paper, we studied Xu's mainly translation theories and cited several Tang poems to illustrate his translation methods. Through the analysis of his works, we get a clearer picture on the use of his translation theories, and we also know more about the defects of his translation which casses our reflection. After all, translation theory system can not be completed in one day. It requires us to explore and improve it through trial and error.

===References===
*Chen Youyang(2006). A Study On Xu Yuanchong As A Translator. Fuzhou University.
*Duan Min(2003). A Study On Xu Yuanchong As A Translator. Sichuan University.
*Hu Xiaoyin(2003). On the Translation and Reception of Tang Poetry in Britain and The United States. Sichuan University.
*Wang Peng(2008). A Study of Xu Yuanchong's Poetry Translation Thoughts. China University of Petroleum.
*Xu Xiufeng(2006). On the Aesthetic Transference of Poem Translation (From Chinese to English)––Xu Yuanchong's Thought on Poem Translation. Ocean University of China.
*Zhu Lin(2004). A Study of Xu Yuanchong’s Translation Theories and Practice. Guangxi Normal University.
*Gao Yukun 高玉昆(1994).论唐诗英译[On the English translation of Tang Poetry].国际关系学院学报[Journal of the Institute of International Relations],(4).
*Lu Su, Xu Yuanchong 陆苏,许渊冲(2020).美得窒息的唐诗[Suffocating Tang Poetry].湖北：长江文艺出版社[Hubei:Changjiang Literature and Art Publishing House].
*Su Lin 苏琳(2020).“变通”译唐典音美意深远——从“三化论”角度看唐诗中典故的英译[The Translation of Allusions in Tang Poetry from the Perspective of "San Hua"].四川职业技术学院学报[Journal of Sichuan Vocational and Technical College],30(2):73~77.
*Qian Zhongshu 钱钟书(1981).林纾的翻译[Translation by Lin Shu].北京：商务印书馆出版社[Beijing: The Commercial Press].
*Xu Yuanchong 许渊冲(2016).文学与翻译[Literature and Translation].北京：北京大学出版社[Beijing: Peking University Press].
*Xu Yuanchong 许渊冲(2006).翻译的艺术[The art of translation].北京：亚洲传播出版社[Beijing: Asia Communication Press].

==英语笔译张国浩 Zhang Guohao 202170081606==

<center>'''The Influence of Electronic Language on Chinese Language and Culture in the Internet Age'''</center>

<center>Zhang Guohao</center>

===Abstract===

Language is the most important communication tool and the carrier of culture. Language itself is also a cultural phenomenon. The Chinese nation has a long history of thousands of years, and its language and culture are an indispensable part of Chinese traditional culture. With the development of electronic network and information technology, electronic language is also booming under this background. Electronic language is the product of the times. It has both positive and negative effects on Chinese language and culture. Starting with the analysis of the emergence and characteristics of electronic language, this paper focuses on the positive and negative impact of electronic language on Chinese traditional language and culture in the new media era, and further puts forward a series of measures to protect Chinese traditional language and culture.

===Key words===

New media; Electronic language; Language culture

===Introduction===

With the development of current information technology and network technology, a large number of electronic languages, also known as network languages, have appeared on the Internet. And they have increasingly penetrated into people’s daily life with the development of the Internet. Electronic languages reflect the current hot social issues, and have the characteristics of simplicity. With the increase of electronic languages, it is bound to have a certain impact on Chinese traditional language and culture. Electronic languages have both positive and negative effects on Chinese traditional language and culture. While expanding the vocabulary of modern Chinese, some vulgar and malicious electronic languages are eroding the traditional Chinese language and culture. How to make electronic language and Chinese traditional language and culture coexist harmoniously in the new media era is a topic that is worth studying and discussing. This paper will introduce the background of electronic languages, the characteristics of electronic languages and the impact of electronic languages on Chinese traditional language and culture, and explore measures to protect Chinese traditional culture in the new media era.

===The Electronic Language in the New Media Era===

'''1.1. The Emergence of Electronic Language in the New Media Era'''

After three technological revolutions, the new media era has finally arrived. With the rapid development of the Internet, the momentum of new media in people’s lives is also growing. And the electronic language that followed became one of the most important parts of it. Today, under the circumstance of the new media era, electronic language has developed with the development of the network. The continuous development of society has made the traditional language unable to meet people’s spiritual needs. People are now facing a colorful language world on the computer screen. While lamenting people’s strong adaptability, we have to say that this is the result of the transformation of the media. The media carrier has to decide the trend of culture. When we look at the characteristics of electronic language in the era of fresh media, it is not difficult for us to have such results.

'''1.2. The Definition of the Electronic Language'''

Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on. It was born in the electronic media and developed with the popularity of the network. Electronic language is participated by the public and can not be separated from the carrier of electronic media. It passes between the instructors of electronic media. Compared with the traditional language, there is no classical version of the electronic language because the electronic media has only appeared for a few decades. Therefore, the grammar and word order of it do not seem to conform to the traditional language norms.

'''1.3. The Characteristics of Electronic Language in the New Media Era'''

1.3.1 Electronic language is the combination of written language and spoken language.

According to different media, language can be divided into written language and spoken language. Written language has very restrictive grammar rules, a standard punctuation system and a very strong logic. With no intuitive feeling like spoken language, written language has a deterrent to people and help to form people’s rigorous rational thinking. However, spoken language is very flexible, and is not stick to one pattern. It has the characteristics of immediacy and transience, which makes spoken language not as easy to store and popularize as written language. There is a confrontation between written language and spoken language inadvertently, and this confrontation has been eased in today’s new media era. Electronic language acts as such a bridge. Electronic language not only has the expression environment of written language, but also has an obvious tendency of colloquialism. Whether it is online chat, forum post or mobile phone short message, it is not completely the same as the traditional expression. Since electronic language requires users to type what they want to say on the screen, and requires the receiver to browse the information through their eyes, so it has obvious characteristics of written style in this way. However, it is also influenced by the colloquial style, so there is obvious mutual penetration from both sides. Generally speaking, electronic language is a kind of colloquial written language, which fully integrates the two types to serve its own needs.

1.3.2 Electronic language is pictorial and vivid.

In the new media era, the recipients of electronic media can not learn the rich body language of the communicator from the electronic screen, but they can get some information by some vivid dynamic expressions sent by the messenger. People often use various symbols on the keyboard to create a lot of very vivid and humorous facial expressions to express their body language at that time, in which there is almost no difference between happiness and sadness in real life. These electronic languages are very interesting on the electronic screen and often make people laugh, which instantly shorten the distance between the information sender and the receiver. Through these vivid cartoon symbols which are different from words, the communicator penetrates parts of the meaning he wants to convey, making the virtual electronic media full of reality and immediacy. As a result, many relaxing and humorous electronic languages have emerged. They are not only humorous, but also easy to understand. This kind of relaxing and humorous style caters to the needs of modern people to relax their body and mind, so that the tense young generation can speak freely. When facing a boring topic, they can also discuss with each other in a humorous tone, which undoubtedly brings an unparalleled happy experience to the users of new media.

1.3.3 The expression of electronic language depends on the context and its meaning is vague.

Context refers to the speech environment, which includes both linguistic factors and non-linguistic factors. Contextual factors such as context, time, space, situation, object, and discourse premise, are all related to the use of words. Context includes specific time, specific space, specific scenes, specific characters and so on. Electronic context mainly refers to some new media such as electronic bulletin boards and e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Electronic context mainly refers to some new media such as e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Therefore, electronic language is bound to be misunderstood without a big context. The context of electronic language has always been open, allowing everyone to join freely. Different media will produce different languages. Electronic language is generated with the arrival of the new media era and will develop with the continuous development of the new media. The characteristics of electronic language are inseparable from the convenience of transmission, fast replication and various presentations of new media. Therefore, with the continuous development of new media, the era of electronic language has come.

1.3.4 Electronic language is highly dependent on network information technology media.

The intelligent terminals represented by computer, electronic information technology and Internet technology have created electronic language and the unique paralanguage of electronic language such as emoji, which not only makes up for the lack of body language such as expressions, movements and moods of language users, but also makes electronic language form multiple forms of expression, such as structured, semi-structured and unstructured forms. At the same time, network information technology has built a platform for the use of electronic languages, such as various forums, QQ groups, micro-blogs, We Chat and other virtual spaces, so that spoken or written languages and other different types of languages and dialects communicate with each other. Without the network information technology, the electronic language cannot exist. This technology also breaks the limitation of traditional spoken and written language, making the electronic language a super language without the limitation of time, space and region. Therefore, the modern information technology with computer, communication, network and electronic technology as the core is the material basis for the generation and use of electronic language.

===The Influence of Electronic Language on Chinese Traditional Language Culture===

The new media era is a multilingual society, so there is an obvious language-mixing phenomenon in electronic language. In electronic language, there is no absolute authority and anyone can speak freely, which makes the electronic language have a strong vitality and a huge impact on the traditional Chinese language and culture.

'''2.1 The Positive Influence'''

2.1.1 It can promote the development of Chinese language and culture

The electronic language has a variety of changes. Its simple, fast and vivid features not only meet the needs of the new media era, but also give people a fresh and lively feeling. Any language in the world is constantly updated and developed in use. Language innovation is an extremely important factor and a manifestation of vitality of a language. Without innovation, there is no development of language. Denying innovation and resisting innovation are equal to killing the vitality of a language. With the continuous development of electronic language, a large number of new words have emerged and the number of loanwords have increased. And with the extensive use of lettered words and numerals, Chinese vocabulary has been greatly enriched and developed. In the aspect of pronunciation, we use some homophonies to replace some Chinese words. For example, now we use “酱紫”to replace “这样子”. In terms of grammar, electronic language does not adhere to traditional grammar, which enriches and transforms the grammar system, and distorts conventions. In addition, electronic language has accelerated the demise of some old words. This series of characteristics makes the Chinese language fully nourished and breaks the barriers to knowledge. As a result, Chinese language spreads rapidly. At the same time, it adds the fun and color of people’s lives, making cultural exchanges unprecedentedly free and prosperous.

2.1.2 It can promote the transformation of reading methods.

In the era of new media, electronic language is constantly innovating and changing. With the continuous progress of technology, people’s reading methods are changing. Today’s electronic media reading is basically replaced by “hypertext” and “hyperlink”. People can read everything related to the text by clicking on links one by one, which is much more convenient than before. This way also satisfies people’s psychology of seeking knowledge and curiosity. In addition, with the popularization of high-tech products such as mobile phones and tablet PCs, mobile reading begins to prevail. People’s reading is no longer confined to a place. Through these new media, people can easily read anytime and anywhere, which generally improves the reading efficiency.

'''2.2 The Negative Influence'''

Firstly, the emergence of electronic language may make Chinese traditional language and culture be in danger of dating. Chinese traditional language and culture is the summary of experience of the continuous development of the Chinese nation. And it is also the national spirit gradually condensed in the long-term social practice. The language culture full of the fine tradition of the Chinese nation not only provided great power for the development of the Chinese nation in the past, but also will play an important role in the future of the Chinese nation. However, in today’s new media era, young students are the main users of electronic media. Since they are particularly sensitive to new things and electronic language has the characteristics of convenience, rapidity and image, it has a fatal attraction for young students who like to pursue new things. While they continue to create electronic language, they also continue to penetrate electronic language into their own lives, which makes Chinese traditional language and culture more and more distant from them. If things go on like this, it will inevitably lead to the dating of Chinese traditional language and culture, and make the future of traditional language and culture bleak.

Secondly, the trend of vulgarization of some electronic language has produced cultural garbage. In the new media era, electronic language constantly pursues individuality and innovation. However, there are also some shortcomings. The virtuality and obscurity of the network make it easy for both sides of the dialogue to relax or even unbridled in their communication, which results in the uncivilized electronic language. Some electronic languages abuse other people or even carry out personal attacks with rude words and dirty words, losing the minimum civilization. And information surplus will produce information garbage, making people consume more time to filter the information. This is a manifestation of information pollution. All these phenomena will seriously affect people’s normal life order. Nowadays, the vulgarization trend of electronic language is becoming more and more serious, and it begins to penetrate into the traditional media. If it is not guided as soon as possible, our traditional language and culture will be destroyed.

Thirdly, electronic language does not conform to grammatical norms. Since electronic language does not conform to grammatical norms and blindly pursues novelty and convenience, it violates Chinese language norms in many ways. Some typos and words and phrases with misinterpreted meanings will have a negative impact on the education of Chinese language. Although these nondescript languages are novel, their damages to Chinese or other languages are obvious. Adolescents are extremely sensitive groups and are willing to accept new things. However, their ability to generally distinguish between right and wrong is not strong. Therefore, in the process of learning, it is easy for them to be affected by these electronic languages, which makes them easy to develop bad habits of not using standard words and standard expressions. As a result, it is detrimental to the learning of traditional language and culture, and their appreciation ability will be decreased.

Fourthly, electronic language can form linguistic generation gap and cause communication difficulties. Electronic language represents a certain type of language and culture in the new media era, and has been widely used in the new media era. It continues to penetrate into the life of the young generation pursuing fashion. In this specific new media language environment, electronic language has its significance. However, when it leaves this specific environment, it will no longer become a tool for people to communicate with each other. If people do not understand it, it will hinder normal communication between people. In terms of the communication effect of a language, this generation gap misleads the communication between the communicator and the receiver, and has a great impact on the traditional language and culture. Many electronic languages cause generation gap between parents and children. Due to the non-standard use of language, parents often don’t know what their children mean. The gap between the two generations is hard to erase. Now, coupled with the novel electronic language, the generation gap between the two generations is bound to deepen and the communication between them will become more and more difficult.

===The Measures to Protect Chinese Traditional Language and Culture===

First of all, the government should introduce relevant laws and regulations to regulate electronic language. The support of the government is like a beacon, which can guide Chinese traditional language and culture to a bright road. In this aspect, China has also made some attempts, such as popularizing Mandarin Chinese nationwide, which is not only the necessary measures to facilitate communication, but also can effectively regulate the Chinese language so as to promote effective dissemination of Chinese language and culture. In addition, in the aspect of creating a good new media environment, the role of national laws and regulations cannot be replaced by other methods. This kind of compelling force can guide the development of electronic language towards the right path. While standardizing itself, it will also promote the traditional language and culture and electronic language to absorb the advantages of each other, learn from each other, and finally achieve a win-win situation.

Secondly, the government should popularize the education of Chinese traditional language and culture. Education has always been the foundation of people’s livelihood. Improving education has no harm to the spread of traditional language and culture. In order to strengthen the proportion of Chinese studies and standardized the use of Chinese language in compulsory education, teachers should pay attention to the cultivation of students’ traditional language accomplishment. High school period can’t pay more attention to the science education but to grasp both sides. In addition, it is necessary to popularize quality education and improve the overall quality of students from all aspects in order to lay a good foundation for entering university. In the university curriculum, we should add the curriculum of Chinese traditional language and culture and the comparative appreciation of Chinese language and culture with other countries, especially in western countries. In this way, we can increase students’ appreciation ability, so that the majority of students can feel the charm of Chinese traditional language and culture, deepen the understanding of Chinese traditional language and culture in the process of comparison with other countries, and make more efforts to protect our traditional language and culture. Many attempts have been made in folk such as the rise of modern private school. Although there is a conflict with the law of compulsory education, but its spirit of exploration should be affirmed and supported.

Thirdly, we need greater efforts to enhance the development of traditional media. Under the pressure of new media, traditional media has a trend of decline. Newspapers are in danger of dying out in the new media age; book sales are also declining year by year. Although journals have entered the digital age, the cultural capacity of them is not high and the transmission channel is not unblocked. If all of these are not solved in time, the consequences will be serious. Moreover, traditional media is an excellent way to spread traditional language and culture. Therefore, it is necessary to continuously explore the new advantages of traditional media and learn advantages from other media, so as to make the traditional language and culture flourish in the traditional media.

Fourthly, The media should hold more programs about traditional culture. The traditional language and culture should be consciously or unconsciously integrated into the program, so that the audience can get spiritual sublimation. Traditional cultural programs may have low viewing rate due to their monotony and slow rhythms. This requires the media director to find a way. In this regard, CCTV’s Lecture Room is a good example. It integrates traditional language and culture into the program in a novel and unique way. It not only spreads Chinese traditional language and culture to the audience, but also leads to an active atmosphere and increase the attraction. As a result, the viewing rate will naturally be higher. In recent years, the film about traditional language and culture is also very popular. The film Confucius and Sacrifice have achieved good earnings. These films show the charm of Chinese traditional style to the world, and have a great significance for the inheritance and development of traditional language and culture. The media therefore has a long way to go in this regard.

Fifthly, we need to speed up the construction of websites that can inherit Chinese traditional language and culture. In the new media era, with the rapid development of science and technology, electronic language is also sweeping the whole network. How to open up a new world of Chinese traditional language and culture in this new field has attracted more and more attention. From my perspective, it is very important for us to adhere to our own principles in the virtual network. In order to protect the traditional language and culture and resist the invasion of electronic language, we must first make the traditional language itself become strong. It is a good choice to run a website that can inherit Chinese traditional language and culture. The website we want is not a pile of meaningless electronic language, but to carry forward the development of Chinese traditional language and culture. This is a spirit that needs to be firmly observed. There is no doubt that if all of these are truly achieved, it will be of great significance to the standardization of language.

===Inheritance and Innovation of Chinese Traditional Language and Culture through New Media Means===

The above measures are general protection measures for Chinese traditional language and culture. With the continuous development of the new media era and the continuous innovation of science and technology, we need to learn to use the means of new media to protect and inherit Chinese traditional language and culture. This part takes cultural TV programs as an example to discuss how to use TV cultural programs to effectively inherit traditional language and culture.

In recent years, TV cultural programs have become increasingly popular. Under this background, many TV media have participated in the creation of traditional cultural TV programs. The explosive and hot broadcast of TV cultural programs can not only give full play to the communication function of TV programs, but also realize the role of TV program communication in promoting traditional language and cultural spirit. Therefore, how to maintain the original intention of traditional cultural heritage of TV cultural programs is the main purpose of its development. At the same time, through the continuous optimization of the content of the program, it realizes the effective dissemination of traditional language and culture, and thus plays a good role in promoting the construction of a harmonious society.

The first thing is to innovate the program content so as to inherit our excellent language and culture. As a kind of mass media, TV has its own artistic variability. This is mainly because television provides a lot of communication channels, and also shows the diversity of traditional cultural content in the process of inheriting traditional language and culture. Therefore, television should be the main channel for inheriting traditional language and culture. When disseminating knowledge, TV cultural programs also choose higher quality traditional language and culture and realize the inheritance of high-quality traditional language and culture through the continuous innovation of communication forms, thus showing the vitality of traditional language and culture and the responsibility of mainstream media. As early as 2016, the State Administration of Radio made a new deployment for the innovation of radio and television programs. At the same time, it also guided radio and television stations at all levels to actively do a good job in building cultural self-confidence, encouraged radio and television stations to actively innovate, so as to lay a good foundation for the prosperity and development of socialism and high-quality traditional language and cultural programs. It also constantly promotes the effective integration between television media and traditional language and culture. The innovation and creation of excellent TV cultural programs can not only realize the inheritance of traditional language and culture, but also guide young people to actively undertake the main task of inheriting traditional language and culture, which provides reliable support for traditional culture education. At the same time, young people can be striven to be the promoter of traditional language and culture. Students have a certain leading ability and exemplary role. They can not only show the cultural confidence of contemporary young people through the program and enhance the educational function of traditional culture, but also accumulate traditional language and culture in the process of continuous exploration.

With the advent of the information age, there has been an ideological collision between various cultures, which has also affected the traditional consumption concept. With the rapid development of modern information technology, television, as an important cultural industry, plays an important role in cultural communication and transmission of Chinese cultural ideas. Under the background of cultural infiltration, China should actively publicize traditional language and culture and take it as the key content of its soft power development. Cultural strength is an important factor for the prosperity of a nation. TV cultural programs should actively enhance their comprehensive strength in the process of its development. At present, the diversified world culture is booming and the culture of various countries are infiltrating each other. The national cultural soft power plays a major role in the world development competition. TV media should actively undertake the task of spreading the traditional language and culture of the Chinese nation, and take TV cultural programs as the main way to enhance the development of national cultural soft power. In addition, the content of traditional language and culture spread by TV media should also have unique characteristics and highlight the advantages of traditional culture. Only by strengthening the dissemination of traditional language and culture can we lay a good foundation for the future development of China. At the same time, we can also spread the high-quality traditional cultural spirit for young people so that 5000 years of brilliant treasures can be inherited and carried forward. As an important carrier of socialist core values, television should realize the arduous task of carrying forward traditional culture, accelerate the popularization and inheritance of Chinese traditional language and culture and guide teenagers to correctly understand excellent traditional language and culture so as to realize the effective penetration of socialist core values. Although the Internet has had a great impact on the media, and also made the cultural communication have a new direction and mode, the television communication media still occupy a dominant position and should take the responsibility of the mainstream media. Therefore, TV cultural programs should take full use of the advantages of TV media, choose innovative communication methods, fully display the characteristics of traditional language and culture through the optimization of communication content. With the assistance of Internet media, we can inherit and carry forward traditional language and culture, and promote the sustainable development of traditional language and culture in the era of new media.

On the other hand, cultural TV programs should enrich their forms and highlight characteristics of Chinese language and culture. TV cultural programs should actively use the interactive mode of all media. Many TV cultural programs in their production process are integrated with variety show forms to attract audience attention. In addition to the traditional on-site interaction, TV programs should also actively mobilize the participation and interaction of off-site audience in the new media era. In addition, we should also actively enrich the stage manifestation of TV programs. Through the effective application of modern data technology, high-tech elements can be added to the broadcast of TV programs, so that the audience can be immersive and close the distance between traditional language and culture and them. Especially with the continuous improvement of people’s aesthetic level, the design of TV cultural programs should actively innovate the stage design, show the charm of cultural programs under the support of high-tech forces, and build a dynamic artistic space.

At the same time, in the new information age, the mainstream TV media should actively take full advantages of new media, increase the dissemination of traditional language and culture through media integration, improve the national cultural soft power, and shoulder the arduous task of inheriting culture. In addition, we should also actively create original program content with our own characteristics. Under the influence of traditional language and culture, we should increase the communication effect through the form of media integration, so that the influence of traditional language and culture can be fully displayed.

===Conclusion===

In a word, Chinese language and culture has a long history, which has made great contributions to the progress of human civilization. The inheritance of traditional Chinese language and culture needs our continuous efforts. In the new media era, the electronic language is characterized by humor and vague context, which makes it a double-edged sword. Therefore, it will also have an impact on the traditional language and culture in the process of its development, which has both positive and negative sides. This requires the state and society to actively guide the electronic language. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language. It is believed that electronic language can coexist peacefully with traditional language and culture and develop together through continuous efforts of all parties in the near future.

===Reference===

*Cheng Liang, Yan Fuping. 程亮，颜复萍. (2010). 新媒体时代传统文化的传播特征与对策研究 [Research on the Communication Characteristics and Countermeasures of Traditional Culture in the New Media Era]. ''中华文化'' Chinese Culture (04):118-121.
*Cao Xue. 曹雪. (2008). ''电子传播时代的媒介复古'' [Media Retro in the Era of Electronic Communication]. Linfin: Shanxi Normal University 山西师范大学.
*Feng Wei. 冯薇. (2012). ''试析网络语言对现代汉语的冲击与影响'' [On the Impact of Network Language on Modern Chinese]. Guangzhou: South China Business College, Guangdong University of Foreign Studies. 广东外贸大学南国商学院.
*Huang Xiaoqin, Huang Huang. 黄小琴，黄璜. (2011). 中国传统文化传播的绿色传播策略 [Green Communication Strategy of Chinese Traditional Culture Communication]. ''新闻与传播研究'' Journalism & Communication (11): 14-15.
*Luo Yingxia. 罗英侠. (2007). ''论网络语言对汉语言文化的影响'' [The Influence of Network Language on Chinese Language and Culture]. Luoyang: Henan University of Science and Technology 河南科技大学.
*Xu Miaomiao. 许苗苗. (2009).电子语言: 创新结构与跨界应用 [Electronic Language : Innovative Structure and Cross-Border Applications]. ''文艺研究'' Literature and Art Studies (10).
*Zhu Qinghe. 朱清河. (2011). 跨文化传播视角下中国传统文化智慧 [Chinese Traditional Cultural Wisdom from the Perspective of Intercultural Communication]. ''陕西师范大学学报'' Journal of Shaanxi Normal University (03):143-151.

==英语笔译张姣玲 Zhang Jiaoling 202170081607==
<center>'''The comparison of the translations of Li Bai’s poem Changgan Xing(Ezra.Pound's Version and Xu Yuanchong's)'''</center>

<center>Zhang Jiaoling</center>

===Abstract===

As one of the representatives of Traditional Chinese culture, poetry and its English translation are favored by literati. Li Bai's masterpiece Changgan Xing has been translated by many Chinese and foreign scholars. This paper makes a comparative study of Ezra Pound's and Xu Yuanchong's translations under the guidance of functional equivalence theory, and finally points out the translation steps that should be followed when translating poems under the guidance of this theory.

===Key words===

Comparison; ChangGanXing; Ezra Pound; Xu Yuanchong; Functional Equivalence

===Introduction===

As a literary genre, poetry is rich in thoughts, emotions and imagination, with refined language and beautiful rhyme, and particularly strong imagery. The translation of poetry not only requires accurate reflection of the original content and its imagery, but also requires the translation to be consistent with the original in form and style. When it comes to Chinese poetry, especially Romantic poetry, one can easily associate it with the Poet Immortal Li Bai. He wrote more than 1000 poems throughout his life, which occupy an important position in the development of Chinese classical poetry. His poems is wild and unrestrained, dashing and bold, thus leaving a deep impression on readers. Li Bai's life was unusual in that he revered freedom, loathed the worldly officialdom, and lived his own life. His romantic life provided material for his poetry, and he left many masterpieces in the history of Chinese poetry. It is noteworthy that it was his rich life experiences that had a profound influence on his poetic creation. The poem Changgan Xing is a household Yuefu poem written by Li Bai. The whole poem is written in the form of a merchant woman living in Changganli self-talking, recalling her loving past with her husband and expressing her undying love for her husband in another country. The poem mainly describes the merchant woman’s memory of her and her husband’s innocent childhood, then their wonderful married life, and the protagonist’s endless missing of for her husband after his departure.

Xu Yuanchong is a professor at Peking University and a renowned translator. He has been engaged in literary translation for more than 60 years, and his achievements are so high that he was awarded the Aurora Borealis Prize for Outstanding Translation of Literature in 2014, one of the highest awards in the international translation community. He has been publishing his translations since 1956, and his major works include The Songs of Chu, Three Hundred Tang Poems, and Three Hundred Song Lyrics. Mr. Xu Yuanchong's translation works have promoted the exchange between Chinese and Western cultures and brought outstanding Chinese literary works to the world, especially his translations of classical Chinese poems. In addition, he put forward a series of translation theories, which enriched the traditional Chinese translation theory and promoted the development of translation studies. Mr. Xu Yuanchong's translation theory is mainly based on his "Three Beauties" principle, which holds that "the beauty of meaning means that translated poems should touch the reader's heart as much as the original poems do; while the beauty of sound is that they should have pleasant rhythm as the original poems have; and the beauty of form means that the translated ones should maintain the form of the original poem as much as possible.” Mr. Xu once talked about the relationship between the "Three Beauties" in his article on translating poems: "the beauty of meaning" is the most important, "the beauty of sound" the second, and "the beauty of form" is even less important. (Xu Yuanchong, 1979).

Ezra Pound (1885-1972), a leading representative of 20th century imagist poetry, was also a major founder of British and American modernist poetry. Both a poet and a translator, Pound translated many Confucian classics as well as classical Chinese poems. In 1915, Pound published his English translation of an ancient Chinese poetry anthology, Cathay, which was immediately received by Western society as "one of the best ten or so American poems of the 20th century”. Jeff Twitchell says, "Before Pound, China had no literature worthy of her name popular in English-speaking countries." (Jeff Twitchell, 1992) Pound's idea of poetry creation greatly influenced his idea of translation. Pound advocated translation without emphasizing fidelity to the meaning of the original text; what he sought was to reproduce the details and imagery of the original text in the translation. Imagery is the soul of the poetry translation, without which the translation of poetry would be meaningless.

This paper takes Li Bai's Changgan Xing as the object of study and compares and analyzes Pound's translation “TheRiver-Merchant’s Wife: a Letter” and Xu Yuanchong's translation “Ballad of a Trader’s Wife” under the perspective of Eugene Nida’s functional equivalence theory.

===Methods and Theories===

The term "dynamic equivalence" was first proposed by Eugene Nida in his 1964 book Toward A Science of Translating, emphasizing that "the relationship between receptor and messageIn such a translation (dynamic equivalent translation) one is not so concerned with matching the receptor-language message should be substantially the same as that existed between the original receptors and the message"(1964:159). In The Theory and Practice of Translation, Nida proposed that "Translating consists in reproducing in the receptor language the closest natural equivalence of the source-language message, first in terms of meaning and secondly in terms of style." (Nida & Taber 1982: 74). By the end of the 1980s, Nida replaced "dynamic equivalence" with "functional equivalence" in order to emphasize the concept of "function" and to avoid the misunderstandings of "dynamics" by some people, emphasizing that translation is a form of communication focused on reproducing the original language. Functional equivalence requires "not only the equivalence of the content of the message, but also, as far as possible, the equivalence of the form.” Nida clearly states that "the closest natural equivalence" is used to reproduce the original message. In the early 1990s, "functional equivalence" was further divided into two categories including the maximal level of equivalence and the minimal level of equivalence; the former is defined as “The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did" , which is the highest level pursued by the translation, while the latter is stated as “The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it”.(Nida 1995:224;1993:118) The highest level of functional equivalence is an ideal state, which is rarely achieved in texts other than those with little aesthetic value of factual information. The lowest level of functional equivalence is more realistic, and any translation below this level is unacceptable (Nida, 1993: 118). A good translation always lies somewhere between the two levels (Nida, 1995). The theory of "functional equivalence" is flexible, and there is considerable diversity between the highest and lowest levels. Compared with other translation theories that focus on a single theoretical criterion, the "functional equivalence theory" allows for diversity in the translation process. Translators have more autonomy to "deal with some of the problems of variability in different texts, of significant differences between readers, and of differences in the use of translation for research, for publicity, for pleasure, etc." (Nida, 1996: 114).

===On the level of word===

First, from the translation of the title, Xu Yuanchong translated it as "Ballad of a Trader's Wife", while Pound translated it as "The River-merchant's Wife: A Letter". Both of them are translated by understanding the whole poem, rather than simply translating it as "Changgan Xing". This is because the whole poem is mainly about the woman's longing for her husband through the description of various imagery. Such a translation is also closely related to the context in which the poem was composed. In the middle and lower reaches of the Yangtze River and the Han River valley, business was flourishing back then, and cities were prosperous with frequent trade contacts, and merchants were running their businesses from region to region. The wives of merchants had to wait and miss their husbands at home. Xu Yuanchong's and Pound's translations are all appropriate in this respect.

Every word in Changgan Xing is carefully chosen as it describes the merchant wife's longing for her husband. As words are the smallest unit in poetry, they are nevertheless the first step in translating poetry. In the first six sentences of this poem, Li Bai described the growth of two children, depicting the happy childhood of a boy and a girl playing merrily, leaving readers a good memory of the protagonist and her husband, and creating a pair of innocent and lively children images.

妾发初覆额，折花门前剧。
郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: While my hair was still cut straight across my forehead：
I played about the front gate：pulling flowers.
You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people：without dislike or suspicion.

Xu Yuanchong’s version: My forehead barely covered by my hair：
outdoors I plucked and played with flowers fair.
On hobby horse you came upon the scene：
around the well we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Analyzing the translation of these sentences, it is easy for us to see that Pound only tried to express the meaning of the original poem, while Xu tried to make the translation more like the original poem. In the first line, Pound chose the word "still" to emphasize the time and state, making the translation closer to the original. As for the understanding of the two’s playground, Pound translated it literally as "front-gate", while Xu chose "outdoors", the same thing was meant with their different choice of words. Then concerning the understanding and illustrating of an ancient toy made of bamboo, Pound chose "bamboo stilts," which is less faithful but easier for foreigners to understand, while Xu chose the word "hobby horse," which is easy to understand for the Chinese, but not so easy for foreigners. The word "bed" in modern times has a different meaning than it does in ancient times, so Pound chose "seat", while Xu chose "well" according to his understanding. In the last sentence, Li Bai described the friendship between two children, and Pound chose "two small people" to indicate their childhood, while Xu's "children twain" is a further explanation, which is more faithful to the original poem as it shows the happy sporting and innocent friendship between the boy and the girl.

These two lines delicately depict the shyness and sweetness of the newly married.

十四为君妇，羞颜未尝开。
低头向暗壁，千唤不一回。

Pound’s version: When I was fourteen: I married my master.
I never laughed: and I was shy.
I lowered my head and looked at the wall.
I had never looked back at one thousand calls.

Xu Yuanchong’s version: When I was fourteen：I became his bride.
I often turned my shyness face to the side.
I hung my head on the dark wall：
and I refused to answer his call.

In the translation of these two sentences, Pound chose to use "my master" to explain the meaning of "husband" to expresses the wife's respect and obedience to her husband, which is very appropriate for the time. Compared with Xu's choice of "he", "my master" seemed to be more appropriate. As for Pound's choice of the phrase "one thousand calls", it clearly showed the girl's shyness and her respect for her husband. Taking the fact that the girl is only 14 years old, and they live in a feudal society, so Pound's choice of words was very appropriate. As for Xu's choice of "dark wall", he actually misunderstood the original meaning, so his choice of words seemed to be inferior.

The following two sentences indicate the wife’s worries about her husband's business trip, showing her genuine concern and love for her husband, creating a heavier atmosphere for the reader.

十六君远行，瞿塘滟滪堆。
五月不可触，猿声天上哀。

Pound’s version: At sixteen years old：you leave：
you go to a distant place：in a swirling whirlpool.
You’ve been away for five months.
The monkey made a sad voice on the top of his head.

Xu Yuanchong’s version: When I was sixteen years old： he went far away：
through three Canyon covered with rock gray.
In the ship crash： when the spring flood was rising：
The crying in Gibbons seemed to come from the sky.

Pound chose to translate these two verses indirectly. The biggest problem with his translation is the misunderstanding of five months. In the original poem, Li Bai meant May. While Xu wisely skipped the time marker and used only phrases to express the time.

门前迟行迹，一一生绿苔。
苔深不能扫，落叶秋风早。
八月蝴蝶来，双飞西园草。
感此伤妾心，坐愁红颜老。

Pound’s version: You’ve dragged your feet when you go out.
Now：the moss are green：
different moss：too deep to clear them!
In autumn the leaves fall early in the wind.
The pairs of butterflies have turned yellow on
the lawn of the Western Garden in August.
They hurt me. I’m getting old.

Xu Yuanchong’s version: Now the green moss in front of our door are slight;
his footprints：hidden：can no longer be seen.
The moss cannot be washed away：the dense leaves will grow：
and when the wind blows： the leaves will fall early.
The yellow butterflies in the autumn will pass two on the
grass on the west side of the garden.
The scene would break my heart：
and I was afraid to sit alone：
and my cheeks would fade.

In these next four lines, in Li Bai's description, the protagonist was touched by the scene she saw and then fell into a constant state of anxiety. The description of the scene gives the reader an immersive experience as well. Pound's translation of these four lines also created a more vivid picture than Xu's. In order to show worry and fear, Pound chose the word "hurt" to imply the double meaning, referring to both psychological and physical injuries. The protagonist's mourning showed her helplessness as a feudal woman. Xu's choosing of "cheeks" and “fade” was even better, because women's cheeks are like roses which only shine their beauty in youth, while fading indicated her growth and fear of growing old.

===On the level of sentence===

In the translation process, when the translator has decided and embellished the words to be used, they must also take the entire sentence pattern into account.

郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people: without dislike or suspicion.

Xu Yuanchong’s version: On hobby horse you came upon the scene：
around the wall we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Through analysis, it is easy to see that Pound used different syntactic techniques, such as "playing" to express two actions at the same time, while Xu only used simple past tense to imply the time, which is slightly inferior.

The last two lines of the poem express the protagonist's hope and deep love for her husband, and her wishes of him coming home early and promises that she will meet him not far from home.

早晚下三巴，预将书报家。
相迎不道远，直至长风沙。

Pound’s version: If you are coming down through the narrows of the river Kiang：
please let me know beforehand.
And I will come out to meet you as far as Cho-fu-sa.

Xu Yuanchong’s version: O when are you to leave the western land?
Do not forget to tell me beforehand!
I’ll walk to meet you and would not call it far
Even to go to Long Wind Beach where you are.

By comparing the two translations, Pound used "If you are coming down" to express the wife’s longing for her husband; Xu chose direct words to show what the wife wanted to say to her husband, creating a more vivid scene. For readers, Xu's inner monologue is more touching than Pound's.

===On the level of culture===

1.Translation of Idioms and Allusions. There are two idioms and two allusions in the overall content of Changgan Xing. They are "青梅竹马（Qingmei Zhuma）" and "两小无猜（Liangxiaowucai）"; "抱柱信（Baozhuxin）" and "望夫台（Wangfutai）". The cultural interpretation of "Qingmei Zhuma": Qingmei refers to green plum; Zhuma is a bamboo pole played by children as a symbol of horse. It describes the innocence and playfulness of young children. Now it refers to the intimacy between men and women when they were young. Pound obviously failed to interpret the cultural meaning of it, and mistook it for the boy stepping on bamboo stilts and playing horse, which is a ridiculous mistranslation in Chinese readers’ eyes, but fills English readers with a surprised and fresh feeling and making them impressed on how romantic the young boys and girls in ancient China were! This unintentionally became his punch line. Professor Xu Yuanchong's translation cleverly replaces the "Zhuma" in the original poem with the "hobby horse", a common childhood game tool, so that English readers can easily appreciate the true meaning of the innocent game of boys and girls in the original poem according to their own life experience. This not only preserves the real intention of the original poem, but also makes it easy to be understood by English readers. It may seem to be unfaithful to the original poem in the surface, but in fact it is an evocative interpretation of the classical Chinese culture contained. In addition, "around the well" is even more impressive, vividly depicting the happy scene of boys and girls chasing and playing in the courtyard and by the well.

The allusion "Baozhuxin" is from Zhuangzi, a man named Weisheng made an appointment with a woman to met under a bridge, Weisheng arrived first, and suddenly the water rose, he kept his promise and refused to leave, so as a result, he was drowned while holding to the pillar of the bridge. Since then, people used "Baozhuxin" as a metaphor for keeping faith with love. "Wangfu tai" is taken from the Southern Dynasty Liu Yiqing’s The Book of Ghost Stories: there is a stone resembling a woman in Beishan, Yangxin County, Wuchang; Legend has it that: in the past, there is a chaste woman, her husband joined the army to save their country, so the woman together with their weak son bid farewell to him to this mountain, standing there lookout and turned into a stone, therefore got the name of “Wangfutai”. This is an allusion used to describe a wife missing her husband, or to describe the utmost sincerity. These two lines mainly express the wishes of the merchant woman to her husband, who should remember the vow he made on that day and never leave her and adhere to their love, so that the merchant woman will never have to climb up the mountain to look at her husband’s direction. These two lines contain both the wife to her husband's entrust as well as her hidden worry for him. Pound failed to translate these two allusions, and delivered a weak transformation in the cultural dimension. Xu Yuanchong's translation adopted the domesticating method, as he avoided a direct translation of the allusions but managed to convey the spirit of the allusions: that is men should keep their promises.

2.Translation of rhetorical devices. Figures of speech are used to express the true feelings of the protagonist. Therefore, translators must pay attention to the translation of those devices. The use of simile, metaphor, personification and other figures of speech are prominent features of Li Bai's poems. Both Pound and Xu Yuanchong are flexible in dealing with exaggeration in this poem, which can also reflect the translator's skills in choosing appropriate sentence patterns in translation. The change of words or sentence patterns will affect the feeling of translation, so the artistic conception of the original poem must be taken into consideration by the translator.

===Conclusion===

This paper mainly studies two translated versions of Changgan Xing. One is Pound's interpretation and translation. , because Pound himself knew little about Chinese as well as about Chinese historical background. Pound, American poet and literary critic, is a representative of the magist. He is one of the leading figures of postsymbolism. From the study of the Chinese classical poetry and the Japanese haiku, he put forward the theory of “poetic imagery”, and made great contributions to the study of Eastern and Western poetry. Pound does not understand Chinese. The Chinese classical poetry can be translated because he got Earnest Fenollosa’s private manuscript. Pound chooses 19 Chinese classical poems and translates them into English, including Li Bai’s Changgan Xing. Pound’s translation of Li Bai’s works has already been the second interpretation, which can cause misunderstanding to the poem. Although Pound’s translated poem has enjoyed a high popularity in the western literature and is named as one of the excellent translations, it has some obvious mistakes, which deserve our attention and discussion. The other translator is Xu Yuanchong, an expert in translation of the classical poetry, who has published numbers of works of translation and translation theories. As a representative of the imagist movement, Pound is very fond of imagist poetry which especially emphasizes the hazy beauty. Therefore, the interpretation of concrete words is not taken very seriously. In order to pursue the creation of hazy beauty, Pound’s interpretation of Li Bai’s poetry damages the poetic mood and rhythmic beauty of the original poem. And Pound himself also explained that he was eager to pursue the image of the poem and did not blindly interpret the meaning of poem but to grasp more details and compress the author’s thoughts and feelings. As the first translator to win the Aurora Borealis Prize for Outstanding Translation of Literature, one of the highest awards in the international translation community, he has made great contributions to Chinese literary translation. In his translation career, Mr. Xu not only translated a large number of Chinese and Western cultural classics, but also wrote several books on translation theory. In particular, his views of "Three Beauties" (beauty of sound, meaning and form) and "Three Perfections" (equalization, simplification and deepening) in poetry translation have been gradually accepted by the translation community. In particular, his principle of "Three Beauties" has been regarded by many scholars as the criterion for judging poetry translation. In Xu Yuanchong’s opinion, “to preserve the beauty in sense we may use the method of ‘paraphrase’ (free or liberal translation); to preserve the beauty in sound, we may use the method of ‘imitation’ (or adaptation); to preserve the beauty in form, we may use the method of ‘metaphrase’ (or literal
translation)” (2006: 131).
Different translations have distinctive styles. In the process of translation, complete equivalence with the original is not advocated. The translator's aim is to satisfy the needs of readers, not to cater to them. Choosing how to translate the original text is actually a balancing process between the target language and the source language. When translators try to translate some works, they can be guided by functional equivalence in order to be faithful to the original text. For functional equivalence to be achieved in poetry translation, the following steps need to be followed: The first step is to understand not only the literal meaning of the original text, but also the implied meaning of it, so as to achieve functional equivalence in poetry translation. The second step is to use one’s own words to express, to translate the allusion properly, and also to choose the appropriate rhetoric. Only in this way can the translation be easier to understand for its receiver.

===Terms and Expressions===
Changgan Xing; TheRiver-Merchant’s Wife: a Letter; Ballad of a Trader’s Wife: 《长干行》

"Three Beauties" (beauty of sound, meaning and form)：“三美”（音美，意美，形美）

"Three Perfections" (equalization, simplification and deepening)：“三化”（等化，浅化，深化）

functional equivalence theory：功能对等理论

Eugene Nida：尤金·奈达

Toward A Science of Translating：《翻译科学探索》

The Theory and Practice of Translation：《翻译理论与实践》

Zhuangzi：《庄子》

The Book of Ghost Stories：《幽明录》

the Aurora Borealis Prize for Outstanding Translation of Literature：“北极光”杰出文学翻译奖

poetic imagery: 诗学意象

===Questions===

1.What are the main methods adopted by Pound in his translation?

2.What are the main methods adopted by Xu Yuanchong in his translation?

3.Since there are many mistranslations in Pound’s version of Chang Gan Xing, is it ok for us to draw the conclusion that Pound’s translation is inferior than Xu’s?

4.Is it possible for us to find the best or a precisly equivalent translation of the original poem?

===Answers===

1.Free translation and domestication.

2.A combination of literal translation and free translation, domestication and foreignization.

3.No, it’s not. Different translations have distinctive styles. Pound’s translation has its own merits and demerits and so has Xu’s translation.

4.It is almost impoosible for us to find a precisly equivalent translation since there are always something untranslatable because of the cultural differences, and it is also difficult for us to choose the best version that everyone agrees on as each has one’s own standards.

===References===

*Eugene A. Nida. Toward a Science ofTranslating. Leiden: Brill, 1964.

*Eugene A. Nida. and C. Taber. The Theory and Practice of Translating. Leiden: Brill,1969.

*Wu Min Hua. Xu Yuanchong as a Touchstone for Ezra Pound’s Translation of Tang Poetry[J]. Comparative Literature: East & West,2021,5(1).

*Li Xingyuan,李幸原.生态翻译学视域下《长干行》三个英译本比较研究[A Comparative Study of Three English Versions of Changgan Xing from the Perspective of Ecological Transliteration][J].海外英语[Overseas English],2020(08):22-24.

*Zhang Yuan,张媛.《长干行》两个英译本的对比赏析[A Contrastive Appreciation of Two English Versions of Changgan Xing][J].延安职业技术学院学报[Journal of Yan 'an Vocational and Technical College],2019,33(06):57-60+73.DOI:10.13775/j.cnki.cn61-1472/g4.2019.06.018.

*Xu Yifan,许昳凡.目的论视角下《长干行》文化意象翻译研究——以埃兹拉·庞德译本为例[A Study on the Cultural Image Translation of Changgan Xing from the Perspective of Skopos Theory: A Case Study of Ezra Pound's Translation][J].作家天地[For Writers],2019(19):32-33.

*Liao qian, Luo Dijiang, 廖倩,罗迪江.许渊冲“三美”翻译原则和庞德创意翻译理论对比研究——以李白《长干行》为例[A Contrastive Study of Xu Yuanchong's "Three Beauties" Translation Principle and Pound's Creative Translation Theory -- A Case Study of Li Bai's Changgan Xing][J].牡丹江大学学报[Journal of Mudanjiang University],2018,27(12):103-105.DOI:10.15907/j.cnki.23-1450.2018.12.029.

*Tian Dong,Xiaolin Lin. Attitude in Appraisal Theory: A Comparative Analysis of English Versions of Changgan Xing[J]. International Journal of Comparative Literature and Translation Studies,2018,6(1).

*He Chunfang, Shi Huihui, 何春芳,石慧慧.论庞德对李白《长干行》的文化误译[On Pound's Cultural Mistranslation of Li Bai's Changgan Xing][J].湖北经济学院学报(人文社会科学版)[Journal of Hubei University of Economics:Humanities and Social Sciences][,2017,14(08):110-113.

*Zhang Qiaoping, 张巧平.诗学视域下李白《长干行》两英译本的对比研究——以庞德、许渊冲译本为例[A Comparative Study of the Two English Versions of Changgan Xing by Li Bai from the Perspective of Poetics -- A Case Study of the Two Versions by Pound and Xu Yuanchong][J].发展[The Development],2017(01):89-90.

*Han Lizhao, 韩立钊.《长干行》三个英译本的对比解读[A Contrastive Interpretation of the Three English Versions of Changgan Xing][J].西藏民族学院学报(哲学社会科学版)[Journal of Xizang Minzu University(Philosophy and Social Sciences Edition)],2015,36(03):138-141.

*Yang Meiru, 杨梅如.解析《长干行》的两个英译文本——基于许渊冲的“文化竞赛论”[An Analysis of Two English Translations of Changgan Xing -- Based on Xu Yuanchong's "Cultural Competition Theory"][J].考试周刊[Kao Shi Zhou Kan],2014(78):8-10.

*Wang Shanmei, 王善美. 功能对等视角下许渊冲与庞德英译中国古典诗歌之比较研究[A Comparative Study of Xu Yuanchong's and Pound's English Translations of Classical Chinese Poetry from the Perspective of Functional Equivalence][D].青岛大学[Qingdao University],2014.

20220630 Culture 9

2022-07-07T15:35:55Z

Zhang Guohao: /* 英语笔译张国浩 Zhang Guohao 202170081606 */

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译颜媛 Yan Yuan 202170081603==

<center>'''Interpreting Chinese and Western Language Humor'''</center>

<center>Yan Yuan</center>

===Abstract===
Intercultural communication is currently a cutting-edge topic in the international academic community.Intercultural communication refers to communication activities between people with different cultural backgrounds.It studies the relationship between cultural and communication,with a particular focus on the cultural factors that interfere with communication.At present, English language teaching in universities competence, and neglects social meaning.Multidisciplinary by nature,the study of humor has been approached from various perspectives,such as philosophy ,psychology,linguistics ,literature,sociology and anthropology.However,the previous research ,though somewhat comprehensive ,hasn't yet generated systematic and thus convincing theories concerning the definition,the working mechanism of humor as well as its linguistic expressions.The study of humor language in different cultures is not only limited to the linguistic level,but also rises to the level of intercultural communication. The ultimate goal of cultural communication and integration is the overall development of human beings and their harmonious coexistence.
===Key words===
Chinese and western humor ;Cross-cultural communication; Humor;Culture
===Introduction===
Humor has always been an interesting topic in both ancient and modern times, and many people have studied the phenomenon from different perspectives,such as aesthetics,sociology ,psychology,linguistics,philosophy,etc.Theories about humor can also be described as a lot.Humor can be expressed in many different ways, in a dramatic way(comedy),in a pictorial way(cartoons), in a musical way, etc.Language, as a vehicle for the expression of human thought and ideas, is of course an important way and factor in constituting humor, and thus linguistic humor.Language is a complex system in which everything is based on relationships, and there is no such thing as a system of language system.The complexity of the language system is ,of course , a resource that can often used for humorous language. Humorous language is generated under certain conditions through certain linguistic elements and their relationships with each other.The current research on humor language in China is very one-sided and inadequate,mostly staying in the area of rhetorical patterns, words and the techniques of humor language formation,without a comprehensive, three-dimensional and explanatory study.In view of this,in this thesis we are interested in finding out the connection between the elements of the language system and their interrelationships with humor,i.e.,what forms or relationships are humorous?What forms or relationships are humorous and under what circumstances?In this way, we break the one-sidedness of the original research and think further about the study of humor language, deepen our understanding of the "surface structure"and "deep structure"of humor language , and identify some patterns between linguistic forms and humor language. It is an important reference for us to further understand the mechanism of humor language production and even the application of humor language.
===Literature Review===
As we are known,language is the most important communication tool for human being , though which people known the world and perceive it."The act of language , though not the whole state of human existence,is the basic state of human existence."(Qian Guanlian.2005) Heidegger said,"Man dwells in the dwelling built by language.Humor is also distinguishing feature of human beings (Nash,1985).Human beings mostly express humor through language, which can be divided into two man categories:oral language and written language. The spoken language is the basis of the written language, and the written language is only the expression of the spoken language.Therefore,humor can also be related to language through these two media,and the specific product is the general form of oral language humor,such as comedy ,skits and so on(Of course,they also include the body language of certain performs).Another form of expression is to record humorous scenes or stories in the form of words to make readers laugh,such as humorous stories in newspaper and magazines, humorous novels and so on. From this point of view, we can say that the relationship between language and humor is that language is the basis and the tool og humor.And without language, there would be no humor(except silent behavioral humor). This close relationship can be seen from the research history of language and humor.The research on the relationship between them has a long history and rich achievements.The study of humor has traditionally been concentrated and dominated within the disciplines of psychology,philosophy,and sociology. It was not until the the late 1970s that the study of humor in linguistics took its place and gained attention.Traditional linguistic studies of humor point out that humorous elements in oral jokes are more stable and explicit in phonological terms than in written jokes, and that linguistic humor arises when the first level of linguistic symbols(i.e., phonological or written units) moves to the second level(i.e.,the communicative system).This has led to a number of research approaches , such as ambiguity, which is prevalent in many humorous texts and can be divided into phonological-lexical ambiguity, semantic-pragmatic ambiguity,etc.
Since the publication of the first academic book titled ''Humor Linguistics'' in China, the study of humor linguistics in China has been exciting.Chinese scholars have studied humorous language,especially Chinese humor language, from perspectives.Mr.Hu Fanzhu's ''Humor Linguistics'' is the first linguistic book in China that systematically studies humor.Starting from a review of the history of laugh and the theory of "laugh" in China and the west.The book proposes that humor is a spiritual phenomenon with three levels,namely:humor in the broad sense is comparable to ludicrousness, humor in the normal sense refers to ludicrousness that appeals to reason,and the humor in the narrow sense specifically refers to humor that contains intellectual lightning and generosity, a sense of spirituality and life.The book was published and had a great impact on the academic world.A large number of similar books have been published, but it can be said that they basically do not deviate from the technical lines and research ideas outlined by Mr. Hu in that book.
According to incomplete statistics , in terms of published papers, we searched for 22 articles on the Chinese journals with the keywords "humor language"; 5 articles with the keyword " language humor";15 articles with the keywords "speech humor" ;9187 articles were searched by the keyword "humor". In terms of published monographs , in addition to "Humor linguistics", subsequent monographs on humor language or humor include Gua Tian's ''Humor Language Operations''
'',Gong Weicai's ''Humor Language Art'', Li Junhua's ''Humor Language'',Sun Shaozhen's ''Fundamentals of Humor'' and ''Fifty Methods of Humor Defense'' and so on. In terms of outstanding master's theses on China Journal Online, there are 15 master's theses with humor language as the topic or keywords.

===The Definition of Humor and Humor Language===
What is “humor”？There are many different answers to this question.People have interpreted and explained humor form a variety of perspectives, each with their own insights.However , it is a little known fact that the word “金数”is a foreign word in Chinese .The word “humor” in Chinese can be traced back to more than 200 years ago to the“Where silence and quietude reign” in “Longing for Changsha , The Nine Elegies，The Song of Chu”.Wang Yi notes，“Confucius is very good.As poetry written,“Confucius interpreted the word "默" as silence.The mountains in the south of the Yangtze River are high and the wild is very clean, and there is no voice in the desert.”In ''Shih Chi'',“默”（silence) is protrayed as "墨"(Chinese ink).It can be seen that at that time,the word "默"（humor） meant silence.Since then,the basic meaning of "默"(Humor) has not changed for more than 2,000 years.For example, Li Bai,a great romantic poet in Tang Dynasty,wrote in Song of River in Farewell to Cen zhengjun ,"And yet it is worrying to live alone in such a lonely place ."If we consider the meaning of the word "humor", that is , as an aesthetic category we want to study.It is an exotic and a foreign transliteration word in Chinese.In the last century,Mr.Lin Yutang was transliterated from English "Humor" .The reason why Mr.Lin transliterates "幽默" with the word "humor" is to consider their implied meaning(or instant impression meaning) and morpheme association color.Therefore, we can say that humorous words are both transliterated words and free translated words.Since then,the word "幽默" in modern Chinese has gradually deviated from its original meaning， that is , it no longer means "silent", but points to the meaning of humor.According to the related works published in China, there are definitions of humor as follows:
Humorous style is one of the key rhetoric style in Chinese......Humor is the use of language conditions to show the humorous interest in things.It is characterized by a light-heartedness and cheerfulness.It is based on " truth"
Humor is a rhetorical technique.
Humor is a spiritual phenomenon. This spiritual phenomenon has a broad sense,a common sense. There are three levels of humor.Humor in the broad sense is comparable to ridiculousness ,such as comic, witty ,gagging,funny......Humor in the narrow sense refers to the layer of spiritual phenomenon that is most aesthetically valuable.Humor in the conventional sense is a mental phenomenon that has an appeal to the "ridiculousness " of reason.
From the above definition of humor,we ca know how complicated its definition is, different viewpoint are different.This in itself shows its complexity as an object of study , and we can simplify it without getting entangled in the complexity of the definition.Based on the above viewpoints, we are more inclined to Hu Fanzhu's understanding and definition of humor in his monograph ''Humor Linguistic'' , that is , humor is a spiritual phenomenon, which can be divided into three levels:broad sense,ordinary sense and narrow sense.To sum up, in this paper we can define humor as laughable, that is, having the effect of inducing laughter.
'''1.1.1 The definition of humor language'''

From the above definition of humor, we know that humor is a multidisciplinary research topic,people from philosophy,psychology,sociology,linguistics,literature and many other aspects of the phenomenon of humor research.This thesis mainly studies the humor language, and the so-called humor language is "created by the use of various elements of language variation humor.In dynamic terms, it is the atmosphere in which language is used,or a style of language;in static terms, it is a fuzzy collection of linguistic variants, or an aggregation of ways.”（Hu,1987)From this definition,we can draw the following two conclusions:firstly,humor language must be related to linguistic symbols,humor that dose not use linguistic symbols as a carrier is not within the scope of this study,such as Ding Cong's cartoons and mime act are certainly funny, but they are not humor language; second , humor language should be created by the variation of linguistic elements, not just by the narration of language of language symbols.It is necessary to distinguish between humor expressed in language and humor created by language:in verbal humor, language is used only as a tool , and laughter is triggered by the recorded situation, while language itself may not be funny.From this definition, we can see that in fact, the humor expressed by language is to describe a ridiculous situation or thing by using language as a tool to express idea,so that the listener or reader will find the situation or thing ridiculous after appreciating it.It's like expressing a humorous situation in the form of a cartoon,except one is in the form of a cartoon and the other is in the form of language.Like this one:
午餐会发言人匆忙赶来赴约会，当他坐在第一张桌子前时，他突然意识到了他忘了带他的假牙。
The luncheon speaker was in a hurry to get his appointment,and as he sat down at the first table,he suddenly realized he had forgotten his dentures.
他转向他旁边位男士，说:“我忘了带假牙了。”
He turns to the man to hin and says，“I forgot my dentures.”
男士说:“没问题。”说着他手伸进口袋里并取出一-副假牙。“试试这一副。”他说。
The man said, “No problem.”He reaches into his pocket and takes out a pair of dentures.“Try this one.”He said.
发言人试了试。“太松，”他说。
“They’re too loose,”the speaker said.
男士接着说:“我还有一副....试试。 ”
The man said, “I have another pair...Try it .”
发言人试了试。说:“太紧。”
The speaker tries them on, says, “Too tight.”
男士根本不感到惊讶，他接着说:“我还有一副.....试试。”
Not surprised at all, the man continued, “I have another pair of ...Try them on.”
发言人说:“正合适。”他带着这副假牙吃饭，讲话。
“It fits.”The spokesman said.He ate and spoke with this pair of dentures.
午餐会结束后，发言人走过来，向那位帮助他的男上道谢。“我想谢谢您给我的帮助。您的办公室在哪里?我正在找一位好牙医。”
After the luncheon,the speaker came up to the man who had helped him and thanked him. “I wanted to thank you for the help you gave me.Where is your office?I am looking for a good dentist.”
男士回答:“我不是牙医。我是本地的殡仪员。”
The man replied, “I’m not a dentist.I’m a local mortician.”

=== Chinese and Western Humor ===
'''4.1 The Evolution of Chinese and Western Humor'''

Humor comes from the Latin word “humor”, a physiological term referring to “ fluids”.According to Hippocrates, the person’s health and different type of temperament depends on the human body fluid mixing proportion.Therefore, the original meaning of “humor” in human body is the proportion of four kinds of fluids to the people’s minds,constitution,the tendency of the habit,temperament,or the heart,mood.The first person to introduce humor into literature was the famous English dramatist Ben Jonson.At the end of the 17th century , humor took on its present meaning;in the 18th century , there were literary writers and artists who used humor as a creative style.When the form of humor spread around the world ,it became a symbol of wisdom.Mr.Lin Yutang introduced humor into China for the first time.Although humor is a foreign word,humor culture is as old as the history of the Chinese nation.Ancient Chinese contains profound philosophy and ingenious speculation.The contemporary works of Mr.Lin Yutang and Mr.Qian Zhongshu. They are full of humorous wisdom.

'''4.2 The Difference of Chinese and Western Humor'''

The difference between Chinese and Western humor is mainly due to the differences in many aspects of Chinese and western culture and way of thinking.Chinese people shaped typical introverted mainland farming culture,which aims to seek peace and contentment,forming a capitalist type of divergent thinking,ritualistic and subtle;while the Westerners are the outward-looking marine commercial culture that seeks only wealth and strength,forming a linear thinking of brush sketch type,spontaneous and open.The formation of Chinese and Western humor is the projection of their own cultures.In such a cultural atmosphere characterized by self-sufficient, China has formed a thinking pattern of “still letting,not fighting,still retreating, not moving”.Because of this cultural mindset , an intuitive way of thinking has been formed. This mindset and way of thinking determines that humor is expressed in an intuitive way.For example, in order to explain a person’s stupidity, we should focus on describing how stupid he is when he speaks and does things,so that people can draw an intuitive conclusion immediately after reading it.However,western culture belongs to extroverted marine culture and advocates innovation. Therefore westerners have formed a speculative thinking that emphasizes creation.In humor,it is embodied in the use of restrained statements, so that people can understand humor itself by understanding litotes.The differences between Chinese and Western humor are very obvious in many aspects, but people’s love and recognition of humor are surprisingly similar.
===The Different Characteristics of Chinese and Western Humor ===
Generally speaking,humor is not only the carrier of culture, but also the embodiment of different national cultures.The differences between the two cultures lead to the different interpretation and application of humor in China and West.Under the nourishment of different cultural systems,Chinese and Western humor has formed the characteristics of different cultural styles.Western humor is so profound that there is a saying that can explain this situation to the fullest,that is, “you can not be a good person, but you can never be a person who does not know humor.Western humor is mostly humor full of wisdom,subtle and thoughtful.They know how to self-deprecating,good at using self-deprecating methods to show humor , and at the same time trying to win each other’s affection.After thousands of years of feudal system in China,people have a strong sense of self-restraint and too many concerns. They prefer to show their perfect selves in communication with others , and it is difficult to laugh at themselves. Therefore , humor is mostly aimed at the third party,which is simple and direct.

'''5.1 The Different Content and Function of Humor'''

Humor is a kind of human aesthetic pursuit, is a reflection of the real life , the first in its theme and content reflects the national unique customs and cultural concept.The traditional Chinese Confucian thoughts influence deeply rooted, people talk about “sex” color changing, therefore, the traditional eastern humor neutral theme is the box.And this kind of theme in western humor but make up a large proportion.The functions of humor can be divided into: negative humor(is critical to life,shortcoming and negative phenomenon to negative),affirmative(to life advantages and positive phenomenon be sure and pure humor(neither contains sure, also does not contain negative,it is just for daily phenomena are abound of appeal reflects).Humor is more purely entertaining in the west,which is formed from the initial state oh humor.However,Chinese humor seems to have a heavier historical mission to serve politics.The traditional cross talk spread to the present, and the satirical jokes are mostly of this kind.Western humor culture is profound, the Russian literary scholar Chekhov said, “Do not know how to joke, is a hopeless person..”What's more, westerners are more open than Chinese, with a large proportion of pure entertainment humor. Therefore, they can have a quiet moment with anyone on any occasion, such as an American joke:A young man went to an old man’s birthday party.When he saw the old man, he sighed, “I’m sorry.I do not know whether I can come to your birthday party next year.”And the old man smiled and said : “Why not? You seem very healthy.”This is typical western humor, they play more of a function of relieving mental stress and establishing a sense of superiority, but also reflects their willingness to share and enjoy life by gathering together.
Due to the differences between Chinese and Western thinking and cultural heritage,there are obvious differences in the expressions of Chinese and Western humor.Chinese humor is typically expressed through the use of language and words, most typically in comedy,where the artist’s mouth borrows from the profound Chinese language to talk about heaven and earth and comment on the past and present.There are many examples of this in Guo Degang’s comedies.Western humor,on the other hand, focuses on action interpretation. The most representative one is the humorist Chaplin,a series of silent movies that brought a lot of joy to the world.And then the later animated blockbuster Cat and Mouse also won the applause the world with its unique American way.

'''5.2The Different Ideologies and Aims'''

An ideology is a set of ideas that constitutes one’s goals,expressions,and actions. An ideology can be through of as a comprehensive vision, as a way of looking at things, as in common sense and several philosophical tendencies, or a set of ideas proposed by the dominant class of a society to all members of this society.Compared with Chinese long history, the history of western countries is comparably short.Take America for example,it is only more 230 years since it was founded . So their awareness doesn’t have much time to develop.Their awareness consists of instant fragments so they are not as passionate about political matters as Chinese citizens.China has a cultural tradition with a five-thousand-year-long history.Chinese people have been influenced by systematic and strong political idea for a long time. Influenced by those ideas and Chinese traditional system,Chinese people show a strong political tendency when dealing with the daily affairs.So the content and characteristics of Chinese humor is influenced a lot by this politic system.
In China, literature works are closely related to education. So humor,as a popular culture, is aimed to satirize people with bad behavior and educate them and make them a good citizen. Although satire is one of the purpose of humor , the main purpose is to develop people’s sense of humor.Because humor is considered to be an important quality in western country,many leaders and scholar with a sense of humor are respected by people.This is because humor adds color to their personal charm and shows their wisdom.

'''5.3 The Different Grasp and Skills of Sense of Propriety'''

Chinese and Western humor has different styles and techniques due to their different cultural traditions and ideas.From the perspective of humor creation,China and Western countries develop in two different directions in the pursuit of implicature. On the macro level, humor in Western countries strives to combine subtlety with condensation and philosophizing, so that there is more room for humorous evocations. As for Chinese humor it is good at mastering the scale of subtlety and clarity.Chinese and Western humor is far less explicit in technique than in content. It is often rooted in the long-standing cultural traditions and psychological qualities of the nation, and is also very subtle and hidden. Chinese humor deliberately pursues consistent and progressive taste, and contains many “baggage” from beginning to end,which makes the audience always have strong interest , from nervous expectation to relaxed satisfaction, and then jump to new expectation and new satisfaction. However, western humor often has only suspense , but due to the requirements of the integrity and coherence of the story , there are many restriction on the use of “burden”.
===The Change and Integration of Chinese and Western Humor===
Cultural differences are neither superior or inferior, but rather compatible,complementary and gentle with world civilization.Various cultures coexist in the midst of exchange and conflict.Exchange and conflict are the driving force of cultural development ;coexistence is the guarantee of cultural integration.Culture autonomy and cultural self-awareness can be the way to dissolve the clash of cultures or civilizations. The future direction of cultural conflicts will be the gradual expansion of the field of human consensus, the gradual reduction of barriers to cultural exchange and integration, and the evolution of a mutually existing multicultural system in the context of globalization. Humor is a symbol of civilization and wisdom, and it brings people of different nationalities in a multicultural system , making people realize the power of humor in communication. It prompts national characteristics, express the historical accumulation of national cultural development, and reflects the appearance and status of the times from a unique perspective and in various fields. Humor’s mood and charm can only be understood by the members of the group who share the same culture.Therefore , whether we are analyzing humor techniques or studying its linguistic art, we need to first examine the cultural connotations on which it is based.In this way,humor can be better understood and cross-cultural communication can be successfully realized.The culture of humor reflects the development of the times , the progress of science and the change in social and cultural integration. It can be used from variety of starting points, and through the use of a variety of techniques, it is subtle but not revealing , light-hearted but not subversive, and subtly reflects the splendor of the culture of the times.This is the charm of humor.Humor is the words,actions and expressions that can make people laugh in the process of human communication, which is rich in content and diverse in forms .With the rapid development of information technology , the cost of transportation and communication has been greatly reduced , which makes the whole world more closely connected than ever before, and the humor between China and the West is gradually merging.While Chinese and Western humor merges gradually,we should keep national humor, at the same time, we should broaden our horizons and consider the problem as a whole,so as to keep national humor and boldly admit some commonalities and produce new humor ways.
===Conclusion===
Humor is a linguistic art that permeates every corner of life. It plays an immeasurable role in life with its unique artistic style, full of amusing and intriguing contexts, humor is a symbol of civilization and wisdom, bridging people of different nationalities under a multicultural system, and making people realize the power of humor in communication. Although the differences between Chinese and Western humor are obvious in many aspects, people's love and recognition of humor are surprisingly similar. In today's era of globalization, various cultures coexist in exchange and conflict, and cultures from different regions gain a certain consensus through cross-cultural communication, and Chinese and Western humor are gradually integrating. This cross-cultural integration of Chinese and Western humor is conducive to the successful communication between China and the West, as well as to the harmonious development of the world.
Globalization is an inherent requirement for the development of human society.Human development is in collision and conflict advance,human development is spiraling upward.Cultures from different regions have reached a certain consensus through cross-cultural communication , and human culture needs to be integrated through differences .With the strengthening of the interaction between China and foreign countries will reach an unprecedented level,and cross-cultural study of Chinese and Western humor is conducive to the successful communication between China and the United States, and more conducive to the harmonious development of the world.
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==英语笔译杨心怡 Yang Xinyi 202170081604==
<center>'''Gendering History on Chinese Movie'''</center>

<center>Yang Xinyi</center>

===Abstract===
Since the new period, with the vigorous development of Chinese movies, there have been many excellent movies.And the female image in the movie, it is very compelling.China movie culture is deeply influenced by traditional cultural ideas, and the idea of "male superiority over female inferiority" is deeply rooted.Therefore, the female images created in this period were restricted to a great extent.In this paper, the new era of Chinese women's image in the movie type analysis, on the one hand through the image of women focus on women's development and progress, the other side through the image of women reflect their shortcomings. In the survival of male hegemony of women is difficult to tell their true inner thoughts, women's own right to speak was ruthlessly deprived of, they are always a "second sex" identity in the men behind. the real equality between men and women, In the cultural media platform has not been achieved. I hope that through the analysis of the image of women in the movie, build an equal platform for dialogue between the sexes, so that more exciting images of women appear in front of everyone.
===Key words===
chinese movie； feminism；female character
===Introduction===
The famous French movie artist francois truffaut said: movie is the art of women.This is particularly evident in Chinese movies.In view of the development history of the movies in the new period and even the whole Chinese movies, the female images cannot be ignored in the character gallery of Chinese movies.
It should be noticed that the Chinese movie in the new era is gradually getting rid of the shackles of the original political discourse, turning to the artistic vision and new movie language to shape the image of women.With the opening of social culture and the awakening of gender consciousness, the female images in the new era of the movie presents a diversified trend, which makes the female image with greater charm.The first representative female image in the new period movies is the wife and mother image represented by Feng Qinglan in Xie Jin's Legend of Tianyun Mountain.They like men, also suffered the political disaster of the past, but they can with their own sacrifice to save the suffering of men.Therefore, this kind of female image has the brilliance of "Virgin Mary." In the movies of the "fifth generation directors,” whether it is Zhang Yimou's Red Sorghum, Ju Dou, Qiu Ju's Lawsuit or Chen Kaige's Yellow Earth, the female image is also worthy of praise. Different from Xie Jin, the wife and mother position familiar to critics in the past has been replaced by lover, such as Jiu Er in Red Sorghum. This is the gradual opening up of the cultural environment and economic system has a direct relationship. In the nineties, under the coercion of consumer culture, women who mean more and more heavy consumption, their bodies have become the spectacle of being stared at. Of course, women become the focus of the movie performance of the object is not just the above two reasons. In the feminist movie criticism of the vision, the male gaze for the female body is one of the determinants of movie-like state.（Li,1988:76)All in all, the image of women in the new era of transformation, we can not only see the development trajectory of Chinese movies, the same can also see the Chinese social and cultural and ideological concepts of the rheological process. This is the reason for this study, but also the value of this study.
===Literature Review===
Chinese movie since the birth of a hundred years, there have been a large number of excellent movies, but also created a large number of rich connotation of the role of women, so for these roles of historical research and comparative study has become an academic research entry point.Zhang Xuqing believes that feminist movie is a part of contemporary movie art that must be valued.Feminist movie theory has been distinguished by philosophical concepts such as Marxism, Freudian theory, post-structuralism, etc., which have been popular since the 1970s, and a series of concepts such as "the other" and "deconstruction" originally belong to these theories.Reading was transplanted into feminism.They use these theories for the image of women in the movie and in the ideology of women's consciousness has been criticized, pointed out that women are patriarchal culture and distorted repression one side. These criticism beyond the past simple image analysis and the appearance of social and cultural analysis, is astute.Laura Mulvey's Visual Pleasure and Narrative movie is a classic of this analysis. In the thesis, the most important manifestation of the alienation of women in movies is the materialization of women as carriers of male desires, which, in Mulvey's words, is "women in movies as images and men as bearers of voyeurism."Feminist theory was introduced into Chinese movie criticism since the 1990s.In this process, Yang Yuanying played a more important role.In the context of "feminism and China women's movie," Old time women in ancient China is a history, in which women's consciousness melted away in a male-dominated society and individual families. Yang Yuanying took the movies directed by female directors as the research object, and made a detailed analysis of the narrative characteristics and spiritual structure of female movies.Yang Yuanying believes that female movies are very different from male movies from narrative to internal logic, reflecting women's own emotions, and that "Ghost Love" will become a living fable of feminism.This analysis is very in place, so far scholars for the "ghost" analysis and research did not go beyond this thesis.Xie Xiaoxia believes that women's directors are basically the topics of women's lives, emotions and so on as the subject matter. Although the performance style and narrative techniques vary, but the basic theme can be summed up in three points: Growth, reincarnation and temptation. For example, Xu Jinglei's mental maturity shown in Me and Dad and the maturity of women in emotion and social life experience shown in many works. Samsara is manifested as a change of mother and daughter's fate, that is, the commonality of mother and daughter's fate. Generally speaking, such expressions are historical, showing the influence of times and society on women through the change of mother and daughter's fate. Wu Xiaoli believes in her paper that, With the implementation of the market economy, women directors work in the infiltration of the market and ideological factors are becoming more and more obvious. In other words, that is, the works of the female consciousness gradually reduced, began to compromise and surrender to the patriarchal society. In the past, women write in some works there is still, but in a way that can be male audience and the market access women's movie is struggling in this difficult to move forward.Through the above-mentioned image of women in Chinese movies, we can see that the researchers provide a more fruitful results, they are not tightly satisfied with the theoretical analysis, but also to creative practice and case studies in the form of exposing the existence of the movie text of gender, culture and power differences. As Foucault has pointed out, like the movie also exists in the discourse of the struggle field. On the other hand, these studies also have some shortcomings, which is this article to work on.
=== 1 The diversity of female image===
The new era for the creation of movie art provides a great social and cultural space, with the trend of cultural diversity. The development of female image also presents a diversified trend. In the 17 years of the movie, women are expressed as with the same group of men, so in which their sex is destroyed by mud.The so-called independence, but in fact is wiped to the female consciousness and in another identity into the ideological discourse. After entering the new period, the female body gradually be restored. But as a result of 17 years and the cultural revolution caused by the fracture between traditional and modern, China's female sex there is no way to find out the survival of self-awareness in modern society, so only to the history to find, so inn the early period of the new era, the image of women in the movie is mostly based on the image of his wife, mother and other inclusive, they are full enough to heal and moral expectations of people's desire.With the promotion of market economy and the change of women's economic status change, women’s desires and requirements to be publicized, women for their own positioning also gradually clear. In the eight or nine
ten years of the movie, there are two types of female image is noteworthy, one is the image of independent women, two categories is the image of the lover on behalf of desire. Into the century, the influence of consumerism gradually penetrate. Cosumer characteristics become increasingly apparent, which is the emergence of consumer images of women. As the new era of movie works very much, and the limited space of this article, so can only select some representative works and image.This paper discusses the process and overall context of social change in the new era.

1.1Wife and Mother

At the beginning of the new period, with the rise of scar literature and reflective literature, women were placed in the historical context to write. In the movie, women have the double identity of the strong and the weak. In the narrative discourse of the fourth generation of directors, women and men have experienced the cultural revolution, famine and other political and natural disaster damage, in front of the suffering of the irresistible, their nature is weak, but they also to the selfless and sacrifice aroused men around, from this perspective they are strong. As a result, this
The image is also known as the "Mother of the Wife" image.The appearance of these women not only changed the narrative of integration in the period of seventeen years, but also completed the transcendence of the traditional moral women.The typical representative of this aspect is the Feng Qinglan in the Legend of Tianyun Mountain and Li Xiuzhi in the Wrangler. Xie Jin's 'Legend of Tianyun Mountain' can be regarded as the image of this wife and mother of the movie, because of its work shown women's great tolerance and moral sense, this kind of women is also known as the image of the earth mother.In the day yunshan legend, the hero's identity is down and out scholar, although they were born in a scholarly family, has a very good culture, but the cruelty of political struggle but let them suddenly had nothing.In their down and out, xie jin arranged for a woman to save them. Xie Jin's arrangement, let the emergence of women with a strong sense of mission.In Xie Jin's works, women are not only lovers and wives, but also protectors of men.Their forbearance, strength, tolerance and generosity have established a harbor of expectation for men.Despite the storm or political struggle outside, but when the door was closed at that moment, everything is insignificant, The warmth of family removed everything.In fact, the emergence of this image is actually a male expectations, contains men in frequent complex political struggle after the exhaustion of seeking spiritual comfort and the idea of sustenance.
As we can see, in the day yunshan legend, when Feng Qing Luo Qun take back with a scooter, actually like a mother, accepted his son abandoned by society.And when Luo Qun was political recognition, Feng Qing years old has passed away.Therefore, Xie Jin with his deep lens language constantly shooting Feng Qing When I was young photos, rags vest, small wooden bridge, etc., line sent his praise for Feng Qingwei. Xu Lingjun in The Wrangler, like Luo Qun, is also a political exile.In xiu-zhi li appeared later, Xu Lingjun re-ignited hope for life. Xu Lingjun and Li Xiuzhi married and had children, Li Xiuzhi also Xu Lingjun's life is taken care of meticulously. Li Xiuzhi also has the characteristics of Mother Earth. She is not only diligent in keeping the house, but also dissolves Xu Lingjun's unhappy mood with her gentleness.
At the same time, it should be noted that Li Xiuzhi appears as a positive role in the movie, which also implies the affirmation of a mainstream discourse. Therefore, Li Xiuzhi said,"I have settled the rebellion for him since the day of marriage." After the vindication, Xu Ling has the qualification to inherit the property of his father. But he flatly refused. This is the thought that she has been in Li Xiuzhi's body to find the position of mother and father, so his break with his father is not only a moral break, but also means that the psychological level of break. In addition, there were many similar roles appear. They and men together, as men in different periods of different needs of the materialization, bear different historical functions. In short, in the affirmation of these women, their connotation and value of the image at the same time, need to see their value is based on the men and show her perseverance and suffering is to forgive men and happiness. Obviously, this woman's reversion was revealed. Women were banished to a history. In years later, these images gradually launched the screen, and with the fifth with the rise of acting directors, some new female images began to appear in people's vision.

1.2 Independent Female

In the late nineties, China appeared to work hot and hot to go abroad, a group of women in the era of inspiration get out of your home and find your place in society.They like men, the success of the career as the my value realization scale. At the time of the TV series, this theme is very common, but in the movie such female image is less.In this kind of female image of the movie, a warm to listen to the "sand bird" and huang shu sequence of "ghost" is a typical representative.
Movie sand hired is about the China women's volleyball team's main players sand step due to illness failed to participate First Volleyball International Championship.This is full of ideal sand is not acceptable, so the sand better constantly training hard, hope to be able to take part in the game.Sata was finally allowed to compete and won the silver medal, but she not relegated to this. Still want to try to win the championship. The image of Shahe not only reflects the charm of the individual, but also perfectly combines with the spirit of the times in the 1980s. In the movie, Sha Juan's boyfriend Shen Wei was killed in the process of climbing Mount Everest. Under this blow, Sha Ta chose to cheer up and eventually became the coach of the women's volleyball team.For the sand cuckoo, this choice is not only personal, but also national.In the preface to Huang Shu's Ghost Love, the actress Qiu Yun is also an artistic image worth mentioning. Huang Shuxu in the movie created the actress Qiuyun this independent, spicy, firm actor image.In the movie, Qiu Yun is a career pursuers. Qiu Yun from an early age to learn drama, the purpose is to seek their own self-help. His father did not allow Qiu Yun to learn drama, but was eventually moved by Qiu Yun, personally taught her, so that her career has a good start. Indeed, the movie showed the pressure faced by Qiu Yun, but Huang Shu Xu stressed that this movie focuses on Qiu Yun for their own destiny of the active choice.
For the emergence of independent female images during this period, Dai Jinhua(2000) said,"If we say that in contemporary literary circles, many women writers pursue and create their works of women’s style or become a deliberate, or not to do the women's strategy; In the movie world, the emergence of female style has become a mark of historical progress and a step in the difficult emergence of invisible women. Interestingly, most of their movies share the same cultural and social themes as the male directors of the same generation, but because of the selection of female stories and the unexpected entry and disclosure of female life experiences, they have translated and rewritten them into a female version. "This sentence affirms the efforts of female directors in creation. Pointed out that the previous works of women into the social stage when the neglect of their own gender identity. We admit this period of independent female image reflects the women in the process of entering society, the pressures and obstacles faced, but also concerned about their adherence to their own values. This makes their image three-dimensional up.

===2 Female consciousness in Chinese movie===
After combing the female images in the movies of the new period, the process of female images gradually becoming full is actually the process of female consciousness awakening. As far as the relationship between female consciousness and female image is concerned, the deeper female consciousness is, the fuller female image will be the image of women in the movie in the new era, although different from the past, but both are grown in China culture. However, in the new era, some new values and elements also take on new connotations. The new period movie began to women's self in-depth table.
Now, women's self-reliance, self-esteem and self-respect side was presented in front of the audience. And women are beginning to realize that since reputation and achievement, try to get rid of the influence of patriarchal consciousness, with their own efforts.

2.1 Female Identity Consciousness

In Second Sex, Beauvoir pointed out that women are not naturally occurring, but by social construuction. In the Chinese calendar history, the influence of patriarchy is very long, women in history is far away from the political and cultural center, is suddenly depending on the secondary. In Macro view, the center of the history of discourse is mastered by men, they become history set, women tend to appear in the image of the foil, is absent on the stage of history. At home family environment, the male is also the core of the family and the family, women became a reproductive tools. After her death, women still have no right to speak, as the so-called "husband died from the child."If we want to understand the relationship between men and women, we must discuss the concept of "home."It is well known that the family is made up of men and women, and that the history of the family constitutes the history of the nation and of mankind.In China traditional culture, the family is the foundation of the country and has an equally important position.Home country is regarded as a world expression of the whole and put forward by the power discourse, it is not only the basic form of China traditional social structure, but also the root of China culture and national psychology.In a family, women's identity is generally wife, mother and daughter, which is a kind of orientation of women's identity.Because men struggle outside, when men struggle frustrated, back home, women will assume the role of the soother.And if men are facing the test of life and death, so women are the saviors.From the perspective of this division of labor and role orientation, women were imprisoned in the home and became the victim of the patriarchal system.In the new period of the movie, women also play the role of the savior, but should see the female of this period sex rescuer role is in the context of ideological emancipation, is the identity and status of women are covered after complex.Now under the background of the movie, this rescue directly against the damage caused by the Cultural Revolution, it has distinct characteristics of the times.As the analysis of this article before, as this period of women's salvation is not pure the essence is to return to the traditional, they show is mainly a kind of personal spiritual pursuit and choice.In Legend of Tianyun Mountain, Feng Qingjian's love for Luo Qun comes from her worship of intellectuals, while in Horse Shepherd, Li Xiuzhi’s extreme rescue of Xu Lingjun is also because Xu Lingjun is the person she really likes. Therefore, this kind of salvation can not be simply understood as the virtue of traditional women, because this idea can only appear in the specific context of the new era. Although the two image is art, but certainly at the time China's hundreds of millions of people, must have a large number of women like set feng and xiu-zhi li, and these women in the previous era is difficult to appear. The ultimate significance of the emergence of this image is that in the past, they are not described as a single revolutionary role, but through this identity they have returned to the position of women, to find their own female identity. In other words, that is, as this section emphasizes, save the ideas and consciousness of female identity with the confluence. In Dai Jinhua's words, it is "if we say that women originally did not have their own language, always struggling the control of male culture and language. " If we say,"Hua Mulan type situation," is the modern female common face of gender, self predicament; In order to get out of the predicament of "Hua Mulan," women return to their families and become mothers, wives and daughters, which actually indicates the awakening of women's identity consciousness. Of course, we should see the strategy of this expression.In fact, after the end of the Cultural Revolution, in the continuous development of society, women are considered to be weak by society, and thus they do not have to struggle outside, it should be back to the family Xiangfujiaozi. It is through this description, women from the family to find their own value. As the analysis of this article before, in Xie Jin's movie , as the officer of the heroine eventually return to the family, became the mother and wife, it is also a scratch to save a representation of the fusion of knowledge and female identity consciousness.

2.2 Independent consciousness

The development of the new era has given people to change the reality of expectations and opportunities, so women are increasingly willing to seize this opportunity. So when the background of the whole narrative with society to replace the family, women want to be able to prove that they can because of a place in social affairs and qualified in the family as well as men.For example, in Middle Age, Liu Wenting shoulders the pressure of family and career, not only to face up to the plight of women, but also to safeguard the role of wife and mother.Lu Wenting's image profoundly shows the double confusion faced by women in life and work.In Zhou Xiaowen's "Second Aunt," the significance of the second aunt is that she has been eager to get rid of the influence of male values, and the television has become the most distinctive symbol in the movie.At the same time two aunts also has another identity--the lover of the blind.In the pursuit of mother, family, career identity, the pressure faced by the second aunt is palpable.And the same wavelength of the final outcome, though helpless, but her pursuit is valuable from the new era of the movie as a whole, for the discussion of these issues has become a mainstream in the field of movie.The words.Using art to reflect society has also become the pursuit of some directors.At the same time, women also open beginning for some reflection and analysis of their own.The reflection of women have a very distinct personality, also to have their own skills, to be able to live independently and from the bondage of men, so as to realize the value of self.
For example, in the ghost, autumn non-success in order to escape the fate of women and play men, as the doors, this became a classic metaphor for women to escape. In the 'sand raven', the sand is also faced with career and family dilemma. In addition,Daughter House,Childhood Friends,Youth Festival and other movies, women are faced with the pressure of this dual force, so their struggle also appears to be extremely decisive.In general, this period of women in the process of moving towards society to strengthen self-awareness, self-realization and value has become a driving force for their struggle. Although most of their struggles have experienced great hardships and pain, and most of the struggle is also a failure as the outcome, but their pursuit of the spirit and enthusiasm has never changed. It can be seen that the new era of movie from the original in accordance with the standards of men to express the awakening of women to women's consciousness, body reveal the process of women's pursuit of self-improvement, the expression of women's consciousness in the movie in the new era to a new situation.

===Conclusion===
Before the New Age, the most characteristic feature of the portrayal of women in Chinese cinema was the integration of a single "revolutionary" woman as the classic representative of subjectivity. The single 'revolutionary' image of women became the classic representation of subjectivity. These images embodied the gender consciousness of "gender equality".But in the call of the times for 'equality', women lost their gender identity and became masculine images. These images reflect the existence of a gender consciousness of 'equality between men and women', but in the call of the times for 'equality' women lose their gender identity and become masculine.Since the beginning of the new era, the portrayal of women in Chinese cinema has undergone a historical transformation. The image of women and gender narratives gradually reveal gender. The difference between the sexes gradually emerged in the portrayal of women and gender narratives. The first is the emergence of the 'Madonna' image, which began in the 1930s.The image of the Madonna has a strong sense of relief and salvation, as she uses her body and mind to save men from the suffering of history. The connotation of this giving is not a replication of traditional virtues, but rather an autonomous identification and choice of the object of their giving. They have the autonomy to identify and choose their own objects of giving.After a new period of transformation in the image of women and their consciousness, new gender relations are being constructed and positioned in Chinese cinema, especially with regard to the definition of women, which is entering the world of thought at an unprecedented pace. There is every reason to believe that with the development of the times, the image of women and women in Chinese cinema will certainly make greater progress.
===References===
*Li Ercang(1988).Zhangyimou’s saying.Liaoning:Chunfeng Literature and Art Press,76
*Yangyuanyin(1990).Feminism and Chinese Women's Films: Communication University of Chin Press,23-25
*Dai Jinhua(2000).Chnese Movie Culture(1978-1998):Peking University Press
*Li Bin(2007).Recent research on female-themed films:Movie Art Press,121-123

==英语笔译杨紫微 Yang Ziwei 202170081605==
<center>'''Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theory of "San Hua"'''</center>

<center>Yang Ziwei</center>

===Abstract===
Classical Chinese poetry is a gem of Chinese traditional culture. As for the translation of classical Chinese poetry, Mr. Xu Yuanchong is one of the most influential translator of classical Chinese poetry, and his translated works have been unanimously recognized and highly praised by many people at home and abroad. With more than 60 years of translation experience, he has summed up a set of translation theories of his own, which can be summed up in ten words in Chinese as “美化之艺术，创优似竞赛”. This paper mainly focuses on the analysis of the application and embodiment of the mainly translation theories-- the method of "San Hua" (equalization, deepenization and generalization) in Xu Yuanchong's translation of Tang poetry.

===Key words===
Xu Yuanchong; “San Hua” ; Tang poetry

===Introduction===
For a long time, translation has been playing an important role as one of the means to promote cultural communication and communication. The translation of many literary works has also achieved high achievements, but the translation of poetry has been mediocre, and it is difficult to produce high-quality translations, especially for the translation of ancient Chinese poetry. Mr. Xu Yuanchong, a modern translation master, has been engaged in literary translation for more than 60 years and has translated numerous works. His focuses on the English translation of ancient Chinese poems and has formed the method and theory of poem translation in rhyme form. In translation, he emphasized the subjectivity of the translator, the creativity and artistry of translation, and innovated and developed the translation theories of his predecessors. He believed that the translated works could not only convey the beauty of the original text, but even surpass it. In particular, his translation theory of "the art of beautification" has proved to be successful in the English translation of ancient Chinese poems. This paper focuses on the application of Xu Yuanchong's theory of "San Hua" in the translation of Tang poetry, and analyzes and explores its role and expression effect in the translation of ancient Chinese poetry into English. This thesis consists of four main parts, we will learn a lot about the previous study of translation of Tang poetry, the introduction and application of the method of "San Hua" in the translation of Tang poetry as well as the value and influence of Xu Yuanchong's translation theories. The purpose of the thesis is to search for realizing the beauty in form, sense and sound as well as making readers and translators themselves comprehend, enjoy and take delight in reading translation of Chinese classical poetry.

===Literature Review===
In the past research, people focused on the analysis and exploration of the three aspects of beauty of Xu Yuanchong, therefore, the analysis and research of another theory-- "San Hua" is a field that few people pay attention to. In this thesis, I focus on the analysis and application of the method of "San Hua" in the translation of Tang Poetry. Then in the dissertation of A Study On Xu Yuanchong As A Translator （2006）written by Chen Youyang, he introduce the source and definition of the method of "San Hua" which originates from Qian Zhongshu's "the realm of sublimation". In the Literature and Translation (2016) of Xu Yuanchong, it explains the method of "San Hua" in details and gives some examples to demonstrate its application of equalization（等化）、generalization（浅化） and deepenization（深化）. In addition, it analyzes the relationship between the method of "San Hua" and the three aspects of beauty as well as the "San Zhi". "San Hua" is the method to achieve beauty in sound, sense and form, what's more, it produces the translation works that bring joy and pleasure to readers. Now that my thesis stresses on the analysis of Tang poetry through the method of "San Hua", then I should learn clear about the features and categories of Tang poetry. In the article The Discussion of English Translation of Tang Poetry (1994), Gao Yukun analyzes the characteristics and development of Tang poetry translation and he holds that Chinese classical poetry are translatable. Academic journals of Su Lin and Wang Chengcheng, both of them analyze the significance of the expression of the beauty in sense through the method of "San Hua". Since there are culture–laden words and allusions that are difficult to translate, the proper application of "San Hua" cam help us deal with it well. Then I introduce several Tang poems translated by Xu Yuanchong to illustrate the detailed application and appreciation through the method of "San Hua".
In conclusion, the method of "San Hua” is applied in literary and poem translation frequently and many translators praise it. Although sometimes in order to realize the three aspects of beauty, it causes some disputes in the accuracy and faithfulness of translation works, it makes great contributions to the translation field and spread of Chinese culture. Thus, the thesis will pay more attention to the analysis, application and appreciation of translation of Tang poetry through "San Hua" to get a clearer and deeper understanding of the translation method.

===Methods and Theories===
Research method: Literature analysis.
By reading journal articles data online and entity books such as "beautiful suffocation of tang poetry", the selection of classic poetry translation works explore the analysis theory of "three concrete application as well as the significance of the translation method, to explore the untranslatability phenomenon in ancient Chinese poetry and the translator's clever translation method in Chinese and English is how to build a bridge; At the same time, it studies the value and function of the "three Modernizations" translation theory in translation and cultural transmission.
Theories: "San Hua"--Equalization,deepenization and generalization.

===Subtitle 1===
The Previous Study on Translation of Tang Poetry at Home and Abroad

The Tang dynasty is one of the most prosper dynasties in Chinese history. At that time, the development of Tang poetry has reached the highest level and left Chinese people a large number of valuable assets. Tang poetry possesses a very significant position in Chinese culture.

The ancient poetry of the Tang Dynasty are mainly five–or–seven–character regulated verse（五言或七言诗）. There are also two kinds of modern poetry, one is called quatrains（绝句） and the other is called metrical verse（律诗）. What's more, the quatrains and the metrical verse have five characters and seven characters respectively, so there are basically six basic forms of Tang poetry: five-character ancient style poem, seven-character ancient style poem, five-character quatrains, seven-character quatrains, five-character metrical verse, and seven-character metrical verse. Ancient poetry requires a wide range of rhymes: in a poem, the number of sentences can be more or less, the chapter can be long or short, and the rhyme can be changed. However, modern poetry has strict requirements on rhyme and disciplines of metre: a poem has a limited number of sentences, that is, the quatrains consist of four sentences while the metrical verse of eight sentences. The rhyme schemes or level and oblique tone of the words in each line has a certain regularity, and rhyme cannot be converted. It also requires the middle four lines to be antitheses. The style of ancient poetry is handed down from previous generations, so it is also called gufeng or ancient style. And modern poetry has a strict meter, so some people call it metrical poetry.
The forms and styles of Tang poetry are colorful and innovative. It not only inherited the Han and Wei folk songs, Yuefu tradition, and greatly developed the style of free verse; It not only inherited the five and seven ancient poems of the previous generation, but also developed into a long epic narrative; It not only expanded the use of five-character and seven-character forms, but also created modern poetry with a particularly beautiful and neat style. It pushed the artistic characteristics of the harmony of syllables and the refinement of words to an unprecedented height, and found a most typical form for the ancient lyric poetry, which is still particularly popular with the people. However, due to the strict metrical restrictions in modern poetry, the content of the poem is easily fettered and cannot be created and played freely, which is a great defect brought by its advantages and creates troubles for its translation as well.

It is a hard work to produce high–quality and beautiful translation work of Tang poetry. Since there are not only various themes and styles in Tang poetry, but also allusions, numerals, images, phonetic words, customs, natural scenery, place names and etc. All of these pose greater troubles for translating Tang poetry. Therefore, different translators hold different views in translating Tang poetry and they have their own translation theories.

Since 80s century, there are lots of English versions of Tang poetry, such as Poetry and Prose of Tang and Song, which is translated by Yang Xianyi and Gladys, Xu Zhongjie's New Translations of Two Hundred Tang Poems, Wu Juntao's Translation of Du Fu's Poetry, Xu Yuanchong's New Translation of Three Hundred Tang Poems and Selective Translation of Li Bai's Poems, Zhang Tingchen and Bruce M.Willson's Translation of One Hundred Tang Poems and Weng Xianliang's Translation of Classical Chinese Poetry. In early times, some people thought that poems can not be translated. P.B.Shelly and R.Frost were supporters. Frost said that poetry is what gets lost in translation (Gao,1994). An Austrian philosopher, R. Jakobson believes that poetry is strictly untranslatable (Gao,1994). Although there were such opinions, most people believed that poems are translatable and many translators have explored and formed new translation theories. In addition, E.A. Nida's equivalent effect and functional equivalence theories support that poems can be translated because of language regularity. Among them, some hold to translate poems with English metrical verse, such as Xu Yuanchong and Wu Juntao; while others use free verse on poetry translation, such as Weng Xianliang and Wang Shouyi. Because of intricate features of Tang poetry, translation work is difficult to realize its original beauty in form, sound and sense at the same time, so the former pays much attention to maintain the beauty in form, sound and sense and pursues to realize the combination of sense and form, and the latter emphasizes the importance of sense and seek to reproduce the meaning of the original poem and convey the true feelings of the poet, but sometimes it lost the original beauty of rhyme and sound. As L. Wittgenstein said, "translating from one language to another is doing a ma-thematic task. And translating an emotional poem into another language is like addressing a ma-thematic problem..., which can be solved but lack of a systematic method" (Gao Yukun,1994,22). The French translator, Le Marquis d'Henvey–Saint–Denys also wrote in the preface of his translation work Collection of Tang Poetry in 1862, "Poem translation is taking great risk and it is also hard and painful, because we found that those true beauties lie in the poetry can not be expressed in any foreign language."

No matter what translation theories they use, all of them believe that the translation of poetry is an art. Under the guidance of Yan Fu's translating standards--faithfulness, expressiveness and elegance, they have been trying to achieve the beauty in form, sound and sense. Xu Yuanchong, who has been translating Chinese classical poetry for more than 60 years, made great contributions to the translation field and had remarkable achievements.

===Subtitle 2===
Main Ideas of Xu Yuanchong’s Literature Translation Theory

2.1 An introduction to Xu Yuanchong

Xu Yuanchong was born in Nanchang, the capital city of Jiangxi province in 1921. He graduated from the Department of Foreign Languages of Tsinghua University in 1943. He entered the Institute of Foreign Literature of Tsinghua University in 44 years and then went to Europe to study. After returning to China, he served as a professor of English and French in foreign languages schools in Beijing, Zhangjiakou and Luoyang. He has been a professor of international culture at Peking University since 1983. He has been teaching the course Translation and Appreciation of Ancient Chinese Poetry at Tsinghua University since 1999. Xu is a famous translator in our country and is called the only expert in translating classical Chinese poetry into English and French verse. He has been nominated for the Nobel Prize in Literature. Xu's business card reads "the only person who translates poetry into English and French". He advocated "Dare to be the first in translation studies", and was regarded as a crazy talent in the field of translation. "I used to like to go my own way by myself, I still like to go my own way by myself, and I will continue to like to go my own way by myself." This is the last thing Xu said to everyone.

Xu's 42 works are all translated works, except for a memoir--Remembrance of the Past, and three works on translation theory--The Art of Translation, On Chinese Verse in English Rhyme, and On Literary Translation. These translations can be divided into four categories. One is Chinese-English translation, including 22 titles such as 600 Ancient Chinese Poems, 300 Immortal Chinese Poems, The Book of Songs, Romance of the Western Chamber, and Selected Poems of Mao Zedong. The second is the Chinese translation, which includes 150 Poems of the Tang and Song Dynasties and 100 Selected Lyrics of the Tang and Song Dynasties and so on. The third type is the Chinese-English translation, including Dryden's All for Love, Scott's Quentin Duward and so on. The fourth category is French-Chinese translation, including Hugo's Selected Plays, Stendhal's Red and Black and other eight kinds. Among them, the most striking is that he translated the literary masterpieces of the past 3,000 years into English and French verse and published them one by one, which has initially outlined the development of verse in the history of Chinese literature. It can be called a great feat in the field of translation. Among his works, 300 immortal Chinese poems, published by the British Penguin Publishing Company, is listed in its "Penguin series". Mr. Xu Yuanchong is the first Chinese to publish translated books in this world famous publishing house.

In 2010, Xu Yuanchong was awarded the "Lifetime Achievement Award in Translation Culture" by the Translators Association of China. On August 2, 2014, Xu Yuanchong won the Northern Lights Award for Outstanding Literary Translation, one of the highest awards in the international translation circle. He is the first Asian translator to win this award.

2.2 A Detailed Introduction to the Method of “San Hua”--Equalization, Deepenization and Generalization

As we have mentioned that the beauty of sense is hard to reach, and these measures can help us to improve our translation capability and learn to deal with translation problems in a appropriate manner. These three measures are methodologies of translation. Xu was inspired by Qian Zhongshu's theory of " the realm of sublimation" and came up with the free translation methods.

Equalization aims to achieve the equivalence between the source language and the target language, and it can only be used when the surface meaning and the deep meaning of a poem are the same. It includes word formation, syntactic transfer, affirmation and negation and allusion transplantation, etc. For instance, Xu Yuanchong translates “孤山寺北贾亭西，水面初平云脚低”into " West of Jia Pavilion and north of Lonely Hill, Water brims level with the bank and clouds hang low". The translation of place names is consistent with the original work. This sentence belongs to literal translation and it is easy to understand. Another sentence“树深时见鹿，溪午不闻钟”is translated into " In the thick woods a deer is seen at times, Along the stream I hear no noonday chimes". It also uses the method of equalization and realize the functional equivalence.

Deepenization refers to the fact that when there are differences between English and Chinese in the process of translation, the expression of the source language and the target language is not consistent, it is necessary to complete the unspoken content in the source language in the translation, so that the target reader can understand it. This method mainly includes amplification, creating something out of nothing, splitting translation or adding some content in the translation that is not explicitly stated in the original text but has this meaning. Here are examples of Xu's translation of Tang poems:

(1)白雪却嫌春色晚，故穿庭树作飞花。
But white snow dislikes the late coming vernal breeze,
It plays the parting flowers flying through the trees.

In the translation, the words " dislikes, plays and flying" show us the lovely and brisk white snow with the personification. It expresses the poet's avid expectation for spring with the help of flying snowflakes.

(2)随意春芳歇，王孙自可留。
Though fragrant spring may pass away,
Still here's the place for you to stay.

This translation explicitly convey the deep meaning of the sentence. Although the spring is gone, but the autumn scenery is better. The poet is willing to stay. He likes to return to nature, loves the landscape and advocates quiet and pastoral life. It shows the poet's noble feelings and the pursuit of his ideal life.
In contrast to " deepenization", there are contents involving different cultures in the two languages. Sometimes it is not easy to translate directly, so we need to use a certain method, such as subtraction, to delete the culture-heavy contents in the original text and replace them with more general and understandable contents.

(3)相见时难别亦难，东风无力百花残。
It’s difficult for us to meet and hard to part；
The east wind is too weak to revive flowers dead.

In this translation, it omits the word “百”which has no influence on the meaning expression. In this way, Xu also maintains the beauty in form and sound. What's more, the word "flowers" has involved the meaning of hundreds of flowers. This is what we call subtraction, which is one of the methods of generalization.
Among them, deepenization is the best way to show us the beauty of sense. It is the high standard of literary translation and generally the translation work supersedes the original one. Thus, it is regarded as creation.
In the translation of Tang poetry, we have to be clear that which method we should use in the process of translation to achieve the three aspects of beauty, especially the beauty in sense. The ultimate goal of translation is to produce high–quality translation works which are better than the original ones.

===Subtitle 3===
The Analysis and Appreciation of Xu's Translation of Tang Poetry through the Method of “San Hua”
In this part, we will study Xu Yuanchong's translation methods of “San Hua” deeply and know more about their use in translation of Tang poetry.

3.1 An analysis of Happy Rain on a Spring Night through the Method of “San Hua”

春夜喜雨
（唐）杜甫
好雨知时节，当春乃发生。
随风潜入夜，润物细无声。
野径云俱黑，江船火独明。
晓看红湿处，花重锦官城。

Happy Rain on a Spring Night
Du Fu
Good rain knows its time right,
it will fall when comes spring.
With wind it steals in night;
mute, it wets everything.
Over wild lanes dark cloud spreads;
in boat a lantern looms.
Dawn sees saturated reds;
the town's heavy with blooms(Xu Yuanchong,2020,32).

This poem describes the poet's happy and brisk feelings to see the spring rain. It was written in the spring of 761 (the second year of Shangyuan). After a period of exile, Du Fu finally settled down in Chengdu, Sichuan Province due to the drought in Shaanxi Province and began a relatively stable life in the middle of Sichuan Province. When he wrote this poem, he had been living in a cottage in Chengdu for two years. He personally cultivated, planted vegetables and flowers, and socialized with farmers. He had a deep love for spring rain, so he wrote this beautiful poem describing the rain on a spring night that moistens everything.

Spring rain knows to adapt to the season. When all things germinate and grow, accompanied by the spring breeze, spring rain secretly in time to come at night to nourish all things silently. The country path and the clouds in the sky hide in the darkness, the lights of the fishing boats on the river are particularly bright. Till dawn, I saw that drizzle had moistened red flowers, which made them more charming. And beautiful flowers are full of Jin Guan City.
At first, from the perspective of the beauty in three aspects, this is a five–character metrical poem and every sentence is divided into two parts. The first part includes two syllables and the second part includes three syllables. When translated into English, there are five syllables in each sentence and the first part includes two or three syllables and the second part includes three or two syllables. Moreover, the first and second sentences rhyme and so do the third and fourth sentences in both original and translation works. These show the beauty in form and sound. With regard to the expression of beauty in sense, it is not hard to know that the title and the whole poem basically used equalization(等化) so that it is easy for us to understand. In the first sentence, in order to maintain the end rhyme, Xu reversed the order of words "when spring comes" but translated it into "when comes spring". The words "good rain" express the poet's love to spring rain, which sets the general tone for the poem. And in the second sentence, he used "steals" to describe the falling rain which adopted personification and presented us a lively and dramatic picture. He also reversed words in the sentence of "mute, it wets everything", such kind of inverted sentences also seen in the second and third lines. The clouds are spreading the sky gradually indicates the upcoming of the very rain. And "looms" also reveals the carefulness of Xu's word selection. Because of the sullen weather and distance, the light from a lantern in a boat is weak and flickering due to the wind, so he chose the word "looms". Besides, words like "saturated" and "heavy" are appropriate choices. As for “锦官城”, he just translated it into "the town", which is the use of generalization(浅化) that omitted the explanation to allusion.
As a whole, by means of the “San Hua”, readers can understand the poem without any difficulty and they can also feel the poet’s true feelings. Meanwhile, the choice of words, lengths of sentences and rhymes are pleasing to read and the meaning of the poem as well as the poet's true emotion are showed in the translation work. We can not only feel the poet's excited and surprised mood but also appreciate the musical beauty of the poem through reading it, which means this translation let readers enjoy and love it.

3.2 An analysis of The Sad Zither through the Method of “San Hua”

锦瑟
(唐）李商隐
锦瑟无端五十弦，
一弦一柱思华年。
庄生晓梦迷蝴蝶，
望帝春心托杜鹃。
沧海月明珠有泪，
蓝田日暖玉生烟。
此情可待成追忆，
只是当时已惘然。

The Sad Zither
Li Shangyin
Why should the sad zither have fifty strings?
Each string, each strain evokes but vanished springs:
Dim morning dream to be a butterfly;
Amorous heart poured out in cuckoo’s cry.
In moonlit pearls see tears in mermaid’s eyes;
From sunburnt jade in Blue Field let smoke rise.
Such feeling cannot be recalled again:
It seemed lost even when it was felt then(Xu Yuanchong,2020,124).

It is one of the most significant poems of Li Shangyin. From the title -- the Sad Zither, we can know that the main focus of the poem is "sad".

This poem has been variously annotated. Some people thought it was a mourning work, some thought it was patriotic, and some thought it was deploring with sighs for all his talent, and others thought it was a description of missing the poet's maid Jin Se. But most people agreed with the first idea.
In Xu's translation, most poems use the end rhyme and so does this. From the structure of the poem, we can see that forms of the original and translated works are the same. In regard to the full expression of its meaning, we can analyse it one by one sentence. The first couplet expresses the poet mourns for the lost golden years which we can see from words “思华年”, he translated “华年”into "springs" instead of "golden years" for the beauty of sound by means of generalization. Moreover, as the beginning of a year, spring represents vitality, energy and beauty which is like the most valuable years of people and expresses the poet cherish the golden years greatly. And "vanished springs" uses deepenization which told us that his golden years were lost forever and he was very regretful. Going forward, the second and third sentences include many allusions which is the most difficult task to deal with. The second couplet uses an allusion from Zhuangzi. It says that Zhuangzhou dreamed that he was a butterfly when he woke up from his dream, he found that Zhuangzhou was still there and he did not know where the butterfly was going. The poet took this as a metaphor for the beautiful situation he indulged in when he was young. “望帝春心托杜鹃”comes from a legend that in the late Zhou Dynasty, Shu monarch Du Yu abdicated and retired from public life, but he was unfortunately died. After death, his soul into the cuckoo, crying sadly and moving people's hearts. The poet used the story to convey his hatred and also the ardent miss for his wife. In Xu's translation, he did not translated these allusions directly into "Zhuangsheng" or "the emperor Wang", but omitted the subject. This is the adoption of generalization which avoids complicate and unnecessary explanation of allusions. Then he used the word "dim" actually showed the poet's confusion and melancholy, and "amorous heart" indicated the emperor Wang as well as the poet himself and the word "cry" expressed his sorrow for the vanished golden years and his dead wife directly. In this translation, Xu directly expresses the poet's true feelings which is hid in allusions, it is the method of specification in deepenization. In the third couplet, “沧海月明珠有泪”refers to the tears of mermaids that can turn into pearls. The poet combines the moon beads and tears into a hazy wonderland, expressing a kind of complex feelings of dis-consolation, which includes both the love for its high and clear, and the sadness for its cold and loneliness. And “蓝田日暖玉生烟”refers to the phenomenon that the jade mountain of Blue Field is often illuminated by the sun and the essence of the beautiful jade in it is rising gradually, which is as fine as hair from a distance, but nothing at all from a close look. The poet took advantage of the ideal scenery with high aesthetic meaning to express a kind of regret that can not be close to noble spirits. It is the same as the third allusion. Different from the second couplet, the first half of the third sentence roughly explained what the allusion talked about to readers while the second half used literal translation. If not understand these allusions, it will be hard for us to make it clear that what the poet want to express. Therefore, the proper translation of allusions is really formidable. The last couplet conveys the poet's grief and regrets again but it is much stronger than before. “可待成追忆”was translated into " cannot be recalled again" by Xu Yuanchong, which used negation translation in equalization. In fact, it emphasized that the beautiful days and loved ones were gone for good and it was too late to redeem for him. The word "lost" was tantamount to “惘然”that revealed the inner world of the poet. Xu had not translated“当时”into "when it was felt then" instead of “at that time”, which also belongs to the specification in deepenization, he described the feelings of the poet in details and made it clear to readers.

So from this piece of work, we can get to know that how difficult to deal with allusions properly because of the cultural differences between China and foreign countries. In my opinion, Xu did a really remarkable work. Through his translation, we can not only feel the beauty in form, sound and sense of the Chinese version, but also learn to make full use of the method of “San Hua” to help us understand its main idea and the poet's emotions. Particularly the translation of allusions that eliminates the tedious and unnecessary explanation of them which foreigners can not understand, and maintains the original beauty in form and expresses the important things involved in them as well.

3.3 An analysis of The Mourning Day through the Method of “San Hua”
清明
（唐）杜牧
清明时节雨纷纷，
路上行人欲断魂。
借问酒家何处有，
牧童遥指杏花村。

The Mourning Day
Du Mu
A drizzling rain falls like tears on the Mourning Day；
The mourner' heart is going to break on his way.
Where can a wine shop be found to drown his sad hours?
A cowherd points to a cot' mid apricot flowers(Xu YUanchong,2020,160).

The first line of the poem points to the natural conditions in which the poet is exposed, such as the time and weather. Tomb-sweeping day is one of the big festivals of the tang dynasty on which people will hold family reunion, visit a grave, outing, and attend various activities. Du Mu did not see the sun in the Qingming Festival in Chizhou（池州）, but only drizzle. The second sentence turns from the perspective of objective to the subjective, focusing on the poet's emotional world. He saw passers-by on the road were busy mourning their dead loved ones, and he felt very sad and grieve. In the third sentence, the poet's feelings mingled with scenes. He was very sad when traveled in the rain. The rain wet his clothes and the weather was chilly. Then the poet sought to drown his sorrows in wine, so he asked the way. The last line tells us to whom the poet asks for directions. "A cowherd points to a cot' mid apricot flowers" brings the reader into a completely new realm, which is completely different from the previous melancholy and misery. The cowherd's warm and sweet voice, distant apricot flowers blooming like brocade, the spring is in the air, and the wine flag at the village head is fluttering. The first two lines of the poem create a sad and sentimental picture, while the last two lines show a vivid and lively one, which is contrasted and interlaced with each other. It also shows us the change of emotions of the poet.

First and foremost, from the three aspects of beauty, Xu still adopts the end rhyme. The number of words in every sentence varies by only one or two, so from the perspective of form, the whole poem is relatively neat after translation.

Then what matters most is the adoption of the method of “San Hua” in the expression of the beauty in sense. Firstly, the title “清明”was not translated into "Pure Brightness Day" or "the Qingming festival", but "the mourning day" because the poem mainly talks about the scenes and poet's feelings on mourning relatives on this very day. And for target readers, especially foreigners, they do not understand what is the Qingming festival or Pure Brightness Day and what people do on this day. Comparatively speaking, " the mourning day" makes the main idea of the poem clear and it is also in line with the original meaning. Therefore, in this poem, Xu mainly used the method of deepenization. In the first sentence,"a drizzling rain" depicts the features of spring rain which is not thick and fast. "Fall like tears" is not showed in the original work, but it is implicated in the sentence. The falling rain is like mourners' tears on their way to visit their dead loved ones. Xu excavates and expresses the implicit meanings of the original text, which eases the burden to fully understand the poem. Then “路上行人” actually do not "pedestrians" or "travelers", but "mourners". Because on the mourning day, those people were engaged in paying respect to the dead and they hurried on the road due to the rain. Xu translated “欲断魂” into "heart is going to break" which belongs to free translation and expressed the mourner's deep sorrow. In the third line, "wineshop" points out that the poet wants to drink down his sorrow, and "drown his sad hours" makes it clear and touching. In the original text, there is also not the purpose why the poet looks for a wineshop, but Xu's translation reveals everything. It belongs to specification and amplification. The last sentence is the answer to the question before--There is a wineshop mid apricot flowers. If let us translate“杏花村”, it could be "apricot village". But after thinking twice, we will notice that it could not be an apricot village, but a cot hid among the apricot flowers which is more appropriate and beautiful. On the whole, through reading Xu's The Mourning Day, we tapped the implicit meaning of every sentence out. And in this English version, Xu directly expressed the poet's heartfelt sorrow, dis-consolation and gratification. In reading this poem, we sympathize with the poet, mourn with him, and find comfort in the discovery of a wineshop hidden in an apricot flowers.

In conclusion, through the analysis and appreciation of the three poems translated by Xu Yuanchong, we further understand the use of his translation methods ”San Hua” in poetry. In general, equalization and deepenization are used frequently in poetry while generalization is mostly used to deal with allusions and etc.
Generally speaking, to reverse the disadvantages of the target language, we can use the generalization method to make readers understand the text. Striving for the same high quality of translation as the original work, we can use the equalization method to make readers appreciate it. Developing the advantage of translation and make it surpass the original text, we can use the deepenization method to make readers admire it. This is Xu's skopos theory of literary translation.

===Subtitle 4===
The Influence of Xu's Translation Theories
As an expert of translation, Xu Yuanchong forms his own systematic translation theories which are applauded by most people. And these theories are clearly showed in every piece of his work. We have to admit that his translation theories indeed shed new lights on translation and make tremendous contributions to the exchange between Chinese and foreign cultures. His translation work not only let Chinese people enjoy the foreign literary works in a fresh manner, but also present the original beauty of Chinese literature to foreigners. Under the guidance of his specific translation theories, we get a clearer map to translate poetry, novel and etc.
Xu Yuanchong's translation theories “美化之艺术”is combined by extracting one word from predecessors' translation theories. It is based on their experiences and his own translation practice for more than sixty years. He inherited and developed these theories and explained them explicitly. Firstly, He believed that "elegant" no longer means quaint in today's world, but elegance or beauty. Xu said:"According to my own translation practice, I think Yan Fu's 'faithfulness, expressiveness and elegance' can be understood today as 'faithfulness to the original content, smooth translation form and giving play to the linguistic advantages of the translation.' "In my opinion,'faithfulness, expressiveness and elegance' can be understood as 'faithfulness, expressiveness and excellence'. Excellent is to give full play to the advantages of the target language, which is to use the best way of expression of the target language with words of beautiful meaning, sound and form, in other words, 'excellent' is' beautiful '." Secondly, he explains the relationship between science and art, translation words and taste or styles, truth and beauty with simple formulas. Xu says:" Chinese poetry often has multiple meanings with endless aftertaste, while English poetry expresses the literal meaning." Thus, the western science school put forward the theory of "equivalence", "equivalence of function", "equivalence of effect" and literal translation theories. Because the meaning is greater than the words, the Chinese school of art puts forward the theory of free translation and spiritual resemblance, giving play to the advantages of the target language, that is to say, the translator can not only translate all the contents of the original text but also contents are not showed in the original text. Therefore, the formula for literary translation is 1+1>2. Thirdly, he advocates literary translation should create beauty, so he proposes the advantage theory. The translation of cultural allusions is the most difficult. Literal translation cannot preserve beauty even if it can preserve truth. But if we adopt free translation, even if it can be beautiful, it is often hard to avoid distortion. A true translation can make readers comprehend it; a beautiful one can readers enjoy it, and a translation that preserves both truth and beauty will delight the reader. Therefore, the translation of poems should preserve the beauty of the original poems with as little distortion as possible. Since literary translation is an art and literary works are about people, so they have to be fascinating and exciting. If we only pursue truth without paying attention to beauty, it may be not a beautiful work, so the beauty of it is more significant than the truth.

===Conclusion===
Xu is a very confident, talented and prolific translator with strong character and innovative spirits in the translation field. He has a special calling card; in it there are two phrases "over sixty books published in China and aboard,the one and only person translated series of Classical Chinese poetry into English and French." In another calling card reads "without the title of academician, but he excels an academician; translated over one thousand classical Chinese poems to Europe and America". His translation theories and practices gained a wide range of recognition at home and abroad. Reading his translation of Tang poetry is an enjoyment. Nowadays, there are still many translators and translation theorists support his translation theories, particularly three aspects of beauty and the method of “San Hua”. Looking at the translation of Tang poetry in history, Xu Yuanchong's translation makes our eyes shine. The beauty of classical Chinese poetry, which is thought could not be translated, came to life in his writing. Under the guidance of the beauty in form, sound and sense, translators adopt approaches of equalization, generalization and deepenization to pursue their goals of letting readers comprehend, appreciate and even admire their translations.
Although some of his translation theories are still controversial and questioned by some translation staffs, as the saying goes:" There are spots even on the sun", this does neither affect his lofty status in the translation field, nor does it negate his great contribution to the inheritance and dissemination of translation field and culture. Mr. Xu Yuanchong devoted his whole life to the cause of translation and the pursuit of beauty. He spent most of his life summarizing his valuable translation experience and forming his own translation theory system, which is helpful for us to further understand translation and further practice it. His works let us appreciate the local conditions and customs of foreign countries, but also bring foreigners to enjoy the beauty of classical Chinese poetry. In this paper, we studied Xu's mainly translation theories and cited several Tang poems to illustrate his translation methods. Through the analysis of his works, we get a clearer picture on the use of his translation theories, and we also know more about the defects of his translation which casses our reflection. After all, translation theory system can not be completed in one day. It requires us to explore and improve it through trial and error.

===References===
*Chen Youyang(2006). A Study On Xu Yuanchong As A Translator. Fuzhou University.
*Duan Min(2003). A Study On Xu Yuanchong As A Translator. Sichuan University.
*Hu Xiaoyin(2003). On the Translation and Reception of Tang Poetry in Britain and The United States. Sichuan University.
*Wang Peng(2008). A Study of Xu Yuanchong's Poetry Translation Thoughts. China University of Petroleum.
*Xu Xiufeng(2006). On the Aesthetic Transference of Poem Translation (From Chinese to English)––Xu Yuanchong's Thought on Poem Translation. Ocean University of China.
*Zhu Lin(2004). A Study of Xu Yuanchong’s Translation Theories and Practice. Guangxi Normal University.
*Gao Yukun 高玉昆(1994).论唐诗英译[On the English translation of Tang Poetry].国际关系学院学报[Journal of the Institute of International Relations],(4).
*Lu Su, Xu Yuanchong 陆苏,许渊冲(2020).美得窒息的唐诗[Suffocating Tang Poetry].湖北：长江文艺出版社[Hubei:Changjiang Literature and Art Publishing House].
*Su Lin 苏琳(2020).“变通”译唐典音美意深远——从“三化论”角度看唐诗中典故的英译[The Translation of Allusions in Tang Poetry from the Perspective of "San Hua"].四川职业技术学院学报[Journal of Sichuan Vocational and Technical College],30(2):73~77.
*Qian Zhongshu 钱钟书(1981).林纾的翻译[Translation by Lin Shu].北京：商务印书馆出版社[Beijing: The Commercial Press].
*Xu Yuanchong 许渊冲(2016).文学与翻译[Literature and Translation].北京：北京大学出版社[Beijing: Peking University Press].
*Xu Yuanchong 许渊冲(2006).翻译的艺术[The art of translation].北京：亚洲传播出版社[Beijing: Asia Communication Press].

==英语笔译张国浩 Zhang Guohao 202170081606==

<center>'''The Influence of Electronic Language on Chinese Language and Culture in the Internet Age'''</center>

<center>Zhang Guohao</center>

===Abstract===

Language is the most important communication tool and the carrier of culture. Language itself is also a cultural phenomenon. The Chinese nation has a long history of thousands of years, and its language and culture are an indispensable part of Chinese traditional culture. With the development of electronic network and information technology, electronic language is also booming under this background. Electronic language is the product of the times. It has both positive and negative effects on Chinese language and culture. Starting with the analysis of the emergence and characteristics of electronic language, this paper focuses on the positive and negative impact of electronic language on Chinese traditional language and culture in the new media era, and further puts forward a series of measures to protect Chinese traditional language and culture.

===Key words===

New media; Electronic language; Language culture

===Introduction===

With the development of current information technology and network technology, a large number of electronic languages, also known as network languages, have appeared on the Internet. And they have increasingly penetrated into people’s daily life with the development of the Internet. Electronic languages reflect the current hot social issues, and have the characteristics of simplicity. With the increase of electronic languages, it is bound to have a certain impact on Chinese traditional language and culture. Electronic languages have both positive and negative effects on Chinese traditional language and culture. While expanding the vocabulary of modern Chinese, some vulgar and malicious electronic languages are eroding the traditional Chinese language and culture. How to make electronic language and Chinese traditional language and culture coexist harmoniously in the new media era is a topic that is worth studying and discussing. This paper will introduce the background of electronic languages, the characteristics of electronic languages and the impact of electronic languages on Chinese traditional language and culture, and explore measures to protect Chinese traditional culture in the new media era.

===The Electronic Language in the New Media Era===

'''1.1. The Emergence of Electronic Language in the New Media Era'''

After three technological revolutions, the new media era has finally arrived. With the rapid development of the Internet, the momentum of new media in people’s lives is also growing. And the electronic language that followed became one of the most important parts of it. Today, under the circumstance of the new media era, electronic language has developed with the development of the network. The continuous development of society has made the traditional language unable to meet people’s spiritual needs. People are now facing a colorful language world on the computer screen. While lamenting people’s strong adaptability, we have to say that this is the result of the transformation of the media. The media carrier has to decide the trend of culture. When we look at the characteristics of electronic language in the era of fresh media, it is not difficult for us to have such results.

'''1.2. The Definition of the Electronic Language'''

Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on. It was born in the electronic media and developed with the popularity of the network. Electronic language is participated by the public and can not be separated from the carrier of electronic media. It passes between the instructors of electronic media. Compared with the traditional language, there is no classical version of the electronic language because the electronic media has only appeared for a few decades. Therefore, the grammar and word order of it do not seem to conform to the traditional language norms.

'''1.3. The Characteristics of Electronic Language in the New Media Era'''

1.3.1 Electronic language is the combination of written language and spoken language.

According to different media, language can be divided into written language and spoken language. Written language has very restrictive grammar rules, a standard punctuation system and a very strong logic. With no intuitive feeling like spoken language, written language has a deterrent to people and help to form people’s rigorous rational thinking. However, spoken language is very flexible, and is not stick to one pattern. It has the characteristics of immediacy and transience, which makes spoken language not as easy to store and popularize as written language. There is a confrontation between written language and spoken language inadvertently, and this confrontation has been eased in today’s new media era. Electronic language acts as such a bridge. Electronic language not only has the expression environment of written language, but also has an obvious tendency of colloquialism. Whether it is online chat, forum post or mobile phone short message, it is not completely the same as the traditional expression. Since electronic language requires users to type what they want to say on the screen, and requires the receiver to browse the information through their eyes, so it has obvious characteristics of written style in this way. However, it is also influenced by the colloquial style, so there is obvious mutual penetration from both sides. Generally speaking, electronic language is a kind of colloquial written language, which fully integrates the two types to serve its own needs.

1.3.2 Electronic language is pictorial and vivid.

In the new media era, the recipients of electronic media can not learn the rich body language of the communicator from the electronic screen, but they can get some information by some vivid dynamic expressions sent by the messenger. People often use various symbols on the keyboard to create a lot of very vivid and humorous facial expressions to express their body language at that time, in which there is almost no difference between happiness and sadness in real life. These electronic languages are very interesting on the electronic screen and often make people laugh, which instantly shorten the distance between the information sender and the receiver. Through these vivid cartoon symbols which are different from words, the communicator penetrates parts of the meaning he wants to convey, making the virtual electronic media full of reality and immediacy. As a result, many relaxing and humorous electronic languages have emerged. They are not only humorous, but also easy to understand. This kind of relaxing and humorous style caters to the needs of modern people to relax their body and mind, so that the tense young generation can speak freely. When facing a boring topic, they can also discuss with each other in a humorous tone, which undoubtedly brings an unparalleled happy experience to the users of new media.

1.3.3 The expression of electronic language depends on the context and its meaning is vague.

Context refers to the speech environment, which includes both linguistic factors and non-linguistic factors. Contextual factors such as context, time, space, situation, object, and discourse premise, are all related to the use of words. Context includes specific time, specific space, specific scenes, specific characters and so on. Electronic context mainly refers to some new media such as electronic bulletin boards and e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Electronic context mainly refers to some new media such as e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Therefore, electronic language is bound to be misunderstood without a big context. The context of electronic language has always been open, allowing everyone to join freely. Different media will produce different languages. Electronic language is generated with the arrival of the new media era and will develop with the continuous development of the new media. The characteristics of electronic language are inseparable from the convenience of transmission, fast replication and various presentations of new media. Therefore, with the continuous development of new media, the era of electronic language has come.

1.3.4 Electronic language is highly dependent on network information technology media.

The intelligent terminals represented by computer, electronic information technology and Internet technology have created electronic language and the unique paralanguage of electronic language such as emoji, which not only makes up for the lack of body language such as expressions, movements and moods of language users, but also makes electronic language form multiple forms of expression, such as structured, semi-structured and unstructured forms. At the same time, network information technology has built a platform for the use of electronic languages, such as various forums, QQ groups, micro-blogs, We Chat and other virtual spaces, so that spoken or written languages and other different types of languages and dialects communicate with each other. Without the network information technology, the electronic language cannot exist. This technology also breaks the limitation of traditional spoken and written language, making the electronic language a super language without the limitation of time, space and region. Therefore, the modern information technology with computer, communication, network and electronic technology as the core is the material basis for the generation and use of electronic language.

===The Influence of Electronic Language on Chinese Traditional Language Culture===

The new media era is a multilingual society, so there is an obvious language-mixing phenomenon in electronic language. In electronic language, there is no absolute authority and anyone can speak freely, which makes the electronic language have a strong vitality and a huge impact on the traditional Chinese language and culture.

'''2.1 The Positive Influence'''

2.1.1 It can promote the development of Chinese language and culture

The electronic language has a variety of changes. Its simple, fast and vivid features not only meet the needs of the new media era, but also give people a fresh and lively feeling. Any language in the world is constantly updated and developed in use. Language innovation is an extremely important factor and a manifestation of vitality of a language. Without innovation, there is no development of language. Denying innovation and resisting innovation are equal to killing the vitality of a language. With the continuous development of electronic language, a large number of new words have emerged and the number of loanwords have increased. And with the extensive use of lettered words and numerals, Chinese vocabulary has been greatly enriched and developed. In the aspect of pronunciation, we use some homophonies to replace some Chinese words. For example, now we use “酱紫”to replace “这样子”. In terms of grammar, electronic language does not adhere to traditional grammar, which enriches and transforms the grammar system, and distorts conventions. In addition, electronic language has accelerated the demise of some old words. This series of characteristics makes the Chinese language fully nourished and breaks the barriers to knowledge. As a result, Chinese language spreads rapidly. At the same time, it adds the fun and color of people’s lives, making cultural exchanges unprecedentedly free and prosperous.

2.1.2 It can promote the transformation of reading methods.

In the era of new media, electronic language is constantly innovating and changing. With the continuous progress of technology, people’s reading methods are changing. Today’s electronic media reading is basically replaced by “hypertext” and “hyperlink”. People can read everything related to the text by clicking on links one by one, which is much more convenient than before. This way also satisfies people’s psychology of seeking knowledge and curiosity. In addition, with the popularization of high-tech products such as mobile phones and tablet PCs, mobile reading begins to prevail. People’s reading is no longer confined to a place. Through these new media, people can easily read anytime and anywhere, which generally improves the reading efficiency.

'''2.2 The Negative Influence'''

Firstly, the emergence of electronic language may make Chinese traditional language and culture be in danger of dating. Chinese traditional language and culture is the summary of experience of the continuous development of the Chinese nation. And it is also the national spirit gradually condensed in the long-term social practice. The language culture full of the fine tradition of the Chinese nation not only provided great power for the development of the Chinese nation in the past, but also will play an important role in the future of the Chinese nation. However, in today’s new media era, young students are the main users of electronic media. Since they are particularly sensitive to new things and electronic language has the characteristics of convenience, rapidity and image, it has a fatal attraction for young students who like to pursue new things. While they continue to create electronic language, they also continue to penetrate electronic language into their own lives, which makes Chinese traditional language and culture more and more distant from them. If things go on like this, it will inevitably lead to the dating of Chinese traditional language and culture, and make the future of traditional language and culture bleak.

Secondly, the trend of vulgarization of some electronic language has produced cultural garbage. In the new media era, electronic language constantly pursues individuality and innovation. However, there are also some shortcomings. The virtuality and obscurity of the network make it easy for both sides of the dialogue to relax or even unbridled in their communication, which results in the uncivilized electronic language. Some electronic languages abuse other people or even carry out personal attacks with rude words and dirty words, losing the minimum civilization. And information surplus will produce information garbage, making people consume more time to filter the information. This is a manifestation of information pollution. All these phenomena will seriously affect people’s normal life order. Nowadays, the vulgarization trend of electronic language is becoming more and more serious, and it begins to penetrate into the traditional media. If it is not guided as soon as possible, our traditional language and culture will be destroyed.

Thirdly, electronic language does not conform to grammatical norms. Since electronic language does not conform to grammatical norms and blindly pursues novelty and convenience, it violates Chinese language norms in many ways. Some typos and words and phrases with misinterpreted meanings will have a negative impact on the education of Chinese language. Although these nondescript languages are novel, their damages to Chinese or other languages are obvious. Adolescents are extremely sensitive groups and are willing to accept new things. However, their ability to generally distinguish between right and wrong is not strong. Therefore, in the process of learning, it is easy for them to be affected by these electronic languages, which makes them easy to develop bad habits of not using standard words and standard expressions. As a result, it is detrimental to the learning of traditional language and culture, and their appreciation ability will be decreased.

Fourthly, electronic language can form linguistic generation gap and cause communication difficulties. Electronic language represents a certain type of language and culture in the new media era, and has been widely used in the new media era. It continues to penetrate into the life of the young generation pursuing fashion. In this specific new media language environment, electronic language has its significance. However, when it leaves this specific environment, it will no longer become a tool for people to communicate with each other. If people do not understand it, it will hinder normal communication between people. In terms of the communication effect of a language, this generation gap misleads the communication between the communicator and the receiver, and has a great impact on the traditional language and culture. Many electronic languages cause generation gap between parents and children. Due to the non-standard use of language, parents often don’t know what their children mean. The gap between the two generations is hard to erase. Now, coupled with the novel electronic language, the generation gap between the two generations is bound to deepen and the communication between them will become more and more difficult.

===The Measures to Protect Chinese Traditional Language and Culture===

First of all, the government should introduce relevant laws and regulations to regulate electronic language. The support of the government is like a beacon, which can guide Chinese traditional language and culture to a bright road. In this aspect, China has also made some attempts, such as popularizing Mandarin Chinese nationwide, which is not only the necessary measures to facilitate communication, but also can effectively regulate the Chinese language so as to promote effective dissemination of Chinese language and culture. In addition, in the aspect of creating a good new media environment, the role of national laws and regulations cannot be replaced by other methods. This kind of compelling force can guide the development of electronic language towards the right path. While standardizing itself, it will also promote the traditional language and culture and electronic language to absorb the advantages of each other, learn from each other, and finally achieve a win-win situation.

Secondly, the government should popularize the education of Chinese traditional language and culture. Education has always been the foundation of people’s livelihood. Improving education has no harm to the spread of traditional language and culture. In order to strengthen the proportion of Chinese studies and standardized the use of Chinese language in compulsory education, teachers should pay attention to the cultivation of students’ traditional language accomplishment. High school period can’t pay more attention to the science education but to grasp both sides. In addition, it is necessary to popularize quality education and improve the overall quality of students from all aspects in order to lay a good foundation for entering university. In the university curriculum, we should add the curriculum of Chinese traditional language and culture and the comparative appreciation of Chinese language and culture with other countries, especially in western countries. In this way, we can increase students’ appreciation ability, so that the majority of students can feel the charm of Chinese traditional language and culture, deepen the understanding of Chinese traditional language and culture in the process of comparison with other countries, and make more efforts to protect our traditional language and culture. Many attempts have been made in folk such as the rise of modern private school. Although there is a conflict with the law of compulsory education, but its spirit of exploration should be affirmed and supported.

Thirdly, we need greater efforts to enhance the development of traditional media. Under the pressure of new media, traditional media has a trend of decline. Newspapers are in danger of dying out in the new media age; book sales are also declining year by year. Although journals have entered the digital age, the cultural capacity of them is not high and the transmission channel is not unblocked. If all of these are not solved in time, the consequences will be serious. Moreover, traditional media is an excellent way to spread traditional language and culture. Therefore, it is necessary to continuously explore the new advantages of traditional media and learn advantages from other media, so as to make the traditional language and culture flourish in the traditional media.

Fourthly, The media should hold more programs about traditional culture. The traditional language and culture should be consciously or unconsciously integrated into the program, so that the audience can get spiritual sublimation. Traditional cultural programs may have low viewing rate due to their monotony and slow rhythms. This requires the media director to find a way. In this regard, CCTV’s Lecture Room is a good example. It integrates traditional language and culture into the program in a novel and unique way. It not only spreads Chinese traditional language and culture to the audience, but also leads to an active atmosphere and increase the attraction. As a result, the viewing rate will naturally be higher. In recent years, the film about traditional language and culture is also very popular. The film Confucius and Sacrifice have achieved good earnings. These films show the charm of Chinese traditional style to the world, and have a great significance for the inheritance and development of traditional language and culture. The media therefore has a long way to go in this regard.

Fifthly, we need to speed up the construction of websites that can inherit Chinese traditional language and culture. In the new media era, with the rapid development of science and technology, electronic language is also sweeping the whole network. How to open up a new world of Chinese traditional language and culture in this new field has attracted more and more attention. From my perspective, it is very important for us to adhere to our own principles in the virtual network. In order to protect the traditional language and culture and resist the invasion of electronic language, we must first make the traditional language itself become strong. It is a good choice to run a website that can inherit Chinese traditional language and culture. The website we want is not a pile of meaningless electronic language, but to carry forward the development of Chinese traditional language and culture. This is a spirit that needs to be firmly observed. There is no doubt that if all of these are truly achieved, it will be of great significance to the standardization of language.

===Inheritance and Innovation of Chinese Traditional Language and Culture through New Media Means===

The above measures are general protection measures for Chinese traditional language and culture. With the continuous development of the new media era and the continuous innovation of science and technology, we need to learn to use the means of new media to protect and inherit Chinese traditional language and culture. This part takes cultural TV programs as an example to discuss how to use TV cultural programs to effectively inherit traditional language and culture.

In recent years, TV cultural programs have become increasingly popular. Under this background, many TV media have participated in the creation of traditional cultural TV programs. The explosive and hot broadcast of TV cultural programs can not only give full play to the communication function of TV programs, but also realize the role of TV program communication in promoting traditional language and cultural spirit. Therefore, how to maintain the original intention of traditional cultural heritage of TV cultural programs is the main purpose of its development. At the same time, through the continuous optimization of the content of the program, it realizes the effective dissemination of traditional language and culture, and thus plays a good role in promoting the construction of a harmonious society.

The first thing is to innovate the program content so as to inherit our excellent language and culture. As a kind of mass media, TV has its own artistic variability. This is mainly because television provides a lot of communication channels, and also shows the diversity of traditional cultural content in the process of inheriting traditional language and culture. Therefore, television should be the main channel for inheriting traditional language and culture. When disseminating knowledge, TV cultural programs also choose higher quality traditional language and culture and realize the inheritance of high-quality traditional language and culture through the continuous innovation of communication forms, thus showing the vitality of traditional language and culture and the responsibility of mainstream media. As early as 2016, the State Administration of Radio made a new deployment for the innovation of radio and television programs. At the same time, it also guided radio and television stations at all levels to actively do a good job in building cultural self-confidence, encouraged radio and television stations to actively innovate, so as to lay a good foundation for the prosperity and development of socialism and high-quality traditional language and cultural programs. It also constantly promotes the effective integration between television media and traditional language and culture. The innovation and creation of excellent TV cultural programs can not only realize the inheritance of traditional language and culture, but also guide young people to actively undertake the main task of inheriting traditional language and culture, which provides reliable support for traditional culture education. At the same time, young people can be striven to be the promoter of traditional language and culture. Students have a certain leading ability and exemplary role. They can not only show the cultural confidence of contemporary young people through the program and enhance the educational function of traditional culture, but also accumulate traditional language and culture in the process of continuous exploration.

With the advent of the information age, there has been an ideological collision between various cultures, which has also affected the traditional consumption concept. With the rapid development of modern information technology, television, as an important cultural industry, plays an important role in cultural communication and transmission of Chinese cultural ideas. Under the background of cultural infiltration, China should actively publicize traditional language and culture and take it as the key content of its soft power development. Cultural strength is an important factor for the prosperity of a nation. TV cultural programs should actively enhance their comprehensive strength in the process of its development. At present, the diversified world culture is booming and the culture of various countries are infiltrating each other. The national cultural soft power plays a major role in the world development competition. TV media should actively undertake the task of spreading the traditional language and culture of the Chinese nation, and take TV cultural programs as the main way to enhance the development of national cultural soft power. In addition, the content of traditional language and culture spread by TV media should also have unique characteristics and highlight the advantages of traditional culture. Only by strengthening the dissemination of traditional language and culture can we lay a good foundation for the future development of China. At the same time, we can also spread the high-quality traditional cultural spirit for young people so that 5000 years of brilliant treasures can be inherited and carried forward. As an important carrier of socialist core values, television should realize the arduous task of carrying forward traditional culture, accelerate the popularization and inheritance of Chinese traditional language and culture and guide teenagers to correctly understand excellent traditional language and culture so as to realize the effective penetration of socialist core values. Although the Internet has had a great impact on the media, and also made the cultural communication have a new direction and mode, the television communication media still occupy a dominant position and should take the responsibility of the mainstream media. Therefore, TV cultural programs should take full use of the advantages of TV media, choose innovative communication methods, fully display the characteristics of traditional language and culture through the optimization of communication content. With the assistance of Internet media, we can inherit and carry forward traditional language and culture, and promote the sustainable development of traditional language and culture in the era of new media.

On the other hand, cultural TV programs should enrich their forms and highlight characteristics of Chinese language and culture. TV cultural programs should actively use the interactive mode of all media. Many TV cultural programs in their production process are integrated with variety show forms to attract audience attention. In addition to the traditional on-site interaction, TV programs should also actively mobilize the participation and interaction of off-site audience in the new media era. In addition, we should also actively enrich the stage manifestation of TV programs. Through the effective application of modern data technology, high-tech elements can be added to the broadcast of TV programs, so that the audience can be immersive and close the distance between traditional language and culture and them. Especially with the continuous improvement of people’s aesthetic level, the design of TV cultural programs should actively innovate the stage design, show the charm of cultural programs under the support of high-tech forces, and build a dynamic artistic space.

At the same time, in the new information age, the mainstream TV media should actively take full advantages of new media, increase the dissemination of traditional language and culture through media integration, improve the national cultural soft power, and shoulder the arduous task of inheriting culture. In addition, we should also actively create original program content with our own characteristics. Under the influence of traditional language and culture, we should increase the communication effect through the form of media integration, so that the influence of traditional language and culture can be fully displayed.

===Conclusion===

In a word, Chinese language and culture has a long history, which has made great contributions to the progress of human civilization. The inheritance of traditional Chinese language and culture needs our continuous efforts. In the new media era, the electronic language is characterized by humor and vague context, which makes it a double-edged sword. Therefore, it will also have an impact on the traditional language and culture in the process of its development, which has both positive and negative sides. This requires the state and society to actively guide the electronic language. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language. It is believed that electronic language can coexist peacefully with traditional language and culture and develop together through continuous efforts of all parties in the near future.

===Reference===

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==英语笔译张姣玲 Zhang Jiaoling 202170081607==
<center>'''The comparison of the translations of Li Bai’s poem Changgan Xing(Ezra.Pound's Version and Xu Yuanchong's)'''</center>

<center>Zhang Jiaoling</center>

===Abstract===

As one of the representatives of Traditional Chinese culture, poetry and its English translation are favored by literati. Li Bai's masterpiece Changgan Xing has been translated by many Chinese and foreign scholars. This paper makes a comparative study of Ezra Pound's and Xu Yuanchong's translations under the guidance of functional equivalence theory, and finally points out the translation steps that should be followed when translating poems under the guidance of this theory.

===Key words===

Comparison; ChangGanXing; Ezra Pound; Xu Yuanchong; Functional Equivalence

===Introduction===

As a literary genre, poetry is rich in thoughts, emotions and imagination, with refined language and beautiful rhyme, and particularly strong imagery. The translation of poetry not only requires accurate reflection of the original content and its imagery, but also requires the translation to be consistent with the original in form and style. When it comes to Chinese poetry, especially Romantic poetry, one can easily associate it with the Poet Immortal Li Bai. He wrote more than 1000 poems throughout his life, which occupy an important position in the development of Chinese classical poetry. His poems is wild and unrestrained, dashing and bold, thus leaving a deep impression on readers. Li Bai's life was unusual in that he revered freedom, loathed the worldly officialdom, and lived his own life. His romantic life provided material for his poetry, and he left many masterpieces in the history of Chinese poetry. It is noteworthy that it was his rich life experiences that had a profound influence on his poetic creation. The poem Changgan Xing is a household Yuefu poem written by Li Bai. The whole poem is written in the form of a merchant woman living in Changganli self-talking, recalling her loving past with her husband and expressing her undying love for her husband in another country. The poem mainly describes the merchant woman’s memory of her and her husband’s innocent childhood, then their wonderful married life, and the protagonist’s endless missing of for her husband after his departure.

Xu Yuanchong is a professor at Peking University and a renowned translator. He has been engaged in literary translation for more than 60 years, and his achievements are so high that he was awarded the Aurora Borealis Prize for Outstanding Translation of Literature in 2014, one of the highest awards in the international translation community. He has been publishing his translations since 1956, and his major works include The Songs of Chu, Three Hundred Tang Poems, and Three Hundred Song Lyrics. Mr. Xu Yuanchong's translation works have promoted the exchange between Chinese and Western cultures and brought outstanding Chinese literary works to the world, especially his translations of classical Chinese poems. In addition, he put forward a series of translation theories, which enriched the traditional Chinese translation theory and promoted the development of translation studies. Mr. Xu Yuanchong's translation theory is mainly based on his "Three Beauties" principle, which holds that "the beauty of meaning means that translated poems should touch the reader's heart as much as the original poems do; while the beauty of sound is that they should have pleasant rhythm as the original poems have; and the beauty of form means that the translated ones should maintain the form of the original poem as much as possible.” Mr. Xu once talked about the relationship between the "Three Beauties" in his article on translating poems: "the beauty of meaning" is the most important, "the beauty of sound" the second, and "the beauty of form" is even less important. (Xu Yuanchong, 1979).

Ezra Pound (1885-1972), a leading representative of 20th century imagist poetry, was also a major founder of British and American modernist poetry. Both a poet and a translator, Pound translated many Confucian classics as well as classical Chinese poems. In 1915, Pound published his English translation of an ancient Chinese poetry anthology, Cathay, which was immediately received by Western society as "one of the best ten or so American poems of the 20th century”. Jeff Twitchell says, "Before Pound, China had no literature worthy of her name popular in English-speaking countries." (Jeff Twitchell, 1992) Pound's idea of poetry creation greatly influenced his idea of translation. Pound advocated translation without emphasizing fidelity to the meaning of the original text; what he sought was to reproduce the details and imagery of the original text in the translation. Imagery is the soul of the poetry translation, without which the translation of poetry would be meaningless.

This paper takes Li Bai's Changgan Xing as the object of study and compares and analyzes Pound's translation “TheRiver-Merchant’s Wife: a Letter” and Xu Yuanchong's translation “Ballad of a Trader’s Wife” under the perspective of Eugene Nida’s functional equivalence theory.

===Methods and Theories===

The term "dynamic equivalence" was first proposed by Eugene Nida in his 1964 book Toward A Science of Translating, emphasizing that "the relationship between receptor and messageIn such a translation (dynamic equivalent translation) one is not so concerned with matching the receptor-language message should be substantially the same as that existed between the original receptors and the message"(1964:159). In The Theory and Practice of Translation, Nida proposed that "Translating consists in reproducing in the receptor language the closest natural equivalence of the source-language message, first in terms of meaning and secondly in terms of style." (Nida & Taber 1982: 74). By the end of the 1980s, Nida replaced "dynamic equivalence" with "functional equivalence" in order to emphasize the concept of "function" and to avoid the misunderstandings of "dynamics" by some people, emphasizing that translation is a form of communication focused on reproducing the original language. Functional equivalence requires "not only the equivalence of the content of the message, but also, as far as possible, the equivalence of the form.” Nida clearly states that "the closest natural equivalence" is used to reproduce the original message. In the early 1990s, "functional equivalence" was further divided into two categories including the maximal level of equivalence and the minimal level of equivalence; the former is defined as “The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did" , which is the highest level pursued by the translation, while the latter is stated as “The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it”.(Nida 1995:224;1993:118) The highest level of functional equivalence is an ideal state, which is rarely achieved in texts other than those with little aesthetic value of factual information. The lowest level of functional equivalence is more realistic, and any translation below this level is unacceptable (Nida, 1993: 118). A good translation always lies somewhere between the two levels (Nida, 1995). The theory of "functional equivalence" is flexible, and there is considerable diversity between the highest and lowest levels. Compared with other translation theories that focus on a single theoretical criterion, the "functional equivalence theory" allows for diversity in the translation process. Translators have more autonomy to "deal with some of the problems of variability in different texts, of significant differences between readers, and of differences in the use of translation for research, for publicity, for pleasure, etc." (Nida, 1996: 114).

===On the level of word===

First, from the translation of the title, Xu Yuanchong translated it as "Ballad of a Trader's Wife", while Pound translated it as "The River-merchant's Wife: A Letter". Both of them are translated by understanding the whole poem, rather than simply translating it as "Changgan Xing". This is because the whole poem is mainly about the woman's longing for her husband through the description of various imagery. Such a translation is also closely related to the context in which the poem was composed. In the middle and lower reaches of the Yangtze River and the Han River valley, business was flourishing back then, and cities were prosperous with frequent trade contacts, and merchants were running their businesses from region to region. The wives of merchants had to wait and miss their husbands at home. Xu Yuanchong's and Pound's translations are all appropriate in this respect.

Every word in Changgan Xing is carefully chosen as it describes the merchant wife's longing for her husband. As words are the smallest unit in poetry, they are nevertheless the first step in translating poetry. In the first six sentences of this poem, Li Bai described the growth of two children, depicting the happy childhood of a boy and a girl playing merrily, leaving readers a good memory of the protagonist and her husband, and creating a pair of innocent and lively children images.

妾发初覆额，折花门前剧。
郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: While my hair was still cut straight across my forehead：
I played about the front gate：pulling flowers.
You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people：without dislike or suspicion.

Xu Yuanchong’s version: My forehead barely covered by my hair：
outdoors I plucked and played with flowers fair.
On hobby horse you came upon the scene：
around the well we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Analyzing the translation of these sentences, it is easy for us to see that Pound only tried to express the meaning of the original poem, while Xu tried to make the translation more like the original poem. In the first line, Pound chose the word "still" to emphasize the time and state, making the translation closer to the original. As for the understanding of the two’s playground, Pound translated it literally as "front-gate", while Xu chose "outdoors", the same thing was meant with their different choice of words. Then concerning the understanding and illustrating of an ancient toy made of bamboo, Pound chose "bamboo stilts," which is less faithful but easier for foreigners to understand, while Xu chose the word "hobby horse," which is easy to understand for the Chinese, but not so easy for foreigners. The word "bed" in modern times has a different meaning than it does in ancient times, so Pound chose "seat", while Xu chose "well" according to his understanding. In the last sentence, Li Bai described the friendship between two children, and Pound chose "two small people" to indicate their childhood, while Xu's "children twain" is a further explanation, which is more faithful to the original poem as it shows the happy sporting and innocent friendship between the boy and the girl.

These two lines delicately depict the shyness and sweetness of the newly married.

十四为君妇，羞颜未尝开。
低头向暗壁，千唤不一回。

Pound’s version: When I was fourteen: I married my master.
I never laughed: and I was shy.
I lowered my head and looked at the wall.
I had never looked back at one thousand calls.

Xu Yuanchong’s version: When I was fourteen：I became his bride.
I often turned my shyness face to the side.
I hung my head on the dark wall：
and I refused to answer his call.

In the translation of these two sentences, Pound chose to use "my master" to explain the meaning of "husband" to expresses the wife's respect and obedience to her husband, which is very appropriate for the time. Compared with Xu's choice of "he", "my master" seemed to be more appropriate. As for Pound's choice of the phrase "one thousand calls", it clearly showed the girl's shyness and her respect for her husband. Taking the fact that the girl is only 14 years old, and they live in a feudal society, so Pound's choice of words was very appropriate. As for Xu's choice of "dark wall", he actually misunderstood the original meaning, so his choice of words seemed to be inferior.

The following two sentences indicate the wife’s worries about her husband's business trip, showing her genuine concern and love for her husband, creating a heavier atmosphere for the reader.

十六君远行，瞿塘滟滪堆。
五月不可触，猿声天上哀。

Pound’s version: At sixteen years old：you leave：
you go to a distant place：in a swirling whirlpool.
You’ve been away for five months.
The monkey made a sad voice on the top of his head.

Xu Yuanchong’s version: When I was sixteen years old： he went far away：
through three Canyon covered with rock gray.
In the ship crash： when the spring flood was rising：
The crying in Gibbons seemed to come from the sky.

Pound chose to translate these two verses indirectly. The biggest problem with his translation is the misunderstanding of five months. In the original poem, Li Bai meant May. While Xu wisely skipped the time marker and used only phrases to express the time.

门前迟行迹，一一生绿苔。
苔深不能扫，落叶秋风早。
八月蝴蝶来，双飞西园草。
感此伤妾心，坐愁红颜老。

Pound’s version: You’ve dragged your feet when you go out.
Now：the moss are green：
different moss：too deep to clear them!
In autumn the leaves fall early in the wind.
The pairs of butterflies have turned yellow on
the lawn of the Western Garden in August.
They hurt me. I’m getting old.

Xu Yuanchong’s version: Now the green moss in front of our door are slight;
his footprints：hidden：can no longer be seen.
The moss cannot be washed away：the dense leaves will grow：
and when the wind blows： the leaves will fall early.
The yellow butterflies in the autumn will pass two on the
grass on the west side of the garden.
The scene would break my heart：
and I was afraid to sit alone：
and my cheeks would fade.

In these next four lines, in Li Bai's description, the protagonist was touched by the scene she saw and then fell into a constant state of anxiety. The description of the scene gives the reader an immersive experience as well. Pound's translation of these four lines also created a more vivid picture than Xu's. In order to show worry and fear, Pound chose the word "hurt" to imply the double meaning, referring to both psychological and physical injuries. The protagonist's mourning showed her helplessness as a feudal woman. Xu's choosing of "cheeks" and “fade” was even better, because women's cheeks are like roses which only shine their beauty in youth, while fading indicated her growth and fear of growing old.

===On the level of sentence===

In the translation process, when the translator has decided and embellished the words to be used, they must also take the entire sentence pattern into account.

郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people: without dislike or suspicion.

Xu Yuanchong’s version: On hobby horse you came upon the scene：
around the wall we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Through analysis, it is easy to see that Pound used different syntactic techniques, such as "playing" to express two actions at the same time, while Xu only used simple past tense to imply the time, which is slightly inferior.

The last two lines of the poem express the protagonist's hope and deep love for her husband, and her wishes of him coming home early and promises that she will meet him not far from home.

早晚下三巴，预将书报家。
相迎不道远，直至长风沙。

Pound’s version: If you are coming down through the narrows of the river Kiang：
please let me know beforehand.
And I will come out to meet you as far as Cho-fu-sa.

Xu Yuanchong’s version: O when are you to leave the western land?
Do not forget to tell me beforehand!
I’ll walk to meet you and would not call it far
Even to go to Long Wind Beach where you are.

By comparing the two translations, Pound used "If you are coming down" to express the wife’s longing for her husband; Xu chose direct words to show what the wife wanted to say to her husband, creating a more vivid scene. For readers, Xu's inner monologue is more touching than Pound's.

===On the level of culture===

1.Translation of Idioms and Allusions. There are two idioms and two allusions in the overall content of Changgan Xing. They are "青梅竹马（Qingmei Zhuma）" and "两小无猜（Liangxiaowucai）"; "抱柱信（Baozhuxin）" and "望夫台（Wangfutai）". The cultural interpretation of "Qingmei Zhuma": Qingmei refers to green plum; Zhuma is a bamboo pole played by children as a symbol of horse. It describes the innocence and playfulness of young children. Now it refers to the intimacy between men and women when they were young. Pound obviously failed to interpret the cultural meaning of it, and mistook it for the boy stepping on bamboo stilts and playing horse, which is a ridiculous mistranslation in Chinese readers’ eyes, but fills English readers with a surprised and fresh feeling and making them impressed on how romantic the young boys and girls in ancient China were! This unintentionally became his punch line. Professor Xu Yuanchong's translation cleverly replaces the "Zhuma" in the original poem with the "hobby horse", a common childhood game tool, so that English readers can easily appreciate the true meaning of the innocent game of boys and girls in the original poem according to their own life experience. This not only preserves the real intention of the original poem, but also makes it easy to be understood by English readers. It may seem to be unfaithful to the original poem in the surface, but in fact it is an evocative interpretation of the classical Chinese culture contained. In addition, "around the well" is even more impressive, vividly depicting the happy scene of boys and girls chasing and playing in the courtyard and by the well.

The allusion "Baozhuxin" is from Zhuangzi, a man named Weisheng made an appointment with a woman to met under a bridge, Weisheng arrived first, and suddenly the water rose, he kept his promise and refused to leave, so as a result, he was drowned while holding to the pillar of the bridge. Since then, people used "Baozhuxin" as a metaphor for keeping faith with love. "Wangfu tai" is taken from the Southern Dynasty Liu Yiqing’s The Book of Ghost Stories: there is a stone resembling a woman in Beishan, Yangxin County, Wuchang; Legend has it that: in the past, there is a chaste woman, her husband joined the army to save their country, so the woman together with their weak son bid farewell to him to this mountain, standing there lookout and turned into a stone, therefore got the name of “Wangfutai”. This is an allusion used to describe a wife missing her husband, or to describe the utmost sincerity. These two lines mainly express the wishes of the merchant woman to her husband, who should remember the vow he made on that day and never leave her and adhere to their love, so that the merchant woman will never have to climb up the mountain to look at her husband’s direction. These two lines contain both the wife to her husband's entrust as well as her hidden worry for him. Pound failed to translate these two allusions, and delivered a weak transformation in the cultural dimension. Xu Yuanchong's translation adopted the domesticating method, as he avoided a direct translation of the allusions but managed to convey the spirit of the allusions: that is men should keep their promises.

2.Translation of rhetorical devices. Figures of speech are used to express the true feelings of the protagonist. Therefore, translators must pay attention to the translation of those devices. The use of simile, metaphor, personification and other figures of speech are prominent features of Li Bai's poems. Both Pound and Xu Yuanchong are flexible in dealing with exaggeration in this poem, which can also reflect the translator's skills in choosing appropriate sentence patterns in translation. The change of words or sentence patterns will affect the feeling of translation, so the artistic conception of the original poem must be taken into consideration by the translator.

===Conclusion===

This paper mainly studies two translated versions of Changgan Xing. One is Pound's interpretation and translation. , because Pound himself knew little about Chinese as well as about Chinese historical background. Pound, American poet and literary critic, is a representative of the magist. He is one of the leading figures of postsymbolism. From the study of the Chinese classical poetry and the Japanese haiku, he put forward the theory of “poetic imagery”, and made great contributions to the study of Eastern and Western poetry. Pound does not understand Chinese. The Chinese classical poetry can be translated because he got Earnest Fenollosa’s private manuscript. Pound chooses 19 Chinese classical poems and translates them into English, including Li Bai’s Changgan Xing. Pound’s translation of Li Bai’s works has already been the second interpretation, which can cause misunderstanding to the poem. Although Pound’s translated poem has enjoyed a high popularity in the western literature and is named as one of the excellent translations, it has some obvious mistakes, which deserve our attention and discussion. The other translator is Xu Yuanchong, an expert in translation of the classical poetry, who has published numbers of works of translation and translation theories. As a representative of the imagist movement, Pound is very fond of imagist poetry which especially emphasizes the hazy beauty. Therefore, the interpretation of concrete words is not taken very seriously. In order to pursue the creation of hazy beauty, Pound’s interpretation of Li Bai’s poetry damages the poetic mood and rhythmic beauty of the original poem. And Pound himself also explained that he was eager to pursue the image of the poem and did not blindly interpret the meaning of poem but to grasp more details and compress the author’s thoughts and feelings. As the first translator to win the Aurora Borealis Prize for Outstanding Translation of Literature, one of the highest awards in the international translation community, he has made great contributions to Chinese literary translation. In his translation career, Mr. Xu not only translated a large number of Chinese and Western cultural classics, but also wrote several books on translation theory. In particular, his views of "Three Beauties" (beauty of sound, meaning and form) and "Three Perfections" (equalization, simplification and deepening) in poetry translation have been gradually accepted by the translation community. In particular, his principle of "Three Beauties" has been regarded by many scholars as the criterion for judging poetry translation. In Xu Yuanchong’s opinion, “to preserve the beauty in sense we may use the method of ‘paraphrase’ (free or liberal translation); to preserve the beauty in sound, we may use the method of ‘imitation’ (or adaptation); to preserve the beauty in form, we may use the method of ‘metaphrase’ (or literal
translation)” (2006: 131).
Different translations have distinctive styles. In the process of translation, complete equivalence with the original is not advocated. The translator's aim is to satisfy the needs of readers, not to cater to them. Choosing how to translate the original text is actually a balancing process between the target language and the source language. When translators try to translate some works, they can be guided by functional equivalence in order to be faithful to the original text. For functional equivalence to be achieved in poetry translation, the following steps need to be followed: The first step is to understand not only the literal meaning of the original text, but also the implied meaning of it, so as to achieve functional equivalence in poetry translation. The second step is to use one’s own words to express, to translate the allusion properly, and also to choose the appropriate rhetoric. Only in this way can the translation be easier to understand for its receiver.

===Terms and Expressions===
Changgan Xing; TheRiver-Merchant’s Wife: a Letter; Ballad of a Trader’s Wife: 《长干行》

"Three Beauties" (beauty of sound, meaning and form)：“三美”（音美，意美，形美）

"Three Perfections" (equalization, simplification and deepening)：“三化”（等化，浅化，深化）

functional equivalence theory：功能对等理论

Eugene Nida：尤金·奈达

Toward A Science of Translating：《翻译科学探索》

The Theory and Practice of Translation：《翻译理论与实践》

Zhuangzi：《庄子》

The Book of Ghost Stories：《幽明录》

the Aurora Borealis Prize for Outstanding Translation of Literature：“北极光”杰出文学翻译奖

poetic imagery: 诗学意象

===Questions===

1.What are the main methods adopted by Pound in his translation?

2.What are the main methods adopted by Xu Yuanchong in his translation?

3.Since there are many mistranslations in Pound’s version of Chang Gan Xing, is it ok for us to draw the conclusion that Pound’s translation is inferior than Xu’s?

4.Is it possible for us to find the best or a precisly equivalent translation of the original poem?

===Answers===

1.Free translation and domestication.

2.A combination of literal translation and free translation, domestication and foreignization.

3.No, it’s not. Different translations have distinctive styles. Pound’s translation has its own merits and demerits and so has Xu’s translation.

4.It is almost impoosible for us to find a precisly equivalent translation since there are always something untranslatable because of the cultural differences, and it is also difficult for us to choose the best version that everyone agrees on as each has one’s own standards.

===References===

*Eugene A. Nida. Toward a Science ofTranslating. Leiden: Brill, 1964.

*Eugene A. Nida. and C. Taber. The Theory and Practice of Translating. Leiden: Brill,1969.

*Wu Min Hua. Xu Yuanchong as a Touchstone for Ezra Pound’s Translation of Tang Poetry[J]. Comparative Literature: East & West,2021,5(1).

*Li Xingyuan,李幸原.生态翻译学视域下《长干行》三个英译本比较研究[A Comparative Study of Three English Versions of Changgan Xing from the Perspective of Ecological Transliteration][J].海外英语[Overseas English],2020(08):22-24.

*Zhang Yuan,张媛.《长干行》两个英译本的对比赏析[A Contrastive Appreciation of Two English Versions of Changgan Xing][J].延安职业技术学院学报[Journal of Yan 'an Vocational and Technical College],2019,33(06):57-60+73.DOI:10.13775/j.cnki.cn61-1472/g4.2019.06.018.

*Xu Yifan,许昳凡.目的论视角下《长干行》文化意象翻译研究——以埃兹拉·庞德译本为例[A Study on the Cultural Image Translation of Changgan Xing from the Perspective of Skopos Theory: A Case Study of Ezra Pound's Translation][J].作家天地[For Writers],2019(19):32-33.

*Liao qian, Luo Dijiang, 廖倩,罗迪江.许渊冲“三美”翻译原则和庞德创意翻译理论对比研究——以李白《长干行》为例[A Contrastive Study of Xu Yuanchong's "Three Beauties" Translation Principle and Pound's Creative Translation Theory -- A Case Study of Li Bai's Changgan Xing][J].牡丹江大学学报[Journal of Mudanjiang University],2018,27(12):103-105.DOI:10.15907/j.cnki.23-1450.2018.12.029.

*Tian Dong,Xiaolin Lin. Attitude in Appraisal Theory: A Comparative Analysis of English Versions of Changgan Xing[J]. International Journal of Comparative Literature and Translation Studies,2018,6(1).

*He Chunfang, Shi Huihui, 何春芳,石慧慧.论庞德对李白《长干行》的文化误译[On Pound's Cultural Mistranslation of Li Bai's Changgan Xing][J].湖北经济学院学报(人文社会科学版)[Journal of Hubei University of Economics:Humanities and Social Sciences][,2017,14(08):110-113.

*Zhang Qiaoping, 张巧平.诗学视域下李白《长干行》两英译本的对比研究——以庞德、许渊冲译本为例[A Comparative Study of the Two English Versions of Changgan Xing by Li Bai from the Perspective of Poetics -- A Case Study of the Two Versions by Pound and Xu Yuanchong][J].发展[The Development],2017(01):89-90.

*Han Lizhao, 韩立钊.《长干行》三个英译本的对比解读[A Contrastive Interpretation of the Three English Versions of Changgan Xing][J].西藏民族学院学报(哲学社会科学版)[Journal of Xizang Minzu University(Philosophy and Social Sciences Edition)],2015,36(03):138-141.

*Yang Meiru, 杨梅如.解析《长干行》的两个英译文本——基于许渊冲的“文化竞赛论”[An Analysis of Two English Translations of Changgan Xing -- Based on Xu Yuanchong's "Cultural Competition Theory"][J].考试周刊[Kao Shi Zhou Kan],2014(78):8-10.

*Wang Shanmei, 王善美. 功能对等视角下许渊冲与庞德英译中国古典诗歌之比较研究[A Comparative Study of Xu Yuanchong's and Pound's English Translations of Classical Chinese Poetry from the Perspective of Functional Equivalence][D].青岛大学[Qingdao University],2014.

20220630 Culture 9

2022-07-07T15:26:39Z

Zhang Guohao: /* 英语笔译张国浩 Zhang Guohao 202170081606 */

[https://bou.de/u/wiki/Chinese_Language_and_Culture_2022|Back to course homepage], Back to final exam paper overview: [[20220630_Culture]]

==This is the final exam paper website no. 9==

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译颜媛 Yan Yuan 202170081603==

<center>'''Interpreting Chinese and Western Language Humor'''</center>

<center>Yan Yuan</center>

===Abstract===
Intercultural communication is currently a cutting-edge topic in the international academic community.Intercultural communication refers to communication activities between people with different cultural backgrounds.It studies the relationship between cultural and communication,with a particular focus on the cultural factors that interfere with communication.At present, English language teaching in universities competence, and neglects social meaning.Multidisciplinary by nature,the study of humor has been approached from various perspectives,such as philosophy ,psychology,linguistics ,literature,sociology and anthropology.However,the previous research ,though somewhat comprehensive ,hasn't yet generated systematic and thus convincing theories concerning the definition,the working mechanism of humor as well as its linguistic expressions.The study of humor language in different cultures is not only limited to the linguistic level,but also rises to the level of intercultural communication. The ultimate goal of cultural communication and integration is the overall development of human beings and their harmonious coexistence.
===Key words===
Chinese and western humor ;Cross-cultural communication; Humor;Culture
===Introduction===
Humor has always been an interesting topic in both ancient and modern times, and many people have studied the phenomenon from different perspectives,such as aesthetics,sociology ,psychology,linguistics,philosophy,etc.Theories about humor can also be described as a lot.Humor can be expressed in many different ways, in a dramatic way(comedy),in a pictorial way(cartoons), in a musical way, etc.Language, as a vehicle for the expression of human thought and ideas, is of course an important way and factor in constituting humor, and thus linguistic humor.Language is a complex system in which everything is based on relationships, and there is no such thing as a system of language system.The complexity of the language system is ,of course , a resource that can often used for humorous language. Humorous language is generated under certain conditions through certain linguistic elements and their relationships with each other.The current research on humor language in China is very one-sided and inadequate,mostly staying in the area of rhetorical patterns, words and the techniques of humor language formation,without a comprehensive, three-dimensional and explanatory study.In view of this,in this thesis we are interested in finding out the connection between the elements of the language system and their interrelationships with humor,i.e.,what forms or relationships are humorous?What forms or relationships are humorous and under what circumstances?In this way, we break the one-sidedness of the original research and think further about the study of humor language, deepen our understanding of the "surface structure"and "deep structure"of humor language , and identify some patterns between linguistic forms and humor language. It is an important reference for us to further understand the mechanism of humor language production and even the application of humor language.
===Literature Review===
As we are known,language is the most important communication tool for human being , though which people known the world and perceive it."The act of language , though not the whole state of human existence,is the basic state of human existence."(Qian Guanlian.2005) Heidegger said,"Man dwells in the dwelling built by language.Humor is also distinguishing feature of human beings (Nash,1985).Human beings mostly express humor through language, which can be divided into two man categories:oral language and written language. The spoken language is the basis of the written language, and the written language is only the expression of the spoken language.Therefore,humor can also be related to language through these two media,and the specific product is the general form of oral language humor,such as comedy ,skits and so on(Of course,they also include the body language of certain performs).Another form of expression is to record humorous scenes or stories in the form of words to make readers laugh,such as humorous stories in newspaper and magazines, humorous novels and so on. From this point of view, we can say that the relationship between language and humor is that language is the basis and the tool og humor.And without language, there would be no humor(except silent behavioral humor). This close relationship can be seen from the research history of language and humor.The research on the relationship between them has a long history and rich achievements.The study of humor has traditionally been concentrated and dominated within the disciplines of psychology,philosophy,and sociology. It was not until the the late 1970s that the study of humor in linguistics took its place and gained attention.Traditional linguistic studies of humor point out that humorous elements in oral jokes are more stable and explicit in phonological terms than in written jokes, and that linguistic humor arises when the first level of linguistic symbols(i.e., phonological or written units) moves to the second level(i.e.,the communicative system).This has led to a number of research approaches , such as ambiguity, which is prevalent in many humorous texts and can be divided into phonological-lexical ambiguity, semantic-pragmatic ambiguity,etc.
Since the publication of the first academic book titled ''Humor Linguistics'' in China, the study of humor linguistics in China has been exciting.Chinese scholars have studied humorous language,especially Chinese humor language, from perspectives.Mr.Hu Fanzhu's ''Humor Linguistics'' is the first linguistic book in China that systematically studies humor.Starting from a review of the history of laugh and the theory of "laugh" in China and the west.The book proposes that humor is a spiritual phenomenon with three levels,namely:humor in the broad sense is comparable to ludicrousness, humor in the normal sense refers to ludicrousness that appeals to reason,and the humor in the narrow sense specifically refers to humor that contains intellectual lightning and generosity, a sense of spirituality and life.The book was published and had a great impact on the academic world.A large number of similar books have been published, but it can be said that they basically do not deviate from the technical lines and research ideas outlined by Mr. Hu in that book.
According to incomplete statistics , in terms of published papers, we searched for 22 articles on the Chinese journals with the keywords "humor language"; 5 articles with the keyword " language humor";15 articles with the keywords "speech humor" ;9187 articles were searched by the keyword "humor". In terms of published monographs , in addition to "Humor linguistics", subsequent monographs on humor language or humor include Gua Tian's ''Humor Language Operations''
'',Gong Weicai's ''Humor Language Art'', Li Junhua's ''Humor Language'',Sun Shaozhen's ''Fundamentals of Humor'' and ''Fifty Methods of Humor Defense'' and so on. In terms of outstanding master's theses on China Journal Online, there are 15 master's theses with humor language as the topic or keywords.

===The Definition of Humor and Humor Language===
What is “humor”？There are many different answers to this question.People have interpreted and explained humor form a variety of perspectives, each with their own insights.However , it is a little known fact that the word “金数”is a foreign word in Chinese .The word “humor” in Chinese can be traced back to more than 200 years ago to the“Where silence and quietude reign” in “Longing for Changsha , The Nine Elegies，The Song of Chu”.Wang Yi notes，“Confucius is very good.As poetry written,“Confucius interpreted the word "默" as silence.The mountains in the south of the Yangtze River are high and the wild is very clean, and there is no voice in the desert.”In ''Shih Chi'',“默”（silence) is protrayed as "墨"(Chinese ink).It can be seen that at that time,the word "默"（humor） meant silence.Since then,the basic meaning of "默"(Humor) has not changed for more than 2,000 years.For example, Li Bai,a great romantic poet in Tang Dynasty,wrote in Song of River in Farewell to Cen zhengjun ,"And yet it is worrying to live alone in such a lonely place ."If we consider the meaning of the word "humor", that is , as an aesthetic category we want to study.It is an exotic and a foreign transliteration word in Chinese.In the last century,Mr.Lin Yutang was transliterated from English "Humor" .The reason why Mr.Lin transliterates "幽默" with the word "humor" is to consider their implied meaning(or instant impression meaning) and morpheme association color.Therefore, we can say that humorous words are both transliterated words and free translated words.Since then,the word "幽默" in modern Chinese has gradually deviated from its original meaning， that is , it no longer means "silent", but points to the meaning of humor.According to the related works published in China, there are definitions of humor as follows:
Humorous style is one of the key rhetoric style in Chinese......Humor is the use of language conditions to show the humorous interest in things.It is characterized by a light-heartedness and cheerfulness.It is based on " truth"
Humor is a rhetorical technique.
Humor is a spiritual phenomenon. This spiritual phenomenon has a broad sense,a common sense. There are three levels of humor.Humor in the broad sense is comparable to ridiculousness ,such as comic, witty ,gagging,funny......Humor in the narrow sense refers to the layer of spiritual phenomenon that is most aesthetically valuable.Humor in the conventional sense is a mental phenomenon that has an appeal to the "ridiculousness " of reason.
From the above definition of humor,we ca know how complicated its definition is, different viewpoint are different.This in itself shows its complexity as an object of study , and we can simplify it without getting entangled in the complexity of the definition.Based on the above viewpoints, we are more inclined to Hu Fanzhu's understanding and definition of humor in his monograph ''Humor Linguistic'' , that is , humor is a spiritual phenomenon, which can be divided into three levels:broad sense,ordinary sense and narrow sense.To sum up, in this paper we can define humor as laughable, that is, having the effect of inducing laughter.
'''1.1.1 The definition of humor language'''

From the above definition of humor, we know that humor is a multidisciplinary research topic,people from philosophy,psychology,sociology,linguistics,literature and many other aspects of the phenomenon of humor research.This thesis mainly studies the humor language, and the so-called humor language is "created by the use of various elements of language variation humor.In dynamic terms, it is the atmosphere in which language is used,or a style of language;in static terms, it is a fuzzy collection of linguistic variants, or an aggregation of ways.”（Hu,1987)From this definition,we can draw the following two conclusions:firstly,humor language must be related to linguistic symbols,humor that dose not use linguistic symbols as a carrier is not within the scope of this study,such as Ding Cong's cartoons and mime act are certainly funny, but they are not humor language; second , humor language should be created by the variation of linguistic elements, not just by the narration of language of language symbols.It is necessary to distinguish between humor expressed in language and humor created by language:in verbal humor, language is used only as a tool , and laughter is triggered by the recorded situation, while language itself may not be funny.From this definition, we can see that in fact, the humor expressed by language is to describe a ridiculous situation or thing by using language as a tool to express idea,so that the listener or reader will find the situation or thing ridiculous after appreciating it.It's like expressing a humorous situation in the form of a cartoon,except one is in the form of a cartoon and the other is in the form of language.Like this one:
午餐会发言人匆忙赶来赴约会，当他坐在第一张桌子前时，他突然意识到了他忘了带他的假牙。
The luncheon speaker was in a hurry to get his appointment,and as he sat down at the first table,he suddenly realized he had forgotten his dentures.
他转向他旁边位男士，说:“我忘了带假牙了。”
He turns to the man to hin and says，“I forgot my dentures.”
男士说:“没问题。”说着他手伸进口袋里并取出一-副假牙。“试试这一副。”他说。
The man said, “No problem.”He reaches into his pocket and takes out a pair of dentures.“Try this one.”He said.
发言人试了试。“太松，”他说。
“They’re too loose,”the speaker said.
男士接着说:“我还有一副....试试。 ”
The man said, “I have another pair...Try it .”
发言人试了试。说:“太紧。”
The speaker tries them on, says, “Too tight.”
男士根本不感到惊讶，他接着说:“我还有一副.....试试。”
Not surprised at all, the man continued, “I have another pair of ...Try them on.”
发言人说:“正合适。”他带着这副假牙吃饭，讲话。
“It fits.”The spokesman said.He ate and spoke with this pair of dentures.
午餐会结束后，发言人走过来，向那位帮助他的男上道谢。“我想谢谢您给我的帮助。您的办公室在哪里?我正在找一位好牙医。”
After the luncheon,the speaker came up to the man who had helped him and thanked him. “I wanted to thank you for the help you gave me.Where is your office?I am looking for a good dentist.”
男士回答:“我不是牙医。我是本地的殡仪员。”
The man replied, “I’m not a dentist.I’m a local mortician.”

=== Chinese and Western Humor ===
'''4.1 The Evolution of Chinese and Western Humor'''

Humor comes from the Latin word “humor”, a physiological term referring to “ fluids”.According to Hippocrates, the person’s health and different type of temperament depends on the human body fluid mixing proportion.Therefore, the original meaning of “humor” in human body is the proportion of four kinds of fluids to the people’s minds,constitution,the tendency of the habit,temperament,or the heart,mood.The first person to introduce humor into literature was the famous English dramatist Ben Jonson.At the end of the 17th century , humor took on its present meaning;in the 18th century , there were literary writers and artists who used humor as a creative style.When the form of humor spread around the world ,it became a symbol of wisdom.Mr.Lin Yutang introduced humor into China for the first time.Although humor is a foreign word,humor culture is as old as the history of the Chinese nation.Ancient Chinese contains profound philosophy and ingenious speculation.The contemporary works of Mr.Lin Yutang and Mr.Qian Zhongshu. They are full of humorous wisdom.

'''4.2 The Difference of Chinese and Western Humor'''

The difference between Chinese and Western humor is mainly due to the differences in many aspects of Chinese and western culture and way of thinking.Chinese people shaped typical introverted mainland farming culture,which aims to seek peace and contentment,forming a capitalist type of divergent thinking,ritualistic and subtle;while the Westerners are the outward-looking marine commercial culture that seeks only wealth and strength,forming a linear thinking of brush sketch type,spontaneous and open.The formation of Chinese and Western humor is the projection of their own cultures.In such a cultural atmosphere characterized by self-sufficient, China has formed a thinking pattern of “still letting,not fighting,still retreating, not moving”.Because of this cultural mindset , an intuitive way of thinking has been formed. This mindset and way of thinking determines that humor is expressed in an intuitive way.For example, in order to explain a person’s stupidity, we should focus on describing how stupid he is when he speaks and does things,so that people can draw an intuitive conclusion immediately after reading it.However,western culture belongs to extroverted marine culture and advocates innovation. Therefore westerners have formed a speculative thinking that emphasizes creation.In humor,it is embodied in the use of restrained statements, so that people can understand humor itself by understanding litotes.The differences between Chinese and Western humor are very obvious in many aspects, but people’s love and recognition of humor are surprisingly similar.
===The Different Characteristics of Chinese and Western Humor ===
Generally speaking,humor is not only the carrier of culture, but also the embodiment of different national cultures.The differences between the two cultures lead to the different interpretation and application of humor in China and West.Under the nourishment of different cultural systems,Chinese and Western humor has formed the characteristics of different cultural styles.Western humor is so profound that there is a saying that can explain this situation to the fullest,that is, “you can not be a good person, but you can never be a person who does not know humor.Western humor is mostly humor full of wisdom,subtle and thoughtful.They know how to self-deprecating,good at using self-deprecating methods to show humor , and at the same time trying to win each other’s affection.After thousands of years of feudal system in China,people have a strong sense of self-restraint and too many concerns. They prefer to show their perfect selves in communication with others , and it is difficult to laugh at themselves. Therefore , humor is mostly aimed at the third party,which is simple and direct.

'''5.1 The Different Content and Function of Humor'''

Humor is a kind of human aesthetic pursuit, is a reflection of the real life , the first in its theme and content reflects the national unique customs and cultural concept.The traditional Chinese Confucian thoughts influence deeply rooted, people talk about “sex” color changing, therefore, the traditional eastern humor neutral theme is the box.And this kind of theme in western humor but make up a large proportion.The functions of humor can be divided into: negative humor(is critical to life,shortcoming and negative phenomenon to negative),affirmative(to life advantages and positive phenomenon be sure and pure humor(neither contains sure, also does not contain negative,it is just for daily phenomena are abound of appeal reflects).Humor is more purely entertaining in the west,which is formed from the initial state oh humor.However,Chinese humor seems to have a heavier historical mission to serve politics.The traditional cross talk spread to the present, and the satirical jokes are mostly of this kind.Western humor culture is profound, the Russian literary scholar Chekhov said, “Do not know how to joke, is a hopeless person..”What's more, westerners are more open than Chinese, with a large proportion of pure entertainment humor. Therefore, they can have a quiet moment with anyone on any occasion, such as an American joke:A young man went to an old man’s birthday party.When he saw the old man, he sighed, “I’m sorry.I do not know whether I can come to your birthday party next year.”And the old man smiled and said : “Why not? You seem very healthy.”This is typical western humor, they play more of a function of relieving mental stress and establishing a sense of superiority, but also reflects their willingness to share and enjoy life by gathering together.
Due to the differences between Chinese and Western thinking and cultural heritage,there are obvious differences in the expressions of Chinese and Western humor.Chinese humor is typically expressed through the use of language and words, most typically in comedy,where the artist’s mouth borrows from the profound Chinese language to talk about heaven and earth and comment on the past and present.There are many examples of this in Guo Degang’s comedies.Western humor,on the other hand, focuses on action interpretation. The most representative one is the humorist Chaplin,a series of silent movies that brought a lot of joy to the world.And then the later animated blockbuster Cat and Mouse also won the applause the world with its unique American way.

'''5.2The Different Ideologies and Aims'''

An ideology is a set of ideas that constitutes one’s goals,expressions,and actions. An ideology can be through of as a comprehensive vision, as a way of looking at things, as in common sense and several philosophical tendencies, or a set of ideas proposed by the dominant class of a society to all members of this society.Compared with Chinese long history, the history of western countries is comparably short.Take America for example,it is only more 230 years since it was founded . So their awareness doesn’t have much time to develop.Their awareness consists of instant fragments so they are not as passionate about political matters as Chinese citizens.China has a cultural tradition with a five-thousand-year-long history.Chinese people have been influenced by systematic and strong political idea for a long time. Influenced by those ideas and Chinese traditional system,Chinese people show a strong political tendency when dealing with the daily affairs.So the content and characteristics of Chinese humor is influenced a lot by this politic system.
In China, literature works are closely related to education. So humor,as a popular culture, is aimed to satirize people with bad behavior and educate them and make them a good citizen. Although satire is one of the purpose of humor , the main purpose is to develop people’s sense of humor.Because humor is considered to be an important quality in western country,many leaders and scholar with a sense of humor are respected by people.This is because humor adds color to their personal charm and shows their wisdom.

'''5.3 The Different Grasp and Skills of Sense of Propriety'''

Chinese and Western humor has different styles and techniques due to their different cultural traditions and ideas.From the perspective of humor creation,China and Western countries develop in two different directions in the pursuit of implicature. On the macro level, humor in Western countries strives to combine subtlety with condensation and philosophizing, so that there is more room for humorous evocations. As for Chinese humor it is good at mastering the scale of subtlety and clarity.Chinese and Western humor is far less explicit in technique than in content. It is often rooted in the long-standing cultural traditions and psychological qualities of the nation, and is also very subtle and hidden. Chinese humor deliberately pursues consistent and progressive taste, and contains many “baggage” from beginning to end,which makes the audience always have strong interest , from nervous expectation to relaxed satisfaction, and then jump to new expectation and new satisfaction. However, western humor often has only suspense , but due to the requirements of the integrity and coherence of the story , there are many restriction on the use of “burden”.
===The Change and Integration of Chinese and Western Humor===
Cultural differences are neither superior or inferior, but rather compatible,complementary and gentle with world civilization.Various cultures coexist in the midst of exchange and conflict.Exchange and conflict are the driving force of cultural development ;coexistence is the guarantee of cultural integration.Culture autonomy and cultural self-awareness can be the way to dissolve the clash of cultures or civilizations. The future direction of cultural conflicts will be the gradual expansion of the field of human consensus, the gradual reduction of barriers to cultural exchange and integration, and the evolution of a mutually existing multicultural system in the context of globalization. Humor is a symbol of civilization and wisdom, and it brings people of different nationalities in a multicultural system , making people realize the power of humor in communication. It prompts national characteristics, express the historical accumulation of national cultural development, and reflects the appearance and status of the times from a unique perspective and in various fields. Humor’s mood and charm can only be understood by the members of the group who share the same culture.Therefore , whether we are analyzing humor techniques or studying its linguistic art, we need to first examine the cultural connotations on which it is based.In this way,humor can be better understood and cross-cultural communication can be successfully realized.The culture of humor reflects the development of the times , the progress of science and the change in social and cultural integration. It can be used from variety of starting points, and through the use of a variety of techniques, it is subtle but not revealing , light-hearted but not subversive, and subtly reflects the splendor of the culture of the times.This is the charm of humor.Humor is the words,actions and expressions that can make people laugh in the process of human communication, which is rich in content and diverse in forms .With the rapid development of information technology , the cost of transportation and communication has been greatly reduced , which makes the whole world more closely connected than ever before, and the humor between China and the West is gradually merging.While Chinese and Western humor merges gradually,we should keep national humor, at the same time, we should broaden our horizons and consider the problem as a whole,so as to keep national humor and boldly admit some commonalities and produce new humor ways.
===Conclusion===
Humor is a linguistic art that permeates every corner of life. It plays an immeasurable role in life with its unique artistic style, full of amusing and intriguing contexts, humor is a symbol of civilization and wisdom, bridging people of different nationalities under a multicultural system, and making people realize the power of humor in communication. Although the differences between Chinese and Western humor are obvious in many aspects, people's love and recognition of humor are surprisingly similar. In today's era of globalization, various cultures coexist in exchange and conflict, and cultures from different regions gain a certain consensus through cross-cultural communication, and Chinese and Western humor are gradually integrating. This cross-cultural integration of Chinese and Western humor is conducive to the successful communication between China and the West, as well as to the harmonious development of the world.
Globalization is an inherent requirement for the development of human society.Human development is in collision and conflict advance,human development is spiraling upward.Cultures from different regions have reached a certain consensus through cross-cultural communication , and human culture needs to be integrated through differences .With the strengthening of the interaction between China and foreign countries will reach an unprecedented level,and cross-cultural study of Chinese and Western humor is conducive to the successful communication between China and the United States, and more conducive to the harmonious development of the world.
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==英语笔译杨心怡 Yang Xinyi 202170081604==
<center>'''Gendering History on Chinese Movie'''</center>

<center>Yang Xinyi</center>

===Abstract===
Since the new period, with the vigorous development of Chinese movies, there have been many excellent movies.And the female image in the movie, it is very compelling.China movie culture is deeply influenced by traditional cultural ideas, and the idea of "male superiority over female inferiority" is deeply rooted.Therefore, the female images created in this period were restricted to a great extent.In this paper, the new era of Chinese women's image in the movie type analysis, on the one hand through the image of women focus on women's development and progress, the other side through the image of women reflect their shortcomings. In the survival of male hegemony of women is difficult to tell their true inner thoughts, women's own right to speak was ruthlessly deprived of, they are always a "second sex" identity in the men behind. the real equality between men and women, In the cultural media platform has not been achieved. I hope that through the analysis of the image of women in the movie, build an equal platform for dialogue between the sexes, so that more exciting images of women appear in front of everyone.
===Key words===
chinese movie； feminism；female character
===Introduction===
The famous French movie artist francois truffaut said: movie is the art of women.This is particularly evident in Chinese movies.In view of the development history of the movies in the new period and even the whole Chinese movies, the female images cannot be ignored in the character gallery of Chinese movies.
It should be noticed that the Chinese movie in the new era is gradually getting rid of the shackles of the original political discourse, turning to the artistic vision and new movie language to shape the image of women.With the opening of social culture and the awakening of gender consciousness, the female images in the new era of the movie presents a diversified trend, which makes the female image with greater charm.The first representative female image in the new period movies is the wife and mother image represented by Feng Qinglan in Xie Jin's Legend of Tianyun Mountain.They like men, also suffered the political disaster of the past, but they can with their own sacrifice to save the suffering of men.Therefore, this kind of female image has the brilliance of "Virgin Mary." In the movies of the "fifth generation directors,” whether it is Zhang Yimou's Red Sorghum, Ju Dou, Qiu Ju's Lawsuit or Chen Kaige's Yellow Earth, the female image is also worthy of praise. Different from Xie Jin, the wife and mother position familiar to critics in the past has been replaced by lover, such as Jiu Er in Red Sorghum. This is the gradual opening up of the cultural environment and economic system has a direct relationship. In the nineties, under the coercion of consumer culture, women who mean more and more heavy consumption, their bodies have become the spectacle of being stared at. Of course, women become the focus of the movie performance of the object is not just the above two reasons. In the feminist movie criticism of the vision, the male gaze for the female body is one of the determinants of movie-like state.（Li,1988:76)All in all, the image of women in the new era of transformation, we can not only see the development trajectory of Chinese movies, the same can also see the Chinese social and cultural and ideological concepts of the rheological process. This is the reason for this study, but also the value of this study.
===Literature Review===
Chinese movie since the birth of a hundred years, there have been a large number of excellent movies, but also created a large number of rich connotation of the role of women, so for these roles of historical research and comparative study has become an academic research entry point.Zhang Xuqing believes that feminist movie is a part of contemporary movie art that must be valued.Feminist movie theory has been distinguished by philosophical concepts such as Marxism, Freudian theory, post-structuralism, etc., which have been popular since the 1970s, and a series of concepts such as "the other" and "deconstruction" originally belong to these theories.Reading was transplanted into feminism.They use these theories for the image of women in the movie and in the ideology of women's consciousness has been criticized, pointed out that women are patriarchal culture and distorted repression one side. These criticism beyond the past simple image analysis and the appearance of social and cultural analysis, is astute.Laura Mulvey's Visual Pleasure and Narrative movie is a classic of this analysis. In the thesis, the most important manifestation of the alienation of women in movies is the materialization of women as carriers of male desires, which, in Mulvey's words, is "women in movies as images and men as bearers of voyeurism."Feminist theory was introduced into Chinese movie criticism since the 1990s.In this process, Yang Yuanying played a more important role.In the context of "feminism and China women's movie," Old time women in ancient China is a history, in which women's consciousness melted away in a male-dominated society and individual families. Yang Yuanying took the movies directed by female directors as the research object, and made a detailed analysis of the narrative characteristics and spiritual structure of female movies.Yang Yuanying believes that female movies are very different from male movies from narrative to internal logic, reflecting women's own emotions, and that "Ghost Love" will become a living fable of feminism.This analysis is very in place, so far scholars for the "ghost" analysis and research did not go beyond this thesis.Xie Xiaoxia believes that women's directors are basically the topics of women's lives, emotions and so on as the subject matter. Although the performance style and narrative techniques vary, but the basic theme can be summed up in three points: Growth, reincarnation and temptation. For example, Xu Jinglei's mental maturity shown in Me and Dad and the maturity of women in emotion and social life experience shown in many works. Samsara is manifested as a change of mother and daughter's fate, that is, the commonality of mother and daughter's fate. Generally speaking, such expressions are historical, showing the influence of times and society on women through the change of mother and daughter's fate. Wu Xiaoli believes in her paper that, With the implementation of the market economy, women directors work in the infiltration of the market and ideological factors are becoming more and more obvious. In other words, that is, the works of the female consciousness gradually reduced, began to compromise and surrender to the patriarchal society. In the past, women write in some works there is still, but in a way that can be male audience and the market access women's movie is struggling in this difficult to move forward.Through the above-mentioned image of women in Chinese movies, we can see that the researchers provide a more fruitful results, they are not tightly satisfied with the theoretical analysis, but also to creative practice and case studies in the form of exposing the existence of the movie text of gender, culture and power differences. As Foucault has pointed out, like the movie also exists in the discourse of the struggle field. On the other hand, these studies also have some shortcomings, which is this article to work on.
=== 1 The diversity of female image===
The new era for the creation of movie art provides a great social and cultural space, with the trend of cultural diversity. The development of female image also presents a diversified trend. In the 17 years of the movie, women are expressed as with the same group of men, so in which their sex is destroyed by mud.The so-called independence, but in fact is wiped to the female consciousness and in another identity into the ideological discourse. After entering the new period, the female body gradually be restored. But as a result of 17 years and the cultural revolution caused by the fracture between traditional and modern, China's female sex there is no way to find out the survival of self-awareness in modern society, so only to the history to find, so inn the early period of the new era, the image of women in the movie is mostly based on the image of his wife, mother and other inclusive, they are full enough to heal and moral expectations of people's desire.With the promotion of market economy and the change of women's economic status change, women’s desires and requirements to be publicized, women for their own positioning also gradually clear. In the eight or nine
ten years of the movie, there are two types of female image is noteworthy, one is the image of independent women, two categories is the image of the lover on behalf of desire. Into the century, the influence of consumerism gradually penetrate. Cosumer characteristics become increasingly apparent, which is the emergence of consumer images of women. As the new era of movie works very much, and the limited space of this article, so can only select some representative works and image.This paper discusses the process and overall context of social change in the new era.

1.1Wife and Mother

At the beginning of the new period, with the rise of scar literature and reflective literature, women were placed in the historical context to write. In the movie, women have the double identity of the strong and the weak. In the narrative discourse of the fourth generation of directors, women and men have experienced the cultural revolution, famine and other political and natural disaster damage, in front of the suffering of the irresistible, their nature is weak, but they also to the selfless and sacrifice aroused men around, from this perspective they are strong. As a result, this
The image is also known as the "Mother of the Wife" image.The appearance of these women not only changed the narrative of integration in the period of seventeen years, but also completed the transcendence of the traditional moral women.The typical representative of this aspect is the Feng Qinglan in the Legend of Tianyun Mountain and Li Xiuzhi in the Wrangler. Xie Jin's 'Legend of Tianyun Mountain' can be regarded as the image of this wife and mother of the movie, because of its work shown women's great tolerance and moral sense, this kind of women is also known as the image of the earth mother.In the day yunshan legend, the hero's identity is down and out scholar, although they were born in a scholarly family, has a very good culture, but the cruelty of political struggle but let them suddenly had nothing.In their down and out, xie jin arranged for a woman to save them. Xie Jin's arrangement, let the emergence of women with a strong sense of mission.In Xie Jin's works, women are not only lovers and wives, but also protectors of men.Their forbearance, strength, tolerance and generosity have established a harbor of expectation for men.Despite the storm or political struggle outside, but when the door was closed at that moment, everything is insignificant, The warmth of family removed everything.In fact, the emergence of this image is actually a male expectations, contains men in frequent complex political struggle after the exhaustion of seeking spiritual comfort and the idea of sustenance.
As we can see, in the day yunshan legend, when Feng Qing Luo Qun take back with a scooter, actually like a mother, accepted his son abandoned by society.And when Luo Qun was political recognition, Feng Qing years old has passed away.Therefore, Xie Jin with his deep lens language constantly shooting Feng Qing When I was young photos, rags vest, small wooden bridge, etc., line sent his praise for Feng Qingwei. Xu Lingjun in The Wrangler, like Luo Qun, is also a political exile.In xiu-zhi li appeared later, Xu Lingjun re-ignited hope for life. Xu Lingjun and Li Xiuzhi married and had children, Li Xiuzhi also Xu Lingjun's life is taken care of meticulously. Li Xiuzhi also has the characteristics of Mother Earth. She is not only diligent in keeping the house, but also dissolves Xu Lingjun's unhappy mood with her gentleness.
At the same time, it should be noted that Li Xiuzhi appears as a positive role in the movie, which also implies the affirmation of a mainstream discourse. Therefore, Li Xiuzhi said,"I have settled the rebellion for him since the day of marriage." After the vindication, Xu Ling has the qualification to inherit the property of his father. But he flatly refused. This is the thought that she has been in Li Xiuzhi's body to find the position of mother and father, so his break with his father is not only a moral break, but also means that the psychological level of break. In addition, there were many similar roles appear. They and men together, as men in different periods of different needs of the materialization, bear different historical functions. In short, in the affirmation of these women, their connotation and value of the image at the same time, need to see their value is based on the men and show her perseverance and suffering is to forgive men and happiness. Obviously, this woman's reversion was revealed. Women were banished to a history. In years later, these images gradually launched the screen, and with the fifth with the rise of acting directors, some new female images began to appear in people's vision.

1.2 Independent Female

In the late nineties, China appeared to work hot and hot to go abroad, a group of women in the era of inspiration get out of your home and find your place in society.They like men, the success of the career as the my value realization scale. At the time of the TV series, this theme is very common, but in the movie such female image is less.In this kind of female image of the movie, a warm to listen to the "sand bird" and huang shu sequence of "ghost" is a typical representative.
Movie sand hired is about the China women's volleyball team's main players sand step due to illness failed to participate First Volleyball International Championship.This is full of ideal sand is not acceptable, so the sand better constantly training hard, hope to be able to take part in the game.Sata was finally allowed to compete and won the silver medal, but she not relegated to this. Still want to try to win the championship. The image of Shahe not only reflects the charm of the individual, but also perfectly combines with the spirit of the times in the 1980s. In the movie, Sha Juan's boyfriend Shen Wei was killed in the process of climbing Mount Everest. Under this blow, Sha Ta chose to cheer up and eventually became the coach of the women's volleyball team.For the sand cuckoo, this choice is not only personal, but also national.In the preface to Huang Shu's Ghost Love, the actress Qiu Yun is also an artistic image worth mentioning. Huang Shuxu in the movie created the actress Qiuyun this independent, spicy, firm actor image.In the movie, Qiu Yun is a career pursuers. Qiu Yun from an early age to learn drama, the purpose is to seek their own self-help. His father did not allow Qiu Yun to learn drama, but was eventually moved by Qiu Yun, personally taught her, so that her career has a good start. Indeed, the movie showed the pressure faced by Qiu Yun, but Huang Shu Xu stressed that this movie focuses on Qiu Yun for their own destiny of the active choice.
For the emergence of independent female images during this period, Dai Jinhua(2000) said,"If we say that in contemporary literary circles, many women writers pursue and create their works of women’s style or become a deliberate, or not to do the women's strategy; In the movie world, the emergence of female style has become a mark of historical progress and a step in the difficult emergence of invisible women. Interestingly, most of their movies share the same cultural and social themes as the male directors of the same generation, but because of the selection of female stories and the unexpected entry and disclosure of female life experiences, they have translated and rewritten them into a female version. "This sentence affirms the efforts of female directors in creation. Pointed out that the previous works of women into the social stage when the neglect of their own gender identity. We admit this period of independent female image reflects the women in the process of entering society, the pressures and obstacles faced, but also concerned about their adherence to their own values. This makes their image three-dimensional up.

===2 Female consciousness in Chinese movie===
After combing the female images in the movies of the new period, the process of female images gradually becoming full is actually the process of female consciousness awakening. As far as the relationship between female consciousness and female image is concerned, the deeper female consciousness is, the fuller female image will be the image of women in the movie in the new era, although different from the past, but both are grown in China culture. However, in the new era, some new values and elements also take on new connotations. The new period movie began to women's self in-depth table.
Now, women's self-reliance, self-esteem and self-respect side was presented in front of the audience. And women are beginning to realize that since reputation and achievement, try to get rid of the influence of patriarchal consciousness, with their own efforts.

2.1 Female Identity Consciousness

In Second Sex, Beauvoir pointed out that women are not naturally occurring, but by social construuction. In the Chinese calendar history, the influence of patriarchy is very long, women in history is far away from the political and cultural center, is suddenly depending on the secondary. In Macro view, the center of the history of discourse is mastered by men, they become history set, women tend to appear in the image of the foil, is absent on the stage of history. At home family environment, the male is also the core of the family and the family, women became a reproductive tools. After her death, women still have no right to speak, as the so-called "husband died from the child."If we want to understand the relationship between men and women, we must discuss the concept of "home."It is well known that the family is made up of men and women, and that the history of the family constitutes the history of the nation and of mankind.In China traditional culture, the family is the foundation of the country and has an equally important position.Home country is regarded as a world expression of the whole and put forward by the power discourse, it is not only the basic form of China traditional social structure, but also the root of China culture and national psychology.In a family, women's identity is generally wife, mother and daughter, which is a kind of orientation of women's identity.Because men struggle outside, when men struggle frustrated, back home, women will assume the role of the soother.And if men are facing the test of life and death, so women are the saviors.From the perspective of this division of labor and role orientation, women were imprisoned in the home and became the victim of the patriarchal system.In the new period of the movie, women also play the role of the savior, but should see the female of this period sex rescuer role is in the context of ideological emancipation, is the identity and status of women are covered after complex.Now under the background of the movie, this rescue directly against the damage caused by the Cultural Revolution, it has distinct characteristics of the times.As the analysis of this article before, as this period of women's salvation is not pure the essence is to return to the traditional, they show is mainly a kind of personal spiritual pursuit and choice.In Legend of Tianyun Mountain, Feng Qingjian's love for Luo Qun comes from her worship of intellectuals, while in Horse Shepherd, Li Xiuzhi’s extreme rescue of Xu Lingjun is also because Xu Lingjun is the person she really likes. Therefore, this kind of salvation can not be simply understood as the virtue of traditional women, because this idea can only appear in the specific context of the new era. Although the two image is art, but certainly at the time China's hundreds of millions of people, must have a large number of women like set feng and xiu-zhi li, and these women in the previous era is difficult to appear. The ultimate significance of the emergence of this image is that in the past, they are not described as a single revolutionary role, but through this identity they have returned to the position of women, to find their own female identity. In other words, that is, as this section emphasizes, save the ideas and consciousness of female identity with the confluence. In Dai Jinhua's words, it is "if we say that women originally did not have their own language, always struggling the control of male culture and language. " If we say,"Hua Mulan type situation," is the modern female common face of gender, self predicament; In order to get out of the predicament of "Hua Mulan," women return to their families and become mothers, wives and daughters, which actually indicates the awakening of women's identity consciousness. Of course, we should see the strategy of this expression.In fact, after the end of the Cultural Revolution, in the continuous development of society, women are considered to be weak by society, and thus they do not have to struggle outside, it should be back to the family Xiangfujiaozi. It is through this description, women from the family to find their own value. As the analysis of this article before, in Xie Jin's movie , as the officer of the heroine eventually return to the family, became the mother and wife, it is also a scratch to save a representation of the fusion of knowledge and female identity consciousness.

2.2 Independent consciousness

The development of the new era has given people to change the reality of expectations and opportunities, so women are increasingly willing to seize this opportunity. So when the background of the whole narrative with society to replace the family, women want to be able to prove that they can because of a place in social affairs and qualified in the family as well as men.For example, in Middle Age, Liu Wenting shoulders the pressure of family and career, not only to face up to the plight of women, but also to safeguard the role of wife and mother.Lu Wenting's image profoundly shows the double confusion faced by women in life and work.In Zhou Xiaowen's "Second Aunt," the significance of the second aunt is that she has been eager to get rid of the influence of male values, and the television has become the most distinctive symbol in the movie.At the same time two aunts also has another identity--the lover of the blind.In the pursuit of mother, family, career identity, the pressure faced by the second aunt is palpable.And the same wavelength of the final outcome, though helpless, but her pursuit is valuable from the new era of the movie as a whole, for the discussion of these issues has become a mainstream in the field of movie.The words.Using art to reflect society has also become the pursuit of some directors.At the same time, women also open beginning for some reflection and analysis of their own.The reflection of women have a very distinct personality, also to have their own skills, to be able to live independently and from the bondage of men, so as to realize the value of self.
For example, in the ghost, autumn non-success in order to escape the fate of women and play men, as the doors, this became a classic metaphor for women to escape. In the 'sand raven', the sand is also faced with career and family dilemma. In addition,Daughter House,Childhood Friends,Youth Festival and other movies, women are faced with the pressure of this dual force, so their struggle also appears to be extremely decisive.In general, this period of women in the process of moving towards society to strengthen self-awareness, self-realization and value has become a driving force for their struggle. Although most of their struggles have experienced great hardships and pain, and most of the struggle is also a failure as the outcome, but their pursuit of the spirit and enthusiasm has never changed. It can be seen that the new era of movie from the original in accordance with the standards of men to express the awakening of women to women's consciousness, body reveal the process of women's pursuit of self-improvement, the expression of women's consciousness in the movie in the new era to a new situation.

===Conclusion===
Before the New Age, the most characteristic feature of the portrayal of women in Chinese cinema was the integration of a single "revolutionary" woman as the classic representative of subjectivity. The single 'revolutionary' image of women became the classic representation of subjectivity. These images embodied the gender consciousness of "gender equality".But in the call of the times for 'equality', women lost their gender identity and became masculine images. These images reflect the existence of a gender consciousness of 'equality between men and women', but in the call of the times for 'equality' women lose their gender identity and become masculine.Since the beginning of the new era, the portrayal of women in Chinese cinema has undergone a historical transformation. The image of women and gender narratives gradually reveal gender. The difference between the sexes gradually emerged in the portrayal of women and gender narratives. The first is the emergence of the 'Madonna' image, which began in the 1930s.The image of the Madonna has a strong sense of relief and salvation, as she uses her body and mind to save men from the suffering of history. The connotation of this giving is not a replication of traditional virtues, but rather an autonomous identification and choice of the object of their giving. They have the autonomy to identify and choose their own objects of giving.After a new period of transformation in the image of women and their consciousness, new gender relations are being constructed and positioned in Chinese cinema, especially with regard to the definition of women, which is entering the world of thought at an unprecedented pace. There is every reason to believe that with the development of the times, the image of women and women in Chinese cinema will certainly make greater progress.
===References===
*Li Ercang(1988).Zhangyimou’s saying.Liaoning:Chunfeng Literature and Art Press,76
*Yangyuanyin(1990).Feminism and Chinese Women's Films: Communication University of Chin Press,23-25
*Dai Jinhua(2000).Chnese Movie Culture(1978-1998):Peking University Press
*Li Bin(2007).Recent research on female-themed films:Movie Art Press,121-123

==英语笔译杨紫微 Yang Ziwei 202170081605==
<center>'''Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theory of "San Hua"'''</center>

<center>Yang Ziwei</center>

===Abstract===
Classical Chinese poetry is a gem of Chinese traditional culture. As for the translation of classical Chinese poetry, Mr. Xu Yuanchong is one of the most influential translator of classical Chinese poetry, and his translated works have been unanimously recognized and highly praised by many people at home and abroad. With more than 60 years of translation experience, he has summed up a set of translation theories of his own, which can be summed up in ten words in Chinese as “美化之艺术，创优似竞赛”. This paper mainly focuses on the analysis of the application and embodiment of the mainly translation theories-- the method of "San Hua" (equalization, deepenization and generalization) in Xu Yuanchong's translation of Tang poetry.

===Key words===
Xu Yuanchong; “San Hua” ; Tang poetry

===Introduction===
For a long time, translation has been playing an important role as one of the means to promote cultural communication and communication. The translation of many literary works has also achieved high achievements, but the translation of poetry has been mediocre, and it is difficult to produce high-quality translations, especially for the translation of ancient Chinese poetry. Mr. Xu Yuanchong, a modern translation master, has been engaged in literary translation for more than 60 years and has translated numerous works. His focuses on the English translation of ancient Chinese poems and has formed the method and theory of poem translation in rhyme form. In translation, he emphasized the subjectivity of the translator, the creativity and artistry of translation, and innovated and developed the translation theories of his predecessors. He believed that the translated works could not only convey the beauty of the original text, but even surpass it. In particular, his translation theory of "the art of beautification" has proved to be successful in the English translation of ancient Chinese poems. This paper focuses on the application of Xu Yuanchong's theory of "San Hua" in the translation of Tang poetry, and analyzes and explores its role and expression effect in the translation of ancient Chinese poetry into English. This thesis consists of four main parts, we will learn a lot about the previous study of translation of Tang poetry, the introduction and application of the method of "San Hua" in the translation of Tang poetry as well as the value and influence of Xu Yuanchong's translation theories. The purpose of the thesis is to search for realizing the beauty in form, sense and sound as well as making readers and translators themselves comprehend, enjoy and take delight in reading translation of Chinese classical poetry.

===Literature Review===
In the past research, people focused on the analysis and exploration of the three aspects of beauty of Xu Yuanchong, therefore, the analysis and research of another theory-- "San Hua" is a field that few people pay attention to. In this thesis, I focus on the analysis and application of the method of "San Hua" in the translation of Tang Poetry. Then in the dissertation of A Study On Xu Yuanchong As A Translator （2006）written by Chen Youyang, he introduce the source and definition of the method of "San Hua" which originates from Qian Zhongshu's "the realm of sublimation". In the Literature and Translation (2016) of Xu Yuanchong, it explains the method of "San Hua" in details and gives some examples to demonstrate its application of equalization（等化）、generalization（浅化） and deepenization（深化）. In addition, it analyzes the relationship between the method of "San Hua" and the three aspects of beauty as well as the "San Zhi". "San Hua" is the method to achieve beauty in sound, sense and form, what's more, it produces the translation works that bring joy and pleasure to readers. Now that my thesis stresses on the analysis of Tang poetry through the method of "San Hua", then I should learn clear about the features and categories of Tang poetry. In the article The Discussion of English Translation of Tang Poetry (1994), Gao Yukun analyzes the characteristics and development of Tang poetry translation and he holds that Chinese classical poetry are translatable. Academic journals of Su Lin and Wang Chengcheng, both of them analyze the significance of the expression of the beauty in sense through the method of "San Hua". Since there are culture–laden words and allusions that are difficult to translate, the proper application of "San Hua" cam help us deal with it well. Then I introduce several Tang poems translated by Xu Yuanchong to illustrate the detailed application and appreciation through the method of "San Hua".
In conclusion, the method of "San Hua” is applied in literary and poem translation frequently and many translators praise it. Although sometimes in order to realize the three aspects of beauty, it causes some disputes in the accuracy and faithfulness of translation works, it makes great contributions to the translation field and spread of Chinese culture. Thus, the thesis will pay more attention to the analysis, application and appreciation of translation of Tang poetry through "San Hua" to get a clearer and deeper understanding of the translation method.

===Methods and Theories===
Research method: Literature analysis.
By reading journal articles data online and entity books such as "beautiful suffocation of tang poetry", the selection of classic poetry translation works explore the analysis theory of "three concrete application as well as the significance of the translation method, to explore the untranslatability phenomenon in ancient Chinese poetry and the translator's clever translation method in Chinese and English is how to build a bridge; At the same time, it studies the value and function of the "three Modernizations" translation theory in translation and cultural transmission.
Theories: "San Hua"--Equalization,deepenization and generalization.

===Subtitle 1===
The Previous Study on Translation of Tang Poetry at Home and Abroad

The Tang dynasty is one of the most prosper dynasties in Chinese history. At that time, the development of Tang poetry has reached the highest level and left Chinese people a large number of valuable assets. Tang poetry possesses a very significant position in Chinese culture.

The ancient poetry of the Tang Dynasty are mainly five–or–seven–character regulated verse（五言或七言诗）. There are also two kinds of modern poetry, one is called quatrains（绝句） and the other is called metrical verse（律诗）. What's more, the quatrains and the metrical verse have five characters and seven characters respectively, so there are basically six basic forms of Tang poetry: five-character ancient style poem, seven-character ancient style poem, five-character quatrains, seven-character quatrains, five-character metrical verse, and seven-character metrical verse. Ancient poetry requires a wide range of rhymes: in a poem, the number of sentences can be more or less, the chapter can be long or short, and the rhyme can be changed. However, modern poetry has strict requirements on rhyme and disciplines of metre: a poem has a limited number of sentences, that is, the quatrains consist of four sentences while the metrical verse of eight sentences. The rhyme schemes or level and oblique tone of the words in each line has a certain regularity, and rhyme cannot be converted. It also requires the middle four lines to be antitheses. The style of ancient poetry is handed down from previous generations, so it is also called gufeng or ancient style. And modern poetry has a strict meter, so some people call it metrical poetry.
The forms and styles of Tang poetry are colorful and innovative. It not only inherited the Han and Wei folk songs, Yuefu tradition, and greatly developed the style of free verse; It not only inherited the five and seven ancient poems of the previous generation, but also developed into a long epic narrative; It not only expanded the use of five-character and seven-character forms, but also created modern poetry with a particularly beautiful and neat style. It pushed the artistic characteristics of the harmony of syllables and the refinement of words to an unprecedented height, and found a most typical form for the ancient lyric poetry, which is still particularly popular with the people. However, due to the strict metrical restrictions in modern poetry, the content of the poem is easily fettered and cannot be created and played freely, which is a great defect brought by its advantages and creates troubles for its translation as well.

It is a hard work to produce high–quality and beautiful translation work of Tang poetry. Since there are not only various themes and styles in Tang poetry, but also allusions, numerals, images, phonetic words, customs, natural scenery, place names and etc. All of these pose greater troubles for translating Tang poetry. Therefore, different translators hold different views in translating Tang poetry and they have their own translation theories.

Since 80s century, there are lots of English versions of Tang poetry, such as Poetry and Prose of Tang and Song, which is translated by Yang Xianyi and Gladys, Xu Zhongjie's New Translations of Two Hundred Tang Poems, Wu Juntao's Translation of Du Fu's Poetry, Xu Yuanchong's New Translation of Three Hundred Tang Poems and Selective Translation of Li Bai's Poems, Zhang Tingchen and Bruce M.Willson's Translation of One Hundred Tang Poems and Weng Xianliang's Translation of Classical Chinese Poetry. In early times, some people thought that poems can not be translated. P.B.Shelly and R.Frost were supporters. Frost said that poetry is what gets lost in translation (Gao,1994). An Austrian philosopher, R. Jakobson believes that poetry is strictly untranslatable (Gao,1994). Although there were such opinions, most people believed that poems are translatable and many translators have explored and formed new translation theories. In addition, E.A. Nida's equivalent effect and functional equivalence theories support that poems can be translated because of language regularity. Among them, some hold to translate poems with English metrical verse, such as Xu Yuanchong and Wu Juntao; while others use free verse on poetry translation, such as Weng Xianliang and Wang Shouyi. Because of intricate features of Tang poetry, translation work is difficult to realize its original beauty in form, sound and sense at the same time, so the former pays much attention to maintain the beauty in form, sound and sense and pursues to realize the combination of sense and form, and the latter emphasizes the importance of sense and seek to reproduce the meaning of the original poem and convey the true feelings of the poet, but sometimes it lost the original beauty of rhyme and sound. As L. Wittgenstein said, "translating from one language to another is doing a ma-thematic task. And translating an emotional poem into another language is like addressing a ma-thematic problem..., which can be solved but lack of a systematic method" (Gao Yukun,1994,22). The French translator, Le Marquis d'Henvey–Saint–Denys also wrote in the preface of his translation work Collection of Tang Poetry in 1862, "Poem translation is taking great risk and it is also hard and painful, because we found that those true beauties lie in the poetry can not be expressed in any foreign language."

No matter what translation theories they use, all of them believe that the translation of poetry is an art. Under the guidance of Yan Fu's translating standards--faithfulness, expressiveness and elegance, they have been trying to achieve the beauty in form, sound and sense. Xu Yuanchong, who has been translating Chinese classical poetry for more than 60 years, made great contributions to the translation field and had remarkable achievements.

===Subtitle 2===
Main Ideas of Xu Yuanchong’s Literature Translation Theory

2.1 An introduction to Xu Yuanchong

Xu Yuanchong was born in Nanchang, the capital city of Jiangxi province in 1921. He graduated from the Department of Foreign Languages of Tsinghua University in 1943. He entered the Institute of Foreign Literature of Tsinghua University in 44 years and then went to Europe to study. After returning to China, he served as a professor of English and French in foreign languages schools in Beijing, Zhangjiakou and Luoyang. He has been a professor of international culture at Peking University since 1983. He has been teaching the course Translation and Appreciation of Ancient Chinese Poetry at Tsinghua University since 1999. Xu is a famous translator in our country and is called the only expert in translating classical Chinese poetry into English and French verse. He has been nominated for the Nobel Prize in Literature. Xu's business card reads "the only person who translates poetry into English and French". He advocated "Dare to be the first in translation studies", and was regarded as a crazy talent in the field of translation. "I used to like to go my own way by myself, I still like to go my own way by myself, and I will continue to like to go my own way by myself." This is the last thing Xu said to everyone.

Xu's 42 works are all translated works, except for a memoir--Remembrance of the Past, and three works on translation theory--The Art of Translation, On Chinese Verse in English Rhyme, and On Literary Translation. These translations can be divided into four categories. One is Chinese-English translation, including 22 titles such as 600 Ancient Chinese Poems, 300 Immortal Chinese Poems, The Book of Songs, Romance of the Western Chamber, and Selected Poems of Mao Zedong. The second is the Chinese translation, which includes 150 Poems of the Tang and Song Dynasties and 100 Selected Lyrics of the Tang and Song Dynasties and so on. The third type is the Chinese-English translation, including Dryden's All for Love, Scott's Quentin Duward and so on. The fourth category is French-Chinese translation, including Hugo's Selected Plays, Stendhal's Red and Black and other eight kinds. Among them, the most striking is that he translated the literary masterpieces of the past 3,000 years into English and French verse and published them one by one, which has initially outlined the development of verse in the history of Chinese literature. It can be called a great feat in the field of translation. Among his works, 300 immortal Chinese poems, published by the British Penguin Publishing Company, is listed in its "Penguin series". Mr. Xu Yuanchong is the first Chinese to publish translated books in this world famous publishing house.

In 2010, Xu Yuanchong was awarded the "Lifetime Achievement Award in Translation Culture" by the Translators Association of China. On August 2, 2014, Xu Yuanchong won the Northern Lights Award for Outstanding Literary Translation, one of the highest awards in the international translation circle. He is the first Asian translator to win this award.

2.2 A Detailed Introduction to the Method of “San Hua”--Equalization, Deepenization and Generalization

As we have mentioned that the beauty of sense is hard to reach, and these measures can help us to improve our translation capability and learn to deal with translation problems in a appropriate manner. These three measures are methodologies of translation. Xu was inspired by Qian Zhongshu's theory of " the realm of sublimation" and came up with the free translation methods.

Equalization aims to achieve the equivalence between the source language and the target language, and it can only be used when the surface meaning and the deep meaning of a poem are the same. It includes word formation, syntactic transfer, affirmation and negation and allusion transplantation, etc. For instance, Xu Yuanchong translates “孤山寺北贾亭西，水面初平云脚低”into " West of Jia Pavilion and north of Lonely Hill, Water brims level with the bank and clouds hang low". The translation of place names is consistent with the original work. This sentence belongs to literal translation and it is easy to understand. Another sentence“树深时见鹿，溪午不闻钟”is translated into " In the thick woods a deer is seen at times, Along the stream I hear no noonday chimes". It also uses the method of equalization and realize the functional equivalence.

Deepenization refers to the fact that when there are differences between English and Chinese in the process of translation, the expression of the source language and the target language is not consistent, it is necessary to complete the unspoken content in the source language in the translation, so that the target reader can understand it. This method mainly includes amplification, creating something out of nothing, splitting translation or adding some content in the translation that is not explicitly stated in the original text but has this meaning. Here are examples of Xu's translation of Tang poems:

(1)白雪却嫌春色晚，故穿庭树作飞花。
But white snow dislikes the late coming vernal breeze,
It plays the parting flowers flying through the trees.

In the translation, the words " dislikes, plays and flying" show us the lovely and brisk white snow with the personification. It expresses the poet's avid expectation for spring with the help of flying snowflakes.

(2)随意春芳歇，王孙自可留。
Though fragrant spring may pass away,
Still here's the place for you to stay.

This translation explicitly convey the deep meaning of the sentence. Although the spring is gone, but the autumn scenery is better. The poet is willing to stay. He likes to return to nature, loves the landscape and advocates quiet and pastoral life. It shows the poet's noble feelings and the pursuit of his ideal life.
In contrast to " deepenization", there are contents involving different cultures in the two languages. Sometimes it is not easy to translate directly, so we need to use a certain method, such as subtraction, to delete the culture-heavy contents in the original text and replace them with more general and understandable contents.

(3)相见时难别亦难，东风无力百花残。
It’s difficult for us to meet and hard to part；
The east wind is too weak to revive flowers dead.

In this translation, it omits the word “百”which has no influence on the meaning expression. In this way, Xu also maintains the beauty in form and sound. What's more, the word "flowers" has involved the meaning of hundreds of flowers. This is what we call subtraction, which is one of the methods of generalization.
Among them, deepenization is the best way to show us the beauty of sense. It is the high standard of literary translation and generally the translation work supersedes the original one. Thus, it is regarded as creation.
In the translation of Tang poetry, we have to be clear that which method we should use in the process of translation to achieve the three aspects of beauty, especially the beauty in sense. The ultimate goal of translation is to produce high–quality translation works which are better than the original ones.

===Subtitle 3===
The Analysis and Appreciation of Xu's Translation of Tang Poetry through the Method of “San Hua”
In this part, we will study Xu Yuanchong's translation methods of “San Hua” deeply and know more about their use in translation of Tang poetry.

3.1 An analysis of Happy Rain on a Spring Night through the Method of “San Hua”

春夜喜雨
（唐）杜甫
好雨知时节，当春乃发生。
随风潜入夜，润物细无声。
野径云俱黑，江船火独明。
晓看红湿处，花重锦官城。

Happy Rain on a Spring Night
Du Fu
Good rain knows its time right,
it will fall when comes spring.
With wind it steals in night;
mute, it wets everything.
Over wild lanes dark cloud spreads;
in boat a lantern looms.
Dawn sees saturated reds;
the town's heavy with blooms(Xu Yuanchong,2020,32).

This poem describes the poet's happy and brisk feelings to see the spring rain. It was written in the spring of 761 (the second year of Shangyuan). After a period of exile, Du Fu finally settled down in Chengdu, Sichuan Province due to the drought in Shaanxi Province and began a relatively stable life in the middle of Sichuan Province. When he wrote this poem, he had been living in a cottage in Chengdu for two years. He personally cultivated, planted vegetables and flowers, and socialized with farmers. He had a deep love for spring rain, so he wrote this beautiful poem describing the rain on a spring night that moistens everything.

Spring rain knows to adapt to the season. When all things germinate and grow, accompanied by the spring breeze, spring rain secretly in time to come at night to nourish all things silently. The country path and the clouds in the sky hide in the darkness, the lights of the fishing boats on the river are particularly bright. Till dawn, I saw that drizzle had moistened red flowers, which made them more charming. And beautiful flowers are full of Jin Guan City.
At first, from the perspective of the beauty in three aspects, this is a five–character metrical poem and every sentence is divided into two parts. The first part includes two syllables and the second part includes three syllables. When translated into English, there are five syllables in each sentence and the first part includes two or three syllables and the second part includes three or two syllables. Moreover, the first and second sentences rhyme and so do the third and fourth sentences in both original and translation works. These show the beauty in form and sound. With regard to the expression of beauty in sense, it is not hard to know that the title and the whole poem basically used equalization(等化) so that it is easy for us to understand. In the first sentence, in order to maintain the end rhyme, Xu reversed the order of words "when spring comes" but translated it into "when comes spring". The words "good rain" express the poet's love to spring rain, which sets the general tone for the poem. And in the second sentence, he used "steals" to describe the falling rain which adopted personification and presented us a lively and dramatic picture. He also reversed words in the sentence of "mute, it wets everything", such kind of inverted sentences also seen in the second and third lines. The clouds are spreading the sky gradually indicates the upcoming of the very rain. And "looms" also reveals the carefulness of Xu's word selection. Because of the sullen weather and distance, the light from a lantern in a boat is weak and flickering due to the wind, so he chose the word "looms". Besides, words like "saturated" and "heavy" are appropriate choices. As for “锦官城”, he just translated it into "the town", which is the use of generalization(浅化) that omitted the explanation to allusion.
As a whole, by means of the “San Hua”, readers can understand the poem without any difficulty and they can also feel the poet’s true feelings. Meanwhile, the choice of words, lengths of sentences and rhymes are pleasing to read and the meaning of the poem as well as the poet's true emotion are showed in the translation work. We can not only feel the poet's excited and surprised mood but also appreciate the musical beauty of the poem through reading it, which means this translation let readers enjoy and love it.

3.2 An analysis of The Sad Zither through the Method of “San Hua”

锦瑟
(唐）李商隐
锦瑟无端五十弦，
一弦一柱思华年。
庄生晓梦迷蝴蝶，
望帝春心托杜鹃。
沧海月明珠有泪，
蓝田日暖玉生烟。
此情可待成追忆，
只是当时已惘然。

The Sad Zither
Li Shangyin
Why should the sad zither have fifty strings?
Each string, each strain evokes but vanished springs:
Dim morning dream to be a butterfly;
Amorous heart poured out in cuckoo’s cry.
In moonlit pearls see tears in mermaid’s eyes;
From sunburnt jade in Blue Field let smoke rise.
Such feeling cannot be recalled again:
It seemed lost even when it was felt then(Xu Yuanchong,2020,124).

It is one of the most significant poems of Li Shangyin. From the title -- the Sad Zither, we can know that the main focus of the poem is "sad".

This poem has been variously annotated. Some people thought it was a mourning work, some thought it was patriotic, and some thought it was deploring with sighs for all his talent, and others thought it was a description of missing the poet's maid Jin Se. But most people agreed with the first idea.
In Xu's translation, most poems use the end rhyme and so does this. From the structure of the poem, we can see that forms of the original and translated works are the same. In regard to the full expression of its meaning, we can analyse it one by one sentence. The first couplet expresses the poet mourns for the lost golden years which we can see from words “思华年”, he translated “华年”into "springs" instead of "golden years" for the beauty of sound by means of generalization. Moreover, as the beginning of a year, spring represents vitality, energy and beauty which is like the most valuable years of people and expresses the poet cherish the golden years greatly. And "vanished springs" uses deepenization which told us that his golden years were lost forever and he was very regretful. Going forward, the second and third sentences include many allusions which is the most difficult task to deal with. The second couplet uses an allusion from Zhuangzi. It says that Zhuangzhou dreamed that he was a butterfly when he woke up from his dream, he found that Zhuangzhou was still there and he did not know where the butterfly was going. The poet took this as a metaphor for the beautiful situation he indulged in when he was young. “望帝春心托杜鹃”comes from a legend that in the late Zhou Dynasty, Shu monarch Du Yu abdicated and retired from public life, but he was unfortunately died. After death, his soul into the cuckoo, crying sadly and moving people's hearts. The poet used the story to convey his hatred and also the ardent miss for his wife. In Xu's translation, he did not translated these allusions directly into "Zhuangsheng" or "the emperor Wang", but omitted the subject. This is the adoption of generalization which avoids complicate and unnecessary explanation of allusions. Then he used the word "dim" actually showed the poet's confusion and melancholy, and "amorous heart" indicated the emperor Wang as well as the poet himself and the word "cry" expressed his sorrow for the vanished golden years and his dead wife directly. In this translation, Xu directly expresses the poet's true feelings which is hid in allusions, it is the method of specification in deepenization. In the third couplet, “沧海月明珠有泪”refers to the tears of mermaids that can turn into pearls. The poet combines the moon beads and tears into a hazy wonderland, expressing a kind of complex feelings of dis-consolation, which includes both the love for its high and clear, and the sadness for its cold and loneliness. And “蓝田日暖玉生烟”refers to the phenomenon that the jade mountain of Blue Field is often illuminated by the sun and the essence of the beautiful jade in it is rising gradually, which is as fine as hair from a distance, but nothing at all from a close look. The poet took advantage of the ideal scenery with high aesthetic meaning to express a kind of regret that can not be close to noble spirits. It is the same as the third allusion. Different from the second couplet, the first half of the third sentence roughly explained what the allusion talked about to readers while the second half used literal translation. If not understand these allusions, it will be hard for us to make it clear that what the poet want to express. Therefore, the proper translation of allusions is really formidable. The last couplet conveys the poet's grief and regrets again but it is much stronger than before. “可待成追忆”was translated into " cannot be recalled again" by Xu Yuanchong, which used negation translation in equalization. In fact, it emphasized that the beautiful days and loved ones were gone for good and it was too late to redeem for him. The word "lost" was tantamount to “惘然”that revealed the inner world of the poet. Xu had not translated“当时”into "when it was felt then" instead of “at that time”, which also belongs to the specification in deepenization, he described the feelings of the poet in details and made it clear to readers.

So from this piece of work, we can get to know that how difficult to deal with allusions properly because of the cultural differences between China and foreign countries. In my opinion, Xu did a really remarkable work. Through his translation, we can not only feel the beauty in form, sound and sense of the Chinese version, but also learn to make full use of the method of “San Hua” to help us understand its main idea and the poet's emotions. Particularly the translation of allusions that eliminates the tedious and unnecessary explanation of them which foreigners can not understand, and maintains the original beauty in form and expresses the important things involved in them as well.

3.3 An analysis of The Mourning Day through the Method of “San Hua”
清明
（唐）杜牧
清明时节雨纷纷，
路上行人欲断魂。
借问酒家何处有，
牧童遥指杏花村。

The Mourning Day
Du Mu
A drizzling rain falls like tears on the Mourning Day；
The mourner' heart is going to break on his way.
Where can a wine shop be found to drown his sad hours?
A cowherd points to a cot' mid apricot flowers(Xu YUanchong,2020,160).

The first line of the poem points to the natural conditions in which the poet is exposed, such as the time and weather. Tomb-sweeping day is one of the big festivals of the tang dynasty on which people will hold family reunion, visit a grave, outing, and attend various activities. Du Mu did not see the sun in the Qingming Festival in Chizhou（池州）, but only drizzle. The second sentence turns from the perspective of objective to the subjective, focusing on the poet's emotional world. He saw passers-by on the road were busy mourning their dead loved ones, and he felt very sad and grieve. In the third sentence, the poet's feelings mingled with scenes. He was very sad when traveled in the rain. The rain wet his clothes and the weather was chilly. Then the poet sought to drown his sorrows in wine, so he asked the way. The last line tells us to whom the poet asks for directions. "A cowherd points to a cot' mid apricot flowers" brings the reader into a completely new realm, which is completely different from the previous melancholy and misery. The cowherd's warm and sweet voice, distant apricot flowers blooming like brocade, the spring is in the air, and the wine flag at the village head is fluttering. The first two lines of the poem create a sad and sentimental picture, while the last two lines show a vivid and lively one, which is contrasted and interlaced with each other. It also shows us the change of emotions of the poet.

First and foremost, from the three aspects of beauty, Xu still adopts the end rhyme. The number of words in every sentence varies by only one or two, so from the perspective of form, the whole poem is relatively neat after translation.

Then what matters most is the adoption of the method of “San Hua” in the expression of the beauty in sense. Firstly, the title “清明”was not translated into "Pure Brightness Day" or "the Qingming festival", but "the mourning day" because the poem mainly talks about the scenes and poet's feelings on mourning relatives on this very day. And for target readers, especially foreigners, they do not understand what is the Qingming festival or Pure Brightness Day and what people do on this day. Comparatively speaking, " the mourning day" makes the main idea of the poem clear and it is also in line with the original meaning. Therefore, in this poem, Xu mainly used the method of deepenization. In the first sentence,"a drizzling rain" depicts the features of spring rain which is not thick and fast. "Fall like tears" is not showed in the original work, but it is implicated in the sentence. The falling rain is like mourners' tears on their way to visit their dead loved ones. Xu excavates and expresses the implicit meanings of the original text, which eases the burden to fully understand the poem. Then “路上行人” actually do not "pedestrians" or "travelers", but "mourners". Because on the mourning day, those people were engaged in paying respect to the dead and they hurried on the road due to the rain. Xu translated “欲断魂” into "heart is going to break" which belongs to free translation and expressed the mourner's deep sorrow. In the third line, "wineshop" points out that the poet wants to drink down his sorrow, and "drown his sad hours" makes it clear and touching. In the original text, there is also not the purpose why the poet looks for a wineshop, but Xu's translation reveals everything. It belongs to specification and amplification. The last sentence is the answer to the question before--There is a wineshop mid apricot flowers. If let us translate“杏花村”, it could be "apricot village". But after thinking twice, we will notice that it could not be an apricot village, but a cot hid among the apricot flowers which is more appropriate and beautiful. On the whole, through reading Xu's The Mourning Day, we tapped the implicit meaning of every sentence out. And in this English version, Xu directly expressed the poet's heartfelt sorrow, dis-consolation and gratification. In reading this poem, we sympathize with the poet, mourn with him, and find comfort in the discovery of a wineshop hidden in an apricot flowers.

In conclusion, through the analysis and appreciation of the three poems translated by Xu Yuanchong, we further understand the use of his translation methods ”San Hua” in poetry. In general, equalization and deepenization are used frequently in poetry while generalization is mostly used to deal with allusions and etc.
Generally speaking, to reverse the disadvantages of the target language, we can use the generalization method to make readers understand the text. Striving for the same high quality of translation as the original work, we can use the equalization method to make readers appreciate it. Developing the advantage of translation and make it surpass the original text, we can use the deepenization method to make readers admire it. This is Xu's skopos theory of literary translation.

===Subtitle 4===
The Influence of Xu's Translation Theories
As an expert of translation, Xu Yuanchong forms his own systematic translation theories which are applauded by most people. And these theories are clearly showed in every piece of his work. We have to admit that his translation theories indeed shed new lights on translation and make tremendous contributions to the exchange between Chinese and foreign cultures. His translation work not only let Chinese people enjoy the foreign literary works in a fresh manner, but also present the original beauty of Chinese literature to foreigners. Under the guidance of his specific translation theories, we get a clearer map to translate poetry, novel and etc.
Xu Yuanchong's translation theories “美化之艺术”is combined by extracting one word from predecessors' translation theories. It is based on their experiences and his own translation practice for more than sixty years. He inherited and developed these theories and explained them explicitly. Firstly, He believed that "elegant" no longer means quaint in today's world, but elegance or beauty. Xu said:"According to my own translation practice, I think Yan Fu's 'faithfulness, expressiveness and elegance' can be understood today as 'faithfulness to the original content, smooth translation form and giving play to the linguistic advantages of the translation.' "In my opinion,'faithfulness, expressiveness and elegance' can be understood as 'faithfulness, expressiveness and excellence'. Excellent is to give full play to the advantages of the target language, which is to use the best way of expression of the target language with words of beautiful meaning, sound and form, in other words, 'excellent' is' beautiful '." Secondly, he explains the relationship between science and art, translation words and taste or styles, truth and beauty with simple formulas. Xu says:" Chinese poetry often has multiple meanings with endless aftertaste, while English poetry expresses the literal meaning." Thus, the western science school put forward the theory of "equivalence", "equivalence of function", "equivalence of effect" and literal translation theories. Because the meaning is greater than the words, the Chinese school of art puts forward the theory of free translation and spiritual resemblance, giving play to the advantages of the target language, that is to say, the translator can not only translate all the contents of the original text but also contents are not showed in the original text. Therefore, the formula for literary translation is 1+1>2. Thirdly, he advocates literary translation should create beauty, so he proposes the advantage theory. The translation of cultural allusions is the most difficult. Literal translation cannot preserve beauty even if it can preserve truth. But if we adopt free translation, even if it can be beautiful, it is often hard to avoid distortion. A true translation can make readers comprehend it; a beautiful one can readers enjoy it, and a translation that preserves both truth and beauty will delight the reader. Therefore, the translation of poems should preserve the beauty of the original poems with as little distortion as possible. Since literary translation is an art and literary works are about people, so they have to be fascinating and exciting. If we only pursue truth without paying attention to beauty, it may be not a beautiful work, so the beauty of it is more significant than the truth.

===Conclusion===
Xu is a very confident, talented and prolific translator with strong character and innovative spirits in the translation field. He has a special calling card; in it there are two phrases "over sixty books published in China and aboard,the one and only person translated series of Classical Chinese poetry into English and French." In another calling card reads "without the title of academician, but he excels an academician; translated over one thousand classical Chinese poems to Europe and America". His translation theories and practices gained a wide range of recognition at home and abroad. Reading his translation of Tang poetry is an enjoyment. Nowadays, there are still many translators and translation theorists support his translation theories, particularly three aspects of beauty and the method of “San Hua”. Looking at the translation of Tang poetry in history, Xu Yuanchong's translation makes our eyes shine. The beauty of classical Chinese poetry, which is thought could not be translated, came to life in his writing. Under the guidance of the beauty in form, sound and sense, translators adopt approaches of equalization, generalization and deepenization to pursue their goals of letting readers comprehend, appreciate and even admire their translations.
Although some of his translation theories are still controversial and questioned by some translation staffs, as the saying goes:" There are spots even on the sun", this does neither affect his lofty status in the translation field, nor does it negate his great contribution to the inheritance and dissemination of translation field and culture. Mr. Xu Yuanchong devoted his whole life to the cause of translation and the pursuit of beauty. He spent most of his life summarizing his valuable translation experience and forming his own translation theory system, which is helpful for us to further understand translation and further practice it. His works let us appreciate the local conditions and customs of foreign countries, but also bring foreigners to enjoy the beauty of classical Chinese poetry. In this paper, we studied Xu's mainly translation theories and cited several Tang poems to illustrate his translation methods. Through the analysis of his works, we get a clearer picture on the use of his translation theories, and we also know more about the defects of his translation which casses our reflection. After all, translation theory system can not be completed in one day. It requires us to explore and improve it through trial and error.

===References===
*Chen Youyang(2006). A Study On Xu Yuanchong As A Translator. Fuzhou University.
*Duan Min(2003). A Study On Xu Yuanchong As A Translator. Sichuan University.
*Hu Xiaoyin(2003). On the Translation and Reception of Tang Poetry in Britain and The United States. Sichuan University.
*Wang Peng(2008). A Study of Xu Yuanchong's Poetry Translation Thoughts. China University of Petroleum.
*Xu Xiufeng(2006). On the Aesthetic Transference of Poem Translation (From Chinese to English)––Xu Yuanchong's Thought on Poem Translation. Ocean University of China.
*Zhu Lin(2004). A Study of Xu Yuanchong’s Translation Theories and Practice. Guangxi Normal University.
*Gao Yukun 高玉昆(1994).论唐诗英译[On the English translation of Tang Poetry].国际关系学院学报[Journal of the Institute of International Relations],(4).
*Lu Su, Xu Yuanchong 陆苏,许渊冲(2020).美得窒息的唐诗[Suffocating Tang Poetry].湖北：长江文艺出版社[Hubei:Changjiang Literature and Art Publishing House].
*Su Lin 苏琳(2020).“变通”译唐典音美意深远——从“三化论”角度看唐诗中典故的英译[The Translation of Allusions in Tang Poetry from the Perspective of "San Hua"].四川职业技术学院学报[Journal of Sichuan Vocational and Technical College],30(2):73~77.
*Qian Zhongshu 钱钟书(1981).林纾的翻译[Translation by Lin Shu].北京：商务印书馆出版社[Beijing: The Commercial Press].
*Xu Yuanchong 许渊冲(2016).文学与翻译[Literature and Translation].北京：北京大学出版社[Beijing: Peking University Press].
*Xu Yuanchong 许渊冲(2006).翻译的艺术[The art of translation].北京：亚洲传播出版社[Beijing: Asia Communication Press].

==英语笔译张国浩 Zhang Guohao 202170081606==

<center>'''The Influence of Electronic Language on Chinese Language and Culture in the Internet Age'''</center>

<center>Zhang Guohao</center>

===Abstract===

Language is the most important communication tool and the carrier of culture. Language itself is also a cultural phenomenon. The Chinese nation has a long history of thousands of years, and its language and culture are an indispensable part of Chinese traditional culture. With the development of electronic network and information technology, electronic language is also booming under this background. Electronic language is the product of the times. It has both positive and negative effects on Chinese language and culture. Starting with the analysis of the emergence and characteristics of electronic language, this paper focuses on the positive and negative impact of electronic language on Chinese traditional language and culture in the new media era, and further puts forward a series of measures to protect Chinese traditional language and culture.

===Key words===

New media; Electronic language; Language culture

===Introduction===

With the development of current information technology and network technology, a large number of electronic languages, also known as network languages, have appeared on the Internet. And they have increasingly penetrated into people’s daily life with the development of the Internet. Electronic languages reflect the current hot social issues, and have the characteristics of simplicity. With the increase of electronic languages, it is bound to have a certain impact on Chinese traditional language and culture. Electronic languages have both positive and negative effects on Chinese traditional language and culture. While expanding the vocabulary of modern Chinese, some vulgar and malicious electronic languages are eroding the traditional Chinese language and culture. How to make electronic language and Chinese traditional language and culture coexist harmoniously in the new media era is a topic that is worth studying and discussing. This paper will introduce the background of electronic languages, the characteristics of electronic languages and the impact of electronic languages on Chinese traditional language and culture, and explore measures to protect Chinese traditional culture in the new media era.

===The Electronic Language in the New Media Era===

'''1.1. The Emergence of Electronic Language in the New Media Era'''

After three technological revolutions, the new media era has finally arrived. With the rapid development of the Internet, the momentum of new media in people’s lives is also growing. And the electronic language that followed became one of the most important parts of it. Today, under the circumstance of the new media era, electronic language has developed with the development of the network. The continuous development of society has made the traditional language unable to meet people’s spiritual needs. People are now facing a colorful language world on the computer screen. While lamenting people’s strong adaptability, we have to say that this is the result of the transformation of the media. The media carrier has to decide the trend of culture. When we look at the characteristics of electronic language in the era of fresh media, it is not difficult for us to have such results.

'''1.2. The Definition of the Electronic Language'''

Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on. It was born in the electronic media and developed with the popularity of the network. Electronic language is participated by the public and can not be separated from the carrier of electronic media. It passes between the instructors of electronic media. Compared with the traditional language, there is no classical version of the electronic language because the electronic media has only appeared for a few decades. Therefore, the grammar and word order of it do not seem to conform to the traditional language norms.

'''1.3. The Characteristics of Electronic Language in the New Media Era'''

1.3.1 Electronic language is the combination of written language and spoken language.

According to different media, language can be divided into written language and spoken language. Written language has very restrictive grammar rules, a standard punctuation system and a very strong logic. With no intuitive feeling like spoken language, written language has a deterrent to people and help to form people’s rigorous rational thinking. However, spoken language is very flexible, and is not stick to one pattern. It has the characteristics of immediacy and transience, which makes spoken language not as easy to store and popularize as written language. There is a confrontation between written language and spoken language inadvertently, and this confrontation has been eased in today’s new media era. Electronic language acts as such a bridge. Electronic language not only has the expression environment of written language, but also has an obvious tendency of colloquialism. Whether it is online chat, forum post or mobile phone short message, it is not completely the same as the traditional expression. Since electronic language requires users to type what they want to say on the screen, and requires the receiver to browse the information through their eyes, so it has obvious characteristics of written style in this way. However, it is also influenced by the colloquial style, so there is obvious mutual penetration from both sides. Generally speaking, electronic language is a kind of colloquial written language, which fully integrates the two types to serve its own needs.

1.3.2 Electronic language is pictorial and vivid.

In the new media era, the recipients of electronic media can not learn the rich body language of the communicator from the electronic screen, but they can get some information by some vivid dynamic expressions sent by the messenger. People often use various symbols on the keyboard to create a lot of very vivid and humorous facial expressions to express their body language at that time, in which there is almost no difference between happiness and sadness in real life. These electronic languages are very interesting on the electronic screen and often make people laugh, which instantly shorten the distance between the information sender and the receiver. Through these vivid cartoon symbols which are different from words, the communicator penetrates parts of the meaning he wants to convey, making the virtual electronic media full of reality and immediacy. As a result, many relaxing and humorous electronic languages have emerged. They are not only humorous, but also easy to understand. This kind of relaxing and humorous style caters to the needs of modern people to relax their body and mind, so that the tense young generation can speak freely. When facing a boring topic, they can also discuss with each other in a humorous tone, which undoubtedly brings an unparalleled happy experience to the users of new media.

1.3.3 The expression of electronic language depends on the context and its meaning is vague.

Context refers to the speech environment, which includes both linguistic factors and non-linguistic factors. Contextual factors such as context, time, space, situation, object, and discourse premise, are all related to the use of words. Context includes specific time, specific space, specific scenes, specific characters and so on. Electronic context mainly refers to some new media such as electronic bulletin boards and e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Electronic context mainly refers to some new media such as e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Therefore, electronic language is bound to be misunderstood without a big context. The context of electronic language has always been open, allowing everyone to join freely. Different media will produce different languages. Electronic language is generated with the arrival of the new media era and will develop with the continuous development of the new media. The characteristics of electronic language are inseparable from the convenience of transmission, fast replication and various presentations of new media. Therefore, with the continuous development of new media, the era of electronic language has come.

1.3.4 Electronic language is highly dependent on network information technology media.

The intelligent terminals represented by computer, electronic information technology and Internet technology have created electronic language and the unique paralanguage of electronic language such as emoji, which not only makes up for the lack of body language such as expressions, movements and moods of language users, but also makes electronic language form multiple forms of expression, such as structured, semi-structured and unstructured forms. At the same time, network information technology has built a platform for the use of electronic languages, such as various forums, QQ groups, micro-blogs, We Chat and other virtual spaces, so that spoken or written languages and other different types of languages and dialects communicate with each other. Without the network information technology, the electronic language cannot exist. This technology also breaks the limitation of traditional spoken and written language, making the electronic language a super language without the limitation of time, space and region. Therefore, the modern information technology with computer, communication, network and electronic technology as the core is the material basis for the generation and use of electronic language.

===The Influence of Electronic Language on Chinese Traditional Language Culture===

The new media era is a multilingual society, so there is an obvious language-mixing phenomenon in electronic language. In electronic language, there is no absolute authority and anyone can speak freely, which makes the electronic language have a strong vitality and a huge impact on the traditional Chinese language and culture.

'''2.1 The Positive Influence'''

2.1.1 It can promote the development of Chinese language and culture

The electronic language has a variety of changes. Its simple, fast and vivid features not only meet the needs of the new media era, but also give people a fresh and lively feeling. Any language in the world is constantly updated and developed in use. Language innovation is an extremely important factor and a manifestation of vitality of a language. Without innovation, there is no development of language. Denying innovation and resisting innovation are equal to killing the vitality of a language. With the continuous development of electronic language, a large number of new words have emerged and the number of loanwords have increased. And with the extensive use of lettered words and numerals, Chinese vocabulary has been greatly enriched and developed. In the aspect of pronunciation, we use some homophonies to replace some Chinese words. For example, now we use “酱紫”to replace “这样子”. In terms of grammar, electronic language does not adhere to traditional grammar, which enriches and transforms the grammar system, and distorts conventions. In addition, electronic language has accelerated the demise of some old words. This series of characteristics makes the Chinese language fully nourished and breaks the barriers to knowledge. As a result, Chinese language spreads rapidly. At the same time, it adds the fun and color of people’s lives, making cultural exchanges unprecedentedly free and prosperous.

2.1.2 It can promote the transformation of reading methods.

In the era of new media, electronic language is constantly innovating and changing. With the continuous progress of technology, people’s reading methods are changing. Today’s electronic media reading is basically replaced by “hypertext” and “hyperlink”. People can read everything related to the text by clicking on links one by one, which is much more convenient than before. This way also satisfies people’s psychology of seeking knowledge and curiosity. In addition, with the popularization of high-tech products such as mobile phones and tablet PCs, mobile reading begins to prevail. People’s reading is no longer confined to a place. Through these new media, people can easily read anytime and anywhere, which generally improves the reading efficiency.

'''2.2 The Negative Influence'''

Firstly, the emergence of electronic language may make Chinese traditional language and culture be in danger of dating. Chinese traditional language and culture is the summary of experience of the continuous development of the Chinese nation. And it is also the national spirit gradually condensed in the long-term social practice. The language culture full of the fine tradition of the Chinese nation not only provided great power for the development of the Chinese nation in the past, but also will play an important role in the future of the Chinese nation. However, in today’s new media era, young students are the main users of electronic media. Since they are particularly sensitive to new things and electronic language has the characteristics of convenience, rapidity and image, it has a fatal attraction for young students who like to pursue new things. While they continue to create electronic language, they also continue to penetrate electronic language into their own lives, which makes Chinese traditional language and culture more and more distant from them. If things go on like this, it will inevitably lead to the dating of Chinese traditional language and culture, and make the future of traditional language and culture bleak.

Secondly, the trend of vulgarization of some electronic language has produced cultural garbage. In the new media era, electronic language constantly pursues individuality and innovation. However, there are also some shortcomings. The virtuality and obscurity of the network make it easy for both sides of the dialogue to relax or even unbridled in their communication, which results in the uncivilized electronic language. Some electronic languages abuse other people or even carry out personal attacks with rude words and dirty words, losing the minimum civilization. And information surplus will produce information garbage, making people consume more time to filter the information. This is a manifestation of information pollution. All these phenomena will seriously affect people’s normal life order. Nowadays, the vulgarization trend of electronic language is becoming more and more serious, and it begins to penetrate into the traditional media. If it is not guided as soon as possible, our traditional language and culture will be destroyed.

Thirdly, electronic language does not conform to grammatical norms. Since electronic language does not conform to grammatical norms and blindly pursues novelty and convenience, it violates Chinese language norms in many ways. Some typos and words and phrases with misinterpreted meanings will have a negative impact on the education of Chinese language. Although these nondescript languages are novel, their damages to Chinese or other languages are obvious. Adolescents are extremely sensitive groups and are willing to accept new things. However, their ability to generally distinguish between right and wrong is not strong. Therefore, in the process of learning, it is easy for them to be affected by these electronic languages, which makes them easy to develop bad habits of not using standard words and standard expressions. As a result, it is detrimental to the learning of traditional language and culture, and their appreciation ability will be decreased.

Fourthly, electronic language can form linguistic generation gap and cause communication difficulties. Electronic language represents a certain type of language and culture in the new media era, and has been widely used in the new media era. It continues to penetrate into the life of the young generation pursuing fashion. In this specific new media language environment, electronic language has its significance. However, when it leaves this specific environment, it will no longer become a tool for people to communicate with each other. If people do not understand it, it will hinder normal communication between people. In terms of the communication effect of a language, this generation gap misleads the communication between the communicator and the receiver, and has a great impact on the traditional language and culture. Many electronic languages cause generation gap between parents and children. Due to the non-standard use of language, parents often don’t know what their children mean. The gap between the two generations is hard to erase. Now, coupled with the novel electronic language, the generation gap between the two generations is bound to deepen and the communication between them will become more and more difficult.

===The Measures to Protect Chinese Traditional Language and Culture===

First of all, the government should introduce relevant laws and regulations to regulate electronic language. The support of the government is like a beacon, which can guide Chinese traditional language and culture to a bright road. In this aspect, China has also made some attempts, such as popularizing Mandarin Chinese nationwide, which is not only the necessary measures to facilitate communication, but also can effectively regulate the Chinese language so as to promote effective dissemination of Chinese language and culture. In addition, in the aspect of creating a good new media environment, the role of national laws and regulations cannot be replaced by other methods. This kind of compelling force can guide the development of electronic language towards the right path. While standardizing itself, it will also promote the traditional language and culture and electronic language to absorb the advantages of each other, learn from each other, and finally achieve a win-win situation.

Secondly, the government should popularize the education of Chinese traditional language and culture. Education has always been the foundation of people’s livelihood. Improving education has no harm to the spread of traditional language and culture. In order to strengthen the proportion of Chinese studies and standardized the use of Chinese language in compulsory education, teachers should pay attention to the cultivation of students’ traditional language accomplishment. High school period can’t pay more attention to the science education but to grasp both sides. In addition, it is necessary to popularize quality education and improve the overall quality of students from all aspects in order to lay a good foundation for entering university. In the university curriculum, we should add the curriculum of Chinese traditional language and culture and the comparative appreciation of Chinese language and culture with other countries, especially in western countries. In this way, we can increase students’ appreciation ability, so that the majority of students can feel the charm of Chinese traditional language and culture, deepen the understanding of Chinese traditional language and culture in the process of comparison with other countries, and make more efforts to protect our traditional language and culture. Many attempts have been made in folk such as the rise of modern private school. Although there is a conflict with the law of compulsory education, but its spirit of exploration should be affirmed and supported.

Thirdly, we need greater efforts to enhance the development of traditional media. Under the pressure of new media, traditional media has a trend of decline. Newspapers are in danger of dying out in the new media age; book sales are also declining year by year. Although journals have entered the digital age, the cultural capacity of them is not high and the transmission channel is not unblocked. If all of these are not solved in time, the consequences will be serious. Moreover, traditional media is an excellent way to spread traditional language and culture. Therefore, it is necessary to continuously explore the new advantages of traditional media and learn advantages from other media, so as to make the traditional language and culture flourish in the traditional media.

Fourthly, The media should hold more programs about traditional culture. The traditional language and culture should be consciously or unconsciously integrated into the program, so that the audience can get spiritual sublimation. Traditional cultural programs may have low viewing rate due to their monotony and slow rhythms. This requires the media director to find a way. In this regard, CCTV’s Lecture Room is a good example. It integrates traditional language and culture into the program in a novel and unique way. It not only spreads Chinese traditional language and culture to the audience, but also leads to an active atmosphere and increase the attraction. As a result, the viewing rate will naturally be higher. In recent years, the film about traditional language and culture is also very popular. The film Confucius and Sacrifice have achieved good earnings. These films show the charm of Chinese traditional style to the world, and have a great significance for the inheritance and development of traditional language and culture. The media therefore has a long way to go in this regard.

Fifthly, we need to speed up the construction of websites that can inherit Chinese traditional language and culture. In the new media era, with the rapid development of science and technology, electronic language is also sweeping the whole network. How to open up a new world of Chinese traditional language and culture in this new field has attracted more and more attention. From my perspective, it is very important for us to adhere to our own principles in the virtual network. In order to protect the traditional language and culture and resist the invasion of electronic language, we must first make the traditional language itself become strong. It is a good choice to run a website that can inherit Chinese traditional language and culture. The website we want is not a pile of meaningless electronic language, but to carry forward the development of Chinese traditional language and culture. This is a spirit that needs to be firmly observed. There is no doubt that if all of these are truly achieved, it will be of great significance to the standardization of language.

===Inheritance and Innovation of Chinese Traditional Language and Culture through New Media Means===

The above measures are general protection measures for Chinese traditional language and culture. With the continuous development of the new media era and the continuous innovation of science and technology, we need to learn to use the means of new media to protect and inherit Chinese traditional language and culture. This part takes cultural TV programs as an example to discuss how to use TV cultural programs to effectively inherit traditional language and culture.

In recent years, TV cultural programs have become increasingly popular. Under this background, many TV media have participated in the creation of traditional cultural TV programs. The explosive and hot broadcast of TV cultural programs can not only give full play to the communication function of TV programs, but also realize the role of TV program communication in promoting traditional language and cultural spirit. Therefore, how to maintain the original intention of traditional cultural heritage of TV cultural programs is the main purpose of its development. At the same time, through the continuous optimization of the content of the program, it realizes the effective dissemination of traditional language and culture, and thus plays a good role in promoting the construction of a harmonious society.

The first thing is to innovate the program content so as to inherit our excellent language and culture. As a kind of mass media, TV has its own artistic variability. This is mainly because television provides a lot of communication channels, and also shows the diversity of traditional cultural content in the process of inheriting traditional language and culture. Therefore, television should be the main channel for inheriting traditional language and culture. When disseminating knowledge, TV cultural programs also choose higher quality traditional language and culture and realize the inheritance of high-quality traditional language and culture through the continuous innovation of communication forms, thus showing the vitality of traditional language and culture and the responsibility of mainstream media. As early as 2016, the State Administration of Radio made a new deployment for the innovation of radio and television programs. At the same time, it also guided radio and television stations at all levels to actively do a good job in building cultural self-confidence, encouraged radio and television stations to actively innovate, so as to lay a good foundation for the prosperity and development of socialism and high-quality traditional language and cultural programs. It also constantly promotes the effective integration between television media and traditional language and culture. The innovation and creation of excellent TV cultural programs can not only realize the inheritance of traditional language and culture, but also guide young people to actively undertake the main task of inheriting traditional language and culture, which provides reliable support for traditional culture education. At the same time, young people can be striven to be the promoter of traditional language and culture. Students have a certain leading ability and exemplary role. They can not only show the cultural confidence of contemporary young people through the program and enhance the educational function of traditional culture, but also accumulate traditional language and culture in the process of continuous exploration.

With the advent of the information age, there has been an ideological collision between various cultures, which has also affected the traditional consumption concept. With the rapid development of modern information technology, television, as an important cultural industry, plays an important role in cultural communication and transmission of Chinese cultural ideas. Under the background of cultural infiltration, China should actively publicize traditional language and culture and take it as the key content of its soft power development. Cultural strength is an important factor for the prosperity of a nation. TV cultural programs should actively enhance their comprehensive strength in the process of its development. At present, the diversified world culture is booming and the culture of various countries are infiltrating each other. The national cultural soft power plays a major role in the world development competition. TV media should actively undertake the task of spreading the traditional language and culture of the Chinese nation, and take TV cultural programs as the main way to enhance the development of national cultural soft power. In addition, the content of traditional language and culture spread by TV media should also have unique characteristics and highlight the advantages of traditional culture. Only by strengthening the dissemination of traditional language and culture can we lay a good foundation for the future development of China. At the same time, we can also spread the high-quality traditional cultural spirit for young people so that 5000 years of brilliant treasures can be inherited and carried forward. As an important carrier of socialist core values, television should realize the arduous task of carrying forward traditional culture, accelerate the popularization and inheritance of Chinese traditional language and culture and guide teenagers to correctly understand excellent traditional language and culture so as to realize the effective penetration of socialist core values. Although the Internet has had a great impact on the media, and also made the cultural communication have a new direction and mode, the television communication media still occupy a dominant position and should take the responsibility of the mainstream media. Therefore, TV cultural programs should take full use of the advantages of TV media, choose innovative communication methods, fully display the characteristics of traditional language and culture through the optimization of communication content. With the assistance of Internet media, we can inherit and carry forward traditional language and culture, and promote the sustainable development of traditional language and culture in the era of new media.

On the other hand, cultural TV programs should enrich their forms and highlight characteristics of Chinese language and culture. TV cultural programs should actively use the interactive mode of all media. Many TV cultural programs in their production process are integrated with variety show forms to attract audience attention. In addition to the traditional on-site interaction, TV programs should also actively mobilize the participation and interaction of off-site audience in the new media era. In addition, we should also actively enrich the stage manifestation of TV programs. Through the effective application of modern data technology, high-tech elements can be added to the broadcast of TV programs, so that the audience can be immersive and close the distance between traditional language and culture and them. Especially with the continuous improvement of people’s aesthetic level, the design of TV cultural programs should actively innovate the stage design, show the charm of cultural programs under the support of high-tech forces, and build a dynamic artistic space.

At the same time, in the new information age, the mainstream TV media should actively take full advantages of new media, increase the dissemination of traditional language and culture through media integration, improve the national cultural soft power, and shoulder the arduous task of inheriting culture. In addition, we should also actively create original program content with our own characteristics. Under the influence of traditional language and culture, we should increase the communication effect through the form of media integration, so that the influence of traditional language and culture can be fully displayed.

===Conclusion===

In a word, Chinese language and culture has a long history, which has made great contributions to the progress of human civilization. The inheritance of traditional Chinese language and culture needs our continuous efforts. In the new media era, the electronic language is characterized by humor and vague context, which makes it a double-edged sword. Therefore, it will also have an impact on the traditional language and culture in the process of its development, which has both positive and negative sides. This requires the state and society to actively guide the electronic language. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language. It is believed that electronic language can coexist peacefully with traditional language and culture and develop together through continuous efforts of all parties in the near future.

==英语笔译张姣玲 Zhang Jiaoling 202170081607==
<center>'''The comparison of the translations of Li Bai’s poem Changgan Xing(Ezra.Pound's Version and Xu Yuanchong's)'''</center>

<center>Zhang Jiaoling</center>

===Abstract===

As one of the representatives of Traditional Chinese culture, poetry and its English translation are favored by literati. Li Bai's masterpiece Changgan Xing has been translated by many Chinese and foreign scholars. This paper makes a comparative study of Ezra Pound's and Xu Yuanchong's translations under the guidance of functional equivalence theory, and finally points out the translation steps that should be followed when translating poems under the guidance of this theory.

===Key words===

Comparison; ChangGanXing; Ezra Pound; Xu Yuanchong; Functional Equivalence

===Introduction===

As a literary genre, poetry is rich in thoughts, emotions and imagination, with refined language and beautiful rhyme, and particularly strong imagery. The translation of poetry not only requires accurate reflection of the original content and its imagery, but also requires the translation to be consistent with the original in form and style. When it comes to Chinese poetry, especially Romantic poetry, one can easily associate it with the Poet Immortal Li Bai. He wrote more than 1000 poems throughout his life, which occupy an important position in the development of Chinese classical poetry. His poems is wild and unrestrained, dashing and bold, thus leaving a deep impression on readers. Li Bai's life was unusual in that he revered freedom, loathed the worldly officialdom, and lived his own life. His romantic life provided material for his poetry, and he left many masterpieces in the history of Chinese poetry. It is noteworthy that it was his rich life experiences that had a profound influence on his poetic creation. The poem Changgan Xing is a household Yuefu poem written by Li Bai. The whole poem is written in the form of a merchant woman living in Changganli self-talking, recalling her loving past with her husband and expressing her undying love for her husband in another country. The poem mainly describes the merchant woman’s memory of her and her husband’s innocent childhood, then their wonderful married life, and the protagonist’s endless missing of for her husband after his departure.

Xu Yuanchong is a professor at Peking University and a renowned translator. He has been engaged in literary translation for more than 60 years, and his achievements are so high that he was awarded the Aurora Borealis Prize for Outstanding Translation of Literature in 2014, one of the highest awards in the international translation community. He has been publishing his translations since 1956, and his major works include The Songs of Chu, Three Hundred Tang Poems, and Three Hundred Song Lyrics. Mr. Xu Yuanchong's translation works have promoted the exchange between Chinese and Western cultures and brought outstanding Chinese literary works to the world, especially his translations of classical Chinese poems. In addition, he put forward a series of translation theories, which enriched the traditional Chinese translation theory and promoted the development of translation studies. Mr. Xu Yuanchong's translation theory is mainly based on his "Three Beauties" principle, which holds that "the beauty of meaning means that translated poems should touch the reader's heart as much as the original poems do; while the beauty of sound is that they should have pleasant rhythm as the original poems have; and the beauty of form means that the translated ones should maintain the form of the original poem as much as possible.” Mr. Xu once talked about the relationship between the "Three Beauties" in his article on translating poems: "the beauty of meaning" is the most important, "the beauty of sound" the second, and "the beauty of form" is even less important. (Xu Yuanchong, 1979).

Ezra Pound (1885-1972), a leading representative of 20th century imagist poetry, was also a major founder of British and American modernist poetry. Both a poet and a translator, Pound translated many Confucian classics as well as classical Chinese poems. In 1915, Pound published his English translation of an ancient Chinese poetry anthology, Cathay, which was immediately received by Western society as "one of the best ten or so American poems of the 20th century”. Jeff Twitchell says, "Before Pound, China had no literature worthy of her name popular in English-speaking countries." (Jeff Twitchell, 1992) Pound's idea of poetry creation greatly influenced his idea of translation. Pound advocated translation without emphasizing fidelity to the meaning of the original text; what he sought was to reproduce the details and imagery of the original text in the translation. Imagery is the soul of the poetry translation, without which the translation of poetry would be meaningless.

This paper takes Li Bai's Changgan Xing as the object of study and compares and analyzes Pound's translation “TheRiver-Merchant’s Wife: a Letter” and Xu Yuanchong's translation “Ballad of a Trader’s Wife” under the perspective of Eugene Nida’s functional equivalence theory.

===Methods and Theories===

The term "dynamic equivalence" was first proposed by Eugene Nida in his 1964 book Toward A Science of Translating, emphasizing that "the relationship between receptor and messageIn such a translation (dynamic equivalent translation) one is not so concerned with matching the receptor-language message should be substantially the same as that existed between the original receptors and the message"(1964:159). In The Theory and Practice of Translation, Nida proposed that "Translating consists in reproducing in the receptor language the closest natural equivalence of the source-language message, first in terms of meaning and secondly in terms of style." (Nida & Taber 1982: 74). By the end of the 1980s, Nida replaced "dynamic equivalence" with "functional equivalence" in order to emphasize the concept of "function" and to avoid the misunderstandings of "dynamics" by some people, emphasizing that translation is a form of communication focused on reproducing the original language. Functional equivalence requires "not only the equivalence of the content of the message, but also, as far as possible, the equivalence of the form.” Nida clearly states that "the closest natural equivalence" is used to reproduce the original message. In the early 1990s, "functional equivalence" was further divided into two categories including the maximal level of equivalence and the minimal level of equivalence; the former is defined as “The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did" , which is the highest level pursued by the translation, while the latter is stated as “The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it”.(Nida 1995:224;1993:118) The highest level of functional equivalence is an ideal state, which is rarely achieved in texts other than those with little aesthetic value of factual information. The lowest level of functional equivalence is more realistic, and any translation below this level is unacceptable (Nida, 1993: 118). A good translation always lies somewhere between the two levels (Nida, 1995). The theory of "functional equivalence" is flexible, and there is considerable diversity between the highest and lowest levels. Compared with other translation theories that focus on a single theoretical criterion, the "functional equivalence theory" allows for diversity in the translation process. Translators have more autonomy to "deal with some of the problems of variability in different texts, of significant differences between readers, and of differences in the use of translation for research, for publicity, for pleasure, etc." (Nida, 1996: 114).

===On the level of word===

First, from the translation of the title, Xu Yuanchong translated it as "Ballad of a Trader's Wife", while Pound translated it as "The River-merchant's Wife: A Letter". Both of them are translated by understanding the whole poem, rather than simply translating it as "Changgan Xing". This is because the whole poem is mainly about the woman's longing for her husband through the description of various imagery. Such a translation is also closely related to the context in which the poem was composed. In the middle and lower reaches of the Yangtze River and the Han River valley, business was flourishing back then, and cities were prosperous with frequent trade contacts, and merchants were running their businesses from region to region. The wives of merchants had to wait and miss their husbands at home. Xu Yuanchong's and Pound's translations are all appropriate in this respect.

Every word in Changgan Xing is carefully chosen as it describes the merchant wife's longing for her husband. As words are the smallest unit in poetry, they are nevertheless the first step in translating poetry. In the first six sentences of this poem, Li Bai described the growth of two children, depicting the happy childhood of a boy and a girl playing merrily, leaving readers a good memory of the protagonist and her husband, and creating a pair of innocent and lively children images.

妾发初覆额，折花门前剧。
郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: While my hair was still cut straight across my forehead：
I played about the front gate：pulling flowers.
You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people：without dislike or suspicion.

Xu Yuanchong’s version: My forehead barely covered by my hair：
outdoors I plucked and played with flowers fair.
On hobby horse you came upon the scene：
around the well we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Analyzing the translation of these sentences, it is easy for us to see that Pound only tried to express the meaning of the original poem, while Xu tried to make the translation more like the original poem. In the first line, Pound chose the word "still" to emphasize the time and state, making the translation closer to the original. As for the understanding of the two’s playground, Pound translated it literally as "front-gate", while Xu chose "outdoors", the same thing was meant with their different choice of words. Then concerning the understanding and illustrating of an ancient toy made of bamboo, Pound chose "bamboo stilts," which is less faithful but easier for foreigners to understand, while Xu chose the word "hobby horse," which is easy to understand for the Chinese, but not so easy for foreigners. The word "bed" in modern times has a different meaning than it does in ancient times, so Pound chose "seat", while Xu chose "well" according to his understanding. In the last sentence, Li Bai described the friendship between two children, and Pound chose "two small people" to indicate their childhood, while Xu's "children twain" is a further explanation, which is more faithful to the original poem as it shows the happy sporting and innocent friendship between the boy and the girl.

These two lines delicately depict the shyness and sweetness of the newly married.

十四为君妇，羞颜未尝开。
低头向暗壁，千唤不一回。

Pound’s version: When I was fourteen: I married my master.
I never laughed: and I was shy.
I lowered my head and looked at the wall.
I had never looked back at one thousand calls.

Xu Yuanchong’s version: When I was fourteen：I became his bride.
I often turned my shyness face to the side.
I hung my head on the dark wall：
and I refused to answer his call.

In the translation of these two sentences, Pound chose to use "my master" to explain the meaning of "husband" to expresses the wife's respect and obedience to her husband, which is very appropriate for the time. Compared with Xu's choice of "he", "my master" seemed to be more appropriate. As for Pound's choice of the phrase "one thousand calls", it clearly showed the girl's shyness and her respect for her husband. Taking the fact that the girl is only 14 years old, and they live in a feudal society, so Pound's choice of words was very appropriate. As for Xu's choice of "dark wall", he actually misunderstood the original meaning, so his choice of words seemed to be inferior.

The following two sentences indicate the wife’s worries about her husband's business trip, showing her genuine concern and love for her husband, creating a heavier atmosphere for the reader.

十六君远行，瞿塘滟滪堆。
五月不可触，猿声天上哀。

Pound’s version: At sixteen years old：you leave：
you go to a distant place：in a swirling whirlpool.
You’ve been away for five months.
The monkey made a sad voice on the top of his head.

Xu Yuanchong’s version: When I was sixteen years old： he went far away：
through three Canyon covered with rock gray.
In the ship crash： when the spring flood was rising：
The crying in Gibbons seemed to come from the sky.

Pound chose to translate these two verses indirectly. The biggest problem with his translation is the misunderstanding of five months. In the original poem, Li Bai meant May. While Xu wisely skipped the time marker and used only phrases to express the time.

门前迟行迹，一一生绿苔。
苔深不能扫，落叶秋风早。
八月蝴蝶来，双飞西园草。
感此伤妾心，坐愁红颜老。

Pound’s version: You’ve dragged your feet when you go out.
Now：the moss are green：
different moss：too deep to clear them!
In autumn the leaves fall early in the wind.
The pairs of butterflies have turned yellow on
the lawn of the Western Garden in August.
They hurt me. I’m getting old.

Xu Yuanchong’s version: Now the green moss in front of our door are slight;
his footprints：hidden：can no longer be seen.
The moss cannot be washed away：the dense leaves will grow：
and when the wind blows： the leaves will fall early.
The yellow butterflies in the autumn will pass two on the
grass on the west side of the garden.
The scene would break my heart：
and I was afraid to sit alone：
and my cheeks would fade.

In these next four lines, in Li Bai's description, the protagonist was touched by the scene she saw and then fell into a constant state of anxiety. The description of the scene gives the reader an immersive experience as well. Pound's translation of these four lines also created a more vivid picture than Xu's. In order to show worry and fear, Pound chose the word "hurt" to imply the double meaning, referring to both psychological and physical injuries. The protagonist's mourning showed her helplessness as a feudal woman. Xu's choosing of "cheeks" and “fade” was even better, because women's cheeks are like roses which only shine their beauty in youth, while fading indicated her growth and fear of growing old.

===On the level of sentence===

In the translation process, when the translator has decided and embellished the words to be used, they must also take the entire sentence pattern into account.

郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people: without dislike or suspicion.

Xu Yuanchong’s version: On hobby horse you came upon the scene：
around the wall we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Through analysis, it is easy to see that Pound used different syntactic techniques, such as "playing" to express two actions at the same time, while Xu only used simple past tense to imply the time, which is slightly inferior.

The last two lines of the poem express the protagonist's hope and deep love for her husband, and her wishes of him coming home early and promises that she will meet him not far from home.

早晚下三巴，预将书报家。
相迎不道远，直至长风沙。

Pound’s version: If you are coming down through the narrows of the river Kiang：
please let me know beforehand.
And I will come out to meet you as far as Cho-fu-sa.

Xu Yuanchong’s version: O when are you to leave the western land?
Do not forget to tell me beforehand!
I’ll walk to meet you and would not call it far
Even to go to Long Wind Beach where you are.

By comparing the two translations, Pound used "If you are coming down" to express the wife’s longing for her husband; Xu chose direct words to show what the wife wanted to say to her husband, creating a more vivid scene. For readers, Xu's inner monologue is more touching than Pound's.

===On the level of culture===

1.Translation of Idioms and Allusions. There are two idioms and two allusions in the overall content of Changgan Xing. They are "青梅竹马（Qingmei Zhuma）" and "两小无猜（Liangxiaowucai）"; "抱柱信（Baozhuxin）" and "望夫台（Wangfutai）". The cultural interpretation of "Qingmei Zhuma": Qingmei refers to green plum; Zhuma is a bamboo pole played by children as a symbol of horse. It describes the innocence and playfulness of young children. Now it refers to the intimacy between men and women when they were young. Pound obviously failed to interpret the cultural meaning of it, and mistook it for the boy stepping on bamboo stilts and playing horse, which is a ridiculous mistranslation in Chinese readers’ eyes, but fills English readers with a surprised and fresh feeling and making them impressed on how romantic the young boys and girls in ancient China were! This unintentionally became his punch line. Professor Xu Yuanchong's translation cleverly replaces the "Zhuma" in the original poem with the "hobby horse", a common childhood game tool, so that English readers can easily appreciate the true meaning of the innocent game of boys and girls in the original poem according to their own life experience. This not only preserves the real intention of the original poem, but also makes it easy to be understood by English readers. It may seem to be unfaithful to the original poem in the surface, but in fact it is an evocative interpretation of the classical Chinese culture contained. In addition, "around the well" is even more impressive, vividly depicting the happy scene of boys and girls chasing and playing in the courtyard and by the well.

The allusion "Baozhuxin" is from Zhuangzi, a man named Weisheng made an appointment with a woman to met under a bridge, Weisheng arrived first, and suddenly the water rose, he kept his promise and refused to leave, so as a result, he was drowned while holding to the pillar of the bridge. Since then, people used "Baozhuxin" as a metaphor for keeping faith with love. "Wangfu tai" is taken from the Southern Dynasty Liu Yiqing’s The Book of Ghost Stories: there is a stone resembling a woman in Beishan, Yangxin County, Wuchang; Legend has it that: in the past, there is a chaste woman, her husband joined the army to save their country, so the woman together with their weak son bid farewell to him to this mountain, standing there lookout and turned into a stone, therefore got the name of “Wangfutai”. This is an allusion used to describe a wife missing her husband, or to describe the utmost sincerity. These two lines mainly express the wishes of the merchant woman to her husband, who should remember the vow he made on that day and never leave her and adhere to their love, so that the merchant woman will never have to climb up the mountain to look at her husband’s direction. These two lines contain both the wife to her husband's entrust as well as her hidden worry for him. Pound failed to translate these two allusions, and delivered a weak transformation in the cultural dimension. Xu Yuanchong's translation adopted the domesticating method, as he avoided a direct translation of the allusions but managed to convey the spirit of the allusions: that is men should keep their promises.

2.Translation of rhetorical devices. Figures of speech are used to express the true feelings of the protagonist. Therefore, translators must pay attention to the translation of those devices. The use of simile, metaphor, personification and other figures of speech are prominent features of Li Bai's poems. Both Pound and Xu Yuanchong are flexible in dealing with exaggeration in this poem, which can also reflect the translator's skills in choosing appropriate sentence patterns in translation. The change of words or sentence patterns will affect the feeling of translation, so the artistic conception of the original poem must be taken into consideration by the translator.

===Conclusion===

This paper mainly studies two translated versions of Changgan Xing. One is Pound's interpretation and translation. , because Pound himself knew little about Chinese as well as about Chinese historical background. Pound, American poet and literary critic, is a representative of the magist. He is one of the leading figures of postsymbolism. From the study of the Chinese classical poetry and the Japanese haiku, he put forward the theory of “poetic imagery”, and made great contributions to the study of Eastern and Western poetry. Pound does not understand Chinese. The Chinese classical poetry can be translated because he got Earnest Fenollosa’s private manuscript. Pound chooses 19 Chinese classical poems and translates them into English, including Li Bai’s Changgan Xing. Pound’s translation of Li Bai’s works has already been the second interpretation, which can cause misunderstanding to the poem. Although Pound’s translated poem has enjoyed a high popularity in the western literature and is named as one of the excellent translations, it has some obvious mistakes, which deserve our attention and discussion. The other translator is Xu Yuanchong, an expert in translation of the classical poetry, who has published numbers of works of translation and translation theories. As a representative of the imagist movement, Pound is very fond of imagist poetry which especially emphasizes the hazy beauty. Therefore, the interpretation of concrete words is not taken very seriously. In order to pursue the creation of hazy beauty, Pound’s interpretation of Li Bai’s poetry damages the poetic mood and rhythmic beauty of the original poem. And Pound himself also explained that he was eager to pursue the image of the poem and did not blindly interpret the meaning of poem but to grasp more details and compress the author’s thoughts and feelings. As the first translator to win the Aurora Borealis Prize for Outstanding Translation of Literature, one of the highest awards in the international translation community, he has made great contributions to Chinese literary translation. In his translation career, Mr. Xu not only translated a large number of Chinese and Western cultural classics, but also wrote several books on translation theory. In particular, his views of "Three Beauties" (beauty of sound, meaning and form) and "Three Perfections" (equalization, simplification and deepening) in poetry translation have been gradually accepted by the translation community. In particular, his principle of "Three Beauties" has been regarded by many scholars as the criterion for judging poetry translation. In Xu Yuanchong’s opinion, “to preserve the beauty in sense we may use the method of ‘paraphrase’ (free or liberal translation); to preserve the beauty in sound, we may use the method of ‘imitation’ (or adaptation); to preserve the beauty in form, we may use the method of ‘metaphrase’ (or literal
translation)” (2006: 131).
Different translations have distinctive styles. In the process of translation, complete equivalence with the original is not advocated. The translator's aim is to satisfy the needs of readers, not to cater to them. Choosing how to translate the original text is actually a balancing process between the target language and the source language. When translators try to translate some works, they can be guided by functional equivalence in order to be faithful to the original text. For functional equivalence to be achieved in poetry translation, the following steps need to be followed: The first step is to understand not only the literal meaning of the original text, but also the implied meaning of it, so as to achieve functional equivalence in poetry translation. The second step is to use one’s own words to express, to translate the allusion properly, and also to choose the appropriate rhetoric. Only in this way can the translation be easier to understand for its receiver.

===Terms and Expressions===
Changgan Xing; TheRiver-Merchant’s Wife: a Letter; Ballad of a Trader’s Wife: 《长干行》

"Three Beauties" (beauty of sound, meaning and form)：“三美”（音美，意美，形美）

"Three Perfections" (equalization, simplification and deepening)：“三化”（等化，浅化，深化）

functional equivalence theory：功能对等理论

Eugene Nida：尤金·奈达

Toward A Science of Translating：《翻译科学探索》

The Theory and Practice of Translation：《翻译理论与实践》

Zhuangzi：《庄子》

The Book of Ghost Stories：《幽明录》

the Aurora Borealis Prize for Outstanding Translation of Literature：“北极光”杰出文学翻译奖

poetic imagery: 诗学意象

===Questions===

1.What are the main methods adopted by Pound in his translation?

2.What are the main methods adopted by Xu Yuanchong in his translation?

3.Since there are many mistranslations in Pound’s version of Chang Gan Xing, is it ok for us to draw the conclusion that Pound’s translation is inferior than Xu’s?

4.Is it possible for us to find the best or a precisly equivalent translation of the original poem?

===Answers===

1.Free translation and domestication.

2.A combination of literal translation and free translation, domestication and foreignization.

3.No, it’s not. Different translations have distinctive styles. Pound’s translation has its own merits and demerits and so has Xu’s translation.

4.It is almost impoosible for us to find a precisly equivalent translation since there are always something untranslatable because of the cultural differences, and it is also difficult for us to choose the best version that everyone agrees on as each has one’s own standards.

===References===

*Eugene A. Nida. Toward a Science ofTranslating. Leiden: Brill, 1964.

*Eugene A. Nida. and C. Taber. The Theory and Practice of Translating. Leiden: Brill,1969.

*Wu Min Hua. Xu Yuanchong as a Touchstone for Ezra Pound’s Translation of Tang Poetry[J]. Comparative Literature: East & West,2021,5(1).

*Li Xingyuan,李幸原.生态翻译学视域下《长干行》三个英译本比较研究[A Comparative Study of Three English Versions of Changgan Xing from the Perspective of Ecological Transliteration][J].海外英语[Overseas English],2020(08):22-24.

*Zhang Yuan,张媛.《长干行》两个英译本的对比赏析[A Contrastive Appreciation of Two English Versions of Changgan Xing][J].延安职业技术学院学报[Journal of Yan 'an Vocational and Technical College],2019,33(06):57-60+73.DOI:10.13775/j.cnki.cn61-1472/g4.2019.06.018.

*Xu Yifan,许昳凡.目的论视角下《长干行》文化意象翻译研究——以埃兹拉·庞德译本为例[A Study on the Cultural Image Translation of Changgan Xing from the Perspective of Skopos Theory: A Case Study of Ezra Pound's Translation][J].作家天地[For Writers],2019(19):32-33.

*Liao qian, Luo Dijiang, 廖倩,罗迪江.许渊冲“三美”翻译原则和庞德创意翻译理论对比研究——以李白《长干行》为例[A Contrastive Study of Xu Yuanchong's "Three Beauties" Translation Principle and Pound's Creative Translation Theory -- A Case Study of Li Bai's Changgan Xing][J].牡丹江大学学报[Journal of Mudanjiang University],2018,27(12):103-105.DOI:10.15907/j.cnki.23-1450.2018.12.029.

*Tian Dong,Xiaolin Lin. Attitude in Appraisal Theory: A Comparative Analysis of English Versions of Changgan Xing[J]. International Journal of Comparative Literature and Translation Studies,2018,6(1).

*He Chunfang, Shi Huihui, 何春芳,石慧慧.论庞德对李白《长干行》的文化误译[On Pound's Cultural Mistranslation of Li Bai's Changgan Xing][J].湖北经济学院学报(人文社会科学版)[Journal of Hubei University of Economics:Humanities and Social Sciences][,2017,14(08):110-113.

*Zhang Qiaoping, 张巧平.诗学视域下李白《长干行》两英译本的对比研究——以庞德、许渊冲译本为例[A Comparative Study of the Two English Versions of Changgan Xing by Li Bai from the Perspective of Poetics -- A Case Study of the Two Versions by Pound and Xu Yuanchong][J].发展[The Development],2017(01):89-90.

*Han Lizhao, 韩立钊.《长干行》三个英译本的对比解读[A Contrastive Interpretation of the Three English Versions of Changgan Xing][J].西藏民族学院学报(哲学社会科学版)[Journal of Xizang Minzu University(Philosophy and Social Sciences Edition)],2015,36(03):138-141.

*Yang Meiru, 杨梅如.解析《长干行》的两个英译文本——基于许渊冲的“文化竞赛论”[An Analysis of Two English Translations of Changgan Xing -- Based on Xu Yuanchong's "Cultural Competition Theory"][J].考试周刊[Kao Shi Zhou Kan],2014(78):8-10.

*Wang Shanmei, 王善美. 功能对等视角下许渊冲与庞德英译中国古典诗歌之比较研究[A Comparative Study of Xu Yuanchong's and Pound's English Translations of Classical Chinese Poetry from the Perspective of Functional Equivalence][D].青岛大学[Qingdao University],2014.

Chinese Classics Translation 2022 LIST OF FINAL EXAM PAPERS

2022-06-16T13:05:38Z

Zhang Guohao: /* 英语笔译张国浩 Zhang Guohao 202170081606 MW */

[https://bou.de/u/wiki/Chinese_Language_and_Culture_2022|Back to course homepage]

This is the overview page of the topics. For the actual papers, please refer to: [[20220630_Culture]]

Every student needs to find a topic which is not yet in the textbook and has not been presented in class. Please check your topic for this. All topics are ok except from those which are marked red. If your topic is marked red, please find
a new topic and leave the red mark there, so that the teacher can check again.

==Tips for writing your final exam paper: How to indicate your references==
*You can use the existing book chapters here as an example.
*Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Do '''not''' write any references like in one of the sample chapters:

[1] dsalkfkdsa

[2] adsfadsfag

But only the following way:

(Liu Miqing 2010, 17) in the text

and then

'''References'''
*Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.

Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):
= = Topic = =
< c e n t e r > Student Name, Student no. < / c e n t e r >
= = = Abstract = = =
This chapter is on ....
= = = Key Words = = =
Egg, Hen
= = = 题目 = = =
= = = 摘要 = = =
= = = 关键词 = = =
= = = Introduction = = =
Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.
= = = The Egg = = =
Bla, bla, bla
= = = The Hen = = =
Bla, bla, bla
= = = Conclusion = = =
Bla, bla, bla
= = = References = = =
Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT

==Sample papers==
You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with "Sample paper".
* A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories
* An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications
* Comparative Study on Functional Equivalence Theory and Skopos Theroy
* Comparison of Derrida’s and Benjamin’s Translation View
* Impacts of Western Translation Theories on The Translator’s Guide to Chinglish
* On the Comparison between "Sublimation" an "Functonal Equivalence" Theories
* Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics
* The Translation of Culture-loaded Words in Chinese-English Communication
* Translators' Views on Translation Influence Their Translation Behavior

==Websites to write your final exam paper on==
The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).

==Here you can write your Final Exam Papers==

==英语笔译卞王倩 Bian Wangqian 202170081563 CE==

<center>'''Chinese Classics Translation from a Perspective of Translational Communication Studies'''</center>

<center>Bian Wangqian</center>

===Abstract===
A relatively massive Chinese classics translation can be back to the period during the late Ming dynasty and the early Qing dynasty, when excellent bilingual foreign missionaries in China introduced Chinese Classics abroad and brought them on a world stage, which can be seen as the individual translation activities that brought some Chinese Classics some popularity and fame among foreign countries, especially western ones. In the new era, China has made every effort to promote the “going-out” of Chinese culture with a focus on Chinese classics while strengthening its cultural soft power to build a modernized strong country, in which translational communication is no doubt playing an important role. Translational communication comes out of the application of communication theories to translation research and is an emerging subject that involves many specific fields for further research. And translational communication is a science of researching translational communication phenomena and their laws. A complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, the receiver of target language message, communication channels and translation effect, of which the initiator of communication and translator will be specifically illustrated here to deal with the issues of Chinese Classics Translation.

===Key words===
'''Chinese Classics Translation; Translational Communication; Initiator of Communication; Translator'''

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译曹姣 Cao Jiao 202170081564 MW==

<center>'''The Dissemination of ''The Compendium of Materia Medica'' Abroad'''</center>

<center>曹姣CaoJiao</center>

===Abstract===

===Introduction===
The ''Compendium of Materia Medica'' is one of the pharmaceutical classics of China [elaborate].

Since the outbreak of coronavirus pandemic, traditional Chinese medicine has demonstrated its curative effect [evidence based medical study double blind randomized] in prevention and other respects by means of early intervention and 'full participation' [explain], and traditional Chinese medicine has thus re-[do you really mean it?]entered the international visibility [really?].

===Structure===
This paper takes the overseas dissemination of the ''Compendium of Materia Medica'' (Chinese characters) as an example: the first part is about the spread and development of its original text, the second part is about the overseas dissemination of its translation, the third part is about the current acceptance of the book, and the fourth part is about the summary and further analysis of the dissemination of this pharmaceutical classic. The research on the dissemination of Chinese medical classics abroad will better help the Chinese medical classics to go abroad and promote the internationalization of TCM.

===Key words===
'''''the Compendium of Materia Medica''; overseas dissemination; Chinese medical classics;'''

===Introduction===
'''1. On the original'''

The original classic ''Compendium of Materia Medica'' consists of 52 volumes, including 16 parts and 60 categories, which recorded 1892 kinds of herbs, 11096 prescriptions and 1110 attached drawings. Based on traditional Chinese medicine, this book integrated mass disciplines encompassing basic theories of traditional Chinese medicine, medicament, prescription, and clinical application which almost involve all the contents of traditional Chinese medicine, reflecting the comprehensiveness of herbal knowledge and marking the extraordinary significance to the development of traditional Chinese medicine.

'''2. On the author of the original'''

Li Shizhen (courtesy name: Li Dongbi, assumed name: Li Binhu; 1518-1593) was from Qizhou (present Qichun County, Hubei Province). He came from a family lineage of physicians. His grandfather, an itinerant healer usually walked the streets to give treatment to poor people, and his father was a famous physician in his hometown. He was brought up and nurtured by his family tradition and he expressed keen interest in medicine.(Min Li, Yongxuan Liang 2015, 215-216)

===Literature Review===

===Methods and Theories===

===The original edition and the other three popular editions===
'''1. Jinling Edition'''
Li Shizhen has represented a great interest in medicine since he was young. He read previous works extensively, and when he had got some perceptions he would make notes and in this way he accumulated a large amount of knowledge. Meanwhile, he did not stick to the saying of the ancient people and adhered to “seeing is believing”.
From the age of 35, that is, the thirty-first year of Jiajing of the Ming Dynasty, Li began to write the''Compendium of Materia Medica'', and until the age of 62, that is, the sixth year of Wanli of Ming Dynasty, it was completed without manuscript. During this 27 years, after arduous efforts, Compendium of Materia Medica was finally written successfully in 1578. Because this book encompassed the content of the anti-taoist belief of immortals, its publishing process necessitated painstaking efforts. Finally, with the help of Wang Shizhen, a literary giant of that period, it was about to be published. However, Li passed away just as the engraving of his work was complete and was about to be printed. In 1596, the epoch-making ''Compendium of Materia Medica'' was published in Nanjing, known as the Jinling Edition.

'''2. Jiangxi Edition'''

'''3. Hangzhou Edition'''

'''4. Hefei Edition'''

===Dissemination in different regions ===
'''1. In Japan'''

'''2. In Korea'''

'''3. In Europea'''

'''4. In America'''

===Reception in contemporary foreign market===

===Analysis and enlightment===

===Conclusion===

===References===
*Min Li, Yongxuan Liang(2015). Li Shizhen and The Grand Compendium of Materia Medica. Journal of Traditional Chinese Medical Sciences 2, 215-216
*
*
*

==英语笔译陈路瑶 Chen Luyao 202170081565 CE==

<center>'''A Study on the Popularity of Tie Ning's "The Bathing Women "Abroad'''</center>

<center>Chen Luyao</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译邓阳林 Deng Yanglin 202170081567 MW==
'''A study on Xu Yuanchong's Song Poems translation'''

==英语笔译何丽娜 He Lina 202170081569 CE==

<center>'''A Study on the dilemma of the Chinese Cultural Classics'''</center>

<center>He Lina</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译胡良明 Hu Liangming 202170081570 MW==

<center>'''A study on Lin Yutang’s translation of Six Records of a Floating Life'''</center>

<center>Hu Liangming</center>

===Abstract===
Translation is a special art. When translating, the translator needs to express the original content in another different language. In this process, the translator not only needs to translate the original content, but also needs to preserve the mood, imagery, rhythm and writing style of the original text. Therefore, translation is not only a transformation between two different languages, but also an exchange between different cultures represented by the two languages. As a special type of translation, literary translation involves famous Chinese and Western literary works, so it is necessary to pay more attention to the connotation of words and sentences while translating. In literary translation, the translator should strive to express the artistic conception of the original work, so that readers can read the literary connotation from the translated work as if reading the original text, and can feel the beauty of the language. The Three Beauties Principle, which consists of beauty in sound, beauty in sense and beauty in form, is the translation standard put forward by the famous translator Xu Yuanchong. The Three Beauties Principle is regarded as the translation standard of Chinese classical poetry. Under this standard, the translator must express accurately the beauty in the poem. Since the styles of poetry and prose are very similar, this article aims to explore the effective methods of English translation of Classical Chinese by studying the translation aesthetics in Lin Yutang's English translation of Six Records of a Floating Life.

===Key words===
Three Beauties Principle, English translation of Classical Chinese, Six Records of a Floating Life.

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译黄琼 Huang Qiong 202170081571 CE==
<center>'''The Translation and Spread of Yu Hua's Works in Europe'''</center>

<center>黄琼 Huang Qiong</center>

===Abstract===
Yu Hua, the most famous[? statistics? Mo Yan] contemporary author in China, wrote a lot of masterpieces[?] such as ''To Live'' 活著, ''Cries in the Drizzle'', and ''Chronicle of a Blood Merchant''. He is one of the pioneers of Chinese avant-garde literature in the new period. As one of the most influential[?] contemporary Chinese writers, this paper will explore the translation and dissemination of Yu Hua’s works（''Brothers'' as an example）in Europe with emphasis on France and Germany. Through this case, I hope[?] to provide some experience for the dissemination of Chinese contemporary literature, so as to expand the influence of Chinese literature.[normativity? A value by itself?]

===Key words===
Yu Hua, ''Brothers'', Chinese contemporary literature, translation.

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*杭零 & 许钧.(2010).《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介. 文艺争鸣(07),131-137.
*王侃,蔡丽娟 & 朱志红.(2009).《兄弟》在法语世界——法语书评翻译小辑. 文艺争鸣(02),117-122.
*杭零.(2013).法兰西语境下对余华的阐释——从汉学界到主流媒体. 小说评论(05),67-74.

==英语笔译邝雨琪 Kuang Yuqi 202170081572 MW==
<center>'''A Study on C-E Translation of the Mao Zedong's Poetry from the Perspective of Eco-translatology'''</center>

<center>Kuang Yuqi</center>

===Abstract===
Based on eco-translatology theory, this thesis analyzes the translation of Mao Zedong’s poetry from three dimensions: language, culture and communication. Mao Zedong's poetry holds an important place in the history of Chinese and even world literature. The appropriate English translation of Mao Zedong's poems is of great significance for promoting Chinese culture and enhancing cultural soft power. This thesis will take Xu Yuanchong's translation of Mao Zedong's poems as an example to study the application of eco-translatology in the translation of Mao Zedong's poems. It aims to improve the English translation of Mao Zedong's poetry and apply this translation theory to the translation of other texts, so as to make the English translation of Chinese literature more perfect and understandable.

===Key words===
Eco- translatology; Mao Zedong's Poetry; Xu Yuanchong's Translation

===Introduction===
With the increasingly intimate exchanges between countries, the globalization is more and more irreversible. In this condition, translation becomes increasingly important. In addition to Tang and Song poetry, Mao Zedong’s poetry also occupies a very important position in the history of literature.
This thesis intends to improve the English translation of Mao Zedong's poetry, and apply the translation strategies to other texts’ translation, so as to make the English translation of Chinese literature more perfect and understandable.
The thesis consists of five parts. .......

===Literature Review===
Scholars at home and abroad have done a lot of research on the English translation of Mao Zedong's poetry. From the 1950s, Russia, the United States, France, Italy and other European and American countries officially began publishing the translation of Mao Zedong’s Poetry（李正栓，陶沙，2009）. Foreign scholars mainly focus on the translation of Mao Zedong's poems itself. The studies done by domestic scholars are mainly divided into three categories：introducing and commenting on the versions of Mao Zedong's poetry translation; studying Mao Zedong's poetry translation from different translation theories; comparing different translation versions of Mao Zedong's poems. Although some scholars have studied the translation of Mao Zedong’s poetry from the perspective of eco-translatology, there are many viewpoints on this theory, and few analyze it from the “three-dimensional transformation” principles.

===Methods and Theories===
This thesis studies the translation of Mao Zedong's poems from the perspective of eco-translatology, and the application of “three-dimensional transformation” theory in it.

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译黎溢佳 Li Yijia 202170081573 CE==
On the popularity of Three Body abroad

==英语笔译李思敏 Li Simin 202170081574 MW==
A Study on Translation Methods of Agricultural Terms in Chinese Sci-tech Classics —— A Case Study of Tian Gong Kai Wu

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of The Border Town from the Perspective of Eco-translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

===Abstract===
苗语是苗族文化的主要载具。在文化历史发展的过程中，由于受经济、地理、科学技术等方面的限制，苗语没有得到很好的继承和保护。本文主要介绍苗族的概况、分布情况以及苗语的基本特点。近十年来，对苗语进行研究的专家学者和相应著述越来越多，本文主要从介绍最基本的与苗语相关的情况，试图引起更多人对苗语以及更多少数民族语言的关注，从而对少数民族语言和文化进行保护。

===Key words===
Miaoyu, Hmong,language protection

===Introduction===
20世纪30年代，美国一些学者开始关注美洲印第安语和澳洲土著语言的大规模灭绝现象，并由此引发濒危语言研究的热潮。根据1996年，教科文组织发布的世界濒危语言地图显示，目前全世界大约有2500种语言存在不同程度的濒危情况。而面临濒危情况的语言主要由于一些语言是因为使用人数仅存一人而濒临灭绝，比如巴西的阿皮亚卡语（Apiaka）、迪亚霍伊语（Diahoi）以及中国台湾的拔泽海语（Pazeh）等都极度濒危，因为这些语言在2009年前大多只剩一人会说。同样我国是一个少数民族众多的国家，因而会有众多少数民族特有的语言，比如蒙古语，客家话，土家族语等。语言不仅是一种交际工具，更是一个民族文化的传承，每一种语言都是一个族群独特文化和族群特征的重要体现和表现形式。少数民族语言也面临着同样的现象，因此想对离自己生活比较接近的语言进行了解和研究。

===Literature Review===

===Methods and Theories===

===Subtitle 1 The Motivation of the Miaoyu===
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.

===Subtitle 2 Miao Nationality ===
1.The Source of the Name “Miao”
There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.
2.The Distribution of Miao Nationality
(1)Domestic Distribution
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.
(2)Overseas Distribution
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.

===Subtitle 3 The origin of the Hmong and the historical formation of the Hmong===
1. Origin of the Miao
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.
The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."
2. Historical formation of the Hmong
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.

===Subtitle 4 Miao Folk Beliefs===
phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".

===Conclusion===
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
The Translation and Reception of Sunzi: The Art of War in the West

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
This is a paragraph. (Wang 2021:423)

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Study on the canonization of Chinese Modern Poetry'''</center>

<center>Liu Ting</center>

===Abstract===

It has been more than a century since the birth of Chinese Modern Poetry, also known as the new poetry and its canonization has always been the common concern of writers, scholars and researchers. In any country, canonization of any literary work is a long and complicated process in terms of time and mechanism. The canonization of new poetry has rich texture in the synchronic and diachronic aspects of literary history. This paper analyzes the essential characteristics of the so-called "classic" works in terms of their influence, time, artistry, innovation and acceptability, and points out the problems and dilemmas faced by the canonization of new poetry and the relevant solutions.
===Key words===
Chinese modern poetry, canonization, classic work,
===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On Mo Yan’s Representative Works Translated Overseas'''</center>

<center>Liu Yao 刘瑶</center>

===Abstract===
With the implementation of “Going Global” strategy of Chinese literature, more and more works of outstanding Chinese writers have been translated and published in countries around the world, and Mo Yan’s works are representative of them. In 1988, The Dry River was published in Japan, which started the overseas publishing of Mo Yan’s works. As of October 2019, there are 388 kinds of Mo Yan’s works published in 41 countries and Mo Yan has become a representative of contemporary Chinese writers to the world. A comprehensive discussion on the development history, geographical and language distribution, and audience acceptance of Mo Yan's representative works translated overseas is an important topic that can summarize some features of Chinese literature translated overseas, from which to gain some revelation related to Chinese literature's going global. This paper collects relevant papers and journals on the translation and dissemination of Mo Yan's works, based on which this paper reaches a conclusion of information related to Mo Yan's three representative works —''Red Sorghum''《红高粱家族》, ''Frog''《蛙》, ''Big Breasts and Wide Hips''《丰乳肥臀》. Taking masterpieces of well-known writers as examples, this paper is in the hope of offering new ideas for the translation and dissemination of Chinese literature.Through study and research on the topic, this paper concludes that the significance of Mo Yan's works translated overseas is mainly reflected in the following three aspects: first, showing the global influence of Chinese contemporary literature; second, contributing to the further development of the dissemination of Chinese culture; third, setting a model for cultural communications between China and other countries. The translation and dissemination of Mo Yan's works also inspire us that the spread of Chinese literature needs not only policy support from the government, but also high level translation from translators, both of which are key factors in terms of Chinese literature's going global.

===Key words===
Mo Yan; representative works; translation; dissemination

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译刘珍 Liu Zhen 202170081588 MW==

<center>'''A Study of Strange Stories From a Chinese Studio from the Perspective of Skopos Theory'''</center>

<center>刘珍</center>

===Abstract===
Liao Zhai Zhi Yi written by Pu Songling is a famous collection of more than 400 peculiar short stories. As a work coming into being at the very beginning of the 17th century when the classical Chinese writing was on the wane, the appearance of Liao Zhai Zhi Yi (or Liao Zhai in abbreviation) injected vigor and vitality into the classical Chinese literature. Among the many foreign translations of this book, the English version named Strange Stories from a Chinese Studio translated by Herbert Allen Giles is the most popular and influential one so far, thus becoming an indispensable part for the study of the English translation of Liao Zhai. At a time that we are calling for Chinese culture going global, as a successful case of Chinese literature work well-accepted by the foreign market, the English translation if sure of high research values and guiding significance. This thesis attempts to take Skopos theory as the theoretical basis, and take Giles’s Strange Stories from a Chinese Studio as the main research object to study the translator’s aims, the choices of translation strategies and the achievement of translation function.

===Key words===
Strange Stories from a Chinese Studio; Herbert Allen Giles; Skopos theory; Reader Expectations

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译马艳焕 Ma Yanhuan 202170081591 CE==
The Translation and spread of Su Tong 's works Abroad

<center>'''The Translation and spread of Su Tong 's works Abroad'''</center>

<center> Ma Yanhuan 马艳焕 </center>

===Abstract===
Su Tong is one of the famous contemporary Chinese writers, whose works have been translated into a variety of languages and widely spread abroad. therefore, the writer Su Tong has also become one of the top three foreign translators of novels in China. Based on the present situation of the foreign translation of Su Tong's works, this paper will explore the reasons for the success or failure of its overseas dissemination, and put forward some countermeasures to provide a reference for the going out of Chinese literature.

===Key words===
Su Tong; Translation； Spread

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文.
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592 MW==

<center>'''Translation of Idioms in Howard Goldblatt's ''Life and Death are Wearing Me Out'''''</center>

<center>Nie Wei 聂薇</center>

===Abstract===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is full of vivid and interesting idioms, which make the language of this novel so unique and characteristic. Howard Goldblatt's translation of this novel has been a great success in the English-speaking world. In the translation of idioms in this novel, he mainly adopts the methods of foreignization and omission, and follows the translation principles of preserving the foreign culture and insisting on semantic correspondence in order to present the heterogeneity of the idioms, so that the Chinese culture contained in the idioms in ''Life and Death are Wearing Me Out'' is well presented to Western readers. His translation provides a more objective platform for Western readers to know the diverse cultures of the world. The study of Goldblatt's translation of this novel can help guide the English translation of Chinese literature, thus providing references for promoting Chinese culture abroad.
===Key words===
''Life and Death are Wearing Me Out''; Howard Goldblatt; translation of idioms; creative treason
===Introduction===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is not considered the best novel in China, but Goldblatt's English translation has received much attention in the English-speaking world, won many international awards, and is even considered one of the most important works for Mo Yan to win the Nobel Prize in Literature. One of the most distinctive features of this novel is its unique language style. Goldblatt’s exquisite translation enables Mo Yan's style to be reproduced, and the strong local flavor and magical realism to be manifested, all of which is an important factor for the success of the English translation of ''Life and Death are Wearing Me Out''. This paper discusses the translation methods and principles adopted by Goldblatt in his translation of the idioms in this book, and analyzes its influence on the dissemination of Chinese culture, so as to provide reference for future translations of Chinese classics. (Shi Chunrang 2019, 94)
===Literature Review===
I searched CNKI with keywords "''Life and Death are Wearing Me Out'' and translation" (searched until May 29, 2022) and found 355 related papers. These papers analyzed the translation methods, strategies and Goldblatt’s translation style of ''Life and Death are Wearing Me Out'' from different perspectives, such as relevance theory, Bourdieu’s theory of field, Reception Aesthetics Theory, eco-translatology, translation aesthetics, the post-colonialism perspective, rewriting theory, translation ethics, hermeneutics and translators' subjectivity.

Among them, there are five papers related to the study of proverbs ( idioms). Wang Yiting and Lin Mei point out that Goldblatt mostly uses literal translation to translate idioms in the linguistic dimension, chooses both literal and free translation in the cultural dimension, and uses rewriting in the communicative dimension. Liu Geng and Lu Weizhong, with the help of conceptual metaphor theory, point out that the English translation of the idioms in ''Life and Death are Wearing Me Out'' has certain translator's subjectivity, and the translator's metaphorical way of thinking affects the use of different translation strategies. Ye Pingting, based on the cultural translation view, uses the idioms in Goldblatt’s version as a corpus to explore how translators effectively convey cultural information. Chen Qiansa analyzes the use of idioms and their translation methods in this novel based on the Chinese-English parallel corpus. Shi Chunrang and Shi Yan analyze the role of idioms in ''Life and Death are Wearing Me Out'' in constructing the "image of the other" for Western readers, as well as in deconstructing the cultural psychology of western readers.

The study of idioms’ translations in Goldblatt's version includes both case studies, in which a single idiom is selected for discussion, and quantitative analyses supported by definite statistics. This paper provides an overall study of the methods and principles of translating idioms, and suggestions for improvements to the mistranslations in Life and Death are Wearing Me Out, so as to provide a reference for the English translation of Chinese literary works in the future.
===Methods and Theories===
This paper focuses on the study of Goldblatt’s translation based on Venuti's theory of domestication and foreignization and the concept of creative treason.

Lawrence Venuti firstly formulated and introduced the theory of domestication and foreignization in the book ''The Translator’s Invisibility''. According to Venuti, domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target readers, while foreignization refers to the type of translation in which a target text deliberately breaks target conventions by retaining something of the foreignness of the original.

The domestication method can express the language and culture of the source language with the language and culture familiar to the target language readers, and the translation is fluent and easy to read and accepted by the readers, but the "domestication method" tends to distort the facts of the original text, which is not conducive for the target readers to feel the "exoticism" of the foreign culture. On the other hand, the "foreignization method" can better maintain the style of the original text, convey the author's original intention, and let the target language readers truly feel the difference between the two cultures, but the disadvantage of it is that the translation may be obscure and difficult to understand, and may sometimes make the readers have cultural misunderstanding. (Zhu Zhouxain 2013,155)

Professor Xie Tianzhen published a book entitled ''Translation Studies'', in which he elaborated on the creative treason in literary translation in depth. In his book, he clearly pointed out that "the most fundamental characteristic of creative treason in literary translation is that it introduces the original work into a receptive environment that the original author did not originally anticipate, and changes the form originally given to the work by the original author."

Due to the specific differences in social, historical and cultural factors between the source language and the target language, the translator will certainly make appropriate and comprehensive "adjustments" to the specific differences in semantics between the two languages in different contexts during the whole process of translation. These "adjustments" are, on the surface, a "treason" against the original work, but it is not the translator's trampling on the original work at will, but the translator's attempt to make the translation convey the same meaning as the original work in the translated language environment. (Zhang Liyun 2019,141)

===1.Idioms in ''Life and Death are Wearing Me Out'' and their characteristics===
Idioms are simple and concise folk languages that are widespread and easy to understand. Most of them are short sentences that are transmitted orally by the laboring people, reflecting their experiences in production and life vividly. Idioms contain a great deal of background information and culture, and it is a form of language that has been developed over a long period of historical development and real life.

''Life and Death are Wearing Me Out'' is filled with lively and amusing idioms that bring uniqueness and vitality to the novel's language. This novel tells the story of joys and sorrows experienced by the landlord Ximen Nao’s family and the farmer Lan Jiefang’s family for more than half a century. The theme of the novel is closely related to the farmers and the land, which of course requires the use of a large number of idioms to narrate the story. (Shi Chunrang 2019,94)

Clearly, the idioms in this novel are diverse in form and peculiar in presentation. For example, when the donkey reincarnated from Ximen Nao bragged about being favored by the county chief, it said, "人们都知道，侍候好了县长的驴，就会让县长格外高兴。拍了我的驴屁，就等于拍了县长的马屁。" The translation is "Everyone knew that taking special care of the county chief's donkey made him very happy. Patting my rump was equivalent to patting the county chief's behind with flattery." Here cleverly, the common saying "拍马屁" in people's daily life is used as “拍驴屁”, which highlights the identity of the donkey, and also vividly and humorously depicts the complacency and arrogance of the donkey, while expressing its contempt for those who strive to curry favour with people in authority.

In addition, when the ghosts in the hell sneered at Xinmen Nao, they said, “猫改不了捕鼠，狗改不了吃屎”. The translation is “You can’t keep a cat from chasing mice or a dog from eating shit.” The language, though vulgar, is very common in people’s daily life and fits the overall style of the novel.

This kind of linguistic style is both traditional and innovative, both unbridled and unrestrained, and is highly effective for shaping the characters and plotting.
===2.Goldblatt’s translation methods of idioms in ''Life and Death are Wearing Me Out''===
(i) Foreignization

The method of foreignization is to deliberately make the translation violate the conventional linguistic models in target language and retain the exotic atmosphere of the original text, with the aim of "injecting the linguistic and cultural differences in the foreign text into the target language, sending the readers abroad" and providing them with an "unprecedented reading experience”. Goldblatt deliberately uses the method of foreignization to translate idioms in this novel.

Specifically, Goldblatt tries to convey the heterogeneity of idioms in the original text in the following ways.

First, he tries his best to show the target readers the meaning of Chinese idioms that is unique to China and not available in the Western culture. After all, idioms are developed in the production and life experiences of different peoples. Therefore, Goldblatt chooses literal translation whenever possible.

For example, “你是煮熟的螃蟹难横行了，你是瓮中之鳖难逃脱了” is translated into “You’re a cooked crab that can no longer sidle your way around，a turtle in a jar with no way out”. “瓮” is a unique Chinese utensil with rich Chinese cultural information. The image of "瓮" is missing in the English-speaking world. Therefore, he borrows the familiar apparatus "jar" from English to translate it, which is roughly similar to "瓮" in appearance. This translation uses an alternative image to convey the message of the original text, which reduces the connotative information of the original idiom but makes it easier for the target readers to understand the essential message of the idioms.

Second, for some idioms, Goldblatt translates them by literal translation with annotation. The literal translation is of course for presenting the original message of the idioms to the target readers, while the annotation is to help the readers better understand the essential message of the idioms, because some of them have complex metaphorical messages, so annotation is essential for understanding.

For example, “兔死狐悲，物伤其类” is translated into “When the rabbit dies，the fox grieves, for his turn will come.” This annotation “ for his turn will come” clearly illustrates the message of the original idiom and removes any confusion about why the fox grieves for the rabbit’s death. With annotation, the connotative meaning of the idiom becomes clearer.

Third, for some idioms that have exact equivalents in the target language, the translator deliberately translates them with explanatory literal translations instead of copying the idioms in the target culture. For example, “入乡随俗” is translated into “When you come to a new place，learn the local customs and follow them” rather than “When in Rome, do as the Romans do” in English. Obviously, the use of semantic equivalents of idioms in the target language cannot translate the information conveyed by the original context. An explanatory literal translation approach can help target readers better understand the plots of the novel and increase their interest in reading it. (Shi Chunrang 2019,95)

(ii) Domestication

Sometimes we may find that the Chinese idioms don’t have equivalents in the target language, so they can be translated through free translation, which means we can follow the principle of domestication by borrowing existing expressions in the target language, thus making the translation closer to the reading habits and cognition of the target readers. In Goldblatt's translation of idioms in ''Life and Death are Wearing Me Out'', about 30% of those idioms are translated through free translation. (Chen Qiansa, 2019,108)

For example, “洪泰岳你出口无信，食言而肥” is translated into “Hong Taiyue，your words meant nothing, you did not make good on your promise”. In this sentence, “食言而肥” and “出口无信” mean the same thing: not to keep one’s word. These two idioms came out of ''The Commentary of Zuo''. It is not possible for the translator to translate the allusions behind each idiom, which would result in a lengthy and unclear translation. So Goldblatt uses a phrase with similar meaning to express the idioms “食言而肥” and “出口无信”. He borrowed from the English idiom “not make good on your promise” and delivered an authentic translation cleverly.

Due to the differences between the English and Chinese languages and between Eastern and Western cultures, the “treason” of the original text in literary translation is inevitable. For example, in the novel ''Life and Death are Wearing Me Out'', there are many epithets such as "爷们" and "伙计", which are difficult to translate into English with full equivalence, and Goldblatt's creative "rewriting" of them also reflects his unique translation ideas. For example, according to different contexts, “伙计” is translated into “gentleman” “buddy” “old friend”; according to the specific meaning of the sentence, “掌柜的” is translated into “you are the head of the household” “my husband” “the old gentleman” “sir” and so on. (Zhang Qi 2019,329)

Although the domestication method changed the images or structure of the original sentence, Goldblatt's translation better conveys the original author's intentions and can be deemed as a kind of fidelity from a deeper level.

(iii) Omission

Omission means that the idiom is not translated from the original text. There are two kinds of idioms that Goldblatt did not translate. The first one is those idioms that contain distinctive local culture, which cannot adequately convey the content of the novel in the target language. For example, “我这哥，惯常闷着头不吭声，但没想到讲起大话来竟是‘博山的瓷盆——一套一套的’ ” is translated into “He was normally not much of a talker, so everyone was taken by surprise. To be honest, it turned me off.” The idiom “博山的瓷盆——一套一套的”(which means a set of porcelain pots from Boshan) has been omitted here because it contains an item known only to a small group of people, and the message it implies is so unique and unnecessary that the translator chose to omit it. (Shi Chunrang 2019,95)

In addition, Goldblatt chose to deliberately omit some idioms, such as “西游记”“小妖红孩儿”“封神演义”“哪吒”“天山童姥”. Because in his mind, "capturing the style, rhythm and imagery of the original work is the real task and challenge for the translator”. Omitting those idioms makes the storyline more compact and the language more straightforward and easily accepted by the target readers. (Zhang Qi 2019,329)

Second, some idioms that serve to add explanatory information and vividness to the original text are also often deleted by Goldblatt. For example, "出水才看两条腿" and "咱们骑驴看账本，走着瞧! " and other similar proverbs are omitted.

On the whole, however, the idioms in ''Life and Death are Wearing Me Out'' are very important for the novel’s general language style. Therefore, there are not many cases where the translators leave idioms untranslated.

(ⅳ) Mistranslation

In Xie Tianzhen’s article ''Mistranslation: Misunderstanding and Misinterpretation in Different Cultures'', he divides mistranslation into two types, namely intentional mistranslation and unintentional mistranslation. Intentional mistranslations are those in which the translator chooses to consciously misinterpret the meaning of the original text for some reason. Unintentional mistranslations can be divided into three types which are caused respectively by carelessness, poor linguistic skills and lack of knowledge of the cultural background of the original language. (Zhang Sen 2016,111)

Intentional mistranslation closely reflects the translator's creative treason and is also a major manifestation of the collision, distortion and deformation between cultures in literary and cultural exchanges. Therefore, this paper focuses on the current situation of intentional mistranslation in Goldblatt’s translation of ''Life and Death are Wearing Me Out'', and reveals how translators creatively fill the gaps between different cultures. (Zhang Liyun 2019,143)

For example, “……让老婆孩子吃糠咽菜的守财奴” is translated into “…made his wife and kids eat chaff and rotten vegetables”. The original text intended to use the idiom "吃糠咽菜" to depict the poor life of them, but in the translation it is translated into "eat chaff and rotten vegetables". In the original text, the word "菜" means "wild edible plants", because in the old days, Chinese people who could not afford to eat vegetables often used wild plants to fill the belly. But in the English version it is translated as "rotten vegetable". Why? Because with the improvement of people's livelihood, "wild edible plants" have become a delicious delicacy for people in both the East and the West. Therefore, in order to tell the target readers about the poor life of those people, he translated "糠咽菜" into "chaff and rotten vegetables", which makes it easier for the readers to accurately capture the meaning of the original text.

The translator plays an important role in this process, and the translator's personalized translations, mistranslations and omissions reflected in the translations are all manifestations of the translator's creative treason.
===3.Goldblatt’s principles for translating idioms===
(i) Preserving the culture of the original language

Generally speaking, idioms have deep semantic connotation and vividly reflect the material and spiritual culture with local characteristics. Therefore, when translating idioms, we should try to understand the deeper connotations of them and to express them clearly. By researching, communicating with the author and other methods, Goldblatt managed to understand the essential meaning of the idioms, their historical roots and the context in which they are used, so as to truly grasp their precise meaning. (Shi Chunrang 2019,97)

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopts the methods of foreignization and omission, so we can say that the principle he follows in translation is that of preserving the culture of the original language. He tries to highlight the heterogeneity of the original proverbs through literal translation, to reveal the uniqueness of Chinese culture, and to help Western readers understand the life experience of the Chinese people attached to the idioms through annotations.

Due to the cultural status of Europe and America, cultural differences and the marginal position of translated literature in the European and American literary world, European and American translators often choose to translate other countries' literary works by means of domestication, and the translation of ''The Story of the Stone'' by David Hawkes is an example of the use of domestication strategy. However, cultural hegemony and cultural colonization have led a group of translators with a sense of mission to choose a translation strategy that preserves the style of the original work, which is called foreignization.

The contradiction is obvious: the translator wants to preserve the taste of the original work, but the reader's difficulty in understanding the language and structure of the vernacular novel requires the translator to make concessions in the translation. Goldblatt's approach to translation reconciles this contradiction to a certain extent. He tries to strike a balance in the translated work so that it can be accepted by Western readers. (Tian Debei 2016,91)

(ii) Semantic correspondence

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt not only tries to reproduce the meaning of the idioms in the target language, but also strives to achieve an overall semantic correspondence between the proverbs and the context in which they are found. He helps to make the text more logical and readable by adding explanatory phrases, explicitly stating the implied meaning or adding connecting words. In achieving semantic correspondence, he tries to make the translation as close to the original text as possible, without adding or subtracting anything, and without creating ambiguity. In terms of choosing words, he tries to be as concise and appropriate as possible; in terms of sentence construction, he tries to achieve a sentence style that reflects some of the features of the original but is also in keeping with the conventions of the target language. (Shi Chunrang 2019,97)
===4.Implications of ''Life and Death are Wearing Me Out'' for the English Translation of Chinese Literature===
As mentioned above, guided by the principle of personalized translation, there is 'fidelity' in translating the idioms in ''Life and Death are Wearing Me Out'', as well as creative treason and omission of the original text. It can be seen that Goldblatt is not bound by the traditional dichotomy of literal translation and free translation. The language of his translation is authentic and fluent, reading like an original English novel but conveying exotic cultural imagery.

Goldblatt insists on translating for his readers, so he was selective in his translation strategies in order to make exotic Chinese literature accessible to western readers, thus allowing excellent literature to enter the field of foreign translated literature and achieving the effective dissemination of Chinese literature.

Compared with Western culture, Chinese culture is still in a disadvantaged position in the world cultural landscape. Therefore, if Chinese literature wants to “go global”, translators must take into account the special cultural background and general readers' acceptability.

Goldblatt’s choice and application of translation strategies carries with it the translator's subjectivity, and under the guidance of such translation principles, his translations meet both the literary standards of the Western world and the expectations of the Western readers for Chinese literature. (Zhang Qi 2019,330)

Whether Chinese literature has done a good job in “going global” is not only judged by the accuracy of their translations, but also by how well they are received by foreign readers. The difference between Chinese and Western cultures have resulted in readers’ different preferences for literary themes, so Goldblatt has paid great attention to the tastes of Western readers when selecting books he was going to work on, so that his translations can be better accepted by them. However, the mistranslation in his version has led to a deviation from the original Chinese works.

Compared with Chinese translators, Sinologists have a strong linguistic background, but their knowledge reserve of Chinese culture is still insufficient. So the best mode of translation is a kind of Chinese-foreign collaboration, in which the Chinese translators deal with the cultural challenges while the sinologists do the linguistic touch-ups, in order to ensure the integrity of Chinese culture in the West, and to achieve both fidelity to the original work and increased acceptance abroad, thus achieving success in the translation of Chinese culture. (Zhang Sen 2016,115)
===Conclusion===
In translating idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopted the strategies of literal translation (39.2%) and free translation(30.3%), supplemented by omissions, additions and borrowings, with a few mistranslations (about 10 cases). It is evident that he tends to retain the cultural image of the idioms in the source language, and tries not to add or delete; however, when those images in the source language don’t have equivalents in the target language, he will be bold enough to adopt free translation, so as to maintain the readability and fluency of the translated work. In the translation process, he stays true to the connotation of the text rather than the literal meaning, and stays true to the target readers rather than the readers of the source language. (Chen Qiansa 2019,110)

This helps us to reveal Goldblatt's faithful translation and reader-consciousness. In conclusion, in the process of translation, translators should preserve the style and image of the idioms in the original text as much as possible, so as to spread Chinese culture and enrich the English vocabulary; at the same time, they should take into account the readability of the translated work and adopt various translation approaches to deal with the Chinese idioms.

Goldblatt not only makes the message conveyed by the idioms and the proverb-rich language style of ''Life and Death are Wearing Me Out'' well presented to Western readers, but also makes them easily understood and accepted by Western readers. The translator does his best to spread Chinese culture and respect the culture clash between different cultures. His translation dares to face up to the cultural differences between China and English-speaking countries, and uses a unique translation method to strongly promote Chinese literature and culture to the Western world, which achieved good results, and also provides some useful references for us to do a good job in promoting Chinese culture to go abroad.

Therefore, we should not only consider the needs of Western readers at the expense of the dissemination of our own distinctive culture, instead, we should take the promotion of our own culture as our responsibility and take into account the reading needs of Western readers. The successful translation of idioms in Mo Yan’s novels is a good case in point. In the exchange between Chinese and foreign cultures, the translation of idioms in Mo Yan's novel adheres to the idea of faithful translation and mainly adopted foreignization, fully demonstrating the traditional Chinese culture with strong national flavor and distinctive regional characteristics, which is an important inspiration for the dissemination of Chinese culture today.
===References===
*Mo Yan 莫言. (2011). Life and Death are Wearing Me Out. tans. by Howard Goldblatt. New York: Arcade Publishing．
*Venuti, L. (1995). The translator’s Invisibility: A History of Translation. London and New York: Routledge．
*Xie Tianzhen 谢天振.(2012).创造性叛逆:争论、实质与意义[Creative Treason: Controversy, Substance and Meaning].''中国比较文学''Comparative Chinese Literature (2):33-40．
*Zhang Qi张琦.(2019).“创造性叛逆”:莫言《生死疲劳》英译特点及启示[Creative Treason: Characteristics and Insights of the English Translation of Mo Yan's “Life and Death are Wearing Me Out”].''上海理工大学学报''Journal of Shanghai University of Technology (04):327-330+337.
*Zhang Liyun, Wu Qingjuan张丽云,吴庆娟.(2019).创造性叛逆与葛浩文《生死疲劳》英译本的译介[Creative Treason and Goldblatt’s Translation of “Life and Death are Wearing Me Out”].''齐齐哈尔大学学报''Journal of Qiqihar University (10):141-143+172.
*Wang Yiting, Lin Mei王怡婷,林梅.(2014).翻译适应选择论视角下《生死疲劳》的习语翻译[The Translation of Idioms in "Life and Death are Wearing Me Out" from the Perspective of Translation Adaptation Selection Theory].''常州大学学报''Journal of Changzhou University (04):100-102+106.
*Shi Chunrang, Shi Yan石春让,石岩.(2019).葛浩文译《生死疲劳》中谚语的文化建构与解构[The Cultural Construction and Deconstruction of Idioms in Goldblatt's Translation of “Life and Death are Wearing Me Out”].''外国语文''Foreign Literature (01):94-99.
*Zhang Sen, Zhang Shijin张森,张世瑾.(2016).葛译《生死疲劳》中的误译现象与中国文化译介策略[Mistranslation in Goldblatt's Translation of Life and Death are Wearing Me Out and Strategies for Translating Chinese Culture].''河北大学学报''Journal of Hebei University (05):111-116.
*Liu Geng, Lu Weizhong刘庚,卢卫中.(2016).汉语熟语的转喻迁移及其英译策略——以《生死疲劳》的葛浩文英译为例[The Metonymic Migration of Chinese Idioms and Their English Translation Strategies - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''外语教学''Foreign Language Teaching (05):91-95.
*Chen Qiansa陈千飒.(2019).基于语料库的《生死疲劳》熟语英译研究[A Corpus-based Study on the English Translation of the Idioms in "Life and Death are Wearing Me Out”].''重庆交通大学学报''Journal of Chongqing Jiaotong University (01):105-111.
*Zhu Zhouxian朱周贤.(2013).论乡土小说翻译的难点——以葛浩文英译的《生死疲劳》为例[On the Difficulties of Translating Rural Literature - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''作家''The Writers (14):155-156.
*Tian Debei, Zhan Xuanwen田德蓓,詹宣文.(2016).入乡未能随俗:论葛浩文译《生死疲劳》的乡土气息[On the Local Flavor of Goldblatt's Translation of “Life and Death are Wearing Me Out”].''东北农业大学学报''Journal of Northeast Agricultural University (01):88-92.

==英语笔译孙丽君 Sun Lijun 202170081593 CE==

<center>'''An Analysis of English Translation of Luotuo Xiangzi from the Perspecctive of Rewriting Theory'''</center>

<center>Sun Lijun</center>

===Abstract===
Traditionally, translation is regarded as a kind of linguistic conversion, which means translating the source text from one language into another. And with further and deep study of translation, Bassnett and Lefevere went beyond the level of language, focusing on the mutual interaction between translation and culture, and the influences and restrictions of culture on translation. Therefore, the move from translation as text to translation as culture and politics is termed as the cultural turn. Rewriting Theory, proposed by Lefevere, is the representative fruit of the translation studies on culture, exerting profound influence on academia. Rewriting Theory shows that translation is regarded as rewriting, which is mainly constrained by the dominant poetics, ideology and patronage under certain backgrounds.
Luotuo Xiangzi, writtten by Lao She in the year of 1939, is one of the representative masterpieces of Chinese classics, gaining great popularity both at home and abroad since its first English version, translated by the American translator Evan King in 1945, came out. And this translated text obtained great success in America, which establishing Lao She’s reputation as a writer in the international literary circle. However, due to the inequivalence to the source text, Evan King’s translated work invited some critics from Chinese scholars even unsatisfied the original author Lao She himself. Thereafter, this short essay will briefly analyze the translation of Luotuo Xiangzi by Evan King from the perspective of Rewriting Theory, trying to find out the influences the dominant poetics, ideology and patronage exert on translation.

===Key words===
Luotuo Xiangzi; rewriting theory; translation

===Introduction===
As is known to all, translation is a kind of special and creative activity carried out in a certain context. And it is influenced by some certain activities of the society at one hand, while on the other hand, translation is also restricted by some factors of the works and the writers themselves. In a word, translation plays an essential and pivotal role in communicating and exchanging ideas in this global village. And with further cultural exchanges, some foreign masterworks have been introduced into China, broadening people’s horizon and enriching their daily life and spiritual life in China; also, some Chinese classics have been translated abroad and made foreign friends get a better understanding of Chinese culture. As one representative work of Chinese modern classics, Luotuo Xiangzi has been translated into several versions by some famous translators at home and abroad, including Evan King’s Rickshaw Boy, Jean M.James’ Rickshaw: The Novel Lo-t’o Hsiang Tzu, and Shu Xiaojing’s Camel Xiangzi. And due to the three English versions translated aboard, Luotuo Xiangzi turned out to be a huge hit as soon as it was published. However, as the first translated version in English, though wildly welcomed among American readers, it invited some terrible criticism made by the Chinese literary circles for Evan King broke the rule of equivalence and he did a lot of rewritings. Throughout the history of translation, we can tell that being true to the original text is of paramount importance no matter from the “faithfulness, expressiveness and elegance” proposed by the famous Chinese scholar Yan Fu or the “dynamic equivalence” or “functional equivalence” initiated by Eugene A. Nida. However, those translation theories concentrate on the source-text-oriented methods and techniques, paying much attention to how to translate the original text faithfully into the target text, which represents a kind of static status and mainly focuses on the linguistic level. However, as the march of translation studies, some scholars have studied translation approach from the perspective of culture, attempting to put translation into a larger context. Thus translation studies was labeled with cultural turn from then on. And the polysystem theory and rewriting theory were representatives in this regard. Taking the dominant poetics, ideology and patronage into consideration, Lefevere’s rewriting theory then exerted profound influence in the later translation studies, providing a brand new viewing angle for individuals who engage in the translation studies. Given the Evan King's translated version, it is of terrific significance to explore the underlying reasons why Evan King did a lot of rewritings to Lao She's Luotuo Xiangzi on the framework of Lefevere's rewriting theory.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594 MW==

<center>'''A Comparison of The Analects Translated by James Legge and Ku Hungming'''</center>

<center>Tong Yumeng</center>

===Abstract===
Confucius is a great thinker and educator in ancient China, the founder of the Confucian school, and one of the world's most famous cultural figures. As the only book recording the sayings and discourse between Confucius and his disciples, The Analects is a classic of Confucianism as well as of Chinese civilization. Up to now, there have been nearly forty English translations of The Analects, which indicates the importance of this work in China and western countries. This paper mainly focuses on two English translations of The Analects published in 1861 and in 1898 respectively. One is translated by James Legge, a Scottish protestant missionary of London Missionary Society. The other is the translation of Ku Hung-Ming, an extreme cultural conservative and a strong advocate of Confucianism at the turn of the 19th and 20th centuries. By comparing the two English translations, the paper tries hard to trace back their translating processes, find out the criteria used in interpreting the original text, and summarize the strategies adopted to resolve cultural conflicts in translation. Besides adopting the traditional translation theories, this paper conducts its investigation from the perspective of functionalist "skopos theory" and theories of Lefevere. At last, the paper also mentions the influence of the two English versions of The Analects and the images of Confucius they have helped construct.

===Key words===
Confucius, Legge, The Analects, English Translation

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译童略雅 Tong Lueya 202170081595 CE==

<center>'''A Brief Analysis of Reading Strategies of Chinese Classics in a Digitalization Era'''</center>

<center>Tong lueya</center>

===Abstract===
With the rapid development of the society and the in - depth application of science and technology, people’s traditional production and living habits have been gradually changed. And their reading habits, reading time, reading preferences and reading content have also shown new characteristics. Especially with the mature application of science and technology such as Internet, intelligent handheld device, cloud computing, big data and so on in various fields, the reading mode of readers has gradually changed from systematic reading to fragmented reading. Classic works are the crystallization of human civilization. Reading classic works is of great significance to individual growth and social development. It cannot be overemphasized to promote classic reading. This paper analyzes the status of classic reading in a digitalization era, and then attempts to put forward some suggestions in classics reading. In this way, it hoped that people could realize the significance of reading classics and then form good habits to reading them.

===Key words===
Classics reading; strategies; digitalization

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译庹树梅 Tuo Shumei 202170081596 MW==

<center>'''The Cantonization of the Dream of Red Mansions'''</center>

<center>庹树梅</center>

===Abstract===
As a treasure of Chinese literature and an important source of cultural confidence for the Chinese nation, Dream of the Red Chamber has been disseminated in the English-speaking world for two hundred years. Under the multiple views of traditional historiography, neo-Hanology, neo-history and neo-Songology, Dream of the Red Chamber has been transformed from a "historical text" to a "classic text" and has undergone an evolutionary path from an academic research classic to a literary classic and then to a cultural classic. The first chapter of this paper discusses what classicization is. The second chapter discusses why Dream of the Red Chamber has become a classic work and analyzes its intrinsic literary value. The third chapter discusses the impact of the classicization of Dream of the Red Chamber on the influence of Chinese culture in the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译王思琪 Wang Siqi 202170081597 CE==
A Study on C-E Translation of The Book of Songs from the Perspective of Xu Yuanchong’s Theory of Three Beauties

==英语笔译王亚娟 Wang Yajuan 202170081598 MW==

<center>'''On the Overseas Transmission Paths of Journey to the West'''</center>

<center>Wang Yajuan</center>

===Abstract===
The continuous development of Internet technology has not only changed the way of reading classics, but also the path of classical communication. According to American scholar Harold Lasswell's 5W communication model, medium is the basic component of the communication process. And in the present time of continuous media convergence, the multidimensional transmission paths of classical works are formed. It is necessary to study the development of communication paths. As one of the Four Great Works of China, Journey to the West has been disseminated overseas for hundreds of years. It has not only been translated into many languages such as English, French, German, Italian, and Russian, but also a large number of film and television dramas, stage plays, animation, video games and other works of that adaptation have been derived.
This paper takes the overseas transmission path of Journey to the West as the research object, first discusses the reasons why it was spread from the perspective of its value, and then clarifies the transmission path of Journey to the West in overseas by analyzing relevant books and papers, and finds that the print publication path mainly relies on paper media to publish translated works; with the evolving of transmission paths with help of new media, the multidimensional transmission path has emerged. And then talks about opportunities for the innovation of classics transmission paths brought by the times. Then studies effects of changing of transmission paths on the classic communication and its prospect, hoping that analysis of the transmission paths of Journey to the West, can provide reference for the continuous dissemination of other classic works.

===Key words===
Journey to the west; transmission paths; classic dissemination; medium; 5W

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译肖冬晴 Xiao Dongqing 202170081599 CE==

<center>'''On C-E Translation of Lexical Gaps in Teahouse from the Perspective of Reception Aesthetics Theory'''</center>

<center>Xiao Dongqing</center>

===Abstract===
Representing as a masterpiece of Lao She, ''Teahouse'' works as a monument in the history of Chinese drama. From the perspective of reception aesthetics theory, this paper studies the translation of lexical gaps in ''Teahouse'' translated by Ying Ruocheng. It briefly introduces the content of reception aesthetics and its main concepts, expounds the basic conception of lexical gaps and classifies them into four types. In this thesis, the author mainly focuses on the translation strategies adopted by the translator to deal with the lexical gaps in ''Teahouse''. It is found that in the translation of lexical gaps the translation strategy of domestication dominates while foreignization works as a supplement, a tactic which caters to its reader’s expectation horizon.

===Key words===
Reception aesthetics theory; ''Teahouse''; lexical gaps

===Introduction===
''Teahouse'' is a work of monument in the history of Chinese drama and a sensational one in the world. The key to investigating its reception overseas lies in the studies on its translated versions. Currently, there are two impactful translations in the literary community: the one translated by Chinese scholar Ying Ruocheng and the one translated by the prestigious American sinologist Howard Goldblatt. Over the years, researches and studies on ''Teahouse'' have never ceased. For instance, Lu Jun and Ma Chunfen (2009) studied from the perspective of cultural translation theory the translation of names and idioms in the two translated versions mentioned above, Yu Yanqing (2016) investigated the metaphors in the source text and elaborated on their translation in the two different versions as she deciphered some of the special connotations in them, while Jin Yan (2022) focused on some of the mistranslation phenomena in the English and Korean translated books based on cultural amnesia and memory reconstruction.

In cross-cultural communication, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.
Researches on the theory of vacancy and lexical gaps were initiated in the west when the distinguished American linguist Hockett put forward the idea of “random holes in patterns” (Hockett, 1954:106-123) in the comparison of the linguistic models between two languages. In the 1970s, the discussion over cultural vacancy attracted more scholars, among whom the American cultural anthropologist Hall took the lead. He used the term of “gap” (Hall, 1959:32) to describe the kind of absence in the study of the colour words of the aborigines when he noticed a lack of necessary colour words in the culture of those natives. In the 1980s, vacancy theory was officially put forward by Russian psycholinguists Jurij Sorokin and Irina Markovina as they conducted their research on the discourse and the characteristics of its national culture, dividing vacancies from the perspectives of linguistics, culture and discourse (Xu Gaoyu & Zhao Qiuye, 2008).

Reception aesthetics theory was first proposed in the 1960s in Germany. Unlike previous theories, it shifted its focus from the author and the original work to the role that the audience play in the process of cultural reception. The traditional translation view holds that translation is to convey the "meaning" of the original text into the target language. Reception aesthetics believes that the meaning of the text is uncertain, and it needs to be made concrete in reading by readers (including translators here). The most direct philosophical basis of reception aesthetics is philosophical hermeneutics. In China, many scholars have also worked a lot on this topic. For example, Qu Suwan (2019) studied on the translation of dialect words under the guidance of the reception aesthetics theory while Yu Shan (2015) conducted a comparative analysis of the translation strategies of culture-loaded terms in the two mentioned English versions.

From all the above, it’s clear that efforts have been made in the search of Chinese culture and Chinese classic translation based on aesthetics theory. Inspired by all the predecessors, this thesis is going to adopt the reception aesthetics theory to investigate the translation of lexical gaps in the English version translated by Ying Ruocheng. It will cover the basic outline of the theory itself, classify the lexical gaps in the work as it gives an overview of all the lexical gaps in the book and finally discuss the translation strategies used in Ying’s processing of the lexical gaps.

===Reception Aesthetics Theory===
Reception aesthetics is a theory of literary criticism raised by the German literature theoretician and aesthetician Hans Robert Jauss in the 1960s, in which the focus of literary studies is shifted from the author and text to the reader. It emphasizes reader's participation and acceptance during the text understanding, by shifting the central position of studies from the author and work to the reader. It claims that only the works that have been comprehended and delivered by readers possess artistic value and meaning.

'''2.1 The Role of Readers'''

“Literature and art only obtain a history that has the character of a process when the succession of works is mediated not only through the producing subject but also through the consuming subject, through the interaction of author and public” (Jauss 1989:43). Here the "consuming subject" refers to readers. Reader-centred status is underlined and more attention should be paid to reader's active role, subjective reception ability and creativity in literary works.

Reception aesthetics believes that the reader is an active or determinant factor in the process of text interpretation. In the process of translation, translator, as a reader, can only enter the world of text based on the vision developed by his pre-understanding and abilities. In the process of realization, the translator's pre-understanding plays an important role. The translator's pre-understanding and ability determine his understanding of the text world. It can be seen that in order to promote the meaning of the text, translators must pay attention to their own pre-understanding and the horizon of expectations of the reader. The translator must deeply understand the similarities and differences between the two languages in terms of language, history, and culture. They should use their subjective initiative and appropriately adjust their translation strategy to fill the gap in text understanding. After entering the text world, translators begin to analyse, judge and summarize until they are integrated with the text horizon. Iser believes that literary texts have a structural "blank". The so-called "blank" is the unwritten or unclear part of the text. Only in the specific process of reading and the reader's participation, these “blank” can be filled or explained.

To sum up, three points should be paid attention to in the process of translation. First of all, the interpretation of the original text is open. Secondly, the translator as a reader has a subjective position during the translation process. Thirdly, target readers' responses should be taken into consideration. Reception Aesthetics enables the translation work to centre on readers instead of texts. Therefore, the translator believes that the excerpts of this book can achieve its translation goal under the direction of reception aesthetics theory.

'''2.2 Blank'''

Reception aesthetic theory advocates the openness of the text, which undoubtedly helps to define the text in the process of translation. The text of literary works is a complex system full of blanks and uncertainties, which resonates well with the concept of “vacancy” or “gaps” this thesis is going to talk about. And according to Iser, the meaning of the works is not included in the text itself, but is obtained during reading.

Due to the uncertainty of the meaning of the text, there is no definite answer to the understanding of literary texts, so there is a saying that "a thousand readers have 1000 Hamlets". As far as translation is concerned, the uncertainty and openness of the text are the important reasons that lead to interpretative interpretation. It provides a broad space for translators to give full play to their imagination in the translation process, so that translators can interpret the text from different perspectives, thereby forming different translations.

'''2.3 Horizon of Expectation'''

Horizon of expectation is another important concept of reception aesthetics theory, which includes three kinds of meaning. Firstly, based on the readers experience, the horizon of expectations can be formed before reading. Secondly, even a literary work appeared in a new form, it cannot be regarded as absolutely new in the information vacuum. It reminds readers of the past reading memories and brings readers to a special feeling, and then calls for the expectations. At last, the horizon of expectations is changed accordingly.

There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text. As the source text is Chinese drama aimed for a larger audience abroad, more attention should be paid to its audience.

===An Overview of Lexical Gaps in ''Teahouse''===
''Teahouse'', a three-act play, is one of Lao She's most successful plays which represent the highest artistic achievement of Chinese drama writing. At that time, a teahouse is not only a place for the customers to kill time, but an epitome of Chinese society. The dialogue between characters has the unique national characteristics. It summarizes the sharp antagonism and conflict of various social strata and forces in China, and reveals the historical fate of semi-feudal and semi-colonial China.

'''3.1 The Definition of Lexical Gaps'''

As was mentioned in the first chapter, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field. Lexical gaps, therefore, are in essence the embodiment of cultural vacancies at the vocabulary level.

'''3.2 The Classification of Lexical Gaps'''

Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps. Here we will have a detailed discussion on them respectively.

Material lexical gaps refer to those words reflecting certain ways of life of a certain society, including things as daily material, tools of production and transportation, household appliances, products, food and so forth. For example, in ''Teahouse'', “盖碗茶” is unique to Chinese culture. Before the invention of this teacup, people could easily be burned or hurt when trying to drink from the tea bowl which was made of porcelain, and it could transmit heat quickly. To prevent getting hurt while drinking tea, ancient Chinese invented something similar to a wooden plate to support the tea bowl, which was becoming more and more delicate and eventually developed into the shapes and size that we see today. Obviously, “盖碗” is very culturally specific. The unique material life will produce the unique material culture. Here is a list of material lexical gaps appeared in ''Teahouse'':

盖碗茶 lidded cups of tea

绫罗绸缎 brocades

小叶茶 a cup of very best tea

马褂 jacket

满汉全席 imperial-style banquets

杂和面儿疙瘩汤 a bowl of dough drop soup with maize flour

五供儿 incense burner

纸钱 paper money

Social lexical gaps are the reflection of customs, ways of life, social life, historical background and behaviour of a nation or a country, including address and folk adage. The address can be a direct reflection of the personality of character. In ''Teahouse'', “唐铁嘴” is a fortune teller and a regular at the teahouse. His way of life was to persuade people to believe what he said, and to some extent he had to lie to make a living. “铁嘴” is literally a personal mouth made of iron, which is also a metaphor for the eloquent and plausibility of Mr. Tang. The list below provides an overview of social lexical gaps in the translated work:

相面/算命 fortune-telling

善扑营 Imperial Wrestler

说媒拉纤 go-betweens and pimps

庞太监 Eunuch Pang

唐铁嘴 Tang the Oracle

说评书的 story-teller

数来宝 improvised doggerel recitation

蹓鸟 strolling about with caged birds

北衙门 Northern Yamen

手相 palm-reading

“爷” master

旗人 bannerman

请安 bow

三教九流 people from all walks of life

Religious lexical gaps are those expressions relate to religion, for Chinese especially those words relate to Buddhism and Taoism. In ''Teahouse'', there are many lexical gap words related to the religious beliefs, for example, “念佛” means expressing sincere thanks to Buddha for all the good luck in your life. In Buddhism, “佛” refers to Buddha, an immoral person who is regarded by the Buddhists that can offer blessings to the human being. The following is a list displaying further religious lexical gaps in the work:

造化 a lucky fate

天师 Heavenly Teacher

“醉八仙” intoxicated eight immortals

财神龛 shrine of the god of wealth

念经 chanting Buddhist scriptures

八卦仙衣 special robes

Linguistic culture-loaded words and phrases reflect the characteristics of the phonetic, grammatical and formal systems of a certain language including pun and idioms. For example, in ''Teahouse'', the suffering Chinese drinkers who frequent Yutai always use “好死不如赖活着”(meaning “it is better to live in this world than to die under terrible circumstances”) to comfort themselves or others to show them the bright side and to endure seemingly persistent bad conditions. It is an idiom well reflects the wisdom and unremitting hope of the Chinese people in the act play, even when it was during the darkest times. Here are more examples of linguistic lexical gaps translated in the book:

化干戈为玉帛 restore peace

拿刀动杖 spoil for a fight

八仙过海，各显其能 try one’s best

“好死不如赖活着” a dog’s life’s better than no life

改良,改良,越改越凉!冰凉！ Reform indeed! Soon you’ll have nothing more left to reform!

“包圆儿” “it's all yours.”

According to calculation, there are altogether 34 lexical gaps in various in ''Teahouse'', of which the 14 social lexical gaps take the lead, accounting for about 41%, followed by 8 material lexical gaps which take up about 23%. There are only 6 religious and linguistic gaps, each of the two categories covering about 18% of all.

===The Translation Strategies of Lexical Gaps===
In 1995, American translator Lawrence Venuti discussed hand in hand invisibility in his work ''The Translator’s Invisibility'': domestication and foreignization. He (2008:15) bemoans the phenomenon of domestication since it involves ‘an ethnocentric reduction of the foreign text to receiving cultural values.’ Venuti allies it with Schleiermacher’s description of translation that ‘leaves the reader in peace, as much as possible, and moves the author toward him.’ Foreignization, on the other hand, ‘entails choosing a foreign text and developing a translation method along linnes which are excluded by dominant cultural values in the target language.’(ibid;242) From then on, domestication and foreignization were borrowed into the field of translation as two translation strategies.

According to calculation, of all the 34 lexical gaps in Teahouse, only three were translated using foreignization strategy, accounting for about 9%; the rest 31 lexical gaps taking up around 91% were translated under the guidance of domestication. Taking a closer look, there are 7 material lexical gaps out of 8, 13 social lexical gaps out of 14 and 5 religious lexical gaps out of 6 translated using domestication. All of linguistic lexical gaps were translated under the guidance of domestication strategy.
Given the translation by Ying Ruocheng was published and put into the market in the opening stage of the reform and opening-up in 1979, the sweeping domestication strategy applied in the translation is understandable.

'''4.1 Domestication'''

In the translation of lexical gaps, the translator adopted domestication strategy the most of times, which was especially true when it comes to the translation of linguistic lexical gaps. For example:

(1) ST：那总比没有强啊！好死不如赖活着，叫我自己去谋生，非死不可！

TT：Still that’s better than nothing! A dog’s life’s better than no life. If I were to earn my own living, I’d surely starve.

In this example, when dealing with the idiom“好死不如赖活着”，the translator didn't take it at face value reproducing it into“it is better to live in this world than to die under terrible circumstances”. Instead, he translated it based on his own pre-understanding as he took the readers’ expectation horizon into consideration. In selecting the similar expression“to live a dog’s life”from the target language, the translator managed to achieve fusion of horizons.

The phenomenon of homophones in Chinese linguistics is partly determined by the four tones in the language, each one containing a large collection of words capable of creating “puns” in daily use. For instance, the following marks a quotation taken from ''Teahouse'':

（2） ST：改良，改良，越改越凉！冰凉！

TT：Reform indeed! Soon you’ll have nothing more left to reform!

In the excerpt above, the Chinese characters“良”and“凉”are homophones with completely opposite connotations. Concerning this example, there was no equivalents in the target language able to convey exactly the same meaning. As a result, the translator dealt with the idiom liberally and represented the irony in the sentence thereby.

Unlike foreignization, domestication is more audience-friendly when it comes to understanding. However, this thesis believes that if the translator adopted the strategy of “overwhelming domestication” and used some expressions in the target language which failed to be the equivalent of the original, the meaning of the source text would be distorted, making it even harder for the translator to secure the readers’ horizon of expectation.

The following is an example taken from the translation of a material lexical gap “五供儿”:

（3）ST：娘娘，我得到一堂景泰蓝的五供儿，东西老，地道，也便宜，坛上用顶体面，您看看吧？

TT：Your Imperial Majesty, I managed to get hold of a set of cloisonne incense burners, five pieces in all. Antiques! The real thing! Dirt cheap too! Just right for the altar of our secret society. Why not have a peep of them?

Known as a set of vessels carrying the sacrifice during worship rituals in ancient China, “五供儿” first got its name from the amount of pieces of wares. In Teahouse, although the translation of “incense burner” kept some of its sacrificial usage, the actual meaning of the phrase was lost. After some research, therefore, the author believes it is more accurate if the translation would be changed into “sacrificial vessel”.

'''4.2 Foreignization'''

When it comes to the translation of “vacancy” or “gaps” in cross cultural communication, foreignization could help to narrow a bit through retaining the exotic feelings and traces of the original. However, little of lexical gaps in ''Teahouse'' were translated under the guidance of this strategy, which is partly due to the fact that most of the lexical gaps in the work were members of “absolute vacancy” which were unable to find their corresponding or even similar equivalents in the target language society. For instance, the material lexical gap“杂和面儿疙瘩汤”was translated literally into“a bowl of dough soup with maize flour”, an expression showing the ingredients of the snack. Meanwhile, the social lexical gap “北衙门” was translated into “Northern Yamen”, which combined both literal translation and transliteration conducive to meeting the innovative expectation of the audience of Beijing in modern China.

===Conclusion===
Drama is a unique literature genre with dual identities, both on the page and on the stage. The dual characteristics of dramatic text make drama translation distinct from other forms of literary translation. Reception aesthetics theory has practical guidance for the translation of drama works. Through the analysis of the translation strategies of various lexical gaps in ''Teahouse'', it has been found that at the early stage of reform and opening up when the Chinese literature was eager to go abroad and be well-received by the audience overseas, the translator had to adopt the strategy of domestication most of the time so as to cater to their horizon of expectation, even when it came to the translation of lexical gaps which may find no natural equivalents in the target language. Therefore, it could be concluded that translation literature is closely linked with politics, a notion echoing with the background witnessing the birth of reception theory.

The contents and key notions of reception aesthetics theory are discussed in this paper, which is helpful to have a more comprehension understanding of this theory. Then there is the definition and classification of lexical gaps in ''Teahouse''. As the treasure in the history of Chinese modern drama, the study of ''Teahouse'' is arousing more and more attention and academic interest both in China and abroad. Translation strategies --- foreignization and domestication in translation are highlighted in this paper, which has been elaborated by examples. In translation practice, only when the conceptual meaning and cultural meaning of lexical gaps are taken into account can the translator convey the meaning of words accurately and meet the readers’ horizon of expectation.

However, limitations are inevitable in this thesis due to the pressing time. Due to the writer’s limited knowledge and capacity, the analysis of the lexical gaps of ''Teahouse'' can never be all-inclusive. Yet it’s worth noting that researches on the Chinese drama ''Teahouse'' and the reception aesthetic theory should never come to a halt now that the background has changed from the way it used to be more than 40 years ago.

===References===
*Hall, Edward (1959). The Silent Language[M]. Garden City: Doubleday.

*Hockett, Charles (1954). Chinese Versus English: An Exploration of the Whorfian Theses[A]. Harry Hoijer(ed.). Language in Culture[C]. Chicago: University of Chicago Press.

*Jauss, Hans (1989). ''Question and Answer''[M]. University of Minnesota Press.

*Venuti, Lawrence (2008). ''The Translator’s Invisibility: A History of Translation''[M], London and New York: Routledge.

*Gao Fengxia 高凤霞. (2010). 跨文化交际中的文化空缺现象探讨[A Study of Cultural Vacancy in Intercultural Communication]. 社科纵横Social Sciences Review (03): 112-115.

*Lu Jun, Ma Chunfen 陆军, 马春芬. (2009). 从文化翻译观的角度看老舍《茶馆》两个英译本中文化信息的处理[Cultural information processing in Lao She's Two English versions of ''Teahouse'' from the perspective of Cultural Translation Theory]. 安徽文学Anhui Literature(10): 293-294.

*Jin Yan 金艳. (2022). 老舍《茶馆》翻译的文化记忆再现研究[A Study of Cultural Memory Representation in the Translation of Lao She's ''Teahouse'' ].中国朝鲜语文Korean Language in China(02): 83-89.

*Qu Suwan 渠苏婉. (2019). 接受美学视域下《茶馆》两译本中方言词汇的翻译[Study on the Translation of Dialect Words in ''Teahouse'' from the Respective of Reception Aesthetics]. 齐齐哈尔师范高等专科学校学报Journal of Qiqihar Junior Teachers' College (05):62-64.

*Xu Gaoyu, Zhao Qiuye 许高渝, 赵秋野. (2008). 俄罗斯心理语言学和外语教学[Russian Psycholinguistics and Foreign Language Teaching]. Beijing: Peking Univesity Press北京大学出版社.

*Yu Shan 于杉. (2015). 接受美学视角下《茶馆》两译本中文化负载词的比较研究[A Comparative Study of Culture-loaded Terms in Two English Versions of ''Teahouse'' from the Perspective of Reception Aesthetics].吉林大学Jilin University.

*Yu Yanqing 于艳青. (2016). 老舍作品《茶馆》的隐喻研究和文化解读——以霍华和英若诚英译版本为例[A Study of Metaphor Translation of Lao She’s ''Teahouse'' and Its Cultural Interpretation——A Case Study of Howard and Ying Ruocheng’s Versions]. 济宁学院学报Journal of Jining University(06):93-97.

===Terms and expressions===
Reception aesthetics theory 接受美学

Blank 空白

Horizon of expectation 期待视野

Fusion of horizons 视域融合

''The Translator’s Invisibility'' 《译者的隐身》

Material lexical gaps 物质类词汇空缺

Social lexical gaps 社会类词汇空缺

Religious lexical gaps 宗教类词汇空缺

Linguistic lexical gaps 语言类词汇空缺

===Questions===
1. How does the two reception activities work in the process of translation?

2. What is the definition of lexical gaps?

3. How many categories did the thesis divide the lexical gaps into?

===Answers===
1. There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text.

2. Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.

3. Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps.

==英语笔译肖佳莉 Xiao Jiali 202170081600 MW==

<center>'''The Canonization of Tao Te Ching'''</center>

<center>Xiao Jiali</center>

===Abstract===
Tao Te Ching can be divided into two parts.The first part of the moral Sutra is called the Taoist chapter, and the second part is called the moral chapter.The philosophical works written by Lao-tzu in Luoyang during the Spring and Autumn period.Taoism focuses on the view of the universe and nature.The moral focuses on social outlook and outlook on life. What does this mean?
First of all, we should know that all the schools of pre-Qin in China are concerned about the sociology of human relations, and almost no one cares about the problems of nature, which is in sharp contrast to ancient Greek philosophy. With the exception of Socrates, all the ancient Greek philosophers were concerned about the view of nature and the universe. Thales, the first philosopher in ancient Greece, left famous allusions, which were summed up by later generations into four words, called "looking up at the starry sky". However, it is strange that all the hundred schools in the pre-Qin period in China are all concerned with the sociology of human relations.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译谢晓莹 Xie Xiaoying 202170081601 CE==
<center>'''On the English Translation of The Analects in the Contemporary Era'''</center>

<center>谢晓莹</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译熊嘉玲 Xiong Jialing 202170081602 CE==
On the C-E Translation of The Book of Songs
<center>'''On the C-E Translation of The Book of Songs'''</center>

<center>Xiong Jialing</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译杨心怡 Yang Xinyi 202170081604 MW==

The Source of China Children's Literature and the Dilemma of Its Translation

==英语笔译杨紫微 Yang Ziwei 202170081605 CE==

<center>'''The English Translation of the Names in A Dream of Red Mansions from the Perspectives of Domestication and Alienation'''</center>

<center>Yang Ziwei</center>

===Abstract===
"A Dream of Red Mansions" is a great work of high ideological and artistic quality. There are many characters in the book, including more than 300 people with names. Some of the names of these characters are allusions to classics, and some borrow homophonic techniques, and these names also suggest backgrounds, identities, characters and fates of the characters. Cao Xueqin is unique in naming characters. However, due to the cultural background differences in the translation process, it is often difficult for translators to accurately translate the true meaning hidden behind names. Based on this, this paper intends to analyze the characteristics of people's names in A Dream of Red Mansions and explore the translation art of people's names in its English version. In addition, this paper compares Hawkes and Yang Xianyi's translation methods and rules in name translation from the perspective of domestication and alienation, so as to increase its fluency and readability and promote the spread of Chinese culture.

===Key words===
A Dream of Red Mansions;Domestication and Alienation;Name translation.

===Introduction===
A Dream of Red Mansions is one of the four great classical novels in ancient China. Written in the late feudal society, it systematically summarizes the cultural system of Chinese feudal society, deeply criticizes all aspects of the feudal society, and reaches the peak of ancient Chinese literary creation in terms of language and artistic aspects. On the one hand, the English version of A Dream of Red Mansions has provided western readers with an opportunity to understand Chinese culture, and on the other hand, it has made remarkable contributions to the cultural exchanges between China and the West. There are many characters in A Dream of Red Mansions. Cao Xueqin, the author, gives the characters distinctive characteristics with his ingenious naming techniques. Some of them quote ancient poems and some use homophony. The identity, character and even the whole life and destiny can be seen from the names. It is indispensable to understand the deep meaning of characters' names for grasping the connotation of literary works and letting English language readers understand the feudal culture of China.
In the 1980s, there appeared a complete English translation of A Dream of Red Mansions, the two most famous English translations nowadays which from Yang Xianyi and Hawkes. When translating the names of people in books, Yang xianyi and his wife mainly use transliteration of names, while Hawkes adopts the strategy of transliteration of main characters and free translation of secondary characters. Based on this, this paper analyzes hawkes and Yang Xianyi's translation of names from the perspective of domestication and alienation in order to explore the gain and loss of their translation of names.

===Literature Review===
To promote intercultural interaction, introducing Chinese culture to the world is important and urgent. Due to differences in cultures and languages in different countries, the most feasible and efficient way is to translate Chinese books for foreign readers. Chinese Classic literature is an insignificant part of Chinese culture, which plays an important role in this cultural communication, so translation of literary works is in desperate need.
Among all the literary works, A Dream of Red Mansions, as the Four Greatest Classic Novels, draws more and more attention from translators because of its artistic language, significant cultural values concerning aspects such as culinary, clothing, building, economy, politics, morality and so on. According to the view in Translation Strategies of Chinese Names in A Dream of Red Mansions, it is a rare book that deepens one’s understanding of the meanings of being human. Thus the translation of it is indisputably the greatest work among all the classic Chinese novels.
Acknowledged as a pinnacle of Chinese novel, A Dream of Red Mansions is a mixture of realism and romance, psychological motivation and fate, daily life and supernatural occurrences and the more than 400 names of characters in this novel represent the artistry of Chinese naming. Cao Xueqin deliberately located connotations and special functions in these names through their sounds and forms, giving them evocative and associative meanings and communicative functions.
As the symbol of human life, a name reflects elements of culture. As carriers of the writer’s values, ideas, artistry and creativity, names in literature which are associated with theirs scenarios, play active parts in the development of the story. In other words, naming is a kind of writing device to describe characters and present the theme. As a matter of fact, writers can give characters names which characterize them with associative cultural allusions. Because of its uniqueness, a personal name is a sign which distinguishes one person from the others. In addition, names especially those of literary figures possess special connotations concerning identity,status, personality physical features, fate and the theme. But it also brings great difficulties for translators to do translation.
To solve this problem, I choose name translation of this novel as my research target and compare translation strategies of Yang Xianyi and David Hawkes in the process of translating names in A Dream of Red Mansions.

===Methods and Theories===
This paper uses a text comparison analysis method, from the perspective of domestication and alienation, compares and contrasts the two English translation versions of Hawks and Yang Xianyi to analyze their translation methods and effect in name's translation of A Dream of Red Mansions. And this paper also compares the advantages and disadvantages of the two versions to explore how to output a high quality of the translation of Chinese classics as well as promote foreigners' understanding of Chinese classics. This thesis applies the theories of domestication and alienation in translation.

===Subtitle 1===
1. Significance and Characteristics of Personal Names

As an important form of cultural carrier, name has a long history of development and rich cultural connotation. The etymology of people's names is very extensive, and there are many allusions involved in it. The cultural capacity is huge and changeable, so the study of name's culture and translation of it is of great theoretical significance and practical value.

Literature, in essence, is also "human studies". The creation of literary works has always been centered on the description of "characters", which reflects the social reality through the characterization of characters. In general, in order to describe the characters' personalities more deeply, and to hint at their experiences, fates and endings, the author always chooses the names of the characters carefully. To some extent, text or narrative analysis usually follows a basic principle, that is, choosing names is an important technique in shaping characters' images, and each name has the function of showing characters' personality, vitality and fate.

As for siginificance of names in the work, Cao Xueqin's characters in A Dream of Red Mansions can be divided into three categories: the first category is the name indicates the development of the story. These symbolic names are usually named with homonym, that is, the sound of name reveals the connotation meaning of it which is the combination of sound and meaning. Such as “甄士隐” in the work, its homophonic meaning is "true things hidden"; “贾雨村”, that is "false language exists ", means to compile a story with false language. The second type is the name of the character indicates the fate and outcome of characters. Such names often indicate the author's laments for the tragic fate of the characters in the stories. For example, the names of “元春”，“迎春”，“探春”and“惜春”in Jia Family adopt the artistic technique of hidden pun, and the homonym of them when they are read together is “原应叹息”(Yuanyingtanxi) which means one should sigh(Qin Qiyue,2016). The third one is the personality and image implied by the name of the character. Cao Xueqin also used characters' names to introduce the characters' images and personalities suggestivingly. At the same time, through the names of these characters, readers can feel the author's basic attitude towards these characters, such as “贾敬” in the work, its homonym is "false dignity", suggesting that the character does not care about the world's psychological state; There is also “贾赦”, homophonic for "lustfulness", suggesting its lustful personality characteristics. It can be seen that names have irreplaceable functions and values in A Dream of Red Mansions.

In the aspects of characteristics, there are also three types of names: the first one is using homophonic names. For example, the homonym of “贾雨村” is "False language exists"; “甄士隐” is "truth hidden", which means that the truth of the matter is hidden; “英莲”means "should pity" which expresses that this character is worthy of sympathy and the homonym of the maid “娇杏”（侥幸） is "lucky". The second type is named after an anecdote. A typical example is the origin of Jia Baoyu. When he was born, there was a psychic treasure jade in his mouth which also engraved words: Never forget; Long expectancy(莫失莫忘，仙寿恒昌)(Duan Ruifang,2016). The Jia family therefore regarded him as a gifted child who could honor his family. The third is named after jade and jewelry. The name is not only an appellation symbol, but also reflects the identity, background, status, personality, vision and hobbies of the characters. Several large families in A Dream of Red Mansions naturally hope to have a prosperous family and a bright fortune, so many characters are named after gold and jade. Such as Baoyu, Baochai, Jia Zhen, Jia Zhu, Pearl, Amber and so on.

===Subtitle 2===
2.Translation Theories

The terms of domestication and alienation or foreignization were put forward by Lawrence Venuti, a famous American translation theorist, in his book The Invisibility of the Translator in 1995. As two translation strategies, domestication and alienation are opposites but complement each other. Absolute domestication and absolute foreignization do not exist. Historically, foreignization and domestication can be regarded as the conceptual extension of literal translation and free translation, but they are not completely equivalent to literal translation and free translation. The core problem of literal translation and free translation refers to how to deal with form and meaning at the linguistic level, while foreignization and domestication break through the limitations of linguistic factors and expand their horizons to linguistic, cultural and aesthetic factors. According to Venuti, the law of domestication is "to bring the original author into the target language culture", while the law of alienation is "to accept the linguistic and cultural differences of a foreign text and bring the reader into a foreign situation. It can be seen that literal translation and free translation are mainly value orientations limited to the language level, while foreignization and domestication are value orientations based on the cultural context. The differences between them are obvious and cannot be confused.

2.1 Domestication

Domestication is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to(Yang Yujie, Liao Ying,2014). It requires the translator to be close to the target language reader. The translator must speak like the native author. In order for the original author to speak directly to the reader, the translation must become authentic in the native language. Domestication translation helps readers to better understand the translation and enhance the readability and appreciation of the translation.

2.2 Alienation

Alienation means "the translator as little as possible to disturb the author, and let the reader close to the author"(Yang Yujie, Liao Ying,2014). Translation is to accommodate the language characteristics of foreign cultures and absorb foreign expressions which require the translator to be closer to the author and adopt expressions corresponding to the source language used by the author to convey the content of the original text, that is, to turn the source language into a destination. The purpose of using alienation is to consider the differences of national culture, preserve and reflect the characteristics of foreign ethnic and language style as well as the exoticism for target readers.

Since translation requires us to faithfully reproduce the original author's thoughts and style, which are highly exotic, so it is inevitable to adopt alienation; At the same time, the translation must take into account the readers' understanding and the fluency of the original text, so the adoption of domestication is necessary. It is not desirable or realistic to choose one strategy to the exclusion of another. Each of them has its own advantages and disadvantages, so the final translation cannot be achieved by focusing on one and losing the other.

In translation, we are always faced with the choice of foreignization and domestication, so that we have to find a "fusion point" of translation(Wang Wenting,Xuan Zhifeng ,2016). This "fusion point" sometimes closer to the author, sometimes to the reader. In other words, foreignization does not hinder the smoothness and understandability of the translation, and domestication does not lose the flavor of the original text. At the same time, we should stick to the strategy of domestication of the language form, and carry out foreignization of its cultural factors. In this way, translation works can combine the advantages of the two strategies and avoid the disadvantages. Therefore, domestication and foreignization should have a complementary dialectical unity relationship in the actual translation process.

===Subtitle 3===
3.Contrastive Analysis of Name Translation from the perspective of Domestication and Alienation

3.1 Name System in A Dream of Red Mansions

There are more than 400 names in the book. Every name has its own connotative meaning and special function. The use of semantic puns can be found everywhere in A Dream of Red Mansions from the naming of the rich to the servants. In this paper, I divide it into four types to analyze its translation in a clear way.

3.1.1 Names of People of High Social Status

The author used different Chinese character components or radicals to distinguish seniority in the family when naming nobles. For example, from the word "代" of names "贾代善" and "贾代化", we can know that they belong to the same generation, the same with "贾赦" and "贾政" according to Chinese character component "反", "贾琏" and "贾珍" with radical "王", "贾蓉" and "贾菌" with"草"(Chen Ying,2016). However, the author did not adopt this rule when naming Jia Baoyu（贾宝玉）, mainly to highlight the particularity of him and his special status in Jia family. In addition, the naming of four noble women in Jia family also has a unique charm. The four daughters are 贾元春,贾迎春,贾探春 and 贾惜春, their name of the first word is just four words homophonic “原应叹息” which means "should sigh". After entering the palace, Yuanchun was appointed as an imperial concubine. She sighed and wept when in matrimony. although enjoy all the glory and wealth in palace but she always difficult to flat the pain of her mind because of departure with family members; Although Yingchun was coward, she had a pure and kind heart. Unfortunately, she was betrothed to Sun Shaozu and had been abused quite often after married and died miserably. Tanchun was both talented and beautiful. However, as the family decayed, she had married far away and cut off contact with her relatives. It was really pitiful. Xichun's mother died early and her father did not take good care of her, and she was brought up by Grandmother Jia. Later on, the decline of four big families and the tragic fate of her three sisters made her decide to be a nun. From all of these, we can see that the author intends to use homophonic technique to express his deep sympathy wit their unfortunate fate with “原应叹息” or "should sigh"(Chen Ying,2016).

In addition, formerly known as "Zhen Yinglian" or "Xiang Ling", she was the daughter of Zhen Shiyin originally, who was abducted by a human trafficker. She thought her fate would turn around when she met Feng Yuan, but Xue Pan snatched her away and she was beaten and cursed by a bad woman Xia Jingui. The author named her "Yinglian" whose homophonic meaning was "should pity" to express his deep sympathy and regret.The woman with real power of the family is named “王熙凤”.“王”is a homophone to “亡” which means “to die and vanish”,“熙” means “brightness and property”and “凤”refers to “phoenix” which is the symbol of“nobility, dignity, power and wealth” Therefore, the whole name suggests that “prosperity, dignity and power will be gone”. "林黛玉" has a sense of weakness, bitterness and sensitiveness, because the family name“林”originated from a tragic story. In Shang Dynasty, the chancellor named Bigan was killed with his heart being gouging out and his wife escaped into a cave covered with forest and luckily, she gave birth to a son and survived. Since then, her son was bestowed with the family name“林”by the next brilliant king -Wu king of Zhou Dynasty. As a consequence,“林”,as a family name suggests eventful fate and life. “黛” means “black” which gives a sense of “bitterness and misery”and “玉”means "jade" which is fragile and easy to break. Another one in the novel is called“薛宝钗”.“薛”is the homophone of “削” which means “getting rid of or discarding”;“宝钗”is actually“宝钗楼”which is the place where prostitutes live it is a living hell to virtuous girls. Accordingly. the name owner is doomed to be abandoned and live in misery.

3.1.2 Names of Maids

There are many servants in the rich and powerful Jia family and their names have different functions in the story. I have chosen some of them to analyze and explain their functions.

In ancient China, the status of servants was so low that they could not be named by themselves, but their masters gave them the name(Duan Ruifang,2016). Therefore, the name of a servant largely represents the interests and cultural accomplishment of his or her master. Some of the maids' names indicate the status of their masters. For example,“琥珀” and “珍珠” are both Grandmother Jia's personal servant girls, since amber and pearl are precious jewelries, their names reflect that Grandma Jia occupies the highest status in Jia family. And as the daughter-in-law of Grandmother Jia, Lady King had her maid named “金钏” and “银钏”, which was not arrogated but prosperous.

Some of the maids' names show the personality and interests of their masters, such as those of Baoyu: “袭人”，“晴雯”，“锄药”，“焙茗”. The author named the servant girls around Baoyu with plants in their names, which reflected Baoyu's wildness and unwillingness to be bound by feudal etiquette and customs. The servant girls around the four girls in Jia family are “司棋”，“侍书”，“抱琴”，“入画”, which reflect the interests of the four girls as well as their personal expertises. Other servants' names reflect the expectations of the master. For example, Wang Xifeng's servants named as “平儿”,“封儿”,“兴儿”and“隆儿”.As Jia's financial housekeeper, Wang Xifeng was in charge of Jia's financial expenses, she was careful in budgeting and valuing money very much, so she was eager to be prosperous,and names of her servants mapped her aspiration.

In addition, there are also some servants' names reflecting the character of their masters. For example, Li Wan's two servant girls “素云” and “碧月”. Though li Wan became a widow when she was young, she craved neither money nor power and devoted herself to taking care of her mother-in-law and father-in-law and her son. Her heart was as pure and white as the maids' names around her.

3.1.3 Names of Performers

In Jia Family, there are entertainers named“宝官”，“棋官”“玉官”，“藕官”，“葵官”，“艾官”,“豆官”，“药官”，“茄官”，“蕊官”，“文官”，“芳官”and“龄官”(Cao Xue, Yin Xiaotang,2020).These names can be divided into three types:
(1)Names related to jewelry: “玉官”，“宝官”and“棋官”. These names show the nobility and high dignity of their masters;
(2)Names connected with flowers and plants: “藕官”,“葵官”、“艾官”，“豆官”,“药官”,“茄官”and “蕊官”.This indicates temperament and personality of the actresses who are tender and delicate;
(3)Names associated with personality: “文官”,“芳官”and“龄官”. And the last one indicates personal talents and charms of the actresses.

3.1.4 Names of Monks,Immortals and Nuns

Names of nuns include “静虚”,“智能”and“妙玉”which implicate meaning of tranquility, wisdom, capability and so on. These are all desirable virtues to people who believe in Buddhism. Names of immortals are“茫茫大士”,“渺渺真人”,“空空道人”,“警幻仙子”,“神瑛侍者”and“绛珠仙子”. As long as these immortals show up, there will be a turn of development of the story. All these names of immortals have a sense of mystery and extraordinariness(Cao Xue, Yin Xiaotang,2020).

3.2 Constractive Analysis of Translation Strategies of Yangxianyi and David Hawkes

3.2.1 Transliteration

Transliteration is to translate the source language through pinyin according to the pronunciation of Chinese, reserving only the pronunciation of the source language but not the content, meaning and writing form of the original text.

At present, transliteration is the most commonly used method in the translation of Chinese names. Yang Xianyi's version and Hawkes' version mostly use this method in the translation of main characters’ names, but there are subtle differences in the details. Yang's translations often use the phonetic transliteration of Wei's(韦氏音标音译). For example: 甄士隐, Chen Shih-yin；贾雨村，Chia Yu-tsun；贾宝玉， Chia Pao-Yu；林黛玉，Lin Tai-Yu；贾政，Chia Cheng；贾雨村，Chia Yu tsun；薛宝钗，Hsueh Pao chai；元春，Yuan-chun；迎春，Ying chun；惜春，His chun；探春，Tan chun；金钏，Chin Chuan；袭人，His jen；宝官，Pao Kuan. This translation is more in line with the common pronunciation habits of English and more acceptable to foreign readers. Hawkes mostly uses Chinese pinyin, for example: “甄士隐” is translated as Zhen Shiyin, “贾雨村” as Jia Yucun, “贾宝玉” as Jia Baoyu and “林黛玉” as Lin Dai-yu. This translation method retains the original taste of the original work to a large extent, making it easier for foreign readers to understand the most authentic Chinese culture.

From the perspective of domestication, Yang's translation retains the naming rules of the original text for the convenience of Chinese readers. From the perspective of alienation, Hawkes chose the easiest translation method, and such transliteration of names can be regarded as the introduction of a unique name culture for the West. On the other hand, although the translation is simple and straightforward, it only preserves the pronunciation and writing form of the source language, but loses the profound connotation of the original text.

3.2.2 Free Translation

Free translation is to translate according to the general meaning of the source language. It is neither word for word nor limited to the form of the source language, but more focused on connotation expression(Duan Ruifang,2016). Hawkes usually uses free translation when translating many metaphorical and homophonic names. Free translation is embodied in the following three ways:
(1)Literal translation of the original language. It largely preserves the literal and imaginary meanings behind it, such as the two maids of Grandmother Jia, “珍珠”and “琥珀”, which are translated as "Pearl" and "Amber" respectively. It highlights the Grandmother Jia’s prominent status in family.
(2) The original name is explained and extended according to the meaning of the target language. This is a way to enhance the readability of the translated text and make the foreign language readers easily accept the strange and obscure traditional Chinese culture. For example,“晴雯” is translated as "Skybright", which means "clear sky". The clear sky after rain fits the image of Qingwen as lively, cheerful and intelligent, which can enhance readers' impression of her.
(3) Adjust the original name and reconstruct the image. For example, the name of Daiyu's servant girl is “紫鹃”, which originally means "cuckoo". This kind of bird often expresses the meaning of "sorrow" in Chinese classical literature, which can easily remind people of the tragic fate of its owner. However, in English, cuckoo can not express this meaning. Therefore, Hawkes changed it into "Nightingale". And “袭人” was translated into Aroma, but it did not show the kindness and thoughtfulness of Aroma in her name.

As for Yang Xianyi, in order to keep the characters' names connected with the original story, he adopts free translation in the names of deified figures, such as monks. For example, “空空道人”was transalated as “The Reverend Void”, “渺渺真人” as “Boundless Space” and “茫茫大士”as “Buddhist of Infinite Space”. In Chinese feudal society, married women were addressed with their husband's surname, such as “贾氏”，“尤氏”and“封氏”. Yang's translation did not directly transliterate them but translated “尤氏” into "Madam Yu", indicating her position of the household steward. “贾氏”was translated as "Mrs.Jia," implying that she was the mistress of the family. .“贾母” was translated as “Lady Dowagers” and “刘姥姥”was Granny Liu(Chen Ying,2016).

3.2.3 Annotation

Due to the huge differences between Chinese and Western cultural backgrounds, it is difficult for target language readers to accurately comprehend the special meanings behind names as the source language readers do. Based on this situation, Yang Xianyi used pinyin in the translation, but in order to truly translate the original work, it is necessary to interpret or remark the cultural connotation implied by the name in the original work. This is because a few words can not fully explain the inner meaning, adding annotations is a crucial tool. There are two main reasons for the use of annotation method. First, annotation is not limited by the number of times and sentence length, so it can better fill the deficiency of free translation and literal translation. The other is that annotation will not interfere with the integrity and structure of the original text. According to these characteristics of annotation method, it can be concluded that all character names can be properly and accurately translated through annotation.
Hawkes’s and Yang's versions have adopted appropriate annotations to facilitate readers' understanding.
For example, Yang translated “甄士隐” as Zhen Shiyin. Homophone for "true facts concealed." while Hawkes translated it into Zhen Shi-yin(the Zhen-another word-play (who are a sort of mirror-reflection of the Jia family). Annotations are used in both translations to further explain the inherent meaning contained in character names. However, too simple annotations cannot effectively achieve the purpose, and too detailed translation will load redundant cultural information into the target language, causing reading barriers for readers and making it difficult for them to reproduce in the target language. Therefore, learn how to use annotation properly is hard but significant.

===Subtitle 4===
4.Influence of Name Translation in A Dream of Red Mansion

The translation purpose of Yang's translation is given by the Foreign Languages Press, so when facing translation problems, he chose the strategy of transliteration and try his best to be faithful to the original text(Chen Ying,2016). It is precisely because this translation mostly retains the original information of A Dream of Red Mansions and respects its cultural characteristics to a certain extent. With the development of China's soft power, Yang's translation has attracted more and more Western readers who are trying to understand with the help of Yang's translation the original ideas and cultural essence conveyed in the book. Similarly, Hawkes' translation should not be underestimated, especially for western countries. First of all, as a foreigner, he was able to complete the huge task of translating A Dream of Red Mansions. In addition, he gave full play to his initiative in translating characters' names. Getting to know hundreds of characters is a big problem for Western readers, who can't understand the deep meaning of the names. Hawkes used different translation strategies to give them English names and tried to help readers get a clear picture of the characters. It can be said that Hawkes's translation can make it easier for foreigners to understand Chinese culture, thus it plays an important role in the process of Chinese culture going to the world.

All in all, A Dream of Red Mansions represents the profoundness of Chinese classical culture. With the rapid rise of China's economy and the increasing curiosity of western countries about Chinese culture, it is a good opportunity for China to show its long history and culture to the world. We should strive to improve the translation of "A Dream of Red Mansions", and use a variety of methods to reduce readers' reading barriers and promote the spread of Chinese classical culture.

===Conclusion===
Hawkes uses transliteration of the main characters and free translation of the minor characters which better let English readers understand the connotation of the name, but also to reveal and predict the fate of the character. But on the whole, there are still some shortcomings in the translation(Wang Wenting,Xuan Zhifeng,2016). This kind of translation can help spread the original works to the West, make the target language readers better understand Chinese culture, and correct the mistakes in other English translations. However, because of direct transliteration, it is difficult for the target readers who do not know the Pinyin of Chinese characters to understand original text. If the annotation method is used to assist the translation and the annotations are added after transliteration, the target readers can understand the exact meaning of the original text. For girl servants names' translation, Hawkes mainly adopts the free translation strategy to translate the name according to the character's personality and fate, but this kind of translation is too generalized, which hinders the cultural communication between source language and target language, resulting in the reader can't fully understand the original meaning and losing the elegant charm of the original language.

Although the transliteration strategy adopted by Yang Xianyi failed to translate the pun, it also conveyed the original information to the maximum extent. His free translation based on his understanding of Chinese culture, which not only respects the literary context of the original work, but also smooth the understanding of English readers, and effectively reproduces its literary meaning.

By analyzing the English translation of names of Yang Xianyi and David Hawkes, we know that there is not fixed rules or uniform patterns in the translation of names. Whether transliteration, free translation, transliteration listed, or some special translation approaches, they require the translator, according to the specific style, the rhetoric and content of works, to convey the original meaning.

===References===
*Qin Qiyue秦启越(2016).《红楼梦》人名翻译艺术再探讨[On the Translation of Names in A Dream of Red Mansions].Chinese National Expo，200-201.

*Duan Ruifang 段瑞芳(2016).《红楼梦》英译本中的人名翻译艺术[The Art of Name Translation in the English Version of A Dream of Red Mansions].Overseas English(15):101-102.

*Lin Yao林瑶(2020).从功能翻译理论对比分析《红楼梦》的杨译本和霍译本的人名翻译[A Comparative Analysis of the Translation of Names in Yang's and Hawkes's versions of A Dream of Red Mansions from the Perspective of Functional Translation Theory].中外文学[The Chinese and Foreign Literature],4-5.

*Wang Wenting,Xuan Zhifeng 王文婷,轩治峰(2016).从异化和归化角度浅析《红楼梦》英译本的人名翻译——以霍克斯版为例[On the translation of people's names in the English version of A Dream of Red Mansions from the Perspective of foreignization and domestication -- a case study of Hawkes' version].唐山文学[Tangshan Literature],133-134.

*Yang Yujie, Liao Ying 杨玉洁,廖颖(2014).从归化与异化角度对比研究《红楼梦》人名翻译[A Comparative Study on the Translation of People's Names in A Dream of Red Mansions from the Perspective of Domestication and Alienation].Cultural Highlands,283.

*Li Shide李仕德(2015).功能翻译理论下《红楼梦》的人名翻译[Translation of people's names in A Dream of Red Mansions under the Theory of Functional Translation].语文建设[Chinese Construction],62-63.

*Chen Ying陈颖(2016).杨宪益《红楼梦》译本双关人名的翻译探讨[On the Translation of Pun Names in Yang Xianyi's Translation of A Dream of Red Mansions].陕西学前师范学院学报[Journal of Shaanxi Xueqian Normal University],(3):73-76.

*Cao Xue, Yin Xiaotang曹雪,尹晓棠(2020).《红楼梦》中人名的翻译策略[Translation Strategies of Chinese Names in A Dream of Red Mansions].作家天地[For Writers](8):17-18.

==英语笔译张国浩 Zhang Guohao 202170081606 MW==

<center>'''A Brief Analysis of Strategies of Promoting the Translation of Chinese Classics "Going Abroad"
'''</center>

<center>Zhang Guohao</center>

===Abstract===

Chinese culture is broad and profound, which has a long history about 5000 years. Classics culture is one of the most representative characteristics of Chinese culture. In the course of China’s five thousand years of civilization, a large number of ancient classics have been formed by the inheritance of Chinese culture and the creation of its spiritual connotation. These Chinese cultural classics contain a lot of wisdom, which is of great significance to solve the problems faced by human society today. With the increasingly close ties between countries in the world, cultural exchanges have become more frequent. Promoting the culture of Chinese excellent classics to go abroad is an important means to enhance the soft power of national culture. However, the translation of Chinese classics is still facing many difficulties at present. Chinese cultural classics are voluminous and rich in connotation. In the process of foreign translation and communication, it is necessary to improve the training mechanism of professional translators, build a market-oriented external publishing mechanism, and build a high-quality system of foreign translation of Chinese cultural classics.

===Key words===

Chinese cultural classics; Foreign translation strategies; Communication of Chinese culture

===Introduction===

China is one of the four ancient civilizations in the world and the only one among the four ancient civilizations whose traditional culture has been continued without interruption. The long history of Chinese culture is mainly due to the passing down of a large number of cultural classics. In the new era, China’s comprehensive national power and international influence have increased significantly, and there is a greater demand for spreading Chinese culture to the outside world and for the world to understand Chinese culture. Under this background, the translation of Chinese cultural classics has become inevitable. Under the circumstance of fierce cultural competition in today’s world, it is an important problem to be solved urgently that how to spread excellent Chinese classic culture to foreign countries and obtain important results. Culture is open and can only be inherited and developed in mutual exchanges. As the carrier of Chinese culture, the translation and dissemination of Chinese cultural classics are closely related to the improvement of China's international status and international influence. While the comprehensive national strength and international influence are greatly improving, China should further strengthen its cultural self-confidence, and strengthen the protection, inheritance and promotion of Chinese culture in the construction of socialist culture with Chinese characteristics, so as to maintain the Chinese style in the forest of nations in the world and highlight the Chinese style. To make China's voice heard requires not only telling the story of contemporary China, but also letting the people of the world know China from the depths of their soul and spiritual essence. In this context, Chinese cultural classics have become the basis for inheriting and carrying forward Chinese culture, and the dissemination of Chinese culture through traditional cultural classics has also become an important way to promote Chinese culture to the world. This paper will discuss the connotation of the culture of classics, the current situation and difficulties of the foreign translation of Chinese cultural classics and the significance of the foreign translation of Chinese cultural classics. Finally the author puts forward feasible strategies and schemes to promote the foreign translation of Chinese cultural classics, so as to provide reference and guidance for the translation of Chinese cultural classics in the future.

===1. The Defination of Chinese Cultural Classics===

According to Li Zhengshuan, cultural classics refer to ancient books or documents that record natural, humanistic and philosophical ideas as well as important laws and regulations (Li, 2012: 42). Generally speaking, classics mainly refer to the carving copies, hand-copied books, manuscripts and books of rubbings etc. of the previous dynasties before 1911. The concept of Chinese cultural classics have two meanings. Firstly, it refers to the important ancient documents and books-classical works in various fields of social sciences and humanities and natural science in China. Secondly, it refers to ancient Chinese codes and systems. As far as the value of cultural classics is concerned, it refers to the literature and classical books that have withstood the test and selection of time and played an important role in promoting the progress of national civilization and even the world civilization. In terms of its subject, the cultural classics include classics of ancient Chinese philosophy, religion, literature, military science, history, science and technology, law and so on. No matter in which era, cultural classics have always been studied, enriched, annotated, interpreted and used by scholars of all dynasties. They are the spiritual wealth shared by all mankind. As the prototype symbol of national culture, they have the function of continuous regeneration and inheritance.

===2. The Significance of Translation of Chinese Classics===

Firstly, the translation of Chinese classics has always been an important part of cultural exchanges between China and the west, and it is also an important way for the dissemination of Chinese history and culture. Chinese classics not only have important ideological value, but also contain rich cultural information, which makes them more difficult to understand and translate. Therefore, the accurate and complete transmission of the cultural information in the classics is of great practical significance for carrying forward Chinese culture and carrying out cultural exchanges between China and the West. However, due to historical reasons and the particularity of Chinese characters, the excellent culture accumulated in the process of Chinese civilization for thousands of years is rarely introduced to the world, so that the world lacks a comprehensive and in-depth understanding of China’s long and splendid history and culture. Therefore, the translation of Chinese classics is particularly important in the context of economic globalization.

Secondly, we have entered an era of globalization nowadays. If any nation or country wants to remain invincible among the world’s nations, it must learn from others. While learning from other nations, we should also know how to introduce the excellent translation of Chinese classics abroad, so that the world can better understand China. Only in this way can we enhance our competitiveness on the international stage, which is also the need of our reform and opening-up policy. As Chinese people, we have the responsibility and obligation to spread the excellent culture of Chinese nation to all parts of the world. Culture is not only the embodiment of national cohesion, but also the cultural soft power has become an important factor in the competition of comprehensive national strength. As the core content of traditional culture, the translation of Chinese classics is one of the important contents of cultural output.

Thirdly, from the perspective of modern history, the Chinese culture compared with the culture of other nations is in a “weak culture” state. In this case, most foreign translators will inevitably reflect the features of their own class when translating and introducing Chinese cultural classics for the benefit of the rulers they serve. Therefore, it is necessary for Chinese translators to provide the world with more comprehensive, systematic, complete and original versions of Chinese classics.

===3. The Foreign Translation Process of Chinese Cultural Classics===

The translation of Chinese culture classics began in the Ming and Qing dynasties, and the translators were mostly Western missionaries and sinologists at that time. For example, the Italian priest Matteo Ricci translated ''The Four Books'' into Latin around 1594. The French priest Joseph de Prémare translated ''Sacrifice'' into French around 1735 and the British sinologist James Legge translated ''The Four Books and The Five Classics'' into English between 1861 and 1886. These foreign translators completed these translations with the assistance of Chinese assistants. Until the early 20th century, Chinese scholars began to undertake the translation of Chinese cultural classics independently.

Since the founding of the People’s Republic of China, Western sinologists and Chinese scholars have continued to work in foreign translation Chinese cultural classics. Among them, the representative foreign translation project was the English version of Chinese Literature, founded by Ye Yongjian in 1951, which was the only official foreign translation that translated and introduced Chinese contemporary literature at that time. Since initiating reform and opening up, the first milestone in the foreign translation of Chinese culture classics was the Library of Chinese Classics project launched by the Chinese government in 1995. it was the first major national publishing project in China's history to systematically and comprehensively introduce foreign versions of Chinese cultural classics to the world. The Library of Chinese Classics project selected 100 most representative classical works in the fields of culture, history, philosophy, economy, military affairs, science and technology from the pre Qin period to modern times and expert would collate and sort out the topics and versions in detail, and translate them from Writings in Classical Chinese to vernacular, and then from vernacular to English. Chinese leaders have given great support and high praise to this translation project, and have repeatedly presented this series of translated works as an official gift to foreign dignitaries on important occasions. In addition to English translation, the second phrase the Library of Chinese Classics project started in December in 2007 has published Chinese-French, Chinese-Spanish, Chinese-Arabic, Chinese-Russian, Chinese-German, Chinese-Japanese, Chinese-Korean versions in an effort to achieve multilingual publication of Chinese culture classics.

In addition, over the past ten years, there have been many foreign translation projects of Chinese cultural classics which were vigorously promoted by Chinese government. The above-mentioned translation projects at the national level have enhanced the cultural confidence of the Chinese people and improved the soft power of Chinese culture. This is due not only to the importance of national support for traditional culture and translation, but also to the hard work of translators and publishers.

===4. The Current Status of Foreign Translation of Chinese Cultural Classics===

Under the background of economic globalization, the translation of Chinese cultural classics has made great progress with the great attention of the Chinese government and the joint efforts of many Chinese scholars and translators in recent years. In 1995, China began to launch the “Library of Chinese Classics” project, which was the first major publishing project in China to comprehensively and systematically introduce Chinese traditional cultural classics to the world. “Library of Chinese Classics” projects not only accurately translates China’s historical and cultural classics to the world, but also shows the world great Chinese culture. But even so, the current translation of Chinese classics is still facing many difficulties.

The first problem refers that there is a shortage of professional translation talents, and the coverage of translation talent education is also narrow. In the new era, China will unswervingly open wider to the outside world and strengthen its cultural self-confidence. Obviously, China is required to make efforts to promote Chinese culture to the world. The translation of Chinese cultural classics is one of the basic ways to promote the spread of Chinese culture to the world. The external translation and dissemination of cultural classics can not be separated from high-quality translation versions whose key lies in the cultivation of translation talents. At present, China lacks professional translation talents, and the coverage of translated language is narrow. Although China regards English as the basic content of national education and has basically established a higher education system covering the world’s major applied languages, the translation of Chinese cultural classics is a highly specialized translation work, which requires translators to be familiar with Chinese culture and have a deep understanding of the history and culture of the target-language countries This kind of integrated talents is relatively scarce, and it is difficult to cultivate a large number of such talents in a short period of time under the existing translation talent education mechanism.

In addition, the selection of translation materials of Chinese cultural classics is concentrated and single. The word “classics” in Cihai means “important national documents”. Professor Wang Hongyin clearly put forward the concept of “Chinese cultural classics” and limited its scope from three aspects. Then professor Zhao Changjiang also explained its definition in detail. In summary, we can draw the conclusion that Chinese classics involve the three disciplines of literature, history and philosophy, Confucianism, three religions of Confucianism, Buddhism and Taoism, as well as Chinese military classics, scientific and technological classics and so on. Among the vast Chinese classics, the ones that are truly translated into foreign languages are mostly concentrated in philosophical works such as “ The Four Books and The Five Classics” and ancient literary classics such as “Dream of the Red Chamber”. However, the foreign translation of prose and drama is very rare. The foreign translation of cultural classics of other nationalities in China is rarely involved, while the translation of scientific and technological classics is almost ignored. Therefore, it is very necessary to expand the scope of selection for classics translation in order to spread Chinese excellent culture through classics.

Facing the strong competition of Western culture, the market-oriented communication mechanism is not perfect. The translation and dissemination of Chinese cultural classics should rely on the market-oriented publishing mechanism, while the cultivation of foreign audiences’ reading demands mainly depends on the improvement of China’s international influence, especially the improvement of China’s international status in the process of economic globalization. At present, in the face of the strong position of the West in the international discourse system, the translation and dissemination of Chinese cultural classics in the market publishing face the strong competition of Western culture. At the same time, the market demand for the publication and distribution of Chinese cultural classics also lacks effective integration, and it will be difficult to obtain lasting impetus to promote the dissemination of Chinese culture by relying too much on national financial investment or incorporating the translation and dissemination of Chinese cultural classics into the cultural exchange mechanism under the national financial burden. The imperfect market mechanism for the translation and dissemination of Chinese cultural classics, the lack of scientific evaluation of the international publishing market demand and targeted marketing mechanism are important problems in promoting the translation and dissemination of Chinese cultural classics.

On the other hand, the quality of translation is uneven, and the adaptability of local culture in target-language countries needs to be improved. The development of the foreign translation market of Chinese cultural classics not only needs to cultivate the reading needs of foreign audiences and incorporate them into the construction of the publishing market, but also needs to establish the awareness of quality and build a quality system. Nowadays, although some high-quality versions have been formed in the foreign language translation of cultural classics in China, the quality of some translation works is not satisfactory. It is difficult to accurately transform the classics into the local culture of target-language countries. Especially for some minority-language countries and ethnic groups, it is difficult for China to engage in high-quality foreign language translation and form an optional quality system due to the lack of professional translators. At the same time, when translating Chinese cultural classics into foreign languages, China needs to improve the localization of text content. Whether the translated works of Chinese cultural classics can be compatible with the history and culture of target-language countries will have an important impact on the dissemination ability of Chinese cultural classics.

At the same time, the translation of Chinese cultural classics is still unevenly distributed. At present, the translation of Chinese cultural classics mainly focuses on the cultural classics of the Han nationality, while the foreign translation of cultural classics of other nationalities are in the dilemma of “small quantity”. Due to their uniqueness, the foreign translation and dissemination of them are relatively more complex. According to statistics, there are less than 20 foreign translations of cultural classics of other nationalities in China since the late Qing Dynasty, and only a few ethnic cultural classics such as Tibetan, Mongolian, Zhuang and Kirgiz have been translated into English. Compared with the 1000 volumes of ethnic minority ancient books or Han cultural classics in the Catalogue of National Rare Books in China, there is a fact that there is a small amount of foreign translation in other ethnic cultural classics. And due to the factors of Chinese local translators, the languages of translation and introduction are relatively single. The translated cultural classics of other nationalities in China are mainly focused on literary subjects, while other fields such as medicine, agriculture, science and technology are often ignored. Therefore, the number of foreign translation of them is even less.

===5. Measures to Promote Foreign Translation of Chinese Classics===

Targeted measures are needed to solve the above problems. Firstly, foreign readers’ reading demands should be guided and cultivated and a market-oriented foreign publishing mechanism should be built. At present, China’s comprehensive national strength has improved significantly and it occupies an important position in the global trade system. The exchanges and interactions between China and other countries in the world are becoming increasingly frequent, and the demand for countries in the world to understand Chinese culture is increasing. China should further guide and cultivate people’s cognitive needs of Chinese culture, and promote the construction of market-oriented foreign publishing mechanism with high-quality translation versions of Chinese cultural classics. China should encourage domestic publishing enterprises with strong strength to go out. On the basis of scientific evaluation of other countries’ demand for Chinese cultural classics reading, effective marketing strategies should be determined. Meanwhile, China also need to establish sound sales channels, and form a positive interaction mechanism between the cultivation of foreign Chinese classics reading market and the overseas publishing industry for spreading Chinese culture.

Secondly, China should build a system of excellent translation of Chinese classics to improve the local adaptability of the translated versions. As the carrier of Chinese culture, the humanistic spirit of Chinese classics should go to the world with the development of our country. China should actively promote the construction of an excellent translation system of Chinese classics. While providing guarantee in terms of talents, funds and policies, the government should also establish a standard system for the translation of excellent classics, and form several alternative high-quality versions for different countries and nationalities. In the construction of the excellent system of translation of Chinese classics, China should strengthen the exchange between the translated versions and the local culture of the targeted-language countries and select different classics according to the historical culture and religious customs of different countries and nations, so as to avoid the conflict between the contents of classics and the historical culture and religious customs of relevant countries.

Thirdly, the government should improve the training mechanism of professional translation talents and increase the number of foreign language for education. China should actively promote the construction of professional translation talent system, and construct the corresponding talent training mechanism based on the principle of specialization in the translation of Chinese classics. For example, China should set up the translation major of Chinese classics in the current translation major and integrate it with the study of various languages. In the process of learning foreign languages, China can take the translation of Chinese classics as the basic teaching content. At the same time, China should also cooperate with the implementation of the Belt and Road Initiative to carry out targeted translation education of Chinese classics.

The the Belt and Road Initiative is the direct driving force for the foreign translation of Chinese cultural classics. Since the advent of the new century, the Chinese government has paid more attention to cultural exchanges with other countries in the world. The proposal of the “the Belt and Road” Initiative in 2014 further demonstrates the determination of Chinese culture to go global. The translation of Chinese classics is the most direct means for Chinese culture to go global. As a corridor for cultural exchanges, the the Belt and Road Initiative provides a new opportunity for the translation of Chinese cultural classics and will directly promote the development of Chinese cultural classics translation. The Library of Chinese Classics project is the most prominent project in the national assistance to the foreign translation of Chinese cultural classics, even though these translation versions are not sold well abroad. However, these works condense China’s long history and splendid culture, and enhance the foreign dissemination of Chinese classics. In addition, works of the Library of Chinese Classics project are not only sold in bookstores, but also presented to foreign leaders as official gifts, which is of great benefit to the dissemination of Chinese culture. Buddhism and Buddhist classics were introduced to China through the ancient Silk Road. Nowadays, Chinese Confucianism and Confucian classics will spread to the world through the Belt and Road Initiative. First of all, in the process of the Belt and Road Initiative construction, the builders sent by China to countries and regions will spread Confucianism and Chinese culture in daily exchanges with local people. In addition, China actively promotes Confucius Institutes in the process of the Belt and Road Initiative construction, which directly promotes the external dissemination of Confucianism and classics. Finally, the construction of the Belt and Road Initiative can also increase the public’s recognition and understanding of Chinese cultural classics and promote the development of the English translation of these cultural classics.

===Conclusion===

Chinese classics are the crystallization of the wisdom of the Chinese nation and still have important guiding value for the problems confronted by human today. With the continuous enhancement of China’s comprehensive national strength, the translation of Chinese classics is imperative. In the process of translating classics, we should improve the training mechanism of professional translation talents, build a market-oriented external publishing mechanism, and build a system of excellent translation of Chinese cultural classics, so as to promote the better dissemination of Chinese culture abroad and enhance China’s cultural soft power.

===References===
*Li Wenge 李文革.(2000). 中国文化典籍的文化意蕴及翻译问题 [The Cultural Implication and Translation of Chinese Cultural Classics]. ''外语研究'' Foreign Languages Research (1)42-44.
*Liu Xingfeng 刘性峰.(2005). 典籍英译的意义 [The Significance of Translation From Chinese Classics into English]. ''皖西学院学报'' Journal of West Anhui University (2)105-107.
*Qiu Kean 裘克安.(1991). 更好地组织中国文化代表作的英译和出版 [Better Organization for the English Translation and Publication of Chinese Cultural Masterpieces]. ''中国翻译'' Chinese Translators Journal (2)4-5.
*Wang Hong 王宏. (2012). 中国典籍英译：成绩、问题与对策 [English Translation of Chinese Classics : Achievements, Problems and Countermeasures]. ''外语教学理论与实践'' Foreign Language Learning Theory and Practice (3)9-14.
*Wang Rongpei 汪榕培.(1997). ''比较与翻译'' [Comparison and Translation]. Shanghai: Shanghai Foreign Language Education Press 上海外语教育出版社.
*Yang yingfa, Zhang Ji 杨英法, 张骥.(2017). 中华文化软实力提升与汉语弘扬间关系探讨 [The Discuss on the Relationship Between the Advance of Chinese Cultural Soft Power and the Promotion of Chinese]. ''石家庄学院学报'' Journal of Shijiazhuang University (4)106-110.
*Zhu Linbao 朱林宝. (1994). ''中华文化典籍指要'' [Essentials of Chinese Cultural Classics]. Jinan: Shandong People's Publishing House 山东人民出版社.
*Zhang Xiping 张西平. (2015). 中国古代文化典籍域外传播的门径 [The Overseas Transmission of Ancient Chinese Cultural Classics]. ''中国高校社会科学'' Social Sciences in Chinese Higher Education Institution (3)79-91.

===Terms and Expressions===

*Matteo Ricci 利玛窦
*Joseph de Prémare 马若瑟
*James Legge 理雅各
*The Four Books and The Five Classics 四书五经
*the Library of Chinese Classics project 《大中华文库》项目
*The the Belt and Road Initiative 一带一路
*Kirgiz 柯尔克孜语
*Writings in Classical Chinese 文言文
*vernacular 白话文

===Questions===

*1. What does cultural classics refer to according to Li Zhengshuan?
*2. The word “classics” in Cihai means “important national documents”. (T/F)
*3. When did the foreign translation of Chinese culture classics begin?
*4. What project did Chinese government launch?
*5. The Library of Chinese Classics project is the direct driving force for the foreign translation of Chinese cultural classics. (T/F)

===Keys===

*1. According to Li Zhengshuan, cultural classics refer to ancient books or documents that record natural, humanistic and philosophical ideas as well as important laws and regulations.
*2. T
*3. The foreign translation of Chinese culture classics began in the Ming and Qing dynasties.
*4. The Library of Chinese Classics project
*5. F

==英语笔译张姣玲 Zhang Jiaoling 202170081607 CE==

<center>'''On movie adaptation of Chinese classics - The example of Yu Hua’s ''To Live'''''</center>

<center>Zhang Jiaoling</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译张瑞 Zhang Rui 202170081608 MW==
<center>'''An Analysis of English Translation of Classical Prose Based on the Skopos Theory'''</center>

<center>张瑞 Zhang Rui</center>

===Abstract===
The information age has made cultural communication the norm in the world, and transmitting the essence of Chinese traditional culture to the world is not only an important way to show the profound cultural heritage of China, but also a good way to make the world understand China. This paper introduces the theory of cultural translation into the translation of Chinese classical prose. By selecting the classic prose of Han Yu, the first of the Eight Great Masters of the Tang and Song dynasties, as a case study, we analyze the English translation process of Han Yu's prose under the guidance of cultural translation, show the applicability of cultural translation in the English translation of classical prose, and provide new ideas and references for the future translation of classical prose.

===Key words===
Skopos Theory; Strategies for English translation of classical prose; the classic prose of Han Yu

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译赵宇翔 Zhao Yuxiang 202170081609 CE==
Research On Problems And Strategies of Translation of Chinese Classics

==英语笔译郑冬琴 Zheng Dongqin 202170081610 MW==

<center>'''The Development and Spread of Chinese Network Novels'''</center>

<center>Zheng Dongqin</center>

===Abstract===
Chinese online literature has had a history of more than 20 years of development, and it has gradually formed a mature development system. In recent years, with the rapid development and popularity of the Internet, online literature has played an increasingly large role in people's daily lives. Among them, online novels play a particularly important role in people's lives. Moreover, the development and dissemination of Chinese online novels overseas has also achieved great success. However, there are still some problems and shortcomings in the field of online fiction that need to be addressed. Therefore, in order to better promote Chinese cultural exports, we need to create our own cultural calling cards and promote Chinese network novels "go globle". In this paper, I will discuss five aspects of Chinese online fiction: definition, development, pros and cons, current situation and overseas dissemination.

===Key words===
Chinese Network Novels; Development; Dissemination; Value; Adaptation

===Introduction===
This paper focuses on the history of the development of Chinese online novels and the current state of their dissemination overseas. This essay is divided into five main parts. In the first part , it mainly gives a brief introduction to online novels, which includes three aspects of the definition, creative characteristics and main classifications of online novels. In the second part, it gives a brief overview of the history of the development of Chinese online novels, which includes the exploration stage, the transition stage and the maturity stage. In the third part, it discusses the pros and cons of Chinese online fiction in a dialectical manner. It mainly mentions the influence of online fiction on the younger generation, especially teenagers. In the fourth part, it analyses the current situation and trends of Chinese online novels, and it highlights the phenomenon of product homogenisation and the film and drama adaptations of popular novels. In the fifth part, it introduces the achievements of Chinese online novels in their overseas distribution by discussing two examples, namely The Legend of Zhen Huan and Ten Miles of Peach Blossoms. Finally, the paper provides a brief summary of the issues explored, with a view to offering some suggestions and help for Chinese culture to go global.

===1.A Brief Introduction to Network Novels===
1.1 Definition of network novels

Network novels are novels published by online writers relying on the web-based platform. It is a new genre of fiction that has emerged with the rapid development of the Internet. It is characterised by a wide variety of styles, unlimited genres, and simple publication and reading methods. Its main genres are fantasy and romance. The language of online novels is more colloquial and full of Internet buzzwords.(Cui Feng 2010) Besides, in addition to differences in textual content, network novels also make use of variations in symbols, patterns and typography compared to general novels. Online fiction is the main form of online literature.
Generally speaking, there is a broad and narrow definition of online fiction. Broadly speaking, it can include all fiction published and circulated on the Internet. However, on the narrower level of the origins of online fiction, it mainly refers to forms of fiction written by online writers and first published online, and then circulated.
Online novels fall into two main categories. One category is novels read by boys, which are generically referred to as male channel novels(男频), and the other category is novels read by girls, which are generically referred to as female channel novels(女频). Most novels read by boys seek to be powerful from body to power, while most novels read by girls are from the perspective of love. And the influence of these two types of novels depends on the ratio of males to females on the internet.

1.2 Creative characteristics of network novels

There is no doubt that online literature still belongs to the category of literature. Therefore, online novels naturally have the basic characteristics of all literary works. However, due to some characteristics of the Internet and the influence of the commercial model of literary websites, online literature has gradually formed its unique creative and artistic characteristics. The characteristics of online novels are mainly manifested in the following four aspects:
Firstly, the length of the network novel is very long. Because an online novel is usually formed in a long serial mode, it has a considerable number of words. Among them, long female channel novels are at least 600,000 words, while long male channel novels are up to millions of words.Secondly, online fiction is highly interactive. Because of the instantaneous nature of the Internet, authors and readers communicate online far more quickly than the previous correspondence. This makes online works naturally a little more interactive. What really determines the interactivity of an online novel, however, is its serial nature. Because online novels are often divided into chapters and sections, presented and completed gradually over a long period of serialisation, readers are able to express their views on the work at any point in its creation, expressing their appreciation or dissatisfaction, and offering suggestions and expectations for subsequent content. These comments will be seen by the author in the first instance. They can then influence the creation of the work to a large extent.Thirdly, the threshold for the creation of online novels is low. Generally speaking, the threshold for the creation of traditional literature is very high, and not any work can be published. However, the editorial and vetting standards for online literature are very low. Anyone who is literate and can tell a story has the opportunity to become an online writer, or even an online author. In other words, in the realm of online fiction, anyone who publishes and gets a certain number of readers can generate income. As a result, more and more people are becoming online writers and the creation of online novels is gradually becoming a way to earn an income.Fourth, online fiction is like a kind of fast food literature. The evaluation criteria of traditional literature are mainly reflected in values, outlook on life, and the author's writing skills. However, the focus of online novels is on entertainment and the reader's pleasure in reading them. In order to cater to the needs of readers, most online writers overly pursue the quantity of novels at the expense of quality. They over-express the reader's desires in their works, which makes them lack artistic and emotional value. Internet novels are like a kind of fast-food literature, which lacks nutrition and is difficult to be remembered and loved in the long run.

1.3 Classification of network novels

Online novels can be broadly classified into the following genres: fantasy novels, martial arts novels, immortal novels, science fiction, urban novels, romantic novels, supernatural novels, historical novels, mystery novels, military novels, sports novels, game novels, fan fiction, boy’s love novels, two-dimensional space novels and etc.According to online reader statistics, the ten most popular online novels are：

1、The Legend of Goku - Now Where 《悟空传》- 今何在

2、Ghost Blows Out the Light - Blogging site 《鬼吹灯》- 天下霸唱

3、Purple River - Old Pig 《紫川》- 老猪

4、Blasphemy - South of the Smoke 《亵渎》- 烟雨江南

5、Nebulous Journey - Potential Flute 《缥缈之旅》- 萧潜

6、How Bad Men Are Made - Six Paths 《坏蛋是怎样炼成的》- 六道

7、Time Raiders - Uncle Three of Southern School 《盗墓笔记》- 南派三叔

8、Kill the Immortals - Pot Flute 《诛仙》- 萧鼎

9、Fights Break Sphere - Silkworm Potato 《斗破苍穹》- 天蚕土豆

10、AutoFull - Wind Blow Strong 《傲风》- 风行烈

===2.The Development History of Chinese Network Novels===
Chinese online literature has had a history of over 20 years of development. Throughout the history of the development of online literature, we can divide it into three development stages: the exploration stage, the transition stage and the mature stage.

2.1 Exploration stage

During this period, online novels were mainly carried on computers and the payment model was established. In 1998, Riffraff Cai's The First Intimate Contact 《第一次亲密接触》was published on the Bulletin Board System(BBS), which opened the era of Chinese online novels. For the next 10 years, the computer served as the main vehicle for users to disseminate and read online literature. In October 2003, the business model of online literature became clear when the Starting Point Chinese Network Fiction(起点中文网)pioneered the paid online reading model. Some of the so-called "gods" of online fiction began to appear, and online fiction had its own stable, youth-centred and relatively small reading group. Annie Baby, Li Xunhuan and Xing Yusen were also representative online writers of that period.

2.2 Transition stage

From 2008 to 2014, online literature entered a transitional period, when reading behaviour began to penetrate into mobile smart devices. Around 2011, the proportion of users who read online literature on computers declined year by year, while the number of users on mobile smart devices grew rapidly. At the same time, reading platforms in the form of apps also sprang up, and mobile bookstores such as QQ Reading and Palm Reader became increasingly popular. After 2014, smartphones, tablets and other mobile smart devices became popular in China, making mobile phones the largest reading channel for online literature users. Novels in genres such as tomb raiding, mystery and romance have seen rapid development. Representative works of this period include Time Raiders, Tomb of the Gods and Fights Break Sphere.

2.3 Mature stage

As the scale of the online literature market continues to expand, Internet giants have become involved in online literature, and online literature enterprises have embarked on a stage of large-scale group operations. (Zhang Hainan,Han Lei 2021:79-83)In 2013, Tencent and the core team of the former Starting Point Chinese website (起点中文网)cooperated to establish Genesis Chinese Website(创世中文网); Baidu acquired 100% of the equity of Zongheng Chinese Website (纵横中文网)for 191.5 million; In 2014, Zongheng Chinese Website, 91 Panda Book (91熊猫看书)and Baidu Book City (百度书城)merged to form Baidu Literature(百度文学). In 2015, Chinese Online (17K Novel Website) was listed on the A-share GEM board with a $2 billion capital increase to build a pan-entertainment ecology. After Tencent's $5 billion acquisition of Shanda Literature Limited(盛大文学), it merged with Tencent Literature to form China Reading Limited(阅文集团); Ali acquired Shuqi Novel (书旗小说)and UC Book City (UC书城)and merged them with its own mobile reading business to form Ali Literature. At this point, the industry pattern of domestic online literature has basically taken shape.Since 2018, online literature has entered an era of convergence. The IP operation of online literature has gradually matured, film and television dramas and games adapted from online literature are favoured by the market, and free reading has gradually emerged, creating a new model of "free + advertising". Internet literature has established its own unique literary system and has received widespread attention from society. It has also become an important source for film and television adaptations. Nowadays, it seems that many important film and television works have come from online literature, and these super IPs have had a huge impact on the development of film and television culture. Representative works from this period include The Legend of Zhen Huan《甄嬛传》, The Legend of Mi Yue《芈月传》, The Journey of Flower《花千骨》, and Nirvana in Fire《琅琊榜》.

Nowadays, Chinese online literature has become an important literary phenomenon that cannot be ignored and has become an indispensable cultural resource for the younger generation. At the same time, from the perspective of world literature, China-centred online literature written in Chinese can be considered a unique phenomenon. Its unique creative characteristics and mode of operation are incomparable. It now seems that Chinese online literature has also gained its own unique status and significance in the development of literature across the globe. The wide distribution of The Three Bodies overseas in recent years is a good example of this.

===3.The Pros and Cons of Chinese Network Novels===
As a new form of literature, online literature has had a huge impact on people's daily lives. Like a double-edged sword, online fiction has its unique value and significance, but also has many problems and shortcomings. Therefore, we should adopt the right attitude towards it and take the essence and remove the dross.

3.1 The Pros of Chinese Online Fiction

3.1.1 Reading online novels can develop literary literacy

Firstly, there are many excellent works in online fiction that deserve to be read and appreciated with care. Outstanding online novels are characterised by their dramatic storylines, superb writing skills and meaningful themes. By learning from the authors' writing methods, we can develop our imagination and creativity, and thus improve our own writing skills.(Li Xin 2016:172) At the same time, by reading excellent works, we can increase our knowledge, broaden our horizons and improve our literary skills.

3.1.2 Reading online novels can improve reading skills

Secondly, because the online novel is serialized, it is updated very quickly and in very large numbers of words. Readers have something new to read almost every day. This means that in order to keep up with the author's updates, the reader needs to be able to read very quickly. If the reader is reading several online novels at the same time, then he needs to be able to read faster. Thus, by exercising over time, the reader can develop a good habit of reading every day and can improve his or her reading skills and abilities to a great extent.

3.1.3 Reading online novels can relieve stress

Thirdly, online novels can help readers to vent their negative emotions and relieve stress to a certain extent. In today's highly developed economic, political and cultural world, people face a variety of challenges and pressures in their daily lives, such as the pressure of marriage, interpersonal relationships, mortgage repayments, further education and job promotions, and so on. They are reluctant to face the cruelty of reality and need a space where they can forget their worries and keep their mood happy. Therefore, the beautiful virtual worlds created by online novels have gradually become a place for people to vent their emotions, express their desires and seek solace. Moreover, with the rapid development of the Internet, mobile communication devices have become widely popular. Nowadays, almost everyone, young and old, has their own mobile phone, which makes it possible for people to read online novels through various mobile apps and websites anytime and anywhere. We have found that the majority of readers of online novels in China find themselves relieving their stress and gaining a great deal of pleasure from reading online novels. For female readers, they tend to read romance novels and urban novels. For male readers, they prefer to read mystery novels and tomb raiding novels. In short, for those devoted novel lovers, the virtual world constructed by online novels is a perfect, utopian ideal society. As the characters and storylines portrayed in online novels are very close to life, such a setting easily arouses readers' emotional resonance, thus giving them a strong sense of vicariousness. In this virtual world, they can relieve the stress and worries brought about by the real world, allowing them to relax their long-tightened nerves. This is also a form of stress relief for the young generation of today.

3.2 The Cons of Chinese Online Fiction

3.2.1 Adverse effects on people's daily habits

In this highly developed society with the Internet, people can use mobile phone apps to read online novels anytime and anywhere. It is because of this convenience that online novels are having an increasing impact on people's daily lives. Online fiction is like a drug that makes people addicted to them. For adult readers who are addicted to online novels, they read all day and night and do not even feel hungry. As a result of staring at their mobile phone screens for long hours, some suffer from myopia, while others are so addicted to the pleasure and thrill of reading online novels that they miss work. Faced with online novels, they lack self-control and self-discipline, which makes them break the regular routine of life. When reading online novels, they see themselves as the protagonists in the novels, causing them to be unable to distinguish between real life and the virtual world. Over time, this group of people who are obsessed with online novels may suffer from severe procrastination, which then puts their lives in a vicious cycle.
While for young readers, the dangers posed by online novels seem to be even more serious. Some online novels are not suitable for teenagers. If young readers are exposed to these novels, it is inevitable that they will become too precocious and may even lead them astray. For example, one of the most iconic Internet classics, The First Intimate Contact, is very popular among secondary school students. The author tells a poignant love story that expresses a common ideal in metropolitan life, namely the desire to make romantic love denied in reality a reality in the virtual world. (Li Xin 2016:172) Many teenagers have admitted that they have imagined or even actually experienced online romance after reading The First Intimate Contact. In addition, many urban and romance novels such as Laugh Slightly Very Bend City, The Left Ear and Fleet of Time also have had an impact on teenagers.

3.2.2 Causing distortion of values

Because of the low threshold for the creation of online novels and the lax regulation of the market, there are many low-quality works on the Internet that contain unhealthy information. These vulgar novels are filled with many contents that are not conducive to the healthy physical and mental development of young people, such as violence, cruelty, pornography, selfishness and so on. In the process of reading online novels, readers will unconsciously accept these wrong values. As the main force of the online novel reading group, teenagers are often more susceptible to the influence of bad values. On the one hand, as the minds and hearts of teenagers are not yet mature, they lack the ability to select works and self-discipline. On the other hand, as teenagers are more curious about the unknown, they are more likely to be attracted to the characters portrayed in online novels and develop a stronger sense of immersion. Moreover, as teenagers are in the process of forming their values and worldview, the harmful information in online novels can have a huge negative impact on their values, and may even cause distortion of values. For example, some reported cases of school bullying, murder and rape are related to the harm caused by vulgar online novels.

3.2.3 Fast food novels waste time

Many online novels are fast food novels. It would be a mistake for people to devote too much time and energy to these online novels. Due to the low threshold for the creation of online novels and the lax regulation of the market, various genres of online novels are springing up in the world today, which makes many online writers see their creation as a way to make profit only, and they devote more time and energy to the quantity rather than the quality of their novels. As a result, most online novels are written with a tumultuous plot to capture the reader's attention and interest. These novels often lack depth of thoughtfulness, and some even contain frequent misspellings, misuse of idioms and grammatical errors. If we fail to spot these errors in time, this can inadvertently deepen our impression of the wrong usage to the extent that these errors may appear in our own writing.
In addition, readers tend to read online novels at a very fast pace. Some can even finish reading several online novels in a day. However, these fast-food novels, which lack nutrition and value, do not give readers a great deal to gain. When people are reading these online novels, the content of the novels hardly cause the readers to think. As a result, readers are not impressed with the content of the novels after reading them. This kind of reading behaviour without value and meaning is in essence a waste of time. Instead of wasting our time and energy on these unproductive online novels, it would be better for us to choose a classic work of literature to read and appreciate its connotations and meanings by heart. By reading and appreciating the classics, we can communicate with great souls across time and space. In this way, our literary skills can be improved, our minds can be sublimated and our souls can be purified. So, from now on, please take the time to develop a good habit of reading classics again, which will benefit you for the rest of your life.

===4.The Status and Trend of Chinese Network Novels===
4.1 Homogenization of products

Although the market is flooded with online novels of various genres and themes, only truly outstanding works are accepted and loved by the public. As a result, there is serious vicious competition in the field of online fiction, which has led to the homogenisation of products in the current online fiction market. When a work becomes successful, there will be many imitations. Many novels have highly similar themes, motifs and plots, and even have very similar backgrounds, characterisations and life settings. Once these popular characterisations have formed a fixed format, they become as similar as industrially produced products. As a result, these similar novels will cause aesthetic fatigue among the audience and their dissemination will be greatly reduced. (Qin Junxiang,Li Ting 2017:38-42)For example, online novelist Qiong Yao publicly reported on Weibo that Yu Zheng's Palace 3:The Lost Daughter《宫锁连城》had copied several plots from her work The Plum Blossoms《梅花烙》. In addition, when the TV series Jade Palace Lock Heart《宫》 started to make a splash on TV screens in 2011, there were many other similarly titled dramas. Some authors ignored historical facts and made a mess of historical adaptations in order to cater to the taste of their audience, which reduced the literary, artistic and aesthetic value of the work itself. Some authors even deliberately make up all sorts of fascinating but unethical plots in order to gain high click-through rates, which has caused a distortion of the values of some works. This series of homogenisation and vicious competition has not only led to infringement and plagiarism, but has also led to monotonous content of works, aesthetic fatigue among readers and an impact on the market order. In short, homogenisation and plagiarism are not conducive to the innovation and development of online literature.The relevant government departments should strengthen the supervision and regulation of the online literature market. They should establish a sound copyright protection mechanism, improve the professionalism and aesthetic level of online authors and film producers, and raise audiences' awareness of copyright protection, so as to promote the healthy and benign development of the online literature market and the film industry.(Liu Yang 2017:95)

4.2 Adaptation of novels into film and TV series

The emergence of film and television adaptations of online novels can be traced back to The First Intimate Contact , an adaptation of the novel of the same name by Chinese Taiwanese author Tsai Chi-hang. This novel was made into a film in 2000 and adapted into a TV series in 2004. This was the first time in the history of Chinese film and television that an online novel was adapted into a film or television production. (Xiao Yudi,Ouyang Changlin 2021:33-38)However, the audience response at the time was poor, with fans who had read the original novel not liking the format and content presented in the TV series very much. Although the audience response did not meet expectations, it made the novel an instant hit. The first trial of a web novel adaptation showed its potential and problems, drawing the attention of some film and television producers. After six years of hibernation, the adaptation of web novels for film and television finally made its official entry onto the television screen in 2010. The first wave of Chinese online novels adapted for film and television was marked by the TV series Beauty's Rival in Palace《美人心计》.Subsequently, costume dramas such as The Legend of Zhen Huan《甄嬛传》, Startling by Each Step《步步惊心》, Princess Dumping World《倾世皇妃》and Jade Palace Lock Heart《宫锁心玉》received high ratings and were unanimously praised and recommended by the public. Soon, with the rise and development of online video platforms, China ushered in a second wave of web novel adaptation dramas. In 2015, there were a number of web novel adaptations represented by The Journey of Flower《花千骨》 and Nirvana in Fire《琅琊榜》, which not only achieved high ratings during their television broadcast, but also reaped superb viewership and buzz on major video platforms. In 2017, the online novel adaptation television series Ten Miles of Peach Blossoms《三生三世十里桃花》began to dominate the public's attention, marking the arrival of the third wave of adaptation boom. The drama took over Weibo's top searches and headlines almost every day, and its original novel, plot, cast, headgear, make-up, costumes and soundtrack became a daily topic of conversation for the public at their leisure. In recent years, popular costume dramas such as East Palace《东宫》, Qing Yu Nian《庆余年》 and The Untamed《陈情令》have brought the craze for web novel adaptations to a peak.In terms of film and TV drama adaptations of novels, costume and romance novels have become the main trends in Chinese online novels.

===5.The Overseas Dissemination of Chinese Network Novels===
In recent years, Chinese costume novels have become very popular overseas. There are websites dedicated to Chinese novels such as "Wuxia World"(武侠世界) and "Webnovel"(起点国际). There are even people overseas who read serialised novels to kick drug addiction and treat depression. This shows the huge influence of our online novels overseas.

For example, in recent years, Legend of Concubine Zhen Huan has become popular in Japan, South Korea and some countries and regions in Southeast Asia. In addition, the cast of The Legend of Concubine Zhen Huan has joined forces with the American television station HBO to edit the original 76-episode series into six short episodes (each 90 minutes long) for broadcast overseas. The release of Legend of Concubine Zhen Huan on the US pay platform Netflix a few years ago also created a national sensation, and Legend of Chu Qiao《楚乔传》and Ten Miles of Peach Blossoms have long been officially synchronised on Youtube at the time of its launch. This marked the successful spread of Chinese costume novels overseas.

Take Ten Miles of Peach Blossoms as an example, the translator of Ten Miles of Peach Blossoms, Poppy Toland, is a British freelance translator who studied Chinese at the University of Leeds and lived in Beijing, China for four years. She was commissioned by Amazon.com, the copyright holder of the novel, to translate Ten Miles of Peach Blossoms into English before the TV series hit the airwaves.(Ma Xiaoxing,Zhao Mengyuan 2020:59-62) In order to ensure that the translation does not lose the flavour of the original, she insists on using the translation strategy of domestication to deal with the linguistic forms. However, for the cultural elements in the original work (such as mythology, religion and other cultural factors), she introduces Chinese culture directly to Western readers through the method of foreignization. On 23 August 2016, To the Sky Kingdom, the English translation of Ten Miles of Peach Blossoms, was released on Amazon in the United States. Upon its release, the translation reached number three on Amazon's Asian Literature bestseller list and number one in the Asian Literature section of the Kindle Edition bestseller list. The translation was recommended to foreign readers on Amazon.com, along with other famous novels such as Three Bodies《三体》and Wolf Totem《狼图腾》, and was once ranked the third best-selling Chinese novel on Amazon.com.It shows that Chinese online novels have achieved great success in overseas distribution.

===Conclusion===
After more than two decades of development, Chinese online novels have developed a relatively mature industry system, not only in terms of accumulation in the domestic market, but also in terms of expansion in overseas markets. However, there are still some problems and shortcomings in the process of its domestic development and overseas distribution. Therefore, we need to further improve the quality and value of Chinese online novels and strive to build a unique international cultural brand of our own. We need to help Chinese culture go overseas through cultural branding so that more foreign friends can understand and enjoy traditional Chinese culture. In short, it is the duty of every Chinese to strengthen our cultural soft power and enhance the cultural confidence of the Chinese nation.

===References===
*Cui Feng 崔冯.(2010).网络小说的文体特征研究[Research on the Genre Characteristics of Online Novels].重庆师范大学Chongqing Normal University.
*Li Xin 李昕.(2016).网络小说利弊纵横谈[The Pros and Cons of Online Novels].西部皮革Western Leather(12):172.
*Liu Yang 刘杨.(2017).中国网络小说改编剧的困境与建议[The Dilemma and Suggestions of Chinese Online Novel Adaptations].参花Participation Flowers(16):95.
*Ma Xiaoxing, Zhao Mengyuan 马孝幸,赵梦源.(2020).中国文化“走出去”背景下的网文出海研究——以《三生三世十里桃花》外译为例[A Study on the Overseas Translation of Chinese Culture in the Context of "Going Global"--The Foreign Translation of "Ten Miles of Peach Blossoms].新阅读New Reading(08):59-62.
*Qin Junxiang,Li Ting 秦俊香,李婷.(2017).网络小说改编剧的同质化现象批评——以权谋宫斗题材古装剧为例[Criticism of the Homogenization Phenomenon of Online Novel Adaptations - Taking Ancient Costume Dramas on the Theme of Power and Palace Combat as An Example].中国电视China TV(06):38-42.
*Xiao Yudi, Ouyang Changlin 肖雨笛,欧阳常林.(2021).网络小说改编剧的狂欢与思考[The Carnival and Reflection on the Adaptation of Online Novels].肇庆学院学报Journal of Zhaoqing College(03):33-38.
*Zhang Hainan, Han Lei 张海楠,韩磊.(2021).网络小说创作主体迅猛发展成因探析[An Analysis of the Causes of the Rapid Development of the Main Body of Network Novel Creation].兰州文理学院学报(社会科学版)Journal of Lanzhou College of Arts and Sciences (Social Science Edition)(03):79-83.

===Terms and expressions===
*The Legend of Goku 《悟空传》
*Ghost Blows Out the Light 《鬼吹灯》
*Purple River 《紫川》
*Blasphemy 《亵渎》
*Nebulous Journey 《缥缈之旅》
*How Bad Men Are Made 《坏蛋是怎样炼成的》
*Time Raiders 《盗墓笔记》
*Kill the Immortals 《诛仙》
*Fights Break Sphere 《斗破苍穹》
*AutoFull 《傲风》
*Wolf Totem《狼图腾》
*Nirvana in Fire《琅琊榜》
*The Legend of Zhen Huan《甄嬛传》
*The Plum Blossoms《梅花烙》
*Jade Palace Lock Heart《宫》
*Laugh Slightly Very Bend City 《微微一笑很倾城》
*The Left Ear 《左耳》
*Fleet of Time 《匆匆那年》
*Startling by Each Step《步步惊心》
*The Journey of Flower《花千骨》
*East Palace《东宫》
*The Untamed《陈情令》
*Qing Yu Nian《庆余年》
*Legend of Chu Qiao《楚乔传》
*To the Sky Kingdom《三生三世十里桃花》
*The First Intimate Contact 《第一次亲密接触》
*The Legend of Mi Yue《芈月传》
*Palace 3:The Lost Daughter《宫锁连城》
*Princess Dumping World《倾世皇妃》
*Beauty's Rival in Palace《美人心计》
*Men's Channel 男频，即男生频道，是网络小说网中对男生爱看的网络小说的一种称呼。男频以玄幻、推理、盗墓等题材的小说为主。
*Women's Channel 女频，即女生频道，是网络小说网中对女生爱看的网络小说的一种称呼。女频以都市、言情和穿越等题材的小说为主。

===Questions===
1.Which of the following is a common genre of male channel fiction?

A.Time Travel Fiction

B.Fantasy Novels

C.Romance Fiction

D.Urban Soap Novels

2.When was the online novel The First Intimate Contact published?

A.In 1996

B.In 1997

C.In 1998

D.In 1999

3.How many stages does the author of this article divide the history of Chinese online fiction into?

A.2

B.3

C.4

D.5

4.Which of the following is not a work by Yu Zheng?

A.Jade Palace Lock Heart

B.Palace 3:The Lost Daughter

C.Beauty's Rival in Palace

D.The Plum Blossoms

5.Which of the following novels is a work of transition stage?

A.The First Intimate Contact

B.Nirvana in Fire

C.Time Raiders

D.The Untamed

===Answers===
1.B

2.C

3.B

4.D

5.C

==英语笔译钟青 Zhong Qing 202170081611 CE==
On the Translation and Spread of Three Kingdoms

==英语笔译周皓熙 Zhou Haoxi 202170081612 MW==
On the Translation and Spread of Guanzi

==英语笔译周哲 Zhou Zhe 202170081613 CE==
<center>'''On the Translation of Peony Pavilion'''</center>

<center>周哲 Zhou Zhe</center>

===Abstract===
The Peony Pavilion, also known as "The Return of the Soul", is a masterpiece by Tang Xianzu (1550-1616), an outstanding Chinese opera singer of the 16th century. Compared with the script, The Peony Pavilion has not only been greatly changed in terms of plot and description, it has also improved greatly in terms of theme and thought. The Peony Pavilion has also reached an unparalleled artistic level in terms of diction, singing, music, stance and performance. In this essay, the full translations by Wang Rongpei, Cyril Birch, and Zhang Guangqian are selected for analysis and comparison, and their translations are abbreviated as follows: Wang's translation, Birch's translation, and Zhang's translation.

===Key words===
conveying the meaning in its full flavor; The Peony Pavillion;

===Introduction===
''The Peony Pavilion'', with its dizzying plot and magnificent structure, is especially good at portraying characters. With more than 160 characters, the play is a living panorama of the times. The artistic and literary value of ''The Peony Pavilion'' has been highly praised in both China and the West. The ''Drama 100: A Ranking of the Greatest Plays of All Time'' (2008) by Daniel S. Burt ranks ''The Peony Pavilion'' at number 32, and he (2008:184) comments that Tang Xianzu's ''The Peony Pavilion'' is the first great work to feature a female protagonist, and from it the reader can enter the tradition of Chinese classical literature.As you can see, this is still a very high opinion.

The earliest English translation of ''The Peony Pavilion'' is Acton's hybridity of translation "Ch'un-hsiang Nao Hsüeh" in Tian Hsia Monthly, vol. 8, no. 4, 1939. Cyril Birch translated some scenes of The Peony Pavilion in 1965 in Selected Readings in Chinese Literature, and published a full translation in 1980 at Indiana University Press; Zhang Guangqian's full English translation was published by Beijing Foreign Language Press in 2001; and Wang Rongpei's full English rhyming translation was first published by Shanghai Foreign Language Education Press in 2000. In 1999, an English version of the novel ''The Peony Pavilion'' was published. One adaptation, by Chen Meilin, was published by New World Press, and another adaptation was published by Seahorse Books, New Jersey, USA.

===Translator Introduction===
1. Wang Rongpei's Translation

Professor Wang Rongpei began his translation of The Peony Pavilion in 1996, which lasted for more than three years. In order to get a sense of Tang Xianzu's life and writing, he visited Tang's hometown of Fuzhou, Jiangxi Province, which was called Linchuan in the old times, in March 1999. In the preface to his translation, Professor Wang said that he set the goal of "conveying the meaning in its full flavor" for his translation. Specifically speaking, first, the translation should creatively and accurately reproduce the style of the original. In the process of translation, he tried to recreate the original in English to reflect the beauty of the original text, so he translated the prose dialogues or monologues into understandable English as much as possible. For example, he translated “吾今年已二八,未逢折桂之夫” as "I've turned sixteen now, but no one has come to ask for my hand". At the same time, when translating the lyrics and verses, the original imagery of the author is kept as much as possible without affecting the understanding of the English readers, otherwise it is rather sacrificed and replaced by corresponding expressions in English. Second, for the poetic and lyric parts of the original text, some forms of traditional English metrical poetry are adopted in translation. In addition, the lyrics of Tang Xianzu's The Peony Pavilion follows a strict tune, and the poetic part is also in the form of metrical poetry. Therefore, Professor Wang uses the iambic pentameter as the basic format and adopts a variety of different rhyme schemes when translating them.

2. Birch’s Translation

Birch was born in Lancaster, England, in 1925. He studied Chinese at the Institute of Oriental and African Studies at the University of London, where he received his Ph.D. in Chinese literature in 1954, taught Chinese at his alma mater from 1948 to 1960, taught in the Department of Oriental Languages at Berkeley University in 1960, and later became Professor of Chinese and Comparative Literature and Head of the Department, retiring from Berkeley University in 1991 as Professor Emeritus. Birch 's writings cover traditional Chinese fiction and drama as well as modern Chinese literature, and he is best known for his translations of Ming dynasty plays and stories. His translations of The Peony Pavilion (Acts 1-5, 7, 9, and 10) were published in the third issues of The Translation Series, respectively. Although Birch had edited many anthologies of Chinese literature in verse and verse, his favorite of all literary genres was classical drama. Bai's translation of The Peony Pavilion was published by Indiana University Press in 1980. Birch is a leading contemporary American sinologist who, in addition to his translation of The Peony Pavilion, has translated works such as Chinese Gods and Monsters, Selected Stories of the Ming Dynasty, and Selected Plays of the Chinese Ming Dynasty, and has edited books such as Selected Readings in Chinese Literature and Studies in Chinese Literary Genres. His essays on The Peony Pavilion include "(The Peony Pavilion) or (The Return of the Soul)," "The Structure of The Peony Pavilion," and "The Winter's Tale> and The Peony Pavilion.

Birch 's English translation reproduces the original in fluent modern English and is generally faithful to the original text, with free verse in both the choral and poetic sections (Wang Rongpei, 2000:33). This is evidence of his rigorous academic attitude. It took at least seven or eight years from the earliest translation to the final revision of the text. In general, Birch's translation was a success, and all performances of The Peony Pavilion in the West were based on Birch 's translation, but his translation was not immune to the errors of understanding that are common among Western translators.

3. Zhang Xianqian’s Translation

Zhang Guangqian's translation of The Peony Pavilion was published by the Travel Education Press in 1994 and reprinted by the Beijing Foreign Language Press in 2001, the first full English translation done independently by a Chinese translator.

In his preface to The Peony Pavilion, Professor Wang Rongpei (2000:35-36) also comments on Zhang's translation, arguing that, compared to Birch's translation, Zhang's translation has the greatest advantage of being more accurate in conveying the meaning of the original, which is a clear strength of Chinese translators in translating Chinese classical masterpieces. It is clear from the translation that Zhang's mastery of ancient literary knowledge is very solid. In his translations of the lyrics and verses, he uses the format of sung poetry on most occasions, with iambic pentameter as the basic rhythm, and occasional rhymes that follow their nature. On the whole, Zhang Guangqian's translation is successful, and in many places it is more accurate and refined than Birch's translation.

===Examples and Analysis===
Example 1:（柳梦梅）：谩说书中能富贵，颜如玉，和黄金那里?

Wang: The saying goes that studies bring the wealth, but where is pretty lady and

where is gold?

Birch: "In books lie fame and fortune," they say—then tell me, where are the jade-smooth cheeks, the room of yellow gold?

Zhang: Some say that books will provide you with what you need, Yet, where is the promised beauty, where the gold?

The Peony Pavilion is a masterpiece of Tang Xianzu. Tang Xianzu is good at quoting scriptures and references, and there are countless allusions and proverbs in the book, which gives the text a deep cultural connotation. From the perspective of "reaching the meaning", when translating this kind of text, we should not only pay attention to the semantic meaning of the language, but also pay more attention to the semantic meaning and cognitive meaning. Specifically. This is reflected in the translation of words with profound cultural connotations. In this sense, it is not easy to translate classical operas to "reach the meaning", but it is even more difficult to "convey the spirit".

For the understanding of "In books lie fame and fortune", there is a problem with the translation of Birch, which does not mean that books themselves can give people wealth, but that they can create wealth only after learning and mastering knowledge. And Zhang's translation "Some say that books will provide you with what you need" does not clearly translate what "wealth" is. The chorus also contains two words with cultural connotations: "Yan Ru Yu" and "House of Gold". Birch's translation literally translates "the jade-smooth checks" and "the room of yellow gold," but not the true meaning of these two words. On the issue of cultural treatment, Prof. Wang's strategy is to reflect his own understanding directly into the translation, as his translation is intended for a general Western audience, and therefore does not add additional notes on the words that contain cultural connotations. The strategy adopted by the Zhang translation is consistent with that of the Wang translation.

Example 2:（柳梦梅）：敢甚处里杨曾系马?

Wang: Are you an old acquaintance to see me now?

Birch: In some former time and place, did we "tie our steeds beneath green aspen"?

Zhang: Or, is it because your horse was once attached to my tree?

This is the phrase that Liu Mengmei asked Du Liniang, who guessed where they had met before? The phrase "敢甚处里杨曾系马" is a cultural phrase related to the times. In feudal China, unmarried girls could only stay in their boudoir. Therefore, it is not logical to translate it as "met somewhere". However, the literal translation

The literal translation does not reflect the cultural connotation of the sentence, so the paraphrase is used. Both Bai and Zhang translate literally, which may not be understood by readers of the target language and may even cause misunderstanding. Wang's translation is more appropriate and better conveys the connotation of the original text, achieving a high level of "reaching the meaning" at the linguistic and cognitive levels.

Example 3:（陈最良）： "玉不琢，不成器；人不学，不知道。"

Wang: As The Book of Rites says, "Uncarved jade is unfit for use; uneducated men

are unaware of Tao."

Birch: "Jade unsculpted unfit for use; person untutored unaware of the Way."

Zhang: It's said, "Unpolished jade has little worth; untutored man has little wit."

The phrase "If jade is not cut, it does not become a tool; if a man does not learn, he does not know" is from the Book of Rites, and for Western readers who do not know Chinese culture, they do not know the context of the phrase, so Wang adds "The Book of Rites" in the translation to make it clear to readers at a glance, and it is easier for them to understand the context after understanding the cultural background of the phrase. Although Zhang's translation adds "It" to indicate that this is a well-known thing, it does not specify the specific source, so the reader still cannot understand it. If we look at this sentence from the perspective of "conveying the meaning", its "conveying the spirit" lies mainly in its simplicity and neat syntax. If we look at these three translations only from the perspective of "conveying the meaning", they are indeed comparable, but a careful reader will find that Wang's choice of words is actually very careful. Normally, "Uncarved", "unsculpted" and "Unpolished" seem to have the same meaning, but when they are placed in the whole sentence, the difference appears. If the word "Uncarved" in Wang's translation is replaced by "unsculpted" or "Unpolished", the rhythm of the whole sentence will be incongruous, and it will be awkward to read. This is the same reason why Wang used "islet" instead of "isle" in his translation of the Book of Psalms. Obviously, Wang's translation has paid attention to the problem of rhyme, so it reads with a particularly strong sense of rhythm.

Example 4:（杜丽娘）：先生万福。

（春香）：先生万福。

Wang: I wish you happiness, respected tutor.

I wish you kindness, respected tutor.

Birch: Our best respects, esteemed sir.

We hope you're not vexed, esteemed sir.

Zhang: Boundless happiness to my teacher.

Boundless kindness to your pupils.

These are the words spoken by Du Liniang and Chunxiang as they salute Chen Milliang. Although the words spoken by the maids are the same as those spoken by the ladies, the translation should be different to show their different linguistic characteristics. Wang and Zhang did notice this point, but from the point of view of "expressing the meaning", it is Birch's translation that is more accurate. Since they are late in entering the school, the teacher is already a little upset, so Chunxiang says "Don't be angry, teacher!" when greeting her. This accurately conveys the quick-talking character of Chunxiang, a maid, and also fits the situation at that time.

The author keeps emphasizing that the parameters of "conveyance" are analyzed for expository reasons, but in specific texts, many of them are integrated with each other, as in this case. The previous paragraph is analyzed on a pragmatic level, but it does not reflect the "transmission"! The wording, tone, and inflection of Duliniang and Chunxiang's speech all reflect the translation's grasp of the style and emotion of the original text. Still, "convey the spirit and meaning" should be grasped as a whole, as can be seen from this example.

Example 5:（杜丽娘）：以后不敢了。

（春香）：知道了。今夜不睡了，三更时分，请老师上书。

Wang: I won't be late from now on.

I see, I won't go to the bed tonight and I shall ask you to give me lessons at midnight.

Birch: We shall not be late again.

We understand. Tonight we won't go to bed so that we can present ourselves for our lesson in the middle of the night.

Zhang: I won't be late again.

I see. Tonight I won't go to bed at all so that teacher can start the lessons at midnight.

Du Liniang and Chunxiang both bowed to the gentleman, Chen Miliang said: "Girls, you should get up immediately after the rooster crows and greet your parents first. After eating breakfast, you should do whatever you want to do. If you are studying, you should get up early" (Zhao Shanlin, 2002:11). These two lines are their response to Chen Milliang's rebuke, in which Chunxiang's reply is relatively sharp, which on the one hand reflects Chunxiang's quick-talking character, and on the other hand, reveals On the one hand, this reflects Chunxiang's quick-talking character, but on the other hand, it also reveals her attitude of not being convinced by Chen Miliang's words.

Looking at the three translations from the perspective of "expressing the meaning", Wang and Zhang have no problem with their translations, but Birch has a deviation in his understanding. The deviation of Birch's translation does not occur at the semantic level, but at the pragmatic and cognitive level, which is reflected in Birch's insufficient understanding of traditional Chinese culture. According to the old rituals and customs, the rich and noble families had a very strict hierarchy of respect, and the young lady and the maid had to take into account their status and position when they spoke, so the "We" in Birch's translation is inappropriate, and in addition, Birch's translation of the latter paragraph does not express the meaning of "asking the teacher to write a letter".

In terms of "evocative", Wang's translation is better overall. The mischievous Chunxiang hates reading the boring Confucian classics and deliberately messes with Chen Mingliang, while Duliniang originally shares Chunxiang's feelings, but she still acts serious in front of Chen Mingliang due to the constraints of ritual. Compared with the Birch translation, the Wang translation pays more attention to observing the psychological changes of the characters, especially highlighting the word "please" in the original text, which accurately conveys the characteristics of Chunxiang's sharp tongue and her defiant state of mind at that time, and well captures the change of emotions in the "transmission".

Example 6:（杜丽娘）（作恼介）：劣丫头那里去?

（春香）：溺尿去也。原来有座大花园。花明柳绿，好耍子哩。

Wang: Where have you been, nasty maid?

I've been to the toilet. I went by a big garden overgrown with flowers and willows. It's fun over there.

Birch: (annoyed)： What have you been doing, silly creature?

Peeing. But I found a lovely big garden full of pretty flowers and willows, lots of fun.

Zhang: Naughty girl, where have you been?

Pissing. I happened to have discovered a huge garden, with lush trees and bright flowers. A very nice place indeed.

After Chen Miliang finished explaining the "Poetry", he asked Du Liniang to write again. Chunxiang stayed at one side really impatient, excuse to go to the toilet to sneak out to play. After a long time, when Du Liniang saw that Chunxiang had not come back, she said, "Why hasn't Chunxiang come back yet? Du Liniang scolded: "Bad girl, where did you go"? Chunxiang replied: "I went to pee. There is a big garden behind the house, with red flowers and green willows, which is very interesting!" (Zhao Shanlin, 2002:12).

This play is called "Make Trouble in School", and this "trouble" is mainly manifested in Chunxiang's body, but of course, it is only with Du Liniang's tacit approval. The difference between the two of them in status, position and upbringing is so great that it is not possible for Du Liniang to make a scene like Chunxiang, but Du Liniang's "scene" is in the dark, elegant and clever. In fact, this is Du Liniang in front of Chen most Liang fake anger at Chunxiang, but in fact full of pity for her; and Chunxiang also know Du Liniang will not really blame her. Chunxiang's mischievousness is also obvious.

The above three translations are more accurate in terms of "conveying the meaning", but the subtle differences are reflected in "conveying the spirit", which is also expressed in the transmission of "emotion". Reading through the context, we know that Chunxiang's answer of "peeing" is actually an excuse, not really going to "pee", but the transitive word "But" in the Birch translation gives the impression that Chunxiang really went to pee, but happened to find a garden when she returned. Wang and Zhang are more accurate in handling this detail, and they are in the middle of the pack.

From the above examples, we can see that there are many factors to be considered in the translation process, such as character characteristics, tone of voice, psychological state, language characteristics, etc., but it is not easy to take into account the overall situation, which is a test of the translator's language mastery and skills.

Example 6:（柳梦梅）：好一座宝殿哩。怎生左边这牌位上写着＂杜小姐神王＂，是那位女王

（石道姑）：是没人题主哩。杜小姐。

Wang: What a magnificent hall! On the memorial tablet on the left is the inscription "The Spiri of Miss Du". What's the meaning of "spiri"? To complete the service, we need someone to add the final letter. It's "The Spirit of Miss Du" .

Birch: What a majestic temple! By the way, which queen is that memorial tablet

Oh, it's Miss Du's memorial tablet. The last stroke hasn't been added onto it yet.

Zhang: What a magnificent shrine! But I don't understand the inscription on this tablet: "The Ruler, Miss Du." Which "ruler" was this? The character that looks like "ruler" needs an extra dot on top to make it read “host”, that is to say, “tablet lodging the spirit of Miss Du.” We are waiting for some person of distinction to inscribe the dot.

This dialogue is from the 33rd episode of The Peony Pavilion, "Secret Discussion". Liu Mengmei was entrusted by Du Liniang to dig a grave for her, but he was a scholar, so he had to follow Du Liniang's suggestion and come to Shi Dao Gu for discussion (Zhao Shanlin, 2002:127). Then Shi Dao Gu leads Liu Mengmei to visit the temple, and Liu Mengmei exclaims: What a precious temple. Why does the tablet on the left say "Miss Du, God King"? Shi Daoist nun replied: "No one is the subject. Miss Du." In the olden days, when the deceased was given the sign of the gods, a point was deliberately missing from the 'main' and a prestigious person was asked to put a dot on it with a vermilion pen on a certain day, and this ceremony was called "dotting the main" or "inscribing the main" (ibid., 2002:128).

From the translations of the three translators, they all have a certain understanding of the ancient customary ritual of "inscription of the Lord", among which Wang and Zhang express the meaning more clearly, while Birch omits the phrase "How can the left side of this tablet have Miss Du's divine king written on it", which is unknown whether it is a mistake of the translator or some other reason, and cannot be verified.

This is particularly evident in Wang's translation, where "convey the spirit" is the sublimation of "reach the meaning". Zhang's translation basically conveys the meaning, and the language is more plain. The treatment of Shan in the Qian translation is very impressive. It can be said. The words "stem" and "main" in the text are word games. This is a difficult point in translation. It is very tricky. But at the same time. If handled properly, it will add an unexpected effect to the translation. Wang's translation is very creative, as he creates his own word "Spiri" and "Spirit" to echo each other, bringing out the effect of "王" and "主" in the original text.

Example 7:

（杜丽娘）：晓妆台圆梦鹊声高，

闲把金钗带笑破。

博山秋影飘，

盼泥金俺明香暗焦。

Wang: When magpies greet me for my happy dream,

I tap my golden hairpins with a smile.

The incense smoke coils in autumn breeze

And makes me anxious for news all the while.

Birch: Noisy magpies greeted my rising

Presage of dream's fulfilment;

With happy smile I set my gold hair ornaments.

Fragrant smoke mingled with autumn haze,

Hopes of gilded placard of success Burned bright as incense glow.

Zhang: The chirping magpies are discussing last night's dream;

Smile creeps on my lips as I tap the golden pins.

Autumn wavers in incense smoke.

Yearning for word of success,

My heart burns like the incense sticks.

On the day of Liu Mengmei's examination, Du Liniang was at home waiting for the result of the examination. When Du Liniang got up early in the morning to do her make-up in the mirror, the sound of magpies reported the good news, which was in accordance with the auspicious omen in her dream, so she was in a particularly good mood. Among them, "博山" refers to the Boshan stove, a kind of incense burner; "泥金" refers to the mud gold post, which is used to report the joy of the new entry into the earth and the enrolment in the university; "焦" is a semantic double meaning: one refers to the incense burning into ashes, and the other refers to the anxiety in Du Liniang's heart.

Double meaning refers to the use of speech, a word, or a sentence in a certain linguistic environment, while associating two different things, expressing double meaning, and the words in this meaning in the other, also known as "multiple meaning association". The literal meaning of double meaning is clear; the implicit meaning is implied. From the point of view of "expressing the meaning", the three translations are inaccurate: first, the use of "Noisy" to describe the magpie's cry is inaccurate, as we know from the above analysis that the magpie's cry here means "announcing good news". The second is that the phrase "盼泥金俺明香暗焦" is inaccurate, not like "hope for good news is burning", but that Du Liniang's heart is very anxious.

From the point of view of "conveyance of spirit". Let's look at the problem of form first. It is obvious that the original text has only four lines, but Zhang's translation has one more line; Wang's translation is relatively concise and clear, and while paying attention to rhyme, it also uses the rhyme scheme of xava without losing time, which has a strong sense of rhythm. In terms of conveying emotions, Wang and Zhang are comparable in that they both express the anxious mood of Duliniang, but the difference between them lies in the fact that Wang uses implicit metaphors while Zhang uses explicit ones.

Example 8:（杜丽娘）：可知我一生儿爱好是天然。

Wang: （DuLiniang）：But love of beauty is my natural design.

Birch: （Du）：Always my nature to love fine things.

Zhang: （Du）： My love of beauty is of natural build.

This is one of the more famous lines in The Peony Pavilion, which is usually widely recited as a clear and beautiful phrase. However, there are two ways to interpret these two lines: First, it can be seen that my lifelong hobby is "天然", that is, I like things in their natural color; second, it can be seen that my lifelong love of "好" is natural, that is, the love of beauty is my nature. In the absence of context, both understandings are fine. However, the difference will be obvious. The difference will be obvious. This has to be inferred from the context of the chant. This is the tenth play "dream" in the singing words. It was a beautiful day. In the morning, the sound of birds and swallows woke up Du Liniang from her sleep, and Chunxiang brought Du Liniang dressing clothes, and Du Liniang dressed up in the mirror. Chunxiang saw the beauty of the lady, could not help but say: "today’s dressing is really good"! This immediately resonated with Du Liniang. With this context, the meaning of this line is obvious: "It is my nature to love beauty". Among the above three translations, Wang's and Zhang's are accurate, while Birch's does not match the original. This shows that reasonable logical reasoning in context is also necessary in translation.

Example 9:（杜丽娘）：原来姹紫嫣红开遍，似这般都付与断井颓垣。良辰美景奈何天，赏心乐事谁家院!

Wang: (Du Liniang)：The flowers glitter brightly in the air,

Around the wells and walls deserted here and there Where is the "pleasant day and pretty sight"? Who can enjoy the "contentment and delight"?

Birch: (Du)： See how deepest purple, brightest scarlet Open their beauty only to dry dwell crumbling. "Bright the morn, lovely the scene," Listless and lost the heart—where is the garden "gay with joyous cries"?

Zhang: (Du)： So the garden is all abloom in pink and red, yet all abandoned to dry wells and crumbling walls. The best of seasons won't forever last; can any household claim undying joy?

These are the four most famous lines of the Peony Pavilion. When Du Liniang finished dressing, Chunxiang reminded Du Liniang that it was time for breakfast, so they walked out of the room and came to the garden with spring colors. Looking at such a beautiful scenery in front of her. Du Liniang could not help but exclaim: "the original flowers bloom so bright and beautiful". But at the same time see the dilapidated walls, wells, can not help but be sad: "Such a beautiful scenery, how is in such a dilapidated courtyard it? This is just like their beautiful youth is buried? As the old saying goes, ''It is difficult to combine the four: good time, beautiful scenery, pleasure and joy. (Zhao Shanlin, 2002:29-30).

From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".

The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Khan's translation. First of all, the "spirit" of Khan's translation is reflected in the form. The original rhymes with "abab", while the Wang translation rhymes with "aabb", and what is even more remarkable is that the Wang translation also takes into account the rhythm of the translation while rhyming, which gives a sense of intonation and staccato. Secondly, Wang's translation is very good at conveying emotions. The lyrics make one feel the faint sorrow of Du Liniang: she is enchanted by the beauty in front of her, and on the other hand, she is saddened by the spring sorrow she has nowhere else to go. The lyrics include "姹紫嫣红" and "断井颓垣", "良辰美景奈何天" and "赏心乐事谁家院!" One happy and one sad corresponding to the state of mind of Du Liniang depicted to the fullest, sad! It must be admitted that the words are emotionally charged. The words used by the translator indicate the kind of emotion he wants to express. The words "pleasant", "pretty", "contentment" and "bright" in Wang's translation are all words that mean "beautiful", but the addition of a "?" at the end of the sentence has the opposite effect. The effect is the opposite after adding a "?" at the end of the sentence, and the use of two "?" in a row in the third and fourth sentences to enhance the effect. It can be seen that Wang's translation conveys the emotion in a very clever way, so that people can appreciate the meaning of the original text without realizing it.

===Conclusion===
From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Wang Peirong's translation.

===References===
*Wang Rongpei (2000). The Peony Pavilion. Changsha: Hunan People's Press
*Zhao Shanlin. Selected Reviews on The Peony Pavilion. Shanghai: Shanghai Ancient Books Press

==英语笔译朱丽娟 Zhu Lijuan 202170081614 MW==
The Sinicization of Religion And its Development in China

==英语口译段小蝶 Duan Xiaodie 202170081615 CE==

<center>'''Difficulties and Countermeasures in the Translation of Chinese Classics'''</center>

<center>Duan Xiaodie</center>

===Abstract===
The translation of Chinese classics is an important part of the external transmission of Chinese culture. The difficulties and obstacles to the translation of Chinese classics in modern times mainly exist in the following aspects: 1) the pattern of world culture dominated by the west, the edge of the China culture in the contemporary and weak position; 2) the definition of Chinese cultural classics is unclear; 3) The translation concept of China cultural classics needs to be updated; 4) inadequate investigation of translation, 5) inaccurate grasp of audience taste, 6) inadequate understanding of translation work, 7) lack of talent and other subjective and objective factors. This paper aims to analyze the current situation of Chinese cultural transmission to the outside world, explain the causes of the above obstacles, and put forward several personal thoughts trying to overcome these obstacles like using diversified media, flexible presentation means and flexible cooperation with foreign companies, changing the way of the training translation talents in colleges and universities in order to achieve better Chinese culture transmission.

===Key words===
Chinese Classics; Translation and Transmission; Difficulties and Countermeasures

===Introduction===
Improving cultural soft power is an inevitable requirement and important condition for the rise of a country. The concept of soft power is proposed by Joseph Nye. "The country's soft power is mainly from three kinds of resources: culture (where it works to create appeal in other countries), political values (when it can really live up to those values at home and abroad), and foreign policy (when it is seen as having legitimacy and moral authority)." (Joseph Nye, 2018). China has a history of thousands of years, and cultural classics are the cultural quintessence precipitated in its long history, which embodies the spirit and values of the Chinese people.
The translation of Chinese classics is one of the most important parts in the media of China cultural transmission. Chinese literature has long been translated and introduced to foreign countries in various ways. With the improvement of China's international status and the proposal of the "going out" strategy, the translation of Chinese classics has shown an increasing trend in terms of type and quantity. The translation of Chinese classics is one of the most important parts in the media of China cultural transmission. Chinese literature has long been translated and introduced to foreign countries in various ways. The large - scale and systematic "going out" efforts planned by China include: Panda Books published in 1981 and Library of the Chinese Classics published in 1995. At the same time, the government has also set up the Chinese Academic Foreign Translation Project, which aims to cultivate translation talents and encourage translators to promote traditional Chinese classics overseas. In October 2011, the "Decision of the CPC Central Committee on Several Major Issues Concerning Deepening the Reform of the Cultural System and Promoting the Great Development and Prosperity of Socialist Culture" pointed out: "Implement the cultural going out project, improve the policies and measures to support cultural products and services going out, support key mainstream media to set up branches overseas, cultivate a number of export-oriented cultural enterprises and intermediary institutions with international competitiveness, improve the support mechanisms for translation, promotion, and consultation, and open up the international cultural market." However, despite the strong support of the government, the translation of contemporary Chinese cultural classics is still in the dilemma of "self-congratulation" in isolation. The response to these efforts abroad has also been very limited. In the case of the Panda Series, for example, most of the translations did not generate any repercussions among British and American readers, except for a few translations that were welcomed by British and American readers. According to sales statistics around the world, the "Panda Series" can sometimes sell dozens of copies, sometimes only two or three copies, and sometimes even one cannot be sold. China’s cultural strength and cultural influence do not match its international status. Although in the economic field, "Made in China" products have gone global and brought a huge trade surplus to China, in the cultural field, China's "trade deficit" situation is still serious, which is worth pondering deeply.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==比较文学与跨文化研究 MAHZAD SADAT HEYDARIAN 202021080004 MW==
'''
Academies of Classical Learning

The Shūyuàn (书院), usually known in English as Academies or Academies of Classical Learning, were private research and educational institutions in ancient China. They were built as early as the eighth century and flourished during the tenth and eleventh centuries with the support of various Emperors. The Shuyuan were not only centers for the compilation and study of classical literature, but were crucial for the development of Confucianism and Neo-Confucianism; notable Confucian thinkers such as Zhu Xi and Wang Yangming developed their ideas and taught at the Shuyuan.

==外国语言文学 Muhammad Numan 202121080002 CE==

==英语语言文学 TOURE MARIAM 202021080005 MW==

==外国语言文学 UDDIN NIZAM 202121080007 CE==

Chinese Classics in World Literature: The Viewpoints of the West towards the Four Famous Chinese Novels

==翻译学 201911080004 SAGARA SEYDOU MW==

Chinese Classics in World literature . Anthologies and World Literary History Book

Chinese Classics Translation 2022 LIST OF FINAL EXAM PAPERS

2022-06-16T08:23:40Z

Zhang Guohao: /* References */

[https://bou.de/u/wiki/Chinese_Language_and_Culture_2022|Back to course homepage]

This is the overview page of the topics. For the actual papers, please refer to: [[20220630_Culture]]

Every student needs to find a topic which is not yet in the textbook and has not been presented in class. Please check your topic for this. All topics are ok except from those which are marked red. If your topic is marked red, please find
a new topic and leave the red mark there, so that the teacher can check again.

==Tips for writing your final exam paper: How to indicate your references==
*You can use the existing book chapters here as an example.
*Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Do '''not''' write any references like in one of the sample chapters:

[1] dsalkfkdsa

[2] adsfadsfag

But only the following way:

(Liu Miqing 2010, 17) in the text

and then

'''References'''
*Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.

Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):
= = Topic = =
< c e n t e r > Student Name, Student no. < / c e n t e r >
= = = Abstract = = =
This chapter is on ....
= = = Key Words = = =
Egg, Hen
= = = 题目 = = =
= = = 摘要 = = =
= = = 关键词 = = =
= = = Introduction = = =
Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.
= = = The Egg = = =
Bla, bla, bla
= = = The Hen = = =
Bla, bla, bla
= = = Conclusion = = =
Bla, bla, bla
= = = References = = =
Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT

==Sample papers==
You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with "Sample paper".
* A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories
* An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications
* Comparative Study on Functional Equivalence Theory and Skopos Theroy
* Comparison of Derrida’s and Benjamin’s Translation View
* Impacts of Western Translation Theories on The Translator’s Guide to Chinglish
* On the Comparison between "Sublimation" an "Functonal Equivalence" Theories
* Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics
* The Translation of Culture-loaded Words in Chinese-English Communication
* Translators' Views on Translation Influence Their Translation Behavior

==Websites to write your final exam paper on==
The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).

==Here you can write your Final Exam Papers==

==英语笔译卞王倩 Bian Wangqian 202170081563 CE==

<center>'''Chinese Classics Translation from a Perspective of Translational Communication Studies'''</center>

<center>Bian Wangqian</center>

===Abstract===
A relatively massive Chinese classics translation can be back to the period during the late Ming dynasty and the early Qing dynasty, when excellent bilingual foreign missionaries in China introduced Chinese Classics abroad and brought them on a world stage, which can be seen as the individual translation activities that brought some Chinese Classics some popularity and fame among foreign countries, especially western ones. In the new era, China has made every effort to promote the “going-out” of Chinese culture with a focus on Chinese classics while strengthening its cultural soft power to build a modernized strong country, in which translational communication is no doubt playing an important role. Translational communication comes out of the application of communication theories to translation research and is an emerging subject that involves many specific fields for further research. And translational communication is a science of researching translational communication phenomena and their laws. A complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, the receiver of target language message, communication channels and translation effect, of which the initiator of communication and translator will be specifically illustrated here to deal with the issues of Chinese Classics Translation.

===Key words===
'''Chinese Classics Translation; Translational Communication; Initiator of Communication; Translator'''

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译曹姣 Cao Jiao 202170081564 MW==

<center>'''The Dissemination of ''The Compendium of Materia Medica'' Abroad'''</center>

<center>曹姣CaoJiao</center>

===Abstract===

===Introduction===
The ''Compendium of Materia Medica'' is one of the pharmaceutical classics of China [elaborate].

Since the outbreak of coronavirus pandemic, traditional Chinese medicine has demonstrated its curative effect [evidence based medical study double blind randomized] in prevention and other respects by means of early intervention and 'full participation' [explain], and traditional Chinese medicine has thus re-[do you really mean it?]entered the international visibility [really?].

===Structure===
This paper takes the overseas dissemination of the ''Compendium of Materia Medica'' (Chinese characters) as an example: the first part is about the spread and development of its original text, the second part is about the overseas dissemination of its translation, the third part is about the current acceptance of the book, and the fourth part is about the summary and further analysis of the dissemination of this pharmaceutical classic. The research on the dissemination of Chinese medical classics abroad will better help the Chinese medical classics to go abroad and promote the internationalization of TCM.

===Key words===
'''''the Compendium of Materia Medica''; overseas dissemination; Chinese medical classics;'''

===Introduction===
'''1. On the original'''

The original classic ''Compendium of Materia Medica'' consists of 52 volumes, including 16 parts and 60 categories, which recorded 1892 kinds of herbs, 11096 prescriptions and 1110 attached drawings. Based on traditional Chinese medicine, this book integrated mass disciplines encompassing basic theories of traditional Chinese medicine, medicament, prescription, and clinical application which almost involve all the contents of traditional Chinese medicine, reflecting the comprehensiveness of herbal knowledge and marking the extraordinary significance to the development of traditional Chinese medicine.

'''2. On the author of the original'''

Li Shizhen (courtesy name: Li Dongbi, assumed name: Li Binhu; 1518-1593) was from Qizhou (present Qichun County, Hubei Province). He came from a family lineage of physicians. His grandfather, an itinerant healer usually walked the streets to give treatment to poor people, and his father was a famous physician in his hometown. He was brought up and nurtured by his family tradition and he expressed keen interest in medicine.(Min Li, Yongxuan Liang 2015, 215-216)

===Literature Review===

===Methods and Theories===

===The original edition and the other three popular editions===
'''1. Jinling Edition'''
Li Shizhen has represented a great interest in medicine since he was young. He read previous works extensively, and when he had got some perceptions he would make notes and in this way he accumulated a large amount of knowledge. Meanwhile, he did not stick to the saying of the ancient people and adhered to “seeing is believing”.
From the age of 35, that is, the thirty-first year of Jiajing of the Ming Dynasty, Li began to write the''Compendium of Materia Medica'', and until the age of 62, that is, the sixth year of Wanli of Ming Dynasty, it was completed without manuscript. During this 27 years, after arduous efforts, Compendium of Materia Medica was finally written successfully in 1578. Because this book encompassed the content of the anti-taoist belief of immortals, its publishing process necessitated painstaking efforts. Finally, with the help of Wang Shizhen, a literary giant of that period, it was about to be published. However, Li passed away just as the engraving of his work was complete and was about to be printed. In 1596, the epoch-making ''Compendium of Materia Medica'' was published in Nanjing, known as the Jinling Edition.

'''2. Jiangxi Edition'''

'''3. Hangzhou Edition'''

'''4. Hefei Edition'''

===Dissemination in different regions ===
'''1. In Japan'''

'''2. In Korea'''

'''3. In Europea'''

'''4. In America'''

===Reception in contemporary foreign market===

===Analysis and enlightment===

===Conclusion===

===References===
*Min Li, Yongxuan Liang(2015). Li Shizhen and The Grand Compendium of Materia Medica. Journal of Traditional Chinese Medical Sciences 2, 215-216
*
*
*

==英语笔译陈路瑶 Chen Luyao 202170081565 CE==

<center>'''A Study on the Popularity of Tie Ning's "The Bathing Women "Abroad'''</center>

<center>Chen Luyao</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译邓阳林 Deng Yanglin 202170081567 MW==
'''A study on Xu Yuanchong's Song Poems translation'''

==英语笔译何丽娜 He Lina 202170081569 CE==

<center>'''A Study on the dilemma of the Chinese Cultural Classics'''</center>

<center>He Lina</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译胡良明 Hu Liangming 202170081570 MW==

<center>'''A study on Lin Yutang’s translation of Six Records of a Floating Life'''</center>

<center>Hu Liangming</center>

===Abstract===
Translation is a special art. When translating, the translator needs to express the original content in another different language. In this process, the translator not only needs to translate the original content, but also needs to preserve the mood, imagery, rhythm and writing style of the original text. Therefore, translation is not only a transformation between two different languages, but also an exchange between different cultures represented by the two languages. As a special type of translation, literary translation involves famous Chinese and Western literary works, so it is necessary to pay more attention to the connotation of words and sentences while translating. In literary translation, the translator should strive to express the artistic conception of the original work, so that readers can read the literary connotation from the translated work as if reading the original text, and can feel the beauty of the language. The Three Beauties Principle, which consists of beauty in sound, beauty in sense and beauty in form, is the translation standard put forward by the famous translator Xu Yuanchong. The Three Beauties Principle is regarded as the translation standard of Chinese classical poetry. Under this standard, the translator must express accurately the beauty in the poem. Since the styles of poetry and prose are very similar, this article aims to explore the effective methods of English translation of Classical Chinese by studying the translation aesthetics in Lin Yutang's English translation of Six Records of a Floating Life.

===Key words===
Three Beauties Principle, English translation of Classical Chinese, Six Records of a Floating Life.

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译黄琼 Huang Qiong 202170081571 CE==
<center>'''The Translation and Spread of Yu Hua's Works in Europe'''</center>

<center>黄琼 Huang Qiong</center>

===Abstract===
Yu Hua, the most famous[? statistics? Mo Yan] contemporary author in China, wrote a lot of masterpieces[?] such as ''To Live'' 活著, ''Cries in the Drizzle'', and ''Chronicle of a Blood Merchant''. He is one of the pioneers of Chinese avant-garde literature in the new period. As one of the most influential[?] contemporary Chinese writers, this paper will explore the translation and dissemination of Yu Hua’s works（''Brothers'' as an example）in Europe with emphasis on France and Germany. Through this case, I hope[?] to provide some experience for the dissemination of Chinese contemporary literature, so as to expand the influence of Chinese literature.[normativity? A value by itself?]

===Key words===
Yu Hua, ''Brothers'', Chinese contemporary literature, translation.

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*杭零 & 许钧.(2010).《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介. 文艺争鸣(07),131-137.
*王侃,蔡丽娟 & 朱志红.(2009).《兄弟》在法语世界——法语书评翻译小辑. 文艺争鸣(02),117-122.
*杭零.(2013).法兰西语境下对余华的阐释——从汉学界到主流媒体. 小说评论(05),67-74.

==英语笔译邝雨琪 Kuang Yuqi 202170081572 MW==
<center>'''A Study on C-E Translation of the Mao Zedong's Poetry from the Perspective of Eco-translatology'''</center>

<center>Kuang Yuqi</center>

===Abstract===
Based on eco-translatology theory, this thesis analyzes the translation of Mao Zedong’s poetry from three dimensions: language, culture and communication. Mao Zedong's poetry holds an important place in the history of Chinese and even world literature. The appropriate English translation of Mao Zedong's poems is of great significance for promoting Chinese culture and enhancing cultural soft power. This thesis will take Xu Yuanchong's translation of Mao Zedong's poems as an example to study the application of eco-translatology in the translation of Mao Zedong's poems. It aims to improve the English translation of Mao Zedong's poetry and apply this translation theory to the translation of other texts, so as to make the English translation of Chinese literature more perfect and understandable.

===Key words===
Eco- translatology; Mao Zedong's Poetry; Xu Yuanchong's Translation

===Introduction===
With the increasingly intimate exchanges between countries, the globalization is more and more irreversible. In this condition, translation becomes increasingly important. In addition to Tang and Song poetry, Mao Zedong’s poetry also occupies a very important position in the history of literature.
This thesis intends to improve the English translation of Mao Zedong's poetry, and apply the translation strategies to other texts’ translation, so as to make the English translation of Chinese literature more perfect and understandable.
The thesis consists of five parts. .......

===Literature Review===
Scholars at home and abroad have done a lot of research on the English translation of Mao Zedong's poetry. From the 1950s, Russia, the United States, France, Italy and other European and American countries officially began publishing the translation of Mao Zedong’s Poetry（李正栓，陶沙，2009）. Foreign scholars mainly focus on the translation of Mao Zedong's poems itself. The studies done by domestic scholars are mainly divided into three categories：introducing and commenting on the versions of Mao Zedong's poetry translation; studying Mao Zedong's poetry translation from different translation theories; comparing different translation versions of Mao Zedong's poems. Although some scholars have studied the translation of Mao Zedong’s poetry from the perspective of eco-translatology, there are many viewpoints on this theory, and few analyze it from the “three-dimensional transformation” principles.

===Methods and Theories===
This thesis studies the translation of Mao Zedong's poems from the perspective of eco-translatology, and the application of “three-dimensional transformation” theory in it.

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译黎溢佳 Li Yijia 202170081573 CE==
On the popularity of Three Body abroad

==英语笔译李思敏 Li Simin 202170081574 MW==
A Study on Translation Methods of Agricultural Terms in Chinese Sci-tech Classics —— A Case Study of Tian Gong Kai Wu

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of The Border Town from the Perspective of Eco-translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

===Abstract===
苗语是苗族文化的主要载具。在文化历史发展的过程中，由于受经济、地理、科学技术等方面的限制，苗语没有得到很好的继承和保护。本文主要介绍苗族的概况、分布情况以及苗语的基本特点。近十年来，对苗语进行研究的专家学者和相应著述越来越多，本文主要从介绍最基本的与苗语相关的情况，试图引起更多人对苗语以及更多少数民族语言的关注，从而对少数民族语言和文化进行保护。

===Key words===
Miaoyu, Hmong,language protection

===Introduction===
20世纪30年代，美国一些学者开始关注美洲印第安语和澳洲土著语言的大规模灭绝现象，并由此引发濒危语言研究的热潮。根据1996年，教科文组织发布的世界濒危语言地图显示，目前全世界大约有2500种语言存在不同程度的濒危情况。而面临濒危情况的语言主要由于一些语言是因为使用人数仅存一人而濒临灭绝，比如巴西的阿皮亚卡语（Apiaka）、迪亚霍伊语（Diahoi）以及中国台湾的拔泽海语（Pazeh）等都极度濒危，因为这些语言在2009年前大多只剩一人会说。同样我国是一个少数民族众多的国家，因而会有众多少数民族特有的语言，比如蒙古语，客家话，土家族语等。语言不仅是一种交际工具，更是一个民族文化的传承，每一种语言都是一个族群独特文化和族群特征的重要体现和表现形式。少数民族语言也面临着同样的现象，因此想对离自己生活比较接近的语言进行了解和研究。

===Literature Review===

===Methods and Theories===

===Subtitle 1 The Motivation of the Miaoyu===
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.

===Subtitle 2 Miao Nationality ===
1.The Source of the Name “Miao”
There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.
2.The Distribution of Miao Nationality
(1)Domestic Distribution
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.
(2)Overseas Distribution
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.

===Subtitle 3 The origin of the Hmong and the historical formation of the Hmong===
1. Origin of the Miao
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.
The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."
2. Historical formation of the Hmong
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.

===Subtitle 4 Miao Folk Beliefs===
phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".

===Conclusion===
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
The Translation and Reception of Sunzi: The Art of War in the West

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
This is a paragraph. (Wang 2021:423)

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Study on the canonization of Chinese Modern Poetry'''</center>

<center>Liu Ting</center>

===Abstract===

It has been more than a century since the birth of Chinese Modern Poetry, also known as the new poetry and its canonization has always been the common concern of writers, scholars and researchers. In any country, canonization of any literary work is a long and complicated process in terms of time and mechanism. The canonization of new poetry has rich texture in the synchronic and diachronic aspects of literary history. This paper analyzes the essential characteristics of the so-called "classic" works in terms of their influence, time, artistry, innovation and acceptability, and points out the problems and dilemmas faced by the canonization of new poetry and the relevant solutions.
===Key words===
Chinese modern poetry, canonization, classic work,
===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On Mo Yan’s Representative Works Translated Overseas'''</center>

<center>Liu Yao 刘瑶</center>

===Abstract===
With the implementation of “Going Global” strategy of Chinese literature, more and more works of outstanding Chinese writers have been translated and published in countries around the world, and Mo Yan’s works are representative of them. In 1988, The Dry River was published in Japan, which started the overseas publishing of Mo Yan’s works. As of October 2019, there are 388 kinds of Mo Yan’s works published in 41 countries and Mo Yan has become a representative of contemporary Chinese writers to the world. A comprehensive discussion on the development history, geographical and language distribution, and audience acceptance of Mo Yan's representative works translated overseas is an important topic that can summarize some features of Chinese literature translated overseas, from which to gain some revelation related to Chinese literature's going global. This paper collects relevant papers and journals on the translation and dissemination of Mo Yan's works, based on which this paper reaches a conclusion of information related to Mo Yan's three representative works —''Red Sorghum''《红高粱家族》, ''Frog''《蛙》, ''Big Breasts and Wide Hips''《丰乳肥臀》. Taking masterpieces of well-known writers as examples, this paper is in the hope of offering new ideas for the translation and dissemination of Chinese literature.Through study and research on the topic, this paper concludes that the significance of Mo Yan's works translated overseas is mainly reflected in the following three aspects: first, showing the global influence of Chinese contemporary literature; second, contributing to the further development of the dissemination of Chinese culture; third, setting a model for cultural communications between China and other countries. The translation and dissemination of Mo Yan's works also inspire us that the spread of Chinese literature needs not only policy support from the government, but also high level translation from translators, both of which are key factors in terms of Chinese literature's going global.

===Key words===
Mo Yan; representative works; translation; dissemination

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译刘珍 Liu Zhen 202170081588 MW==

<center>'''A Study of Strange Stories From a Chinese Studio from the Perspective of Skopos Theory'''</center>

<center>刘珍</center>

===Abstract===
Liao Zhai Zhi Yi written by Pu Songling is a famous collection of more than 400 peculiar short stories. As a work coming into being at the very beginning of the 17th century when the classical Chinese writing was on the wane, the appearance of Liao Zhai Zhi Yi (or Liao Zhai in abbreviation) injected vigor and vitality into the classical Chinese literature. Among the many foreign translations of this book, the English version named Strange Stories from a Chinese Studio translated by Herbert Allen Giles is the most popular and influential one so far, thus becoming an indispensable part for the study of the English translation of Liao Zhai. At a time that we are calling for Chinese culture going global, as a successful case of Chinese literature work well-accepted by the foreign market, the English translation if sure of high research values and guiding significance. This thesis attempts to take Skopos theory as the theoretical basis, and take Giles’s Strange Stories from a Chinese Studio as the main research object to study the translator’s aims, the choices of translation strategies and the achievement of translation function.

===Key words===
Strange Stories from a Chinese Studio; Herbert Allen Giles; Skopos theory; Reader Expectations

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译马艳焕 Ma Yanhuan 202170081591 CE==
The Translation and spread of Su Tong 's works Abroad

<center>'''The Translation and spread of Su Tong 's works Abroad'''</center>

<center> Ma Yanhuan 马艳焕 </center>

===Abstract===
Su Tong is one of the famous contemporary Chinese writers, whose works have been translated into a variety of languages and widely spread abroad. therefore, the writer Su Tong has also become one of the top three foreign translators of novels in China. Based on the present situation of the foreign translation of Su Tong's works, this paper will explore the reasons for the success or failure of its overseas dissemination, and put forward some countermeasures to provide a reference for the going out of Chinese literature.

===Key words===
Su Tong; Translation； Spread

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文.
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592 MW==

<center>'''Translation of Idioms in Howard Goldblatt's ''Life and Death are Wearing Me Out'''''</center>

<center>Nie Wei 聂薇</center>

===Abstract===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is full of vivid and interesting idioms, which make the language of this novel so unique and characteristic. Howard Goldblatt's translation of this novel has been a great success in the English-speaking world. In the translation of idioms in this novel, he mainly adopts the methods of foreignization and omission, and follows the translation principles of preserving the foreign culture and insisting on semantic correspondence in order to present the heterogeneity of the idioms, so that the Chinese culture contained in the idioms in ''Life and Death are Wearing Me Out'' is well presented to Western readers. His translation provides a more objective platform for Western readers to know the diverse cultures of the world. The study of Goldblatt's translation of this novel can help guide the English translation of Chinese literature, thus providing references for promoting Chinese culture abroad.
===Key words===
''Life and Death are Wearing Me Out''; Howard Goldblatt; translation of idioms; creative treason
===Introduction===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is not considered the best novel in China, but Goldblatt's English translation has received much attention in the English-speaking world, won many international awards, and is even considered one of the most important works for Mo Yan to win the Nobel Prize in Literature. One of the most distinctive features of this novel is its unique language style. Goldblatt’s exquisite translation enables Mo Yan's style to be reproduced, and the strong local flavor and magical realism to be manifested, all of which is an important factor for the success of the English translation of ''Life and Death are Wearing Me Out''. This paper discusses the translation methods and principles adopted by Goldblatt in his translation of the idioms in this book, and analyzes its influence on the dissemination of Chinese culture, so as to provide reference for future translations of Chinese classics. (Shi Chunrang 2019, 94)
===Literature Review===
I searched CNKI with keywords "''Life and Death are Wearing Me Out'' and translation" (searched until May 29, 2022) and found 355 related papers. These papers analyzed the translation methods, strategies and Goldblatt’s translation style of ''Life and Death are Wearing Me Out'' from different perspectives, such as relevance theory, Bourdieu’s theory of field, Reception Aesthetics Theory, eco-translatology, translation aesthetics, the post-colonialism perspective, rewriting theory, translation ethics, hermeneutics and translators' subjectivity.

Among them, there are five papers related to the study of proverbs ( idioms). Wang Yiting and Lin Mei point out that Goldblatt mostly uses literal translation to translate idioms in the linguistic dimension, chooses both literal and free translation in the cultural dimension, and uses rewriting in the communicative dimension. Liu Geng and Lu Weizhong, with the help of conceptual metaphor theory, point out that the English translation of the idioms in ''Life and Death are Wearing Me Out'' has certain translator's subjectivity, and the translator's metaphorical way of thinking affects the use of different translation strategies. Ye Pingting, based on the cultural translation view, uses the idioms in Goldblatt’s version as a corpus to explore how translators effectively convey cultural information. Chen Qiansa analyzes the use of idioms and their translation methods in this novel based on the Chinese-English parallel corpus. Shi Chunrang and Shi Yan analyze the role of idioms in ''Life and Death are Wearing Me Out'' in constructing the "image of the other" for Western readers, as well as in deconstructing the cultural psychology of western readers.

The study of idioms’ translations in Goldblatt's version includes both case studies, in which a single idiom is selected for discussion, and quantitative analyses supported by definite statistics. This paper provides an overall study of the methods and principles of translating idioms, and suggestions for improvements to the mistranslations in Life and Death are Wearing Me Out, so as to provide a reference for the English translation of Chinese literary works in the future.
===Methods and Theories===
This paper focuses on the study of Goldblatt’s translation based on Venuti's theory of domestication and foreignization and the concept of creative treason.

Lawrence Venuti firstly formulated and introduced the theory of domestication and foreignization in the book ''The Translator’s Invisibility''. According to Venuti, domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target readers, while foreignization refers to the type of translation in which a target text deliberately breaks target conventions by retaining something of the foreignness of the original.

The domestication method can express the language and culture of the source language with the language and culture familiar to the target language readers, and the translation is fluent and easy to read and accepted by the readers, but the "domestication method" tends to distort the facts of the original text, which is not conducive for the target readers to feel the "exoticism" of the foreign culture. On the other hand, the "foreignization method" can better maintain the style of the original text, convey the author's original intention, and let the target language readers truly feel the difference between the two cultures, but the disadvantage of it is that the translation may be obscure and difficult to understand, and may sometimes make the readers have cultural misunderstanding. (Zhu Zhouxain 2013,155)

Professor Xie Tianzhen published a book entitled ''Translation Studies'', in which he elaborated on the creative treason in literary translation in depth. In his book, he clearly pointed out that "the most fundamental characteristic of creative treason in literary translation is that it introduces the original work into a receptive environment that the original author did not originally anticipate, and changes the form originally given to the work by the original author."

Due to the specific differences in social, historical and cultural factors between the source language and the target language, the translator will certainly make appropriate and comprehensive "adjustments" to the specific differences in semantics between the two languages in different contexts during the whole process of translation. These "adjustments" are, on the surface, a "treason" against the original work, but it is not the translator's trampling on the original work at will, but the translator's attempt to make the translation convey the same meaning as the original work in the translated language environment. (Zhang Liyun 2019,141)

===1.Idioms in ''Life and Death are Wearing Me Out'' and their characteristics===
Idioms are simple and concise folk languages that are widespread and easy to understand. Most of them are short sentences that are transmitted orally by the laboring people, reflecting their experiences in production and life vividly. Idioms contain a great deal of background information and culture, and it is a form of language that has been developed over a long period of historical development and real life.

''Life and Death are Wearing Me Out'' is filled with lively and amusing idioms that bring uniqueness and vitality to the novel's language. This novel tells the story of joys and sorrows experienced by the landlord Ximen Nao’s family and the farmer Lan Jiefang’s family for more than half a century. The theme of the novel is closely related to the farmers and the land, which of course requires the use of a large number of idioms to narrate the story. (Shi Chunrang 2019,94)

Clearly, the idioms in this novel are diverse in form and peculiar in presentation. For example, when the donkey reincarnated from Ximen Nao bragged about being favored by the county chief, it said, "人们都知道，侍候好了县长的驴，就会让县长格外高兴。拍了我的驴屁，就等于拍了县长的马屁。" The translation is "Everyone knew that taking special care of the county chief's donkey made him very happy. Patting my rump was equivalent to patting the county chief's behind with flattery." Here cleverly, the common saying "拍马屁" in people's daily life is used as “拍驴屁”, which highlights the identity of the donkey, and also vividly and humorously depicts the complacency and arrogance of the donkey, while expressing its contempt for those who strive to curry favour with people in authority.

In addition, when the ghosts in the hell sneered at Xinmen Nao, they said, “猫改不了捕鼠，狗改不了吃屎”. The translation is “You can’t keep a cat from chasing mice or a dog from eating shit.” The language, though vulgar, is very common in people’s daily life and fits the overall style of the novel.

This kind of linguistic style is both traditional and innovative, both unbridled and unrestrained, and is highly effective for shaping the characters and plotting.
===2.Goldblatt’s translation methods of idioms in ''Life and Death are Wearing Me Out''===
(i) Foreignization

The method of foreignization is to deliberately make the translation violate the conventional linguistic models in target language and retain the exotic atmosphere of the original text, with the aim of "injecting the linguistic and cultural differences in the foreign text into the target language, sending the readers abroad" and providing them with an "unprecedented reading experience”. Goldblatt deliberately uses the method of foreignization to translate idioms in this novel.

Specifically, Goldblatt tries to convey the heterogeneity of idioms in the original text in the following ways.

First, he tries his best to show the target readers the meaning of Chinese idioms that is unique to China and not available in the Western culture. After all, idioms are developed in the production and life experiences of different peoples. Therefore, Goldblatt chooses literal translation whenever possible.

For example, “你是煮熟的螃蟹难横行了，你是瓮中之鳖难逃脱了” is translated into “You’re a cooked crab that can no longer sidle your way around，a turtle in a jar with no way out”. “瓮” is a unique Chinese utensil with rich Chinese cultural information. The image of "瓮" is missing in the English-speaking world. Therefore, he borrows the familiar apparatus "jar" from English to translate it, which is roughly similar to "瓮" in appearance. This translation uses an alternative image to convey the message of the original text, which reduces the connotative information of the original idiom but makes it easier for the target readers to understand the essential message of the idioms.

Second, for some idioms, Goldblatt translates them by literal translation with annotation. The literal translation is of course for presenting the original message of the idioms to the target readers, while the annotation is to help the readers better understand the essential message of the idioms, because some of them have complex metaphorical messages, so annotation is essential for understanding.

For example, “兔死狐悲，物伤其类” is translated into “When the rabbit dies，the fox grieves, for his turn will come.” This annotation “ for his turn will come” clearly illustrates the message of the original idiom and removes any confusion about why the fox grieves for the rabbit’s death. With annotation, the connotative meaning of the idiom becomes clearer.

Third, for some idioms that have exact equivalents in the target language, the translator deliberately translates them with explanatory literal translations instead of copying the idioms in the target culture. For example, “入乡随俗” is translated into “When you come to a new place，learn the local customs and follow them” rather than “When in Rome, do as the Romans do” in English. Obviously, the use of semantic equivalents of idioms in the target language cannot translate the information conveyed by the original context. An explanatory literal translation approach can help target readers better understand the plots of the novel and increase their interest in reading it. (Shi Chunrang 2019,95)

(ii) Domestication

Sometimes we may find that the Chinese idioms don’t have equivalents in the target language, so they can be translated through free translation, which means we can follow the principle of domestication by borrowing existing expressions in the target language, thus making the translation closer to the reading habits and cognition of the target readers. In Goldblatt's translation of idioms in ''Life and Death are Wearing Me Out'', about 30% of those idioms are translated through free translation. (Chen Qiansa, 2019,108)

For example, “洪泰岳你出口无信，食言而肥” is translated into “Hong Taiyue，your words meant nothing, you did not make good on your promise”. In this sentence, “食言而肥” and “出口无信” mean the same thing: not to keep one’s word. These two idioms came out of ''The Commentary of Zuo''. It is not possible for the translator to translate the allusions behind each idiom, which would result in a lengthy and unclear translation. So Goldblatt uses a phrase with similar meaning to express the idioms “食言而肥” and “出口无信”. He borrowed from the English idiom “not make good on your promise” and delivered an authentic translation cleverly.

Due to the differences between the English and Chinese languages and between Eastern and Western cultures, the “treason” of the original text in literary translation is inevitable. For example, in the novel ''Life and Death are Wearing Me Out'', there are many epithets such as "爷们" and "伙计", which are difficult to translate into English with full equivalence, and Goldblatt's creative "rewriting" of them also reflects his unique translation ideas. For example, according to different contexts, “伙计” is translated into “gentleman” “buddy” “old friend”; according to the specific meaning of the sentence, “掌柜的” is translated into “you are the head of the household” “my husband” “the old gentleman” “sir” and so on. (Zhang Qi 2019,329)

Although the domestication method changed the images or structure of the original sentence, Goldblatt's translation better conveys the original author's intentions and can be deemed as a kind of fidelity from a deeper level.

(iii) Omission

Omission means that the idiom is not translated from the original text. There are two kinds of idioms that Goldblatt did not translate. The first one is those idioms that contain distinctive local culture, which cannot adequately convey the content of the novel in the target language. For example, “我这哥，惯常闷着头不吭声，但没想到讲起大话来竟是‘博山的瓷盆——一套一套的’ ” is translated into “He was normally not much of a talker, so everyone was taken by surprise. To be honest, it turned me off.” The idiom “博山的瓷盆——一套一套的”(which means a set of porcelain pots from Boshan) has been omitted here because it contains an item known only to a small group of people, and the message it implies is so unique and unnecessary that the translator chose to omit it. (Shi Chunrang 2019,95)

In addition, Goldblatt chose to deliberately omit some idioms, such as “西游记”“小妖红孩儿”“封神演义”“哪吒”“天山童姥”. Because in his mind, "capturing the style, rhythm and imagery of the original work is the real task and challenge for the translator”. Omitting those idioms makes the storyline more compact and the language more straightforward and easily accepted by the target readers. (Zhang Qi 2019,329)

Second, some idioms that serve to add explanatory information and vividness to the original text are also often deleted by Goldblatt. For example, "出水才看两条腿" and "咱们骑驴看账本，走着瞧! " and other similar proverbs are omitted.

On the whole, however, the idioms in ''Life and Death are Wearing Me Out'' are very important for the novel’s general language style. Therefore, there are not many cases where the translators leave idioms untranslated.

(ⅳ) Mistranslation

In Xie Tianzhen’s article ''Mistranslation: Misunderstanding and Misinterpretation in Different Cultures'', he divides mistranslation into two types, namely intentional mistranslation and unintentional mistranslation. Intentional mistranslations are those in which the translator chooses to consciously misinterpret the meaning of the original text for some reason. Unintentional mistranslations can be divided into three types which are caused respectively by carelessness, poor linguistic skills and lack of knowledge of the cultural background of the original language. (Zhang Sen 2016,111)

Intentional mistranslation closely reflects the translator's creative treason and is also a major manifestation of the collision, distortion and deformation between cultures in literary and cultural exchanges. Therefore, this paper focuses on the current situation of intentional mistranslation in Goldblatt’s translation of ''Life and Death are Wearing Me Out'', and reveals how translators creatively fill the gaps between different cultures. (Zhang Liyun 2019,143)

For example, “……让老婆孩子吃糠咽菜的守财奴” is translated into “…made his wife and kids eat chaff and rotten vegetables”. The original text intended to use the idiom "吃糠咽菜" to depict the poor life of them, but in the translation it is translated into "eat chaff and rotten vegetables". In the original text, the word "菜" means "wild edible plants", because in the old days, Chinese people who could not afford to eat vegetables often used wild plants to fill the belly. But in the English version it is translated as "rotten vegetable". Why? Because with the improvement of people's livelihood, "wild edible plants" have become a delicious delicacy for people in both the East and the West. Therefore, in order to tell the target readers about the poor life of those people, he translated "糠咽菜" into "chaff and rotten vegetables", which makes it easier for the readers to accurately capture the meaning of the original text.

The translator plays an important role in this process, and the translator's personalized translations, mistranslations and omissions reflected in the translations are all manifestations of the translator's creative treason.
===3.Goldblatt’s principles for translating idioms===
(i) Preserving the culture of the original language

Generally speaking, idioms have deep semantic connotation and vividly reflect the material and spiritual culture with local characteristics. Therefore, when translating idioms, we should try to understand the deeper connotations of them and to express them clearly. By researching, communicating with the author and other methods, Goldblatt managed to understand the essential meaning of the idioms, their historical roots and the context in which they are used, so as to truly grasp their precise meaning. (Shi Chunrang 2019,97)

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopts the methods of foreignization and omission, so we can say that the principle he follows in translation is that of preserving the culture of the original language. He tries to highlight the heterogeneity of the original proverbs through literal translation, to reveal the uniqueness of Chinese culture, and to help Western readers understand the life experience of the Chinese people attached to the idioms through annotations.

Due to the cultural status of Europe and America, cultural differences and the marginal position of translated literature in the European and American literary world, European and American translators often choose to translate other countries' literary works by means of domestication, and the translation of ''The Story of the Stone'' by David Hawkes is an example of the use of domestication strategy. However, cultural hegemony and cultural colonization have led a group of translators with a sense of mission to choose a translation strategy that preserves the style of the original work, which is called foreignization.

The contradiction is obvious: the translator wants to preserve the taste of the original work, but the reader's difficulty in understanding the language and structure of the vernacular novel requires the translator to make concessions in the translation. Goldblatt's approach to translation reconciles this contradiction to a certain extent. He tries to strike a balance in the translated work so that it can be accepted by Western readers. (Tian Debei 2016,91)

(ii) Semantic correspondence

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt not only tries to reproduce the meaning of the idioms in the target language, but also strives to achieve an overall semantic correspondence between the proverbs and the context in which they are found. He helps to make the text more logical and readable by adding explanatory phrases, explicitly stating the implied meaning or adding connecting words. In achieving semantic correspondence, he tries to make the translation as close to the original text as possible, without adding or subtracting anything, and without creating ambiguity. In terms of choosing words, he tries to be as concise and appropriate as possible; in terms of sentence construction, he tries to achieve a sentence style that reflects some of the features of the original but is also in keeping with the conventions of the target language. (Shi Chunrang 2019,97)
===4.Implications of ''Life and Death are Wearing Me Out'' for the English Translation of Chinese Literature===
As mentioned above, guided by the principle of personalized translation, there is 'fidelity' in translating the idioms in ''Life and Death are Wearing Me Out'', as well as creative treason and omission of the original text. It can be seen that Goldblatt is not bound by the traditional dichotomy of literal translation and free translation. The language of his translation is authentic and fluent, reading like an original English novel but conveying exotic cultural imagery.

Goldblatt insists on translating for his readers, so he was selective in his translation strategies in order to make exotic Chinese literature accessible to western readers, thus allowing excellent literature to enter the field of foreign translated literature and achieving the effective dissemination of Chinese literature.

Compared with Western culture, Chinese culture is still in a disadvantaged position in the world cultural landscape. Therefore, if Chinese literature wants to “go global”, translators must take into account the special cultural background and general readers' acceptability.

Goldblatt’s choice and application of translation strategies carries with it the translator's subjectivity, and under the guidance of such translation principles, his translations meet both the literary standards of the Western world and the expectations of the Western readers for Chinese literature. (Zhang Qi 2019,330)

Whether Chinese literature has done a good job in “going global” is not only judged by the accuracy of their translations, but also by how well they are received by foreign readers. The difference between Chinese and Western cultures have resulted in readers’ different preferences for literary themes, so Goldblatt has paid great attention to the tastes of Western readers when selecting books he was going to work on, so that his translations can be better accepted by them. However, the mistranslation in his version has led to a deviation from the original Chinese works.

Compared with Chinese translators, Sinologists have a strong linguistic background, but their knowledge reserve of Chinese culture is still insufficient. So the best mode of translation is a kind of Chinese-foreign collaboration, in which the Chinese translators deal with the cultural challenges while the sinologists do the linguistic touch-ups, in order to ensure the integrity of Chinese culture in the West, and to achieve both fidelity to the original work and increased acceptance abroad, thus achieving success in the translation of Chinese culture. (Zhang Sen 2016,115)
===Conclusion===
In translating idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopted the strategies of literal translation (39.2%) and free translation(30.3%), supplemented by omissions, additions and borrowings, with a few mistranslations (about 10 cases). It is evident that he tends to retain the cultural image of the idioms in the source language, and tries not to add or delete; however, when those images in the source language don’t have equivalents in the target language, he will be bold enough to adopt free translation, so as to maintain the readability and fluency of the translated work. In the translation process, he stays true to the connotation of the text rather than the literal meaning, and stays true to the target readers rather than the readers of the source language. (Chen Qiansa 2019,110)

This helps us to reveal Goldblatt's faithful translation and reader-consciousness. In conclusion, in the process of translation, translators should preserve the style and image of the idioms in the original text as much as possible, so as to spread Chinese culture and enrich the English vocabulary; at the same time, they should take into account the readability of the translated work and adopt various translation approaches to deal with the Chinese idioms.

Goldblatt not only makes the message conveyed by the idioms and the proverb-rich language style of ''Life and Death are Wearing Me Out'' well presented to Western readers, but also makes them easily understood and accepted by Western readers. The translator does his best to spread Chinese culture and respect the culture clash between different cultures. His translation dares to face up to the cultural differences between China and English-speaking countries, and uses a unique translation method to strongly promote Chinese literature and culture to the Western world, which achieved good results, and also provides some useful references for us to do a good job in promoting Chinese culture to go abroad.

Therefore, we should not only consider the needs of Western readers at the expense of the dissemination of our own distinctive culture, instead, we should take the promotion of our own culture as our responsibility and take into account the reading needs of Western readers. The successful translation of idioms in Mo Yan’s novels is a good case in point. In the exchange between Chinese and foreign cultures, the translation of idioms in Mo Yan's novel adheres to the idea of faithful translation and mainly adopted foreignization, fully demonstrating the traditional Chinese culture with strong national flavor and distinctive regional characteristics, which is an important inspiration for the dissemination of Chinese culture today.
===References===
*Mo Yan 莫言. (2011). Life and Death are Wearing Me Out. tans. by Howard Goldblatt. New York: Arcade Publishing．
*Venuti, L. (1995). The translator’s Invisibility: A History of Translation. London and New York: Routledge．
*Xie Tianzhen 谢天振.(2012).创造性叛逆:争论、实质与意义[Creative Treason: Controversy, Substance and Meaning].''中国比较文学''Comparative Chinese Literature (2):33-40．
*Zhang Qi张琦.(2019).“创造性叛逆”:莫言《生死疲劳》英译特点及启示[Creative Treason: Characteristics and Insights of the English Translation of Mo Yan's “Life and Death are Wearing Me Out”].''上海理工大学学报''Journal of Shanghai University of Technology (04):327-330+337.
*Zhang Liyun, Wu Qingjuan张丽云,吴庆娟.(2019).创造性叛逆与葛浩文《生死疲劳》英译本的译介[Creative Treason and Goldblatt’s Translation of “Life and Death are Wearing Me Out”].''齐齐哈尔大学学报''Journal of Qiqihar University (10):141-143+172.
*Wang Yiting, Lin Mei王怡婷,林梅.(2014).翻译适应选择论视角下《生死疲劳》的习语翻译[The Translation of Idioms in "Life and Death are Wearing Me Out" from the Perspective of Translation Adaptation Selection Theory].''常州大学学报''Journal of Changzhou University (04):100-102+106.
*Shi Chunrang, Shi Yan石春让,石岩.(2019).葛浩文译《生死疲劳》中谚语的文化建构与解构[The Cultural Construction and Deconstruction of Idioms in Goldblatt's Translation of “Life and Death are Wearing Me Out”].''外国语文''Foreign Literature (01):94-99.
*Zhang Sen, Zhang Shijin张森,张世瑾.(2016).葛译《生死疲劳》中的误译现象与中国文化译介策略[Mistranslation in Goldblatt's Translation of Life and Death are Wearing Me Out and Strategies for Translating Chinese Culture].''河北大学学报''Journal of Hebei University (05):111-116.
*Liu Geng, Lu Weizhong刘庚,卢卫中.(2016).汉语熟语的转喻迁移及其英译策略——以《生死疲劳》的葛浩文英译为例[The Metonymic Migration of Chinese Idioms and Their English Translation Strategies - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''外语教学''Foreign Language Teaching (05):91-95.
*Chen Qiansa陈千飒.(2019).基于语料库的《生死疲劳》熟语英译研究[A Corpus-based Study on the English Translation of the Idioms in "Life and Death are Wearing Me Out”].''重庆交通大学学报''Journal of Chongqing Jiaotong University (01):105-111.
*Zhu Zhouxian朱周贤.(2013).论乡土小说翻译的难点——以葛浩文英译的《生死疲劳》为例[On the Difficulties of Translating Rural Literature - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''作家''The Writers (14):155-156.
*Tian Debei, Zhan Xuanwen田德蓓,詹宣文.(2016).入乡未能随俗:论葛浩文译《生死疲劳》的乡土气息[On the Local Flavor of Goldblatt's Translation of “Life and Death are Wearing Me Out”].''东北农业大学学报''Journal of Northeast Agricultural University (01):88-92.

==英语笔译孙丽君 Sun Lijun 202170081593 CE==

<center>'''An Analysis of English Translation of Luotuo Xiangzi from the Perspecctive of Rewriting Theory'''</center>

<center>Sun Lijun</center>

===Abstract===
Traditionally, translation is regarded as a kind of linguistic conversion, which means translating the source text from one language into another. And with further and deep study of translation, Bassnett and Lefevere went beyond the level of language, focusing on the mutual interaction between translation and culture, and the influences and restrictions of culture on translation. Therefore, the move from translation as text to translation as culture and politics is termed as the cultural turn. Rewriting Theory, proposed by Lefevere, is the representative fruit of the translation studies on culture, exerting profound influence on academia. Rewriting Theory shows that translation is regarded as rewriting, which is mainly constrained by the dominant poetics, ideology and patronage under certain backgrounds.
Luotuo Xiangzi, writtten by Lao She in the year of 1939, is one of the representative masterpieces of Chinese classics, gaining great popularity both at home and abroad since its first English version, translated by the American translator Evan King in 1945, came out. And this translated text obtained great success in America, which establishing Lao She’s reputation as a writer in the international literary circle. However, due to the inequivalence to the source text, Evan King’s translated work invited some critics from Chinese scholars even unsatisfied the original author Lao She himself. Thereafter, this short essay will briefly analyze the translation of Luotuo Xiangzi by Evan King from the perspective of Rewriting Theory, trying to find out the influences the dominant poetics, ideology and patronage exert on translation.

===Key words===
Luotuo Xiangzi; rewriting theory; translation

===Introduction===
As is known to all, translation is a kind of special and creative activity carried out in a certain context. And it is influenced by some certain activities of the society at one hand, while on the other hand, translation is also restricted by some factors of the works and the writers themselves. In a word, translation plays an essential and pivotal role in communicating and exchanging ideas in this global village. And with further cultural exchanges, some foreign masterworks have been introduced into China, broadening people’s horizon and enriching their daily life and spiritual life in China; also, some Chinese classics have been translated abroad and made foreign friends get a better understanding of Chinese culture. As one representative work of Chinese modern classics, Luotuo Xiangzi has been translated into several versions by some famous translators at home and abroad, including Evan King’s Rickshaw Boy, Jean M.James’ Rickshaw: The Novel Lo-t’o Hsiang Tzu, and Shu Xiaojing’s Camel Xiangzi. And due to the three English versions translated aboard, Luotuo Xiangzi turned out to be a huge hit as soon as it was published. However, as the first translated version in English, though wildly welcomed among American readers, it invited some terrible criticism made by the Chinese literary circles for Evan King broke the rule of equivalence and he did a lot of rewritings. Throughout the history of translation, we can tell that being true to the original text is of paramount importance no matter from the “faithfulness, expressiveness and elegance” proposed by the famous Chinese scholar Yan Fu or the “dynamic equivalence” or “functional equivalence” initiated by Eugene A. Nida. However, those translation theories concentrate on the source-text-oriented methods and techniques, paying much attention to how to translate the original text faithfully into the target text, which represents a kind of static status and mainly focuses on the linguistic level. However, as the march of translation studies, some scholars have studied translation approach from the perspective of culture, attempting to put translation into a larger context. Thus translation studies was labeled with cultural turn from then on. And the polysystem theory and rewriting theory were representatives in this regard. Taking the dominant poetics, ideology and patronage into consideration, Lefevere’s rewriting theory then exerted profound influence in the later translation studies, providing a brand new viewing angle for individuals who engage in the translation studies. Given the Evan King's translated version, it is of terrific significance to explore the underlying reasons why Evan King did a lot of rewritings to Lao She's Luotuo Xiangzi on the framework of Lefevere's rewriting theory.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594 MW==

<center>'''A Comparison of The Analects Translated by James Legge and Ku Hungming'''</center>

<center>Tong Yumeng</center>

===Abstract===
Confucius is a great thinker and educator in ancient China, the founder of the Confucian school, and one of the world's most famous cultural figures. As the only book recording the sayings and discourse between Confucius and his disciples, The Analects is a classic of Confucianism as well as of Chinese civilization. Up to now, there have been nearly forty English translations of The Analects, which indicates the importance of this work in China and western countries. This paper mainly focuses on two English translations of The Analects published in 1861 and in 1898 respectively. One is translated by James Legge, a Scottish protestant missionary of London Missionary Society. The other is the translation of Ku Hung-Ming, an extreme cultural conservative and a strong advocate of Confucianism at the turn of the 19th and 20th centuries. By comparing the two English translations, the paper tries hard to trace back their translating processes, find out the criteria used in interpreting the original text, and summarize the strategies adopted to resolve cultural conflicts in translation. Besides adopting the traditional translation theories, this paper conducts its investigation from the perspective of functionalist "skopos theory" and theories of Lefevere. At last, the paper also mentions the influence of the two English versions of The Analects and the images of Confucius they have helped construct.

===Key words===
Confucius, Legge, The Analects, English Translation

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译童略雅 Tong Lueya 202170081595 CE==

<center>'''A Brief Analysis of Reading Strategies of Chinese Classics in a Digitalization Era'''</center>

<center>Tong lueya</center>

===Abstract===
With the rapid development of the society and the in - depth application of science and technology, people’s traditional production and living habits have been gradually changed. And their reading habits, reading time, reading preferences and reading content have also shown new characteristics. Especially with the mature application of science and technology such as Internet, intelligent handheld device, cloud computing, big data and so on in various fields, the reading mode of readers has gradually changed from systematic reading to fragmented reading. Classic works are the crystallization of human civilization. Reading classic works is of great significance to individual growth and social development. It cannot be overemphasized to promote classic reading. This paper analyzes the status of classic reading in a digitalization era, and then attempts to put forward some suggestions in classics reading. In this way, it hoped that people could realize the significance of reading classics and then form good habits to reading them.

===Key words===
Classics reading; strategies; digitalization

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译庹树梅 Tuo Shumei 202170081596 MW==

<center>'''The Cantonization of the Dream of Red Mansions'''</center>

<center>庹树梅</center>

===Abstract===
As a treasure of Chinese literature and an important source of cultural confidence for the Chinese nation, Dream of the Red Chamber has been disseminated in the English-speaking world for two hundred years. Under the multiple views of traditional historiography, neo-Hanology, neo-history and neo-Songology, Dream of the Red Chamber has been transformed from a "historical text" to a "classic text" and has undergone an evolutionary path from an academic research classic to a literary classic and then to a cultural classic. The first chapter of this paper discusses what classicization is. The second chapter discusses why Dream of the Red Chamber has become a classic work and analyzes its intrinsic literary value. The third chapter discusses the impact of the classicization of Dream of the Red Chamber on the influence of Chinese culture in the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译王思琪 Wang Siqi 202170081597 CE==
A Study on C-E Translation of The Book of Songs from the Perspective of Xu Yuanchong’s Theory of Three Beauties

==英语笔译王亚娟 Wang Yajuan 202170081598 MW==

<center>'''On the Overseas Transmission Paths of Journey to the West'''</center>

<center>Wang Yajuan</center>

===Abstract===
The continuous development of Internet technology has not only changed the way of reading classics, but also the path of classical communication. According to American scholar Harold Lasswell's 5W communication model, medium is the basic component of the communication process. And in the present time of continuous media convergence, the multidimensional transmission paths of classical works are formed. It is necessary to study the development of communication paths. As one of the Four Great Works of China, Journey to the West has been disseminated overseas for hundreds of years. It has not only been translated into many languages such as English, French, German, Italian, and Russian, but also a large number of film and television dramas, stage plays, animation, video games and other works of that adaptation have been derived.
This paper takes the overseas transmission path of Journey to the West as the research object, first discusses the reasons why it was spread from the perspective of its value, and then clarifies the transmission path of Journey to the West in overseas by analyzing relevant books and papers, and finds that the print publication path mainly relies on paper media to publish translated works; with the evolving of transmission paths with help of new media, the multidimensional transmission path has emerged. And then talks about opportunities for the innovation of classics transmission paths brought by the times. Then studies effects of changing of transmission paths on the classic communication and its prospect, hoping that analysis of the transmission paths of Journey to the West, can provide reference for the continuous dissemination of other classic works.

===Key words===
Journey to the west; transmission paths; classic dissemination; medium; 5W

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译肖冬晴 Xiao Dongqing 202170081599 CE==

<center>'''On C-E Translation of Lexical Gaps in Teahouse from the Perspective of Reception Aesthetics Theory'''</center>

<center>Xiao Dongqing</center>

===Abstract===
Representing as a masterpiece of Lao She, ''Teahouse'' works as a monument in the history of Chinese drama. From the perspective of reception aesthetics theory, this paper studies the translation of lexical gaps in ''Teahouse'' translated by Ying Ruocheng. It briefly introduces the content of reception aesthetics and its main concepts, expounds the basic conception of lexical gaps and classifies them into four types. In this thesis, the author mainly focuses on the translation strategies adopted by the translator to deal with the lexical gaps in ''Teahouse''. It is found that in the translation of lexical gaps the translation strategy of domestication dominates while foreignization works as a supplement, a tactic which caters to its reader’s expectation horizon.

===Key words===
Reception aesthetics theory; ''Teahouse''; lexical gaps

===Introduction===
''Teahouse'' is a work of monument in the history of Chinese drama and a sensational one in the world. The key to investigating its reception overseas lies in the studies on its translated versions. Currently, there are two impactful translations in the literary community: the one translated by Chinese scholar Ying Ruocheng and the one translated by the prestigious American sinologist Howard Goldblatt. Over the years, researches and studies on ''Teahouse'' have never ceased. For instance, Lu Jun and Ma Chunfen (2009) studied from the perspective of cultural translation theory the translation of names and idioms in the two translated versions mentioned above, Yu Yanqing (2016) investigated the metaphors in the source text and elaborated on their translation in the two different versions as she deciphered some of the special connotations in them, while Jin Yan (2022) focused on some of the mistranslation phenomena in the English and Korean translated books based on cultural amnesia and memory reconstruction.

In cross-cultural communication, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.
Researches on the theory of vacancy and lexical gaps were initiated in the west when the distinguished American linguist Hockett put forward the idea of “random holes in patterns” (Hockett, 1954:106-123) in the comparison of the linguistic models between two languages. In the 1970s, the discussion over cultural vacancy attracted more scholars, among whom the American cultural anthropologist Hall took the lead. He used the term of “gap” (Hall, 1959:32) to describe the kind of absence in the study of the colour words of the aborigines when he noticed a lack of necessary colour words in the culture of those natives. In the 1980s, vacancy theory was officially put forward by Russian psycholinguists Jurij Sorokin and Irina Markovina as they conducted their research on the discourse and the characteristics of its national culture, dividing vacancies from the perspectives of linguistics, culture and discourse (Xu Gaoyu & Zhao Qiuye, 2008).

Reception aesthetics theory was first proposed in the 1960s in Germany. Unlike previous theories, it shifted its focus from the author and the original work to the role that the audience play in the process of cultural reception. The traditional translation view holds that translation is to convey the "meaning" of the original text into the target language. Reception aesthetics believes that the meaning of the text is uncertain, and it needs to be made concrete in reading by readers (including translators here). The most direct philosophical basis of reception aesthetics is philosophical hermeneutics. In China, many scholars have also worked a lot on this topic. For example, Qu Suwan (2019) studied on the translation of dialect words under the guidance of the reception aesthetics theory while Yu Shan (2015) conducted a comparative analysis of the translation strategies of culture-loaded terms in the two mentioned English versions.

From all the above, it’s clear that efforts have been made in the search of Chinese culture and Chinese classic translation based on aesthetics theory. Inspired by all the predecessors, this thesis is going to adopt the reception aesthetics theory to investigate the translation of lexical gaps in the English version translated by Ying Ruocheng. It will cover the basic outline of the theory itself, classify the lexical gaps in the work as it gives an overview of all the lexical gaps in the book and finally discuss the translation strategies used in Ying’s processing of the lexical gaps.

===Reception Aesthetics Theory===
Reception aesthetics is a theory of literary criticism raised by the German literature theoretician and aesthetician Hans Robert Jauss in the 1960s, in which the focus of literary studies is shifted from the author and text to the reader. It emphasizes reader's participation and acceptance during the text understanding, by shifting the central position of studies from the author and work to the reader. It claims that only the works that have been comprehended and delivered by readers possess artistic value and meaning.

'''2.1 The Role of Readers'''

“Literature and art only obtain a history that has the character of a process when the succession of works is mediated not only through the producing subject but also through the consuming subject, through the interaction of author and public” (Jauss 1989:43). Here the "consuming subject" refers to readers. Reader-centred status is underlined and more attention should be paid to reader's active role, subjective reception ability and creativity in literary works.

Reception aesthetics believes that the reader is an active or determinant factor in the process of text interpretation. In the process of translation, translator, as a reader, can only enter the world of text based on the vision developed by his pre-understanding and abilities. In the process of realization, the translator's pre-understanding plays an important role. The translator's pre-understanding and ability determine his understanding of the text world. It can be seen that in order to promote the meaning of the text, translators must pay attention to their own pre-understanding and the horizon of expectations of the reader. The translator must deeply understand the similarities and differences between the two languages in terms of language, history, and culture. They should use their subjective initiative and appropriately adjust their translation strategy to fill the gap in text understanding. After entering the text world, translators begin to analyse, judge and summarize until they are integrated with the text horizon. Iser believes that literary texts have a structural "blank". The so-called "blank" is the unwritten or unclear part of the text. Only in the specific process of reading and the reader's participation, these “blank” can be filled or explained.

To sum up, three points should be paid attention to in the process of translation. First of all, the interpretation of the original text is open. Secondly, the translator as a reader has a subjective position during the translation process. Thirdly, target readers' responses should be taken into consideration. Reception Aesthetics enables the translation work to centre on readers instead of texts. Therefore, the translator believes that the excerpts of this book can achieve its translation goal under the direction of reception aesthetics theory.

'''2.2 Blank'''

Reception aesthetic theory advocates the openness of the text, which undoubtedly helps to define the text in the process of translation. The text of literary works is a complex system full of blanks and uncertainties, which resonates well with the concept of “vacancy” or “gaps” this thesis is going to talk about. And according to Iser, the meaning of the works is not included in the text itself, but is obtained during reading.

Due to the uncertainty of the meaning of the text, there is no definite answer to the understanding of literary texts, so there is a saying that "a thousand readers have 1000 Hamlets". As far as translation is concerned, the uncertainty and openness of the text are the important reasons that lead to interpretative interpretation. It provides a broad space for translators to give full play to their imagination in the translation process, so that translators can interpret the text from different perspectives, thereby forming different translations.

'''2.3 Horizon of Expectation'''

Horizon of expectation is another important concept of reception aesthetics theory, which includes three kinds of meaning. Firstly, based on the readers experience, the horizon of expectations can be formed before reading. Secondly, even a literary work appeared in a new form, it cannot be regarded as absolutely new in the information vacuum. It reminds readers of the past reading memories and brings readers to a special feeling, and then calls for the expectations. At last, the horizon of expectations is changed accordingly.

There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text. As the source text is Chinese drama aimed for a larger audience abroad, more attention should be paid to its audience.

===An Overview of Lexical Gaps in ''Teahouse''===
''Teahouse'', a three-act play, is one of Lao She's most successful plays which represent the highest artistic achievement of Chinese drama writing. At that time, a teahouse is not only a place for the customers to kill time, but an epitome of Chinese society. The dialogue between characters has the unique national characteristics. It summarizes the sharp antagonism and conflict of various social strata and forces in China, and reveals the historical fate of semi-feudal and semi-colonial China.

'''3.1 The Definition of Lexical Gaps'''

As was mentioned in the first chapter, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field. Lexical gaps, therefore, are in essence the embodiment of cultural vacancies at the vocabulary level.

'''3.2 The Classification of Lexical Gaps'''

Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps. Here we will have a detailed discussion on them respectively.

Material lexical gaps refer to those words reflecting certain ways of life of a certain society, including things as daily material, tools of production and transportation, household appliances, products, food and so forth. For example, in ''Teahouse'', “盖碗茶” is unique to Chinese culture. Before the invention of this teacup, people could easily be burned or hurt when trying to drink from the tea bowl which was made of porcelain, and it could transmit heat quickly. To prevent getting hurt while drinking tea, ancient Chinese invented something similar to a wooden plate to support the tea bowl, which was becoming more and more delicate and eventually developed into the shapes and size that we see today. Obviously, “盖碗” is very culturally specific. The unique material life will produce the unique material culture. Here is a list of material lexical gaps appeared in ''Teahouse'':

盖碗茶 lidded cups of tea

绫罗绸缎 brocades

小叶茶 a cup of very best tea

马褂 jacket

满汉全席 imperial-style banquets

杂和面儿疙瘩汤 a bowl of dough drop soup with maize flour

五供儿 incense burner

纸钱 paper money

Social lexical gaps are the reflection of customs, ways of life, social life, historical background and behaviour of a nation or a country, including address and folk adage. The address can be a direct reflection of the personality of character. In ''Teahouse'', “唐铁嘴” is a fortune teller and a regular at the teahouse. His way of life was to persuade people to believe what he said, and to some extent he had to lie to make a living. “铁嘴” is literally a personal mouth made of iron, which is also a metaphor for the eloquent and plausibility of Mr. Tang. The list below provides an overview of social lexical gaps in the translated work:

相面/算命 fortune-telling

善扑营 Imperial Wrestler

说媒拉纤 go-betweens and pimps

庞太监 Eunuch Pang

唐铁嘴 Tang the Oracle

说评书的 story-teller

数来宝 improvised doggerel recitation

蹓鸟 strolling about with caged birds

北衙门 Northern Yamen

手相 palm-reading

“爷” master

旗人 bannerman

请安 bow

三教九流 people from all walks of life

Religious lexical gaps are those expressions relate to religion, for Chinese especially those words relate to Buddhism and Taoism. In ''Teahouse'', there are many lexical gap words related to the religious beliefs, for example, “念佛” means expressing sincere thanks to Buddha for all the good luck in your life. In Buddhism, “佛” refers to Buddha, an immoral person who is regarded by the Buddhists that can offer blessings to the human being. The following is a list displaying further religious lexical gaps in the work:

造化 a lucky fate

天师 Heavenly Teacher

“醉八仙” intoxicated eight immortals

财神龛 shrine of the god of wealth

念经 chanting Buddhist scriptures

八卦仙衣 special robes

Linguistic culture-loaded words and phrases reflect the characteristics of the phonetic, grammatical and formal systems of a certain language including pun and idioms. For example, in ''Teahouse'', the suffering Chinese drinkers who frequent Yutai always use “好死不如赖活着”(meaning “it is better to live in this world than to die under terrible circumstances”) to comfort themselves or others to show them the bright side and to endure seemingly persistent bad conditions. It is an idiom well reflects the wisdom and unremitting hope of the Chinese people in the act play, even when it was during the darkest times. Here are more examples of linguistic lexical gaps translated in the book:

化干戈为玉帛 restore peace

拿刀动杖 spoil for a fight

八仙过海，各显其能 try one’s best

“好死不如赖活着” a dog’s life’s better than no life

改良,改良,越改越凉!冰凉！ Reform indeed! Soon you’ll have nothing more left to reform!

“包圆儿” “it's all yours.”

According to calculation, there are altogether 34 lexical gaps in various in ''Teahouse'', of which the 14 social lexical gaps take the lead, accounting for about 41%, followed by 8 material lexical gaps which take up about 23%. There are only 6 religious and linguistic gaps, each of the two categories covering about 18% of all.

===The Translation Strategies of Lexical Gaps===
In 1995, American translator Lawrence Venuti discussed hand in hand invisibility in his work ''The Translator’s Invisibility'': domestication and foreignization. He (2008:15) bemoans the phenomenon of domestication since it involves ‘an ethnocentric reduction of the foreign text to receiving cultural values.’ Venuti allies it with Schleiermacher’s description of translation that ‘leaves the reader in peace, as much as possible, and moves the author toward him.’ Foreignization, on the other hand, ‘entails choosing a foreign text and developing a translation method along linnes which are excluded by dominant cultural values in the target language.’(ibid;242) From then on, domestication and foreignization were borrowed into the field of translation as two translation strategies.

According to calculation, of all the 34 lexical gaps in Teahouse, only three were translated using foreignization strategy, accounting for about 9%; the rest 31 lexical gaps taking up around 91% were translated under the guidance of domestication. Taking a closer look, there are 7 material lexical gaps out of 8, 13 social lexical gaps out of 14 and 5 religious lexical gaps out of 6 translated using domestication. All of linguistic lexical gaps were translated under the guidance of domestication strategy.
Given the translation by Ying Ruocheng was published and put into the market in the opening stage of the reform and opening-up in 1979, the sweeping domestication strategy applied in the translation is understandable.

'''4.1 Domestication'''

In the translation of lexical gaps, the translator adopted domestication strategy the most of times, which was especially true when it comes to the translation of linguistic lexical gaps. For example:

(1) ST：那总比没有强啊！好死不如赖活着，叫我自己去谋生，非死不可！

TT：Still that’s better than nothing! A dog’s life’s better than no life. If I were to earn my own living, I’d surely starve.

In this example, when dealing with the idiom“好死不如赖活着”，the translator didn't take it at face value reproducing it into“it is better to live in this world than to die under terrible circumstances”. Instead, he translated it based on his own pre-understanding as he took the readers’ expectation horizon into consideration. In selecting the similar expression“to live a dog’s life”from the target language, the translator managed to achieve fusion of horizons.

The phenomenon of homophones in Chinese linguistics is partly determined by the four tones in the language, each one containing a large collection of words capable of creating “puns” in daily use. For instance, the following marks a quotation taken from ''Teahouse'':

（2） ST：改良，改良，越改越凉！冰凉！

TT：Reform indeed! Soon you’ll have nothing more left to reform!

In the excerpt above, the Chinese characters“良”and“凉”are homophones with completely opposite connotations. Concerning this example, there was no equivalents in the target language able to convey exactly the same meaning. As a result, the translator dealt with the idiom liberally and represented the irony in the sentence thereby.

Unlike foreignization, domestication is more audience-friendly when it comes to understanding. However, this thesis believes that if the translator adopted the strategy of “overwhelming domestication” and used some expressions in the target language which failed to be the equivalent of the original, the meaning of the source text would be distorted, making it even harder for the translator to secure the readers’ horizon of expectation.

The following is an example taken from the translation of a material lexical gap “五供儿”:

（3）ST：娘娘，我得到一堂景泰蓝的五供儿，东西老，地道，也便宜，坛上用顶体面，您看看吧？

TT：Your Imperial Majesty, I managed to get hold of a set of cloisonne incense burners, five pieces in all. Antiques! The real thing! Dirt cheap too! Just right for the altar of our secret society. Why not have a peep of them?

Known as a set of vessels carrying the sacrifice during worship rituals in ancient China, “五供儿” first got its name from the amount of pieces of wares. In Teahouse, although the translation of “incense burner” kept some of its sacrificial usage, the actual meaning of the phrase was lost. After some research, therefore, the author believes it is more accurate if the translation would be changed into “sacrificial vessel”.

'''4.2 Foreignization'''

When it comes to the translation of “vacancy” or “gaps” in cross cultural communication, foreignization could help to narrow a bit through retaining the exotic feelings and traces of the original. However, little of lexical gaps in ''Teahouse'' were translated under the guidance of this strategy, which is partly due to the fact that most of the lexical gaps in the work were members of “absolute vacancy” which were unable to find their corresponding or even similar equivalents in the target language society. For instance, the material lexical gap“杂和面儿疙瘩汤”was translated literally into“a bowl of dough soup with maize flour”, an expression showing the ingredients of the snack. Meanwhile, the social lexical gap “北衙门” was translated into “Northern Yamen”, which combined both literal translation and transliteration conducive to meeting the innovative expectation of the audience of Beijing in modern China.

===Conclusion===
Drama is a unique literature genre with dual identities, both on the page and on the stage. The dual characteristics of dramatic text make drama translation distinct from other forms of literary translation. Reception aesthetics theory has practical guidance for the translation of drama works. Through the analysis of the translation strategies of various lexical gaps in ''Teahouse'', it has been found that at the early stage of reform and opening up when the Chinese literature was eager to go abroad and be well-received by the audience overseas, the translator had to adopt the strategy of domestication most of the time so as to cater to their horizon of expectation, even when it came to the translation of lexical gaps which may find no natural equivalents in the target language. Therefore, it could be concluded that translation literature is closely linked with politics, a notion echoing with the background witnessing the birth of reception theory.

The contents and key notions of reception aesthetics theory are discussed in this paper, which is helpful to have a more comprehension understanding of this theory. Then there is the definition and classification of lexical gaps in ''Teahouse''. As the treasure in the history of Chinese modern drama, the study of ''Teahouse'' is arousing more and more attention and academic interest both in China and abroad. Translation strategies --- foreignization and domestication in translation are highlighted in this paper, which has been elaborated by examples. In translation practice, only when the conceptual meaning and cultural meaning of lexical gaps are taken into account can the translator convey the meaning of words accurately and meet the readers’ horizon of expectation.

However, limitations are inevitable in this thesis due to the pressing time. Due to the writer’s limited knowledge and capacity, the analysis of the lexical gaps of ''Teahouse'' can never be all-inclusive. Yet it’s worth noting that researches on the Chinese drama ''Teahouse'' and the reception aesthetic theory should never come to a halt now that the background has changed from the way it used to be more than 40 years ago.

===References===
*Hall, Edward (1959). The Silent Language[M]. Garden City: Doubleday.

*Hockett, Charles (1954). Chinese Versus English: An Exploration of the Whorfian Theses[A]. Harry Hoijer(ed.). Language in Culture[C]. Chicago: University of Chicago Press.

*Jauss, Hans (1989). ''Question and Answer''[M]. University of Minnesota Press.

*Venuti, Lawrence (2008). ''The Translator’s Invisibility: A History of Translation''[M], London and New York: Routledge.

*Gao Fengxia 高凤霞. (2010). 跨文化交际中的文化空缺现象探讨[A Study of Cultural Vacancy in Intercultural Communication]. 社科纵横Social Sciences Review (03): 112-115.

*Lu Jun, Ma Chunfen 陆军, 马春芬. (2009). 从文化翻译观的角度看老舍《茶馆》两个英译本中文化信息的处理[Cultural information processing in Lao She's Two English versions of ''Teahouse'' from the perspective of Cultural Translation Theory]. 安徽文学Anhui Literature(10): 293-294.

*Jin Yan 金艳. (2022). 老舍《茶馆》翻译的文化记忆再现研究[A Study of Cultural Memory Representation in the Translation of Lao She's ''Teahouse'' ].中国朝鲜语文Korean Language in China(02): 83-89.

*Qu Suwan 渠苏婉. (2019). 接受美学视域下《茶馆》两译本中方言词汇的翻译[Study on the Translation of Dialect Words in ''Teahouse'' from the Respective of Reception Aesthetics]. 齐齐哈尔师范高等专科学校学报Journal of Qiqihar Junior Teachers' College (05):62-64.

*Xu Gaoyu, Zhao Qiuye 许高渝, 赵秋野. (2008). 俄罗斯心理语言学和外语教学[Russian Psycholinguistics and Foreign Language Teaching]. Beijing: Peking Univesity Press北京大学出版社.

*Yu Shan 于杉. (2015). 接受美学视角下《茶馆》两译本中文化负载词的比较研究[A Comparative Study of Culture-loaded Terms in Two English Versions of ''Teahouse'' from the Perspective of Reception Aesthetics].吉林大学Jilin University.

*Yu Yanqing 于艳青. (2016). 老舍作品《茶馆》的隐喻研究和文化解读——以霍华和英若诚英译版本为例[A Study of Metaphor Translation of Lao She’s ''Teahouse'' and Its Cultural Interpretation——A Case Study of Howard and Ying Ruocheng’s Versions]. 济宁学院学报Journal of Jining University(06):93-97.

===Terms and expressions===
Reception aesthetics theory 接受美学

Blank 空白

Horizon of expectation 期待视野

Fusion of horizons 视域融合

''The Translator’s Invisibility'' 《译者的隐身》

Material lexical gaps 物质类词汇空缺

Social lexical gaps 社会类词汇空缺

Religious lexical gaps 宗教类词汇空缺

Linguistic lexical gaps 语言类词汇空缺

===Questions===
1. How does the two reception activities work in the process of translation?

2. What is the definition of lexical gaps?

3. How many categories did the thesis divide the lexical gaps into?

===Answers===
1. There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text.

2. Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.

3. Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps.

==英语笔译肖佳莉 Xiao Jiali 202170081600 MW==

<center>'''The Canonization of Tao Te Ching'''</center>

<center>Xiao Jiali</center>

===Abstract===
Tao Te Ching can be divided into two parts.The first part of the moral Sutra is called the Taoist chapter, and the second part is called the moral chapter.The philosophical works written by Lao-tzu in Luoyang during the Spring and Autumn period.Taoism focuses on the view of the universe and nature.The moral focuses on social outlook and outlook on life. What does this mean?
First of all, we should know that all the schools of pre-Qin in China are concerned about the sociology of human relations, and almost no one cares about the problems of nature, which is in sharp contrast to ancient Greek philosophy. With the exception of Socrates, all the ancient Greek philosophers were concerned about the view of nature and the universe. Thales, the first philosopher in ancient Greece, left famous allusions, which were summed up by later generations into four words, called "looking up at the starry sky". However, it is strange that all the hundred schools in the pre-Qin period in China are all concerned with the sociology of human relations.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译谢晓莹 Xie Xiaoying 202170081601 CE==
<center>'''On the English Translation of The Analects in the Contemporary Era'''</center>

<center>谢晓莹</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译熊嘉玲 Xiong Jialing 202170081602 CE==
On the C-E Translation of The Book of Songs
<center>'''On the C-E Translation of The Book of Songs'''</center>

<center>Xiong Jialing</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译杨心怡 Yang Xinyi 202170081604 MW==

The Source of China Children's Literature and the Dilemma of Its Translation

==英语笔译杨紫微 Yang Ziwei 202170081605 CE==

<center>'''The English Translation of the Names in A Dream of Red Mansions from the Perspectives of Domestication and Alienation'''</center>

<center>Yang Ziwei</center>

===Abstract===
"A Dream of Red Mansions" is a great work of high ideological and artistic quality. There are many characters in the book, including more than 300 people with names. Some of the names of these characters are allusions to classics, and some borrow homophonic techniques, and these names also suggest backgrounds, identities, characters and fates of the characters. Cao Xueqin is unique in naming characters. However, due to the cultural background differences in the translation process, it is often difficult for translators to accurately translate the true meaning hidden behind names. Based on this, this paper intends to analyze the characteristics of people's names in A Dream of Red Mansions and explore the translation art of people's names in its English version. In addition, this paper compares Hawkes and Yang Xianyi's translation methods and rules in name translation from the perspective of domestication and alienation, so as to increase its fluency and readability and promote the spread of Chinese culture.

===Key words===
A Dream of Red Mansions;Domestication and Alienation;Name translation.

===Introduction===
A Dream of Red Mansions is one of the four great classical novels in ancient China. Written in the late feudal society, it systematically summarizes the cultural system of Chinese feudal society, deeply criticizes all aspects of the feudal society, and reaches the peak of ancient Chinese literary creation in terms of language and artistic aspects. On the one hand, the English version of A Dream of Red Mansions has provided western readers with an opportunity to understand Chinese culture, and on the other hand, it has made remarkable contributions to the cultural exchanges between China and the West. There are many characters in A Dream of Red Mansions. Cao Xueqin, the author, gives the characters distinctive characteristics with his ingenious naming techniques. Some of them quote ancient poems and some use homophony. The identity, character and even the whole life and destiny can be seen from the names. It is indispensable to understand the deep meaning of characters' names for grasping the connotation of literary works and letting English language readers understand the feudal culture of China.
In the 1980s, there appeared a complete English translation of A Dream of Red Mansions, the two most famous English translations nowadays which from Yang Xianyi and Hawkes. When translating the names of people in books, Yang xianyi and his wife mainly use transliteration of names, while Hawkes adopts the strategy of transliteration of main characters and free translation of secondary characters. Based on this, this paper analyzes hawkes and Yang Xianyi's translation of names from the perspective of domestication and alienation in order to explore the gain and loss of their translation of names.

===Literature Review===
To promote intercultural interaction, introducing Chinese culture to the world is important and urgent. Due to differences in cultures and languages in different countries, the most feasible and efficient way is to translate Chinese books for foreign readers. Chinese Classic literature is an insignificant part of Chinese culture, which plays an important role in this cultural communication, so translation of literary works is in desperate need.
Among all the literary works, A Dream of Red Mansions, as the Four Greatest Classic Novels, draws more and more attention from translators because of its artistic language, significant cultural values concerning aspects such as culinary, clothing, building, economy, politics, morality and so on. According to the view in Translation Strategies of Chinese Names in A Dream of Red Mansions, it is a rare book that deepens one’s understanding of the meanings of being human. Thus the translation of it is indisputably the greatest work among all the classic Chinese novels.
Acknowledged as a pinnacle of Chinese novel, A Dream of Red Mansions is a mixture of realism and romance, psychological motivation and fate, daily life and supernatural occurrences and the more than 400 names of characters in this novel represent the artistry of Chinese naming. Cao Xueqin deliberately located connotations and special functions in these names through their sounds and forms, giving them evocative and associative meanings and communicative functions.
As the symbol of human life, a name reflects elements of culture. As carriers of the writer’s values, ideas, artistry and creativity, names in literature which are associated with theirs scenarios, play active parts in the development of the story. In other words, naming is a kind of writing device to describe characters and present the theme. As a matter of fact, writers can give characters names which characterize them with associative cultural allusions. Because of its uniqueness, a personal name is a sign which distinguishes one person from the others. In addition, names especially those of literary figures possess special connotations concerning identity,status, personality physical features, fate and the theme. But it also brings great difficulties for translators to do translation.
To solve this problem, I choose name translation of this novel as my research target and compare translation strategies of Yang Xianyi and David Hawkes in the process of translating names in A Dream of Red Mansions.

===Methods and Theories===
This paper uses a text comparison analysis method, from the perspective of domestication and alienation, compares and contrasts the two English translation versions of Hawks and Yang Xianyi to analyze their translation methods and effect in name's translation of A Dream of Red Mansions. And this paper also compares the advantages and disadvantages of the two versions to explore how to output a high quality of the translation of Chinese classics as well as promote foreigners' understanding of Chinese classics. This thesis applies the theories of domestication and alienation in translation.

===Subtitle 1===
1. Significance and Characteristics of Personal Names

As an important form of cultural carrier, name has a long history of development and rich cultural connotation. The etymology of people's names is very extensive, and there are many allusions involved in it. The cultural capacity is huge and changeable, so the study of name's culture and translation of it is of great theoretical significance and practical value.

Literature, in essence, is also "human studies". The creation of literary works has always been centered on the description of "characters", which reflects the social reality through the characterization of characters. In general, in order to describe the characters' personalities more deeply, and to hint at their experiences, fates and endings, the author always chooses the names of the characters carefully. To some extent, text or narrative analysis usually follows a basic principle, that is, choosing names is an important technique in shaping characters' images, and each name has the function of showing characters' personality, vitality and fate.

As for siginificance of names in the work, Cao Xueqin's characters in A Dream of Red Mansions can be divided into three categories: the first category is the name indicates the development of the story. These symbolic names are usually named with homonym, that is, the sound of name reveals the connotation meaning of it which is the combination of sound and meaning. Such as “甄士隐” in the work, its homophonic meaning is "true things hidden"; “贾雨村”, that is "false language exists ", means to compile a story with false language. The second type is the name of the character indicates the fate and outcome of characters. Such names often indicate the author's laments for the tragic fate of the characters in the stories. For example, the names of “元春”，“迎春”，“探春”and“惜春”in Jia Family adopt the artistic technique of hidden pun, and the homonym of them when they are read together is “原应叹息”(Yuanyingtanxi) which means one should sigh(Qin Qiyue,2016). The third one is the personality and image implied by the name of the character. Cao Xueqin also used characters' names to introduce the characters' images and personalities suggestivingly. At the same time, through the names of these characters, readers can feel the author's basic attitude towards these characters, such as “贾敬” in the work, its homonym is "false dignity", suggesting that the character does not care about the world's psychological state; There is also “贾赦”, homophonic for "lustfulness", suggesting its lustful personality characteristics. It can be seen that names have irreplaceable functions and values in A Dream of Red Mansions.

In the aspects of characteristics, there are also three types of names: the first one is using homophonic names. For example, the homonym of “贾雨村” is "False language exists"; “甄士隐” is "truth hidden", which means that the truth of the matter is hidden; “英莲”means "should pity" which expresses that this character is worthy of sympathy and the homonym of the maid “娇杏”（侥幸） is "lucky". The second type is named after an anecdote. A typical example is the origin of Jia Baoyu. When he was born, there was a psychic treasure jade in his mouth which also engraved words: Never forget; Long expectancy(莫失莫忘，仙寿恒昌)(Duan Ruifang,2016). The Jia family therefore regarded him as a gifted child who could honor his family. The third is named after jade and jewelry. The name is not only an appellation symbol, but also reflects the identity, background, status, personality, vision and hobbies of the characters. Several large families in A Dream of Red Mansions naturally hope to have a prosperous family and a bright fortune, so many characters are named after gold and jade. Such as Baoyu, Baochai, Jia Zhen, Jia Zhu, Pearl, Amber and so on.

===Subtitle 2===
2.Translation Theories

The terms of domestication and alienation or foreignization were put forward by Lawrence Venuti, a famous American translation theorist, in his book The Invisibility of the Translator in 1995. As two translation strategies, domestication and alienation are opposites but complement each other. Absolute domestication and absolute foreignization do not exist. Historically, foreignization and domestication can be regarded as the conceptual extension of literal translation and free translation, but they are not completely equivalent to literal translation and free translation. The core problem of literal translation and free translation refers to how to deal with form and meaning at the linguistic level, while foreignization and domestication break through the limitations of linguistic factors and expand their horizons to linguistic, cultural and aesthetic factors. According to Venuti, the law of domestication is "to bring the original author into the target language culture", while the law of alienation is "to accept the linguistic and cultural differences of a foreign text and bring the reader into a foreign situation. It can be seen that literal translation and free translation are mainly value orientations limited to the language level, while foreignization and domestication are value orientations based on the cultural context. The differences between them are obvious and cannot be confused.

2.1 Domestication

Domestication is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to(Yang Yujie, Liao Ying,2014). It requires the translator to be close to the target language reader. The translator must speak like the native author. In order for the original author to speak directly to the reader, the translation must become authentic in the native language. Domestication translation helps readers to better understand the translation and enhance the readability and appreciation of the translation.

2.2 Alienation

Alienation means "the translator as little as possible to disturb the author, and let the reader close to the author"(Yang Yujie, Liao Ying,2014). Translation is to accommodate the language characteristics of foreign cultures and absorb foreign expressions which require the translator to be closer to the author and adopt expressions corresponding to the source language used by the author to convey the content of the original text, that is, to turn the source language into a destination. The purpose of using alienation is to consider the differences of national culture, preserve and reflect the characteristics of foreign ethnic and language style as well as the exoticism for target readers.

Since translation requires us to faithfully reproduce the original author's thoughts and style, which are highly exotic, so it is inevitable to adopt alienation; At the same time, the translation must take into account the readers' understanding and the fluency of the original text, so the adoption of domestication is necessary. It is not desirable or realistic to choose one strategy to the exclusion of another. Each of them has its own advantages and disadvantages, so the final translation cannot be achieved by focusing on one and losing the other.

In translation, we are always faced with the choice of foreignization and domestication, so that we have to find a "fusion point" of translation(Wang Wenting,Xuan Zhifeng ,2016). This "fusion point" sometimes closer to the author, sometimes to the reader. In other words, foreignization does not hinder the smoothness and understandability of the translation, and domestication does not lose the flavor of the original text. At the same time, we should stick to the strategy of domestication of the language form, and carry out foreignization of its cultural factors. In this way, translation works can combine the advantages of the two strategies and avoid the disadvantages. Therefore, domestication and foreignization should have a complementary dialectical unity relationship in the actual translation process.

===Subtitle 3===
3.Contrastive Analysis of Name Translation from the perspective of Domestication and Alienation

3.1 Name System in A Dream of Red Mansions

There are more than 400 names in the book. Every name has its own connotative meaning and special function. The use of semantic puns can be found everywhere in A Dream of Red Mansions from the naming of the rich to the servants. In this paper, I divide it into four types to analyze its translation in a clear way.

3.1.1 Names of People of High Social Status

The author used different Chinese character components or radicals to distinguish seniority in the family when naming nobles. For example, from the word "代" of names "贾代善" and "贾代化", we can know that they belong to the same generation, the same with "贾赦" and "贾政" according to Chinese character component "反", "贾琏" and "贾珍" with radical "王", "贾蓉" and "贾菌" with"草"(Chen Ying,2016). However, the author did not adopt this rule when naming Jia Baoyu（贾宝玉）, mainly to highlight the particularity of him and his special status in Jia family. In addition, the naming of four noble women in Jia family also has a unique charm. The four daughters are 贾元春,贾迎春,贾探春 and 贾惜春, their name of the first word is just four words homophonic “原应叹息” which means "should sigh". After entering the palace, Yuanchun was appointed as an imperial concubine. She sighed and wept when in matrimony. although enjoy all the glory and wealth in palace but she always difficult to flat the pain of her mind because of departure with family members; Although Yingchun was coward, she had a pure and kind heart. Unfortunately, she was betrothed to Sun Shaozu and had been abused quite often after married and died miserably. Tanchun was both talented and beautiful. However, as the family decayed, she had married far away and cut off contact with her relatives. It was really pitiful. Xichun's mother died early and her father did not take good care of her, and she was brought up by Grandmother Jia. Later on, the decline of four big families and the tragic fate of her three sisters made her decide to be a nun. From all of these, we can see that the author intends to use homophonic technique to express his deep sympathy wit their unfortunate fate with “原应叹息” or "should sigh"(Chen Ying,2016).

In addition, formerly known as "Zhen Yinglian" or "Xiang Ling", she was the daughter of Zhen Shiyin originally, who was abducted by a human trafficker. She thought her fate would turn around when she met Feng Yuan, but Xue Pan snatched her away and she was beaten and cursed by a bad woman Xia Jingui. The author named her "Yinglian" whose homophonic meaning was "should pity" to express his deep sympathy and regret.The woman with real power of the family is named “王熙凤”.“王”is a homophone to “亡” which means “to die and vanish”,“熙” means “brightness and property”and “凤”refers to “phoenix” which is the symbol of“nobility, dignity, power and wealth” Therefore, the whole name suggests that “prosperity, dignity and power will be gone”. "林黛玉" has a sense of weakness, bitterness and sensitiveness, because the family name“林”originated from a tragic story. In Shang Dynasty, the chancellor named Bigan was killed with his heart being gouging out and his wife escaped into a cave covered with forest and luckily, she gave birth to a son and survived. Since then, her son was bestowed with the family name“林”by the next brilliant king -Wu king of Zhou Dynasty. As a consequence,“林”,as a family name suggests eventful fate and life. “黛” means “black” which gives a sense of “bitterness and misery”and “玉”means "jade" which is fragile and easy to break. Another one in the novel is called“薛宝钗”.“薛”is the homophone of “削” which means “getting rid of or discarding”;“宝钗”is actually“宝钗楼”which is the place where prostitutes live it is a living hell to virtuous girls. Accordingly. the name owner is doomed to be abandoned and live in misery.

3.1.2 Names of Maids

There are many servants in the rich and powerful Jia family and their names have different functions in the story. I have chosen some of them to analyze and explain their functions.

In ancient China, the status of servants was so low that they could not be named by themselves, but their masters gave them the name(Duan Ruifang,2016). Therefore, the name of a servant largely represents the interests and cultural accomplishment of his or her master. Some of the maids' names indicate the status of their masters. For example,“琥珀” and “珍珠” are both Grandmother Jia's personal servant girls, since amber and pearl are precious jewelries, their names reflect that Grandma Jia occupies the highest status in Jia family. And as the daughter-in-law of Grandmother Jia, Lady King had her maid named “金钏” and “银钏”, which was not arrogated but prosperous.

Some of the maids' names show the personality and interests of their masters, such as those of Baoyu: “袭人”，“晴雯”，“锄药”，“焙茗”. The author named the servant girls around Baoyu with plants in their names, which reflected Baoyu's wildness and unwillingness to be bound by feudal etiquette and customs. The servant girls around the four girls in Jia family are “司棋”，“侍书”，“抱琴”，“入画”, which reflect the interests of the four girls as well as their personal expertises. Other servants' names reflect the expectations of the master. For example, Wang Xifeng's servants named as “平儿”,“封儿”,“兴儿”and“隆儿”.As Jia's financial housekeeper, Wang Xifeng was in charge of Jia's financial expenses, she was careful in budgeting and valuing money very much, so she was eager to be prosperous,and names of her servants mapped her aspiration.

In addition, there are also some servants' names reflecting the character of their masters. For example, Li Wan's two servant girls “素云” and “碧月”. Though li Wan became a widow when she was young, she craved neither money nor power and devoted herself to taking care of her mother-in-law and father-in-law and her son. Her heart was as pure and white as the maids' names around her.

3.1.3 Names of Performers

In Jia Family, there are entertainers named“宝官”，“棋官”“玉官”，“藕官”，“葵官”，“艾官”,“豆官”，“药官”，“茄官”，“蕊官”，“文官”，“芳官”and“龄官”(Cao Xue, Yin Xiaotang,2020).These names can be divided into three types:
(1)Names related to jewelry: “玉官”，“宝官”and“棋官”. These names show the nobility and high dignity of their masters;
(2)Names connected with flowers and plants: “藕官”,“葵官”、“艾官”，“豆官”,“药官”,“茄官”and “蕊官”.This indicates temperament and personality of the actresses who are tender and delicate;
(3)Names associated with personality: “文官”,“芳官”and“龄官”. And the last one indicates personal talents and charms of the actresses.

3.1.4 Names of Monks,Immortals and Nuns

Names of nuns include “静虚”,“智能”and“妙玉”which implicate meaning of tranquility, wisdom, capability and so on. These are all desirable virtues to people who believe in Buddhism. Names of immortals are“茫茫大士”,“渺渺真人”,“空空道人”,“警幻仙子”,“神瑛侍者”and“绛珠仙子”. As long as these immortals show up, there will be a turn of development of the story. All these names of immortals have a sense of mystery and extraordinariness(Cao Xue, Yin Xiaotang,2020).

3.2 Constractive Analysis of Translation Strategies of Yangxianyi and David Hawkes

3.2.1 Transliteration

Transliteration is to translate the source language through pinyin according to the pronunciation of Chinese, reserving only the pronunciation of the source language but not the content, meaning and writing form of the original text.

At present, transliteration is the most commonly used method in the translation of Chinese names. Yang Xianyi's version and Hawkes' version mostly use this method in the translation of main characters’ names, but there are subtle differences in the details. Yang's translations often use the phonetic transliteration of Wei's(韦氏音标音译). For example: 甄士隐, Chen Shih-yin；贾雨村，Chia Yu-tsun；贾宝玉， Chia Pao-Yu；林黛玉，Lin Tai-Yu；贾政，Chia Cheng；贾雨村，Chia Yu tsun；薛宝钗，Hsueh Pao chai；元春，Yuan-chun；迎春，Ying chun；惜春，His chun；探春，Tan chun；金钏，Chin Chuan；袭人，His jen；宝官，Pao Kuan. This translation is more in line with the common pronunciation habits of English and more acceptable to foreign readers. Hawkes mostly uses Chinese pinyin, for example: “甄士隐” is translated as Zhen Shiyin, “贾雨村” as Jia Yucun, “贾宝玉” as Jia Baoyu and “林黛玉” as Lin Dai-yu. This translation method retains the original taste of the original work to a large extent, making it easier for foreign readers to understand the most authentic Chinese culture.

From the perspective of domestication, Yang's translation retains the naming rules of the original text for the convenience of Chinese readers. From the perspective of alienation, Hawkes chose the easiest translation method, and such transliteration of names can be regarded as the introduction of a unique name culture for the West. On the other hand, although the translation is simple and straightforward, it only preserves the pronunciation and writing form of the source language, but loses the profound connotation of the original text.

3.2.2 Free Translation

Free translation is to translate according to the general meaning of the source language. It is neither word for word nor limited to the form of the source language, but more focused on connotation expression(Duan Ruifang,2016). Hawkes usually uses free translation when translating many metaphorical and homophonic names. Free translation is embodied in the following three ways:
(1)Literal translation of the original language. It largely preserves the literal and imaginary meanings behind it, such as the two maids of Grandmother Jia, “珍珠”and “琥珀”, which are translated as "Pearl" and "Amber" respectively. It highlights the Grandmother Jia’s prominent status in family.
(2) The original name is explained and extended according to the meaning of the target language. This is a way to enhance the readability of the translated text and make the foreign language readers easily accept the strange and obscure traditional Chinese culture. For example,“晴雯” is translated as "Skybright", which means "clear sky". The clear sky after rain fits the image of Qingwen as lively, cheerful and intelligent, which can enhance readers' impression of her.
(3) Adjust the original name and reconstruct the image. For example, the name of Daiyu's servant girl is “紫鹃”, which originally means "cuckoo". This kind of bird often expresses the meaning of "sorrow" in Chinese classical literature, which can easily remind people of the tragic fate of its owner. However, in English, cuckoo can not express this meaning. Therefore, Hawkes changed it into "Nightingale". And “袭人” was translated into Aroma, but it did not show the kindness and thoughtfulness of Aroma in her name.

As for Yang Xianyi, in order to keep the characters' names connected with the original story, he adopts free translation in the names of deified figures, such as monks. For example, “空空道人”was transalated as “The Reverend Void”, “渺渺真人” as “Boundless Space” and “茫茫大士”as “Buddhist of Infinite Space”. In Chinese feudal society, married women were addressed with their husband's surname, such as “贾氏”，“尤氏”and“封氏”. Yang's translation did not directly transliterate them but translated “尤氏” into "Madam Yu", indicating her position of the household steward. “贾氏”was translated as "Mrs.Jia," implying that she was the mistress of the family. .“贾母” was translated as “Lady Dowagers” and “刘姥姥”was Granny Liu(Chen Ying,2016).

3.2.3 Annotation

Due to the huge differences between Chinese and Western cultural backgrounds, it is difficult for target language readers to accurately comprehend the special meanings behind names as the source language readers do. Based on this situation, Yang Xianyi used pinyin in the translation, but in order to truly translate the original work, it is necessary to interpret or remark the cultural connotation implied by the name in the original work. This is because a few words can not fully explain the inner meaning, adding annotations is a crucial tool. There are two main reasons for the use of annotation method. First, annotation is not limited by the number of times and sentence length, so it can better fill the deficiency of free translation and literal translation. The other is that annotation will not interfere with the integrity and structure of the original text. According to these characteristics of annotation method, it can be concluded that all character names can be properly and accurately translated through annotation.
Hawkes’s and Yang's versions have adopted appropriate annotations to facilitate readers' understanding.
For example, Yang translated “甄士隐” as Zhen Shiyin. Homophone for "true facts concealed." while Hawkes translated it into Zhen Shi-yin(the Zhen-another word-play (who are a sort of mirror-reflection of the Jia family). Annotations are used in both translations to further explain the inherent meaning contained in character names. However, too simple annotations cannot effectively achieve the purpose, and too detailed translation will load redundant cultural information into the target language, causing reading barriers for readers and making it difficult for them to reproduce in the target language. Therefore, learn how to use annotation properly is hard but significant.

===Subtitle 4===
4.Influence of Name Translation in A Dream of Red Mansion

The translation purpose of Yang's translation is given by the Foreign Languages Press, so when facing translation problems, he chose the strategy of transliteration and try his best to be faithful to the original text(Chen Ying,2016). It is precisely because this translation mostly retains the original information of A Dream of Red Mansions and respects its cultural characteristics to a certain extent. With the development of China's soft power, Yang's translation has attracted more and more Western readers who are trying to understand with the help of Yang's translation the original ideas and cultural essence conveyed in the book. Similarly, Hawkes' translation should not be underestimated, especially for western countries. First of all, as a foreigner, he was able to complete the huge task of translating A Dream of Red Mansions. In addition, he gave full play to his initiative in translating characters' names. Getting to know hundreds of characters is a big problem for Western readers, who can't understand the deep meaning of the names. Hawkes used different translation strategies to give them English names and tried to help readers get a clear picture of the characters. It can be said that Hawkes's translation can make it easier for foreigners to understand Chinese culture, thus it plays an important role in the process of Chinese culture going to the world.

All in all, A Dream of Red Mansions represents the profoundness of Chinese classical culture. With the rapid rise of China's economy and the increasing curiosity of western countries about Chinese culture, it is a good opportunity for China to show its long history and culture to the world. We should strive to improve the translation of "A Dream of Red Mansions", and use a variety of methods to reduce readers' reading barriers and promote the spread of Chinese classical culture.

===Conclusion===
Hawkes uses transliteration of the main characters and free translation of the minor characters which better let English readers understand the connotation of the name, but also to reveal and predict the fate of the character. But on the whole, there are still some shortcomings in the translation(Wang Wenting,Xuan Zhifeng,2016). This kind of translation can help spread the original works to the West, make the target language readers better understand Chinese culture, and correct the mistakes in other English translations. However, because of direct transliteration, it is difficult for the target readers who do not know the Pinyin of Chinese characters to understand original text. If the annotation method is used to assist the translation and the annotations are added after transliteration, the target readers can understand the exact meaning of the original text. For girl servants names' translation, Hawkes mainly adopts the free translation strategy to translate the name according to the character's personality and fate, but this kind of translation is too generalized, which hinders the cultural communication between source language and target language, resulting in the reader can't fully understand the original meaning and losing the elegant charm of the original language.

Although the transliteration strategy adopted by Yang Xianyi failed to translate the pun, it also conveyed the original information to the maximum extent. His free translation based on his understanding of Chinese culture, which not only respects the literary context of the original work, but also smooth the understanding of English readers, and effectively reproduces its literary meaning.

By analyzing the English translation of names of Yang Xianyi and David Hawkes, we know that there is not fixed rules or uniform patterns in the translation of names. Whether transliteration, free translation, transliteration listed, or some special translation approaches, they require the translator, according to the specific style, the rhetoric and content of works, to convey the original meaning.

===References===
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*Duan Ruifang 段瑞芳(2016).《红楼梦》英译本中的人名翻译艺术[The Art of Name Translation in the English Version of A Dream of Red Mansions].Overseas English(15):101-102.

*Lin Yao林瑶(2020).从功能翻译理论对比分析《红楼梦》的杨译本和霍译本的人名翻译[A Comparative Analysis of the Translation of Names in Yang's and Hawkes's versions of A Dream of Red Mansions from the Perspective of Functional Translation Theory].中外文学[The Chinese and Foreign Literature],4-5.

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==英语笔译张国浩 Zhang Guohao 202170081606 MW==

<center>'''A Brief Analysis of Strategies of Promoting the Translation of Chinese Classics "Going Abroad"
'''</center>

<center>Zhang Guohao</center>

===Abstract===

Chinese culture is broad and profound, which has a long history about 5000 years. Classics culture is one of the most representative characteristics of Chinese culture. In the course of China’s five thousand years of civilization, a large number of ancient classics have been formed by the inheritance of Chinese culture and the creation of its spiritual connotation. These Chinese cultural classics contain a lot of wisdom, which is of great significance to solve the problems faced by human society today. With the increasingly close ties between countries in the world, cultural exchanges have become more frequent. Promoting the culture of Chinese excellent classics to go abroad is an important means to enhance the soft power of national culture. However, the translation of Chinese classics is still facing many difficulties at present. Chinese cultural classics are voluminous and rich in connotation. In the process of foreign translation and communication, it is necessary to improve the training mechanism of professional translators, build a market-oriented external publishing mechanism, and build a high-quality system of foreign translation of Chinese cultural classics.

===Key words===

Chinese cultural classics; Foreign translation strategies; Communication of Chinese culture

===Introduction===

China is one of the four ancient civilizations in the world and the only one among the four ancient civilizations whose traditional culture has been continued without interruption. The long history of Chinese culture is mainly due to the passing down of a large number of cultural classics. In the new era, China’s comprehensive national power and international influence have increased significantly, and there is a greater demand for spreading Chinese culture to the outside world and for the world to understand Chinese culture. Under this background, the translation of Chinese cultural classics has become inevitable. Under the circumstance of fierce cultural competition in today’s world, it is an important problem to be solved urgently that how to spread excellent Chinese classic culture to foreign countries and obtain important results. Culture is open and can only be inherited and developed in mutual exchanges. As the carrier of Chinese culture, the translation and dissemination of Chinese cultural classics are closely related to the improvement of China's international status and international influence. While the comprehensive national strength and international influence are greatly improving, China should further strengthen its cultural self-confidence, and strengthen the protection, inheritance and promotion of Chinese culture in the construction of socialist culture with Chinese characteristics, so as to maintain the Chinese style in the forest of nations in the world and highlight the Chinese style. To make China's voice heard requires not only telling the story of contemporary China, but also letting the people of the world know China from the depths of their soul and spiritual essence. In this context, Chinese cultural classics have become the basis for inheriting and carrying forward Chinese culture, and the dissemination of Chinese culture through traditional cultural classics has also become an important way to promote Chinese culture to the world. This paper will discuss the connotation of the culture of classics, the current situation and difficulties of the foreign translation of Chinese cultural classics and the significance of the foreign translation of Chinese cultural classics. Finally the author puts forward feasible strategies and schemes to promote the foreign translation of Chinese cultural classics, so as to provide reference and guidance for the translation of Chinese cultural classics in the future.

===1. The Defination of Chinese Cultural Classics===

According to Li Zhengshuan, cultural classics refer to ancient books or documents that record natural, humanistic and philosophical ideas as well as important laws and regulations (Li, 2012: 42). Generally speaking, classics mainly refer to the carving copies, hand-copied books, manuscripts and books of rubbings etc. of the previous dynasties before 1911. The concept of Chinese cultural classics have two meanings. Firstly, it refers to the important ancient documents and books-classical works in various fields of social sciences and humanities and natural science in China. Secondly, it refers to ancient Chinese codes and systems. As far as the value of cultural classics is concerned, it refers to the literature and classical books that have withstood the test and selection of time and played an important role in promoting the progress of national civilization and even the world civilization. In terms of its subject, the cultural classics include classics of ancient Chinese philosophy, religion, literature, military science, history, science and technology, law and so on. No matter in which era, cultural classics have always been studied, enriched, annotated, interpreted and used by scholars of all dynasties. They are the spiritual wealth shared by all mankind. As the prototype symbol of national culture, they have the function of continuous regeneration and inheritance.

===2. The Significance of Translation of Chinese Classics===

Firstly, the translation of Chinese classics has always been an important part of cultural exchanges between China and the west, and it is also an important way for the dissemination of Chinese history and culture. Chinese classics not only have important ideological value, but also contain rich cultural information, which makes them more difficult to understand and translate. Therefore, the accurate and complete transmission of the cultural information in the classics is of great practical significance for carrying forward Chinese culture and carrying out cultural exchanges between China and the West. However, due to historical reasons and the particularity of Chinese characters, the excellent culture accumulated in the process of Chinese civilization for thousands of years is rarely introduced to the world, so that the world lacks a comprehensive and in-depth understanding of China’s long and splendid history and culture. Therefore, the translation of Chinese classics is particularly important in the context of economic globalization.

Secondly, we have entered an era of globalization nowadays. If any nation or country wants to remain invincible among the world’s nations, it must learn from others. While learning from other nations, we should also know how to introduce the excellent translation of Chinese classics abroad, so that the world can better understand China. Only in this way can we enhance our competitiveness on the international stage, which is also the need of our reform and opening-up policy. As Chinese people, we have the responsibility and obligation to spread the excellent culture of Chinese nation to all parts of the world. Culture is not only the embodiment of national cohesion, but also the cultural soft power has become an important factor in the competition of comprehensive national strength. As the core content of traditional culture, the translation of Chinese classics is one of the important contents of cultural output.

Thirdly, from the perspective of modern history, the Chinese culture compared with the culture of other nations is in a “weak culture” state. In this case, most foreign translators will inevitably reflect the features of their own class when translating and introducing Chinese cultural classics for the benefit of the rulers they serve. Therefore, it is necessary for Chinese translators to provide the world with more comprehensive, systematic, complete and original versions of Chinese classics.

===3. The Foreign Translation Process of Chinese Cultural Classics===

The translation of Chinese culture classics began in the Ming and Qing dynasties, and the translators were mostly Western missionaries and sinologists at that time. For example, the Italian priest Matteo Ricci translated ''The Four Books'' into Latin around 1594. The French priest Joseph de Prémare translated ''Sacrifice'' into French around 1735 and the British sinologist James Legge translated ''The Four Books and The Five Classics'' into English between 1861 and 1886. These foreign translators completed these translations with the assistance of Chinese assistants. Until the early 20th century, Chinese scholars began to undertake the translation of Chinese cultural classics independently.

Since the founding of the People’s Republic of China, Western sinologists and Chinese scholars have continued to work in foreign translation Chinese cultural classics. Among them, the representative foreign translation project was the English version of Chinese Literature, founded by Ye Yongjian in 1951, which was the only official foreign translation that translated and introduced Chinese contemporary literature at that time. Since initiating reform and opening up, the first milestone in the foreign translation of Chinese culture classics was the Library of Chinese Classics project launched by the Chinese government in 1995. it was the first major national publishing project in China's history to systematically and comprehensively introduce foreign versions of Chinese cultural classics to the world. The Library of Chinese Classics project selected 100 most representative classical works in the fields of culture, history, philosophy, economy, military affairs, science and technology from the pre Qin period to modern times and expert would collate and sort out the topics and versions in detail, and translate them from Writings in Classical Chinese to vernacular, and then from vernacular to English. Chinese leaders have given great support and high praise to this translation project, and have repeatedly presented this series of translated works as an official gift to foreign dignitaries on important occasions. In addition to English translation, the second phrase the Library of Chinese Classics project started in December in 2007 has published Chinese-French, Chinese-Spanish, Chinese-Arabic, Chinese-Russian, Chinese-German, Chinese-Japanese, Chinese-Korean versions in an effort to achieve multilingual publication of Chinese culture classics.

In addition, over the past ten years, there have been many foreign translation projects of Chinese cultural classics which were vigorously promoted by Chinese government. The above-mentioned translation projects at the national level have enhanced the cultural confidence of the Chinese people and improved the soft power of Chinese culture. This is due not only to the importance of national support for traditional culture and translation, but also to the hard work of translators and publishers.

===4. The Current Status of Foreign Translation of Chinese Cultural Classics===

Under the background of economic globalization, the translation of Chinese cultural classics has made great progress with the great attention of the Chinese government and the joint efforts of many Chinese scholars and translators in recent years. In 1995, China began to launch the “Library of Chinese Classics” project, which was the first major publishing project in China to comprehensively and systematically introduce Chinese traditional cultural classics to the world. “Library of Chinese Classics” projects not only accurately translates China’s historical and cultural classics to the world, but also shows the world great Chinese culture. But even so, the current translation of Chinese classics is still facing many difficulties.

The first problem refers that there is a shortage of professional translation talents, and the coverage of translation talent education is also narrow. In the new era, China will unswervingly open wider to the outside world and strengthen its cultural self-confidence. Obviously, China is required to make efforts to promote Chinese culture to the world. The translation of Chinese cultural classics is one of the basic ways to promote the spread of Chinese culture to the world. The external translation and dissemination of cultural classics can not be separated from high-quality translation versions whose key lies in the cultivation of translation talents. At present, China lacks professional translation talents, and the coverage of translated language is narrow. Although China regards English as the basic content of national education and has basically established a higher education system covering the world’s major applied languages, the translation of Chinese cultural classics is a highly specialized translation work, which requires translators to be familiar with Chinese culture and have a deep understanding of the history and culture of the target-language countries This kind of integrated talents is relatively scarce, and it is difficult to cultivate a large number of such talents in a short period of time under the existing translation talent education mechanism.

In addition, the selection of translation materials of Chinese cultural classics is concentrated and single. The word “classics” in Cihai means “important national documents”. Professor Wang Hongyin clearly put forward the concept of “Chinese cultural classics” and limited its scope from three aspects. Then professor Zhao Changjiang also explained its definition in detail. In summary, we can draw the conclusion that Chinese classics involve the three disciplines of literature, history and philosophy, Confucianism, three religions of Confucianism, Buddhism and Taoism, as well as Chinese military classics, scientific and technological classics and so on. Among the vast Chinese classics, the ones that are truly translated into foreign languages are mostly concentrated in philosophical works such as “ The Four Books and The Five Classics” and ancient literary classics such as “Dream of the Red Chamber”. However, the foreign translation of prose and drama is very rare. The foreign translation of cultural classics of other nationalities in China is rarely involved, while the translation of scientific and technological classics is almost ignored. Therefore, it is very necessary to expand the scope of selection for classics translation in order to spread Chinese excellent culture through classics.

Facing the strong competition of Western culture, the market-oriented communication mechanism is not perfect. The translation and dissemination of Chinese cultural classics should rely on the market-oriented publishing mechanism, while the cultivation of foreign audiences’ reading demands mainly depends on the improvement of China’s international influence, especially the improvement of China’s international status in the process of economic globalization. At present, in the face of the strong position of the West in the international discourse system, the translation and dissemination of Chinese cultural classics in the market publishing face the strong competition of Western culture. At the same time, the market demand for the publication and distribution of Chinese cultural classics also lacks effective integration, and it will be difficult to obtain lasting impetus to promote the dissemination of Chinese culture by relying too much on national financial investment or incorporating the translation and dissemination of Chinese cultural classics into the cultural exchange mechanism under the national financial burden. The imperfect market mechanism for the translation and dissemination of Chinese cultural classics, the lack of scientific evaluation of the international publishing market demand and targeted marketing mechanism are important problems in promoting the translation and dissemination of Chinese cultural classics.

On the other hand, the quality of translation is uneven, and the adaptability of local culture in target-language countries needs to be improved. The development of the foreign translation market of Chinese cultural classics not only needs to cultivate the reading needs of foreign audiences and incorporate them into the construction of the publishing market, but also needs to establish the awareness of quality and build a quality system. Nowadays, although some high-quality versions have been formed in the foreign language translation of cultural classics in China, the quality of some translation works is not satisfactory. It is difficult to accurately transform the classics into the local culture of target-language countries. Especially for some minority-language countries and ethnic groups, it is difficult for China to engage in high-quality foreign language translation and form an optional quality system due to the lack of professional translators. At the same time, when translating Chinese cultural classics into foreign languages, China needs to improve the localization of text content. Whether the translated works of Chinese cultural classics can be compatible with the history and culture of target-language countries will have an important impact on the dissemination ability of Chinese cultural classics.

At the same time, the translation of Chinese cultural classics is still unevenly distributed. At present, the translation of Chinese cultural classics mainly focuses on the cultural classics of the Han nationality, while the foreign translation of cultural classics of other nationalities are in the dilemma of “small quantity”. Due to their uniqueness, the foreign translation and dissemination of them are relatively more complex. According to statistics, there are less than 20 foreign translations of cultural classics of other nationalities in China since the late Qing Dynasty, and only a few ethnic cultural classics such as Tibetan, Mongolian, Zhuang and Kirgiz have been translated into English. Compared with the 1000 volumes of ethnic minority ancient books or Han cultural classics in the Catalogue of National Rare Books in China, there is a fact that there is a small amount of foreign translation in other ethnic cultural classics. And due to the factors of Chinese local translators, the languages of translation and introduction are relatively single. The translated cultural classics of other nationalities in China are mainly focused on literary subjects, while other fields such as medicine, agriculture, science and technology are often ignored. Therefore, the number of foreign translation of them is even less.

===5. Measures to Promote Foreign Translation of Chinese Classics===

Targeted measures are needed to solve the above problems. Firstly, foreign readers’ reading demands should be guided and cultivated and a market-oriented foreign publishing mechanism should be built. At present, China’s comprehensive national strength has improved significantly and it occupies an important position in the global trade system. The exchanges and interactions between China and other countries in the world are becoming increasingly frequent, and the demand for countries in the world to understand Chinese culture is increasing. China should further guide and cultivate people’s cognitive needs of Chinese culture, and promote the construction of market-oriented foreign publishing mechanism with high-quality translation versions of Chinese cultural classics. China should encourage domestic publishing enterprises with strong strength to go out. On the basis of scientific evaluation of other countries’ demand for Chinese cultural classics reading, effective marketing strategies should be determined. Meanwhile, China also need to establish sound sales channels, and form a positive interaction mechanism between the cultivation of foreign Chinese classics reading market and the overseas publishing industry for spreading Chinese culture.

Secondly, China should build a system of excellent translation of Chinese classics to improve the local adaptability of the translated versions. As the carrier of Chinese culture, the humanistic spirit of Chinese classics should go to the world with the development of our country. China should actively promote the construction of an excellent translation system of Chinese classics. While providing guarantee in terms of talents, funds and policies, the government should also establish a standard system for the translation of excellent classics, and form several alternative high-quality versions for different countries and nationalities. In the construction of the excellent system of translation of Chinese classics, China should strengthen the exchange between the translated versions and the local culture of the targeted-language countries and select different classics according to the historical culture and religious customs of different countries and nations, so as to avoid the conflict between the contents of classics and the historical culture and religious customs of relevant countries.

Thirdly, the government should improve the training mechanism of professional translation talents and increase the number of foreign language for education. China should actively promote the construction of professional translation talent system, and construct the corresponding talent training mechanism based on the principle of specialization in the translation of Chinese classics. For example, China should set up the translation major of Chinese classics in the current translation major and integrate it with the study of various languages. In the process of learning foreign languages, China can take the translation of Chinese classics as the basic teaching content. At the same time, China should also cooperate with the implementation of the Belt and Road Initiative to carry out targeted translation education of Chinese classics.

The the Belt and Road Initiative is the direct driving force for the foreign translation of Chinese cultural classics. Since the advent of the new century, the Chinese government has paid more attention to cultural exchanges with other countries in the world. The proposal of the “the Belt and Road” Initiative in 2014 further demonstrates the determination of Chinese culture to go global. The translation of Chinese classics is the most direct means for Chinese culture to go global. As a corridor for cultural exchanges, the the Belt and Road Initiative provides a new opportunity for the translation of Chinese cultural classics and will directly promote the development of Chinese cultural classics translation. The Library of Chinese Classics project is the most prominent project in the national assistance to the foreign translation of Chinese cultural classics, even though these translation versions are not sold well abroad. However, these works condense China’s long history and splendid culture, and enhance the foreign dissemination of Chinese classics. In addition, works of the Library of Chinese Classics project are not only sold in bookstores, but also presented to foreign leaders as official gifts, which is of great benefit to the dissemination of Chinese culture. Buddhism and Buddhist classics were introduced to China through the ancient Silk Road. Nowadays, Chinese Confucianism and Confucian classics will spread to the world through the Belt and Road Initiative. First of all, in the process of the Belt and Road Initiative construction, the builders sent by China to countries and regions will spread Confucianism and Chinese culture in daily exchanges with local people. In addition, China actively promotes Confucius Institutes in the process of the Belt and Road Initiative construction, which directly promotes the external dissemination of Confucianism and classics. Finally, the construction of the Belt and Road Initiative can also increase the public’s recognition and understanding of Chinese cultural classics and promote the development of the English translation of these cultural classics.

===Conclusion===

Chinese classics are the crystallization of the wisdom of the Chinese nation and still have important guiding value for the problems confronted by human today. With the continuous enhancement of China’s comprehensive national strength, the translation of Chinese classics is imperative. In the process of translating classics, we should improve the training mechanism of professional translation talents, build a market-oriented external publishing mechanism, and build a system of excellent translation of Chinese cultural classics, so as to promote the better dissemination of Chinese culture abroad and enhance China’s cultural soft power.

===References===
*Li Wenge 李文革.(2000). 中国文化典籍的文化意蕴及翻译问题 [The Cultural Implication and Translation of Chinese Cultural Classics]. ''外语研究'' Foreign Languages Research (1)42-44.
*Liu Xingfeng 刘性峰.(2005). 典籍英译的意义 [The Significance of Translation From Chinese Classics into English]. ''皖西学院学报'' Journal of West Anhui University (2)105-107.
*Qiu Kean 裘克安.(1991). 更好地组织中国文化代表作的英译和出版 [Better Organization for the English Translation and Publication of Chinese Cultural Masterpieces]. ''中国翻译'' Chinese Translators Journal (2)4-5.
*Wang Hong 王宏. (2012). 中国典籍英译：成绩、问题与对策 [English Translation of Chinese Classics : Achievements, Problems and Countermeasures]. ''外语教学理论与实践'' Foreign Language Learning Theory and Practice (3)9-14.
*Wang Rongpei 汪榕培.(1997). ''比较与翻译'' [Comparison and Translation]. Shanghai: Shanghai Foreign Language Education Press 上海外语教育出版社.
*Yang yingfa, Zhang Ji 杨英法, 张骥.(2017). 中华文化软实力提升与汉语弘扬间关系探讨 [The Discuss on the Relationship Between the Advance of Chinese Cultural Soft Power and the Promotion of Chinese]. ''石家庄学院学报'' Journal of Shijiazhuang University (4)106-110.
*Zhu Linbao 朱林宝. (1994). ''中华文化典籍指要'' [Essentials of Chinese Cultural Classics]. Jinan: Shandong People's Publishing House 山东人民出版社.
*Zhang Xiping 张西平. (2015). 中国古代文化典籍域外传播的门径 [The Overseas Transmission of Ancient Chinese Cultural Classics]. ''中国高校社会科学'' Social Sciences in Chinese Higher Education Institution (3)79-91.

===Terms and Expressions===

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===Keys===

==英语笔译张姣玲 Zhang Jiaoling 202170081607 CE==

<center>'''On movie adaptation of Chinese classics - The example of Yu Hua’s ''To Live'''''</center>

<center>Zhang Jiaoling</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

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===Conclusion===

===References===

==英语笔译张瑞 Zhang Rui 202170081608 MW==
<center>'''An Analysis of English Translation of Classical Prose Based on the Skopos Theory'''</center>

<center>张瑞 Zhang Rui</center>

===Abstract===
The information age has made cultural communication the norm in the world, and transmitting the essence of Chinese traditional culture to the world is not only an important way to show the profound cultural heritage of China, but also a good way to make the world understand China. This paper introduces the theory of cultural translation into the translation of Chinese classical prose. By selecting the classic prose of Han Yu, the first of the Eight Great Masters of the Tang and Song dynasties, as a case study, we analyze the English translation process of Han Yu's prose under the guidance of cultural translation, show the applicability of cultural translation in the English translation of classical prose, and provide new ideas and references for the future translation of classical prose.

===Key words===
Skopos Theory; Strategies for English translation of classical prose; the classic prose of Han Yu

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

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===Conclusion===

===References===

==英语笔译赵宇翔 Zhao Yuxiang 202170081609 CE==
Research On Problems And Strategies of Translation of Chinese Classics

==英语笔译郑冬琴 Zheng Dongqin 202170081610 MW==

<center>'''The Development and Spread of Chinese Network Novels'''</center>

<center>Zheng Dongqin</center>

===Abstract===
Chinese online literature has had a history of more than 20 years of development, and it has gradually formed a mature development system. In recent years, with the rapid development and popularity of the Internet, online literature has played an increasingly large role in people's daily lives. Among them, online novels play a particularly important role in people's lives. Moreover, the development and dissemination of Chinese online novels overseas has also achieved great success. However, there are still some problems and shortcomings in the field of online fiction that need to be addressed. Therefore, in order to better promote Chinese cultural exports, we need to create our own cultural calling cards and promote Chinese network novels "go globle". In this paper, I will discuss five aspects of Chinese online fiction: definition, development, pros and cons, current situation and overseas dissemination.

===Key words===
Chinese Network Novels; Development; Dissemination; Value; Adaptation

===Introduction===
This paper focuses on the history of the development of Chinese online novels and the current state of their dissemination overseas. This essay is divided into five main parts. In the first part , it mainly gives a brief introduction to online novels, which includes three aspects of the definition, creative characteristics and main classifications of online novels. In the second part, it gives a brief overview of the history of the development of Chinese online novels, which includes the exploration stage, the transition stage and the maturity stage. In the third part, it discusses the pros and cons of Chinese online fiction in a dialectical manner. It mainly mentions the influence of online fiction on the younger generation, especially teenagers. In the fourth part, it analyses the current situation and trends of Chinese online novels, and it highlights the phenomenon of product homogenisation and the film and drama adaptations of popular novels. In the fifth part, it introduces the achievements of Chinese online novels in their overseas distribution by discussing two examples, namely The Legend of Zhen Huan and Ten Miles of Peach Blossoms. Finally, the paper provides a brief summary of the issues explored, with a view to offering some suggestions and help for Chinese culture to go global.

===1.A Brief Introduction to Network Novels===
1.1 Definition of network novels

Network novels are novels published by online writers relying on the web-based platform. It is a new genre of fiction that has emerged with the rapid development of the Internet. It is characterised by a wide variety of styles, unlimited genres, and simple publication and reading methods. Its main genres are fantasy and romance. The language of online novels is more colloquial and full of Internet buzzwords.(Cui Feng 2010) Besides, in addition to differences in textual content, network novels also make use of variations in symbols, patterns and typography compared to general novels. Online fiction is the main form of online literature.
Generally speaking, there is a broad and narrow definition of online fiction. Broadly speaking, it can include all fiction published and circulated on the Internet. However, on the narrower level of the origins of online fiction, it mainly refers to forms of fiction written by online writers and first published online, and then circulated.
Online novels fall into two main categories. One category is novels read by boys, which are generically referred to as male channel novels(男频), and the other category is novels read by girls, which are generically referred to as female channel novels(女频). Most novels read by boys seek to be powerful from body to power, while most novels read by girls are from the perspective of love. And the influence of these two types of novels depends on the ratio of males to females on the internet.

1.2 Creative characteristics of network novels

There is no doubt that online literature still belongs to the category of literature. Therefore, online novels naturally have the basic characteristics of all literary works. However, due to some characteristics of the Internet and the influence of the commercial model of literary websites, online literature has gradually formed its unique creative and artistic characteristics. The characteristics of online novels are mainly manifested in the following four aspects:
Firstly, the length of the network novel is very long. Because an online novel is usually formed in a long serial mode, it has a considerable number of words. Among them, long female channel novels are at least 600,000 words, while long male channel novels are up to millions of words.Secondly, online fiction is highly interactive. Because of the instantaneous nature of the Internet, authors and readers communicate online far more quickly than the previous correspondence. This makes online works naturally a little more interactive. What really determines the interactivity of an online novel, however, is its serial nature. Because online novels are often divided into chapters and sections, presented and completed gradually over a long period of serialisation, readers are able to express their views on the work at any point in its creation, expressing their appreciation or dissatisfaction, and offering suggestions and expectations for subsequent content. These comments will be seen by the author in the first instance. They can then influence the creation of the work to a large extent.Thirdly, the threshold for the creation of online novels is low. Generally speaking, the threshold for the creation of traditional literature is very high, and not any work can be published. However, the editorial and vetting standards for online literature are very low. Anyone who is literate and can tell a story has the opportunity to become an online writer, or even an online author. In other words, in the realm of online fiction, anyone who publishes and gets a certain number of readers can generate income. As a result, more and more people are becoming online writers and the creation of online novels is gradually becoming a way to earn an income.Fourth, online fiction is like a kind of fast food literature. The evaluation criteria of traditional literature are mainly reflected in values, outlook on life, and the author's writing skills. However, the focus of online novels is on entertainment and the reader's pleasure in reading them. In order to cater to the needs of readers, most online writers overly pursue the quantity of novels at the expense of quality. They over-express the reader's desires in their works, which makes them lack artistic and emotional value. Internet novels are like a kind of fast-food literature, which lacks nutrition and is difficult to be remembered and loved in the long run.

1.3 Classification of network novels

Online novels can be broadly classified into the following genres: fantasy novels, martial arts novels, immortal novels, science fiction, urban novels, romantic novels, supernatural novels, historical novels, mystery novels, military novels, sports novels, game novels, fan fiction, boy’s love novels, two-dimensional space novels and etc.According to online reader statistics, the ten most popular online novels are：

1、The Legend of Goku - Now Where 《悟空传》- 今何在

2、Ghost Blows Out the Light - Blogging site 《鬼吹灯》- 天下霸唱

3、Purple River - Old Pig 《紫川》- 老猪

4、Blasphemy - South of the Smoke 《亵渎》- 烟雨江南

5、Nebulous Journey - Potential Flute 《缥缈之旅》- 萧潜

6、How Bad Men Are Made - Six Paths 《坏蛋是怎样炼成的》- 六道

7、Time Raiders - Uncle Three of Southern School 《盗墓笔记》- 南派三叔

8、Kill the Immortals - Pot Flute 《诛仙》- 萧鼎

9、Fights Break Sphere - Silkworm Potato 《斗破苍穹》- 天蚕土豆

10、AutoFull - Wind Blow Strong 《傲风》- 风行烈

===2.The Development History of Chinese Network Novels===
Chinese online literature has had a history of over 20 years of development. Throughout the history of the development of online literature, we can divide it into three development stages: the exploration stage, the transition stage and the mature stage.

2.1 Exploration stage

During this period, online novels were mainly carried on computers and the payment model was established. In 1998, Riffraff Cai's The First Intimate Contact 《第一次亲密接触》was published on the Bulletin Board System(BBS), which opened the era of Chinese online novels. For the next 10 years, the computer served as the main vehicle for users to disseminate and read online literature. In October 2003, the business model of online literature became clear when the Starting Point Chinese Network Fiction(起点中文网)pioneered the paid online reading model. Some of the so-called "gods" of online fiction began to appear, and online fiction had its own stable, youth-centred and relatively small reading group. Annie Baby, Li Xunhuan and Xing Yusen were also representative online writers of that period.

2.2 Transition stage

From 2008 to 2014, online literature entered a transitional period, when reading behaviour began to penetrate into mobile smart devices. Around 2011, the proportion of users who read online literature on computers declined year by year, while the number of users on mobile smart devices grew rapidly. At the same time, reading platforms in the form of apps also sprang up, and mobile bookstores such as QQ Reading and Palm Reader became increasingly popular. After 2014, smartphones, tablets and other mobile smart devices became popular in China, making mobile phones the largest reading channel for online literature users. Novels in genres such as tomb raiding, mystery and romance have seen rapid development. Representative works of this period include Time Raiders, Tomb of the Gods and Fights Break Sphere.

2.3 Mature stage

As the scale of the online literature market continues to expand, Internet giants have become involved in online literature, and online literature enterprises have embarked on a stage of large-scale group operations. (Zhang Hainan,Han Lei 2021:79-83)In 2013, Tencent and the core team of the former Starting Point Chinese website (起点中文网)cooperated to establish Genesis Chinese Website(创世中文网); Baidu acquired 100% of the equity of Zongheng Chinese Website (纵横中文网)for 191.5 million; In 2014, Zongheng Chinese Website, 91 Panda Book (91熊猫看书)and Baidu Book City (百度书城)merged to form Baidu Literature(百度文学). In 2015, Chinese Online (17K Novel Website) was listed on the A-share GEM board with a $2 billion capital increase to build a pan-entertainment ecology. After Tencent's $5 billion acquisition of Shanda Literature Limited(盛大文学), it merged with Tencent Literature to form China Reading Limited(阅文集团); Ali acquired Shuqi Novel (书旗小说)and UC Book City (UC书城)and merged them with its own mobile reading business to form Ali Literature. At this point, the industry pattern of domestic online literature has basically taken shape.Since 2018, online literature has entered an era of convergence. The IP operation of online literature has gradually matured, film and television dramas and games adapted from online literature are favoured by the market, and free reading has gradually emerged, creating a new model of "free + advertising". Internet literature has established its own unique literary system and has received widespread attention from society. It has also become an important source for film and television adaptations. Nowadays, it seems that many important film and television works have come from online literature, and these super IPs have had a huge impact on the development of film and television culture. Representative works from this period include The Legend of Zhen Huan《甄嬛传》, The Legend of Mi Yue《芈月传》, The Journey of Flower《花千骨》, and Nirvana in Fire《琅琊榜》.

Nowadays, Chinese online literature has become an important literary phenomenon that cannot be ignored and has become an indispensable cultural resource for the younger generation. At the same time, from the perspective of world literature, China-centred online literature written in Chinese can be considered a unique phenomenon. Its unique creative characteristics and mode of operation are incomparable. It now seems that Chinese online literature has also gained its own unique status and significance in the development of literature across the globe. The wide distribution of The Three Bodies overseas in recent years is a good example of this.

===3.The Pros and Cons of Chinese Network Novels===
As a new form of literature, online literature has had a huge impact on people's daily lives. Like a double-edged sword, online fiction has its unique value and significance, but also has many problems and shortcomings. Therefore, we should adopt the right attitude towards it and take the essence and remove the dross.

3.1 The Pros of Chinese Online Fiction

3.1.1 Reading online novels can develop literary literacy

Firstly, there are many excellent works in online fiction that deserve to be read and appreciated with care. Outstanding online novels are characterised by their dramatic storylines, superb writing skills and meaningful themes. By learning from the authors' writing methods, we can develop our imagination and creativity, and thus improve our own writing skills.(Li Xin 2016:172) At the same time, by reading excellent works, we can increase our knowledge, broaden our horizons and improve our literary skills.

3.1.2 Reading online novels can improve reading skills

Secondly, because the online novel is serialized, it is updated very quickly and in very large numbers of words. Readers have something new to read almost every day. This means that in order to keep up with the author's updates, the reader needs to be able to read very quickly. If the reader is reading several online novels at the same time, then he needs to be able to read faster. Thus, by exercising over time, the reader can develop a good habit of reading every day and can improve his or her reading skills and abilities to a great extent.

3.1.3 Reading online novels can relieve stress

Thirdly, online novels can help readers to vent their negative emotions and relieve stress to a certain extent. In today's highly developed economic, political and cultural world, people face a variety of challenges and pressures in their daily lives, such as the pressure of marriage, interpersonal relationships, mortgage repayments, further education and job promotions, and so on. They are reluctant to face the cruelty of reality and need a space where they can forget their worries and keep their mood happy. Therefore, the beautiful virtual worlds created by online novels have gradually become a place for people to vent their emotions, express their desires and seek solace. Moreover, with the rapid development of the Internet, mobile communication devices have become widely popular. Nowadays, almost everyone, young and old, has their own mobile phone, which makes it possible for people to read online novels through various mobile apps and websites anytime and anywhere. We have found that the majority of readers of online novels in China find themselves relieving their stress and gaining a great deal of pleasure from reading online novels. For female readers, they tend to read romance novels and urban novels. For male readers, they prefer to read mystery novels and tomb raiding novels. In short, for those devoted novel lovers, the virtual world constructed by online novels is a perfect, utopian ideal society. As the characters and storylines portrayed in online novels are very close to life, such a setting easily arouses readers' emotional resonance, thus giving them a strong sense of vicariousness. In this virtual world, they can relieve the stress and worries brought about by the real world, allowing them to relax their long-tightened nerves. This is also a form of stress relief for the young generation of today.

3.2 The Cons of Chinese Online Fiction

3.2.1 Adverse effects on people's daily habits

In this highly developed society with the Internet, people can use mobile phone apps to read online novels anytime and anywhere. It is because of this convenience that online novels are having an increasing impact on people's daily lives. Online fiction is like a drug that makes people addicted to them. For adult readers who are addicted to online novels, they read all day and night and do not even feel hungry. As a result of staring at their mobile phone screens for long hours, some suffer from myopia, while others are so addicted to the pleasure and thrill of reading online novels that they miss work. Faced with online novels, they lack self-control and self-discipline, which makes them break the regular routine of life. When reading online novels, they see themselves as the protagonists in the novels, causing them to be unable to distinguish between real life and the virtual world. Over time, this group of people who are obsessed with online novels may suffer from severe procrastination, which then puts their lives in a vicious cycle.
While for young readers, the dangers posed by online novels seem to be even more serious. Some online novels are not suitable for teenagers. If young readers are exposed to these novels, it is inevitable that they will become too precocious and may even lead them astray. For example, one of the most iconic Internet classics, The First Intimate Contact, is very popular among secondary school students. The author tells a poignant love story that expresses a common ideal in metropolitan life, namely the desire to make romantic love denied in reality a reality in the virtual world. (Li Xin 2016:172) Many teenagers have admitted that they have imagined or even actually experienced online romance after reading The First Intimate Contact. In addition, many urban and romance novels such as Laugh Slightly Very Bend City, The Left Ear and Fleet of Time also have had an impact on teenagers.

3.2.2 Causing distortion of values

Because of the low threshold for the creation of online novels and the lax regulation of the market, there are many low-quality works on the Internet that contain unhealthy information. These vulgar novels are filled with many contents that are not conducive to the healthy physical and mental development of young people, such as violence, cruelty, pornography, selfishness and so on. In the process of reading online novels, readers will unconsciously accept these wrong values. As the main force of the online novel reading group, teenagers are often more susceptible to the influence of bad values. On the one hand, as the minds and hearts of teenagers are not yet mature, they lack the ability to select works and self-discipline. On the other hand, as teenagers are more curious about the unknown, they are more likely to be attracted to the characters portrayed in online novels and develop a stronger sense of immersion. Moreover, as teenagers are in the process of forming their values and worldview, the harmful information in online novels can have a huge negative impact on their values, and may even cause distortion of values. For example, some reported cases of school bullying, murder and rape are related to the harm caused by vulgar online novels.

3.2.3 Fast food novels waste time

Many online novels are fast food novels. It would be a mistake for people to devote too much time and energy to these online novels. Due to the low threshold for the creation of online novels and the lax regulation of the market, various genres of online novels are springing up in the world today, which makes many online writers see their creation as a way to make profit only, and they devote more time and energy to the quantity rather than the quality of their novels. As a result, most online novels are written with a tumultuous plot to capture the reader's attention and interest. These novels often lack depth of thoughtfulness, and some even contain frequent misspellings, misuse of idioms and grammatical errors. If we fail to spot these errors in time, this can inadvertently deepen our impression of the wrong usage to the extent that these errors may appear in our own writing.
In addition, readers tend to read online novels at a very fast pace. Some can even finish reading several online novels in a day. However, these fast-food novels, which lack nutrition and value, do not give readers a great deal to gain. When people are reading these online novels, the content of the novels hardly cause the readers to think. As a result, readers are not impressed with the content of the novels after reading them. This kind of reading behaviour without value and meaning is in essence a waste of time. Instead of wasting our time and energy on these unproductive online novels, it would be better for us to choose a classic work of literature to read and appreciate its connotations and meanings by heart. By reading and appreciating the classics, we can communicate with great souls across time and space. In this way, our literary skills can be improved, our minds can be sublimated and our souls can be purified. So, from now on, please take the time to develop a good habit of reading classics again, which will benefit you for the rest of your life.

===4.The Status and Trend of Chinese Network Novels===
4.1 Homogenization of products

Although the market is flooded with online novels of various genres and themes, only truly outstanding works are accepted and loved by the public. As a result, there is serious vicious competition in the field of online fiction, which has led to the homogenisation of products in the current online fiction market. When a work becomes successful, there will be many imitations. Many novels have highly similar themes, motifs and plots, and even have very similar backgrounds, characterisations and life settings. Once these popular characterisations have formed a fixed format, they become as similar as industrially produced products. As a result, these similar novels will cause aesthetic fatigue among the audience and their dissemination will be greatly reduced. (Qin Junxiang,Li Ting 2017:38-42)For example, online novelist Qiong Yao publicly reported on Weibo that Yu Zheng's Palace 3:The Lost Daughter《宫锁连城》had copied several plots from her work The Plum Blossoms《梅花烙》. In addition, when the TV series Jade Palace Lock Heart《宫》 started to make a splash on TV screens in 2011, there were many other similarly titled dramas. Some authors ignored historical facts and made a mess of historical adaptations in order to cater to the taste of their audience, which reduced the literary, artistic and aesthetic value of the work itself. Some authors even deliberately make up all sorts of fascinating but unethical plots in order to gain high click-through rates, which has caused a distortion of the values of some works. This series of homogenisation and vicious competition has not only led to infringement and plagiarism, but has also led to monotonous content of works, aesthetic fatigue among readers and an impact on the market order. In short, homogenisation and plagiarism are not conducive to the innovation and development of online literature.The relevant government departments should strengthen the supervision and regulation of the online literature market. They should establish a sound copyright protection mechanism, improve the professionalism and aesthetic level of online authors and film producers, and raise audiences' awareness of copyright protection, so as to promote the healthy and benign development of the online literature market and the film industry.(Liu Yang 2017:95)

4.2 Adaptation of novels into film and TV series

The emergence of film and television adaptations of online novels can be traced back to The First Intimate Contact , an adaptation of the novel of the same name by Chinese Taiwanese author Tsai Chi-hang. This novel was made into a film in 2000 and adapted into a TV series in 2004. This was the first time in the history of Chinese film and television that an online novel was adapted into a film or television production. (Xiao Yudi,Ouyang Changlin 2021:33-38)However, the audience response at the time was poor, with fans who had read the original novel not liking the format and content presented in the TV series very much. Although the audience response did not meet expectations, it made the novel an instant hit. The first trial of a web novel adaptation showed its potential and problems, drawing the attention of some film and television producers. After six years of hibernation, the adaptation of web novels for film and television finally made its official entry onto the television screen in 2010. The first wave of Chinese online novels adapted for film and television was marked by the TV series Beauty's Rival in Palace《美人心计》.Subsequently, costume dramas such as The Legend of Zhen Huan《甄嬛传》, Startling by Each Step《步步惊心》, Princess Dumping World《倾世皇妃》and Jade Palace Lock Heart《宫锁心玉》received high ratings and were unanimously praised and recommended by the public. Soon, with the rise and development of online video platforms, China ushered in a second wave of web novel adaptation dramas. In 2015, there were a number of web novel adaptations represented by The Journey of Flower《花千骨》 and Nirvana in Fire《琅琊榜》, which not only achieved high ratings during their television broadcast, but also reaped superb viewership and buzz on major video platforms. In 2017, the online novel adaptation television series Ten Miles of Peach Blossoms《三生三世十里桃花》began to dominate the public's attention, marking the arrival of the third wave of adaptation boom. The drama took over Weibo's top searches and headlines almost every day, and its original novel, plot, cast, headgear, make-up, costumes and soundtrack became a daily topic of conversation for the public at their leisure. In recent years, popular costume dramas such as East Palace《东宫》, Qing Yu Nian《庆余年》 and The Untamed《陈情令》have brought the craze for web novel adaptations to a peak.In terms of film and TV drama adaptations of novels, costume and romance novels have become the main trends in Chinese online novels.

===5.The Overseas Dissemination of Chinese Network Novels===
In recent years, Chinese costume novels have become very popular overseas. There are websites dedicated to Chinese novels such as "Wuxia World"(武侠世界) and "Webnovel"(起点国际). There are even people overseas who read serialised novels to kick drug addiction and treat depression. This shows the huge influence of our online novels overseas.

For example, in recent years, Legend of Concubine Zhen Huan has become popular in Japan, South Korea and some countries and regions in Southeast Asia. In addition, the cast of The Legend of Concubine Zhen Huan has joined forces with the American television station HBO to edit the original 76-episode series into six short episodes (each 90 minutes long) for broadcast overseas. The release of Legend of Concubine Zhen Huan on the US pay platform Netflix a few years ago also created a national sensation, and Legend of Chu Qiao《楚乔传》and Ten Miles of Peach Blossoms have long been officially synchronised on Youtube at the time of its launch. This marked the successful spread of Chinese costume novels overseas.

Take Ten Miles of Peach Blossoms as an example, the translator of Ten Miles of Peach Blossoms, Poppy Toland, is a British freelance translator who studied Chinese at the University of Leeds and lived in Beijing, China for four years. She was commissioned by Amazon.com, the copyright holder of the novel, to translate Ten Miles of Peach Blossoms into English before the TV series hit the airwaves.(Ma Xiaoxing,Zhao Mengyuan 2020:59-62) In order to ensure that the translation does not lose the flavour of the original, she insists on using the translation strategy of domestication to deal with the linguistic forms. However, for the cultural elements in the original work (such as mythology, religion and other cultural factors), she introduces Chinese culture directly to Western readers through the method of foreignization. On 23 August 2016, To the Sky Kingdom, the English translation of Ten Miles of Peach Blossoms, was released on Amazon in the United States. Upon its release, the translation reached number three on Amazon's Asian Literature bestseller list and number one in the Asian Literature section of the Kindle Edition bestseller list. The translation was recommended to foreign readers on Amazon.com, along with other famous novels such as Three Bodies《三体》and Wolf Totem《狼图腾》, and was once ranked the third best-selling Chinese novel on Amazon.com.It shows that Chinese online novels have achieved great success in overseas distribution.

===Conclusion===
After more than two decades of development, Chinese online novels have developed a relatively mature industry system, not only in terms of accumulation in the domestic market, but also in terms of expansion in overseas markets. However, there are still some problems and shortcomings in the process of its domestic development and overseas distribution. Therefore, we need to further improve the quality and value of Chinese online novels and strive to build a unique international cultural brand of our own. We need to help Chinese culture go overseas through cultural branding so that more foreign friends can understand and enjoy traditional Chinese culture. In short, it is the duty of every Chinese to strengthen our cultural soft power and enhance the cultural confidence of the Chinese nation.

===References===
*Cui Feng 崔冯.(2010).网络小说的文体特征研究[Research on the Genre Characteristics of Online Novels].重庆师范大学Chongqing Normal University.
*Li Xin 李昕.(2016).网络小说利弊纵横谈[The Pros and Cons of Online Novels].西部皮革Western Leather(12):172.
*Liu Yang 刘杨.(2017).中国网络小说改编剧的困境与建议[The Dilemma and Suggestions of Chinese Online Novel Adaptations].参花Participation Flowers(16):95.
*Ma Xiaoxing, Zhao Mengyuan 马孝幸,赵梦源.(2020).中国文化“走出去”背景下的网文出海研究——以《三生三世十里桃花》外译为例[A Study on the Overseas Translation of Chinese Culture in the Context of "Going Global"--The Foreign Translation of "Ten Miles of Peach Blossoms].新阅读New Reading(08):59-62.
*Qin Junxiang,Li Ting 秦俊香,李婷.(2017).网络小说改编剧的同质化现象批评——以权谋宫斗题材古装剧为例[Criticism of the Homogenization Phenomenon of Online Novel Adaptations - Taking Ancient Costume Dramas on the Theme of Power and Palace Combat as An Example].中国电视China TV(06):38-42.
*Xiao Yudi, Ouyang Changlin 肖雨笛,欧阳常林.(2021).网络小说改编剧的狂欢与思考[The Carnival and Reflection on the Adaptation of Online Novels].肇庆学院学报Journal of Zhaoqing College(03):33-38.
*Zhang Hainan, Han Lei 张海楠,韩磊.(2021).网络小说创作主体迅猛发展成因探析[An Analysis of the Causes of the Rapid Development of the Main Body of Network Novel Creation].兰州文理学院学报(社会科学版)Journal of Lanzhou College of Arts and Sciences (Social Science Edition)(03):79-83.

===Terms and expressions===
*The Legend of Goku 《悟空传》
*Ghost Blows Out the Light 《鬼吹灯》
*Purple River 《紫川》
*Blasphemy 《亵渎》
*Nebulous Journey 《缥缈之旅》
*How Bad Men Are Made 《坏蛋是怎样炼成的》
*Time Raiders 《盗墓笔记》
*Kill the Immortals 《诛仙》
*Fights Break Sphere 《斗破苍穹》
*AutoFull 《傲风》
*Wolf Totem《狼图腾》
*Nirvana in Fire《琅琊榜》
*The Legend of Zhen Huan《甄嬛传》
*The Plum Blossoms《梅花烙》
*Jade Palace Lock Heart《宫》
*Laugh Slightly Very Bend City 《微微一笑很倾城》
*The Left Ear 《左耳》
*Fleet of Time 《匆匆那年》
*Startling by Each Step《步步惊心》
*The Journey of Flower《花千骨》
*East Palace《东宫》
*The Untamed《陈情令》
*Qing Yu Nian《庆余年》
*Legend of Chu Qiao《楚乔传》
*To the Sky Kingdom《三生三世十里桃花》
*The First Intimate Contact 《第一次亲密接触》
*The Legend of Mi Yue《芈月传》
*Palace 3:The Lost Daughter《宫锁连城》
*Princess Dumping World《倾世皇妃》
*Beauty's Rival in Palace《美人心计》
*Men's Channel 男频，即男生频道，是网络小说网中对男生爱看的网络小说的一种称呼。男频以玄幻、推理、盗墓等题材的小说为主。
*Women's Channel 女频，即女生频道，是网络小说网中对女生爱看的网络小说的一种称呼。女频以都市、言情和穿越等题材的小说为主。

===Questions===
1.Which of the following is a common genre of male channel fiction?

A.Time Travel Fiction

B.Fantasy Novels

C.Romance Fiction

D.Urban Soap Novels

2.When was the online novel The First Intimate Contact published?

A.In 1996

B.In 1997

C.In 1998

D.In 1999

3.How many stages does the author of this article divide the history of Chinese online fiction into?

A.2

B.3

C.4

D.5

4.Which of the following is not a work by Yu Zheng?

A.Jade Palace Lock Heart

B.Palace 3:The Lost Daughter

C.Beauty's Rival in Palace

D.The Plum Blossoms

5.Which of the following novels is a work of transition stage?

A.The First Intimate Contact

B.Nirvana in Fire

C.Time Raiders

D.The Untamed

===Answers===
1.B

2.C

3.B

4.D

5.C

==英语笔译钟青 Zhong Qing 202170081611 CE==
On the Translation and Spread of Three Kingdoms

==英语笔译周皓熙 Zhou Haoxi 202170081612 MW==
On the Translation and Spread of Guanzi

==英语笔译周哲 Zhou Zhe 202170081613 CE==
<center>'''On the Translation of Peony Pavilion'''</center>

<center>周哲 Zhou Zhe</center>

===Abstract===
The Peony Pavilion, also known as "The Return of the Soul", is a masterpiece by Tang Xianzu (1550-1616), an outstanding Chinese opera singer of the 16th century. Compared with the script, The Peony Pavilion has not only been greatly changed in terms of plot and description, it has also improved greatly in terms of theme and thought. The Peony Pavilion has also reached an unparalleled artistic level in terms of diction, singing, music, stance and performance. In this essay, the full translations by Wang Rongpei, Cyril Birch, and Zhang Guangqian are selected for analysis and comparison, and their translations are abbreviated as follows: Wang's translation, Birch's translation, and Zhang's translation.

===Key words===
conveying the meaning in its full flavor; The Peony Pavillion;

===Introduction===
''The Peony Pavilion'', with its dizzying plot and magnificent structure, is especially good at portraying characters. With more than 160 characters, the play is a living panorama of the times. The artistic and literary value of ''The Peony Pavilion'' has been highly praised in both China and the West. The ''Drama 100: A Ranking of the Greatest Plays of All Time'' (2008) by Daniel S. Burt ranks ''The Peony Pavilion'' at number 32, and he (2008:184) comments that Tang Xianzu's ''The Peony Pavilion'' is the first great work to feature a female protagonist, and from it the reader can enter the tradition of Chinese classical literature.As you can see, this is still a very high opinion.

The earliest English translation of ''The Peony Pavilion'' is Acton's hybridity of translation "Ch'un-hsiang Nao Hsüeh" in Tian Hsia Monthly, vol. 8, no. 4, 1939. Cyril Birch translated some scenes of The Peony Pavilion in 1965 in Selected Readings in Chinese Literature, and published a full translation in 1980 at Indiana University Press; Zhang Guangqian's full English translation was published by Beijing Foreign Language Press in 2001; and Wang Rongpei's full English rhyming translation was first published by Shanghai Foreign Language Education Press in 2000. In 1999, an English version of the novel ''The Peony Pavilion'' was published. One adaptation, by Chen Meilin, was published by New World Press, and another adaptation was published by Seahorse Books, New Jersey, USA.

===Translator Introduction===
1. Wang Rongpei's Translation

Professor Wang Rongpei began his translation of The Peony Pavilion in 1996, which lasted for more than three years. In order to get a sense of Tang Xianzu's life and writing, he visited Tang's hometown of Fuzhou, Jiangxi Province, which was called Linchuan in the old times, in March 1999. In the preface to his translation, Professor Wang said that he set the goal of "conveying the meaning in its full flavor" for his translation. Specifically speaking, first, the translation should creatively and accurately reproduce the style of the original. In the process of translation, he tried to recreate the original in English to reflect the beauty of the original text, so he translated the prose dialogues or monologues into understandable English as much as possible. For example, he translated “吾今年已二八,未逢折桂之夫” as "I've turned sixteen now, but no one has come to ask for my hand". At the same time, when translating the lyrics and verses, the original imagery of the author is kept as much as possible without affecting the understanding of the English readers, otherwise it is rather sacrificed and replaced by corresponding expressions in English. Second, for the poetic and lyric parts of the original text, some forms of traditional English metrical poetry are adopted in translation. In addition, the lyrics of Tang Xianzu's The Peony Pavilion follows a strict tune, and the poetic part is also in the form of metrical poetry. Therefore, Professor Wang uses the iambic pentameter as the basic format and adopts a variety of different rhyme schemes when translating them.

2. Birch’s Translation

Birch was born in Lancaster, England, in 1925. He studied Chinese at the Institute of Oriental and African Studies at the University of London, where he received his Ph.D. in Chinese literature in 1954, taught Chinese at his alma mater from 1948 to 1960, taught in the Department of Oriental Languages at Berkeley University in 1960, and later became Professor of Chinese and Comparative Literature and Head of the Department, retiring from Berkeley University in 1991 as Professor Emeritus. Birch 's writings cover traditional Chinese fiction and drama as well as modern Chinese literature, and he is best known for his translations of Ming dynasty plays and stories. His translations of The Peony Pavilion (Acts 1-5, 7, 9, and 10) were published in the third issues of The Translation Series, respectively. Although Birch had edited many anthologies of Chinese literature in verse and verse, his favorite of all literary genres was classical drama. Bai's translation of The Peony Pavilion was published by Indiana University Press in 1980. Birch is a leading contemporary American sinologist who, in addition to his translation of The Peony Pavilion, has translated works such as Chinese Gods and Monsters, Selected Stories of the Ming Dynasty, and Selected Plays of the Chinese Ming Dynasty, and has edited books such as Selected Readings in Chinese Literature and Studies in Chinese Literary Genres. His essays on The Peony Pavilion include "(The Peony Pavilion) or (The Return of the Soul)," "The Structure of The Peony Pavilion," and "The Winter's Tale> and The Peony Pavilion.

Birch 's English translation reproduces the original in fluent modern English and is generally faithful to the original text, with free verse in both the choral and poetic sections (Wang Rongpei, 2000:33). This is evidence of his rigorous academic attitude. It took at least seven or eight years from the earliest translation to the final revision of the text. In general, Birch's translation was a success, and all performances of The Peony Pavilion in the West were based on Birch 's translation, but his translation was not immune to the errors of understanding that are common among Western translators.

3. Zhang Xianqian’s Translation

Zhang Guangqian's translation of The Peony Pavilion was published by the Travel Education Press in 1994 and reprinted by the Beijing Foreign Language Press in 2001, the first full English translation done independently by a Chinese translator.

In his preface to The Peony Pavilion, Professor Wang Rongpei (2000:35-36) also comments on Zhang's translation, arguing that, compared to Birch's translation, Zhang's translation has the greatest advantage of being more accurate in conveying the meaning of the original, which is a clear strength of Chinese translators in translating Chinese classical masterpieces. It is clear from the translation that Zhang's mastery of ancient literary knowledge is very solid. In his translations of the lyrics and verses, he uses the format of sung poetry on most occasions, with iambic pentameter as the basic rhythm, and occasional rhymes that follow their nature. On the whole, Zhang Guangqian's translation is successful, and in many places it is more accurate and refined than Birch's translation.

===Examples and Analysis===
Example 1:（柳梦梅）：谩说书中能富贵，颜如玉，和黄金那里?

Wang: The saying goes that studies bring the wealth, but where is pretty lady and

where is gold?

Birch: "In books lie fame and fortune," they say—then tell me, where are the jade-smooth cheeks, the room of yellow gold?

Zhang: Some say that books will provide you with what you need, Yet, where is the promised beauty, where the gold?

The Peony Pavilion is a masterpiece of Tang Xianzu. Tang Xianzu is good at quoting scriptures and references, and there are countless allusions and proverbs in the book, which gives the text a deep cultural connotation. From the perspective of "reaching the meaning", when translating this kind of text, we should not only pay attention to the semantic meaning of the language, but also pay more attention to the semantic meaning and cognitive meaning. Specifically. This is reflected in the translation of words with profound cultural connotations. In this sense, it is not easy to translate classical operas to "reach the meaning", but it is even more difficult to "convey the spirit".

For the understanding of "In books lie fame and fortune", there is a problem with the translation of Birch, which does not mean that books themselves can give people wealth, but that they can create wealth only after learning and mastering knowledge. And Zhang's translation "Some say that books will provide you with what you need" does not clearly translate what "wealth" is. The chorus also contains two words with cultural connotations: "Yan Ru Yu" and "House of Gold". Birch's translation literally translates "the jade-smooth checks" and "the room of yellow gold," but not the true meaning of these two words. On the issue of cultural treatment, Prof. Wang's strategy is to reflect his own understanding directly into the translation, as his translation is intended for a general Western audience, and therefore does not add additional notes on the words that contain cultural connotations. The strategy adopted by the Zhang translation is consistent with that of the Wang translation.

Example 2:（柳梦梅）：敢甚处里杨曾系马?

Wang: Are you an old acquaintance to see me now?

Birch: In some former time and place, did we "tie our steeds beneath green aspen"?

Zhang: Or, is it because your horse was once attached to my tree?

This is the phrase that Liu Mengmei asked Du Liniang, who guessed where they had met before? The phrase "敢甚处里杨曾系马" is a cultural phrase related to the times. In feudal China, unmarried girls could only stay in their boudoir. Therefore, it is not logical to translate it as "met somewhere". However, the literal translation

The literal translation does not reflect the cultural connotation of the sentence, so the paraphrase is used. Both Bai and Zhang translate literally, which may not be understood by readers of the target language and may even cause misunderstanding. Wang's translation is more appropriate and better conveys the connotation of the original text, achieving a high level of "reaching the meaning" at the linguistic and cognitive levels.

Example 3:（陈最良）： "玉不琢，不成器；人不学，不知道。"

Wang: As The Book of Rites says, "Uncarved jade is unfit for use; uneducated men

are unaware of Tao."

Birch: "Jade unsculpted unfit for use; person untutored unaware of the Way."

Zhang: It's said, "Unpolished jade has little worth; untutored man has little wit."

The phrase "If jade is not cut, it does not become a tool; if a man does not learn, he does not know" is from the Book of Rites, and for Western readers who do not know Chinese culture, they do not know the context of the phrase, so Wang adds "The Book of Rites" in the translation to make it clear to readers at a glance, and it is easier for them to understand the context after understanding the cultural background of the phrase. Although Zhang's translation adds "It" to indicate that this is a well-known thing, it does not specify the specific source, so the reader still cannot understand it. If we look at this sentence from the perspective of "conveying the meaning", its "conveying the spirit" lies mainly in its simplicity and neat syntax. If we look at these three translations only from the perspective of "conveying the meaning", they are indeed comparable, but a careful reader will find that Wang's choice of words is actually very careful. Normally, "Uncarved", "unsculpted" and "Unpolished" seem to have the same meaning, but when they are placed in the whole sentence, the difference appears. If the word "Uncarved" in Wang's translation is replaced by "unsculpted" or "Unpolished", the rhythm of the whole sentence will be incongruous, and it will be awkward to read. This is the same reason why Wang used "islet" instead of "isle" in his translation of the Book of Psalms. Obviously, Wang's translation has paid attention to the problem of rhyme, so it reads with a particularly strong sense of rhythm.

Example 4:（杜丽娘）：先生万福。

（春香）：先生万福。

Wang: I wish you happiness, respected tutor.

I wish you kindness, respected tutor.

Birch: Our best respects, esteemed sir.

We hope you're not vexed, esteemed sir.

Zhang: Boundless happiness to my teacher.

Boundless kindness to your pupils.

These are the words spoken by Du Liniang and Chunxiang as they salute Chen Milliang. Although the words spoken by the maids are the same as those spoken by the ladies, the translation should be different to show their different linguistic characteristics. Wang and Zhang did notice this point, but from the point of view of "expressing the meaning", it is Birch's translation that is more accurate. Since they are late in entering the school, the teacher is already a little upset, so Chunxiang says "Don't be angry, teacher!" when greeting her. This accurately conveys the quick-talking character of Chunxiang, a maid, and also fits the situation at that time.

The author keeps emphasizing that the parameters of "conveyance" are analyzed for expository reasons, but in specific texts, many of them are integrated with each other, as in this case. The previous paragraph is analyzed on a pragmatic level, but it does not reflect the "transmission"! The wording, tone, and inflection of Duliniang and Chunxiang's speech all reflect the translation's grasp of the style and emotion of the original text. Still, "convey the spirit and meaning" should be grasped as a whole, as can be seen from this example.

Example 5:（杜丽娘）：以后不敢了。

（春香）：知道了。今夜不睡了，三更时分，请老师上书。

Wang: I won't be late from now on.

I see, I won't go to the bed tonight and I shall ask you to give me lessons at midnight.

Birch: We shall not be late again.

We understand. Tonight we won't go to bed so that we can present ourselves for our lesson in the middle of the night.

Zhang: I won't be late again.

I see. Tonight I won't go to bed at all so that teacher can start the lessons at midnight.

Du Liniang and Chunxiang both bowed to the gentleman, Chen Miliang said: "Girls, you should get up immediately after the rooster crows and greet your parents first. After eating breakfast, you should do whatever you want to do. If you are studying, you should get up early" (Zhao Shanlin, 2002:11). These two lines are their response to Chen Milliang's rebuke, in which Chunxiang's reply is relatively sharp, which on the one hand reflects Chunxiang's quick-talking character, and on the other hand, reveals On the one hand, this reflects Chunxiang's quick-talking character, but on the other hand, it also reveals her attitude of not being convinced by Chen Miliang's words.

Looking at the three translations from the perspective of "expressing the meaning", Wang and Zhang have no problem with their translations, but Birch has a deviation in his understanding. The deviation of Birch's translation does not occur at the semantic level, but at the pragmatic and cognitive level, which is reflected in Birch's insufficient understanding of traditional Chinese culture. According to the old rituals and customs, the rich and noble families had a very strict hierarchy of respect, and the young lady and the maid had to take into account their status and position when they spoke, so the "We" in Birch's translation is inappropriate, and in addition, Birch's translation of the latter paragraph does not express the meaning of "asking the teacher to write a letter".

In terms of "evocative", Wang's translation is better overall. The mischievous Chunxiang hates reading the boring Confucian classics and deliberately messes with Chen Mingliang, while Duliniang originally shares Chunxiang's feelings, but she still acts serious in front of Chen Mingliang due to the constraints of ritual. Compared with the Birch translation, the Wang translation pays more attention to observing the psychological changes of the characters, especially highlighting the word "please" in the original text, which accurately conveys the characteristics of Chunxiang's sharp tongue and her defiant state of mind at that time, and well captures the change of emotions in the "transmission".

Example 6:（杜丽娘）（作恼介）：劣丫头那里去?

（春香）：溺尿去也。原来有座大花园。花明柳绿，好耍子哩。

Wang: Where have you been, nasty maid?

I've been to the toilet. I went by a big garden overgrown with flowers and willows. It's fun over there.

Birch: (annoyed)： What have you been doing, silly creature?

Peeing. But I found a lovely big garden full of pretty flowers and willows, lots of fun.

Zhang: Naughty girl, where have you been?

Pissing. I happened to have discovered a huge garden, with lush trees and bright flowers. A very nice place indeed.

After Chen Miliang finished explaining the "Poetry", he asked Du Liniang to write again. Chunxiang stayed at one side really impatient, excuse to go to the toilet to sneak out to play. After a long time, when Du Liniang saw that Chunxiang had not come back, she said, "Why hasn't Chunxiang come back yet? Du Liniang scolded: "Bad girl, where did you go"? Chunxiang replied: "I went to pee. There is a big garden behind the house, with red flowers and green willows, which is very interesting!" (Zhao Shanlin, 2002:12).

This play is called "Make Trouble in School", and this "trouble" is mainly manifested in Chunxiang's body, but of course, it is only with Du Liniang's tacit approval. The difference between the two of them in status, position and upbringing is so great that it is not possible for Du Liniang to make a scene like Chunxiang, but Du Liniang's "scene" is in the dark, elegant and clever. In fact, this is Du Liniang in front of Chen most Liang fake anger at Chunxiang, but in fact full of pity for her; and Chunxiang also know Du Liniang will not really blame her. Chunxiang's mischievousness is also obvious.

The above three translations are more accurate in terms of "conveying the meaning", but the subtle differences are reflected in "conveying the spirit", which is also expressed in the transmission of "emotion". Reading through the context, we know that Chunxiang's answer of "peeing" is actually an excuse, not really going to "pee", but the transitive word "But" in the Birch translation gives the impression that Chunxiang really went to pee, but happened to find a garden when she returned. Wang and Zhang are more accurate in handling this detail, and they are in the middle of the pack.

From the above examples, we can see that there are many factors to be considered in the translation process, such as character characteristics, tone of voice, psychological state, language characteristics, etc., but it is not easy to take into account the overall situation, which is a test of the translator's language mastery and skills.

Example 6:（柳梦梅）：好一座宝殿哩。怎生左边这牌位上写着＂杜小姐神王＂，是那位女王

（石道姑）：是没人题主哩。杜小姐。

Wang: What a magnificent hall! On the memorial tablet on the left is the inscription "The Spiri of Miss Du". What's the meaning of "spiri"? To complete the service, we need someone to add the final letter. It's "The Spirit of Miss Du" .

Birch: What a majestic temple! By the way, which queen is that memorial tablet

Oh, it's Miss Du's memorial tablet. The last stroke hasn't been added onto it yet.

Zhang: What a magnificent shrine! But I don't understand the inscription on this tablet: "The Ruler, Miss Du." Which "ruler" was this? The character that looks like "ruler" needs an extra dot on top to make it read “host”, that is to say, “tablet lodging the spirit of Miss Du.” We are waiting for some person of distinction to inscribe the dot.

This dialogue is from the 33rd episode of The Peony Pavilion, "Secret Discussion". Liu Mengmei was entrusted by Du Liniang to dig a grave for her, but he was a scholar, so he had to follow Du Liniang's suggestion and come to Shi Dao Gu for discussion (Zhao Shanlin, 2002:127). Then Shi Dao Gu leads Liu Mengmei to visit the temple, and Liu Mengmei exclaims: What a precious temple. Why does the tablet on the left say "Miss Du, God King"? Shi Daoist nun replied: "No one is the subject. Miss Du." In the olden days, when the deceased was given the sign of the gods, a point was deliberately missing from the 'main' and a prestigious person was asked to put a dot on it with a vermilion pen on a certain day, and this ceremony was called "dotting the main" or "inscribing the main" (ibid., 2002:128).

From the translations of the three translators, they all have a certain understanding of the ancient customary ritual of "inscription of the Lord", among which Wang and Zhang express the meaning more clearly, while Birch omits the phrase "How can the left side of this tablet have Miss Du's divine king written on it", which is unknown whether it is a mistake of the translator or some other reason, and cannot be verified.

This is particularly evident in Wang's translation, where "convey the spirit" is the sublimation of "reach the meaning". Zhang's translation basically conveys the meaning, and the language is more plain. The treatment of Shan in the Qian translation is very impressive. It can be said. The words "stem" and "main" in the text are word games. This is a difficult point in translation. It is very tricky. But at the same time. If handled properly, it will add an unexpected effect to the translation. Wang's translation is very creative, as he creates his own word "Spiri" and "Spirit" to echo each other, bringing out the effect of "王" and "主" in the original text.

Example 7:

（杜丽娘）：晓妆台圆梦鹊声高，

闲把金钗带笑破。

博山秋影飘，

盼泥金俺明香暗焦。

Wang: When magpies greet me for my happy dream,

I tap my golden hairpins with a smile.

The incense smoke coils in autumn breeze

And makes me anxious for news all the while.

Birch: Noisy magpies greeted my rising

Presage of dream's fulfilment;

With happy smile I set my gold hair ornaments.

Fragrant smoke mingled with autumn haze,

Hopes of gilded placard of success Burned bright as incense glow.

Zhang: The chirping magpies are discussing last night's dream;

Smile creeps on my lips as I tap the golden pins.

Autumn wavers in incense smoke.

Yearning for word of success,

My heart burns like the incense sticks.

On the day of Liu Mengmei's examination, Du Liniang was at home waiting for the result of the examination. When Du Liniang got up early in the morning to do her make-up in the mirror, the sound of magpies reported the good news, which was in accordance with the auspicious omen in her dream, so she was in a particularly good mood. Among them, "博山" refers to the Boshan stove, a kind of incense burner; "泥金" refers to the mud gold post, which is used to report the joy of the new entry into the earth and the enrolment in the university; "焦" is a semantic double meaning: one refers to the incense burning into ashes, and the other refers to the anxiety in Du Liniang's heart.

Double meaning refers to the use of speech, a word, or a sentence in a certain linguistic environment, while associating two different things, expressing double meaning, and the words in this meaning in the other, also known as "multiple meaning association". The literal meaning of double meaning is clear; the implicit meaning is implied. From the point of view of "expressing the meaning", the three translations are inaccurate: first, the use of "Noisy" to describe the magpie's cry is inaccurate, as we know from the above analysis that the magpie's cry here means "announcing good news". The second is that the phrase "盼泥金俺明香暗焦" is inaccurate, not like "hope for good news is burning", but that Du Liniang's heart is very anxious.

From the point of view of "conveyance of spirit". Let's look at the problem of form first. It is obvious that the original text has only four lines, but Zhang's translation has one more line; Wang's translation is relatively concise and clear, and while paying attention to rhyme, it also uses the rhyme scheme of xava without losing time, which has a strong sense of rhythm. In terms of conveying emotions, Wang and Zhang are comparable in that they both express the anxious mood of Duliniang, but the difference between them lies in the fact that Wang uses implicit metaphors while Zhang uses explicit ones.

Example 8:（杜丽娘）：可知我一生儿爱好是天然。

Wang: （DuLiniang）：But love of beauty is my natural design.

Birch: （Du）：Always my nature to love fine things.

Zhang: （Du）： My love of beauty is of natural build.

This is one of the more famous lines in The Peony Pavilion, which is usually widely recited as a clear and beautiful phrase. However, there are two ways to interpret these two lines: First, it can be seen that my lifelong hobby is "天然", that is, I like things in their natural color; second, it can be seen that my lifelong love of "好" is natural, that is, the love of beauty is my nature. In the absence of context, both understandings are fine. However, the difference will be obvious. The difference will be obvious. This has to be inferred from the context of the chant. This is the tenth play "dream" in the singing words. It was a beautiful day. In the morning, the sound of birds and swallows woke up Du Liniang from her sleep, and Chunxiang brought Du Liniang dressing clothes, and Du Liniang dressed up in the mirror. Chunxiang saw the beauty of the lady, could not help but say: "today’s dressing is really good"! This immediately resonated with Du Liniang. With this context, the meaning of this line is obvious: "It is my nature to love beauty". Among the above three translations, Wang's and Zhang's are accurate, while Birch's does not match the original. This shows that reasonable logical reasoning in context is also necessary in translation.

Example 9:（杜丽娘）：原来姹紫嫣红开遍，似这般都付与断井颓垣。良辰美景奈何天，赏心乐事谁家院!

Wang: (Du Liniang)：The flowers glitter brightly in the air,

Around the wells and walls deserted here and there Where is the "pleasant day and pretty sight"? Who can enjoy the "contentment and delight"?

Birch: (Du)： See how deepest purple, brightest scarlet Open their beauty only to dry dwell crumbling. "Bright the morn, lovely the scene," Listless and lost the heart—where is the garden "gay with joyous cries"?

Zhang: (Du)： So the garden is all abloom in pink and red, yet all abandoned to dry wells and crumbling walls. The best of seasons won't forever last; can any household claim undying joy?

These are the four most famous lines of the Peony Pavilion. When Du Liniang finished dressing, Chunxiang reminded Du Liniang that it was time for breakfast, so they walked out of the room and came to the garden with spring colors. Looking at such a beautiful scenery in front of her. Du Liniang could not help but exclaim: "the original flowers bloom so bright and beautiful". But at the same time see the dilapidated walls, wells, can not help but be sad: "Such a beautiful scenery, how is in such a dilapidated courtyard it? This is just like their beautiful youth is buried? As the old saying goes, ''It is difficult to combine the four: good time, beautiful scenery, pleasure and joy. (Zhao Shanlin, 2002:29-30).

From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".

The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Khan's translation. First of all, the "spirit" of Khan's translation is reflected in the form. The original rhymes with "abab", while the Wang translation rhymes with "aabb", and what is even more remarkable is that the Wang translation also takes into account the rhythm of the translation while rhyming, which gives a sense of intonation and staccato. Secondly, Wang's translation is very good at conveying emotions. The lyrics make one feel the faint sorrow of Du Liniang: she is enchanted by the beauty in front of her, and on the other hand, she is saddened by the spring sorrow she has nowhere else to go. The lyrics include "姹紫嫣红" and "断井颓垣", "良辰美景奈何天" and "赏心乐事谁家院!" One happy and one sad corresponding to the state of mind of Du Liniang depicted to the fullest, sad! It must be admitted that the words are emotionally charged. The words used by the translator indicate the kind of emotion he wants to express. The words "pleasant", "pretty", "contentment" and "bright" in Wang's translation are all words that mean "beautiful", but the addition of a "?" at the end of the sentence has the opposite effect. The effect is the opposite after adding a "?" at the end of the sentence, and the use of two "?" in a row in the third and fourth sentences to enhance the effect. It can be seen that Wang's translation conveys the emotion in a very clever way, so that people can appreciate the meaning of the original text without realizing it.

===Conclusion===
From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Wang Peirong's translation.

===References===
*Wang Rongpei (2000). The Peony Pavilion. Changsha: Hunan People's Press
*Zhao Shanlin. Selected Reviews on The Peony Pavilion. Shanghai: Shanghai Ancient Books Press

==英语笔译朱丽娟 Zhu Lijuan 202170081614 MW==
The Sinicization of Religion And its Development in China

==英语口译段小蝶 Duan Xiaodie 202170081615 CE==

<center>'''Difficulties and Countermeasures in the Translation of Chinese Classics'''</center>

<center>Duan Xiaodie</center>

===Abstract===
The translation of Chinese classics is an important part of the external transmission of Chinese culture. The difficulties and obstacles to the translation of Chinese classics in modern times mainly exist in the following aspects: 1) the pattern of world culture dominated by the west, the edge of the China culture in the contemporary and weak position; 2) the definition of Chinese cultural classics is unclear; 3) The translation concept of China cultural classics needs to be updated; 4) inadequate investigation of translation, 5) inaccurate grasp of audience taste, 6) inadequate understanding of translation work, 7) lack of talent and other subjective and objective factors. This paper aims to analyze the current situation of Chinese cultural transmission to the outside world, explain the causes of the above obstacles, and put forward several personal thoughts trying to overcome these obstacles like using diversified media, flexible presentation means and flexible cooperation with foreign companies, changing the way of the training translation talents in colleges and universities in order to achieve better Chinese culture transmission.

===Key words===
Chinese Classics; Translation and Transmission; Difficulties and Countermeasures

===Introduction===
Improving cultural soft power is an inevitable requirement and important condition for the rise of a country. The concept of soft power is proposed by Joseph Nye. "The country's soft power is mainly from three kinds of resources: culture (where it works to create appeal in other countries), political values (when it can really live up to those values at home and abroad), and foreign policy (when it is seen as having legitimacy and moral authority)." (Joseph Nye, 2018). China has a history of thousands of years, and cultural classics are the cultural quintessence precipitated in its long history, which embodies the spirit and values of the Chinese people.
The translation of Chinese classics is one of the most important parts in the media of China cultural transmission. Chinese literature has long been translated and introduced to foreign countries in various ways. With the improvement of China's international status and the proposal of the "going out" strategy, the translation of Chinese classics has shown an increasing trend in terms of type and quantity. The translation of Chinese classics is one of the most important parts in the media of China cultural transmission. Chinese literature has long been translated and introduced to foreign countries in various ways. The large - scale and systematic "going out" efforts planned by China include: Panda Books published in 1981 and Library of the Chinese Classics published in 1995. At the same time, the government has also set up the Chinese Academic Foreign Translation Project, which aims to cultivate translation talents and encourage translators to promote traditional Chinese classics overseas. In October 2011, the "Decision of the CPC Central Committee on Several Major Issues Concerning Deepening the Reform of the Cultural System and Promoting the Great Development and Prosperity of Socialist Culture" pointed out: "Implement the cultural going out project, improve the policies and measures to support cultural products and services going out, support key mainstream media to set up branches overseas, cultivate a number of export-oriented cultural enterprises and intermediary institutions with international competitiveness, improve the support mechanisms for translation, promotion, and consultation, and open up the international cultural market." However, despite the strong support of the government, the translation of contemporary Chinese cultural classics is still in the dilemma of "self-congratulation" in isolation. The response to these efforts abroad has also been very limited. In the case of the Panda Series, for example, most of the translations did not generate any repercussions among British and American readers, except for a few translations that were welcomed by British and American readers. According to sales statistics around the world, the "Panda Series" can sometimes sell dozens of copies, sometimes only two or three copies, and sometimes even one cannot be sold. China’s cultural strength and cultural influence do not match its international status. Although in the economic field, "Made in China" products have gone global and brought a huge trade surplus to China, in the cultural field, China's "trade deficit" situation is still serious, which is worth pondering deeply.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==比较文学与跨文化研究 MAHZAD SADAT HEYDARIAN 202021080004 MW==
'''
Academies of Classical Learning

The Shūyuàn (书院), usually known in English as Academies or Academies of Classical Learning, were private research and educational institutions in ancient China. They were built as early as the eighth century and flourished during the tenth and eleventh centuries with the support of various Emperors. The Shuyuan were not only centers for the compilation and study of classical literature, but were crucial for the development of Confucianism and Neo-Confucianism; notable Confucian thinkers such as Zhu Xi and Wang Yangming developed their ideas and taught at the Shuyuan.

==外国语言文学 Muhammad Numan 202121080002 CE==

==英语语言文学 TOURE MARIAM 202021080005 MW==

==外国语言文学 UDDIN NIZAM 202121080007 CE==

Chinese Classics in World Literature: The Viewpoints of the West towards the Four Famous Chinese Novels

==翻译学 201911080004 SAGARA SEYDOU MW==

Chinese Classics in World literature . Anthologies and World Literary History Book

Chinese Classics Translation 2022 LIST OF FINAL EXAM PAPERS

2022-06-16T08:04:26Z

Zhang Guohao: /* 英语笔译张国浩 Zhang Guohao 202170081606 MW */

[https://bou.de/u/wiki/Chinese_Language_and_Culture_2022|Back to course homepage]

This is the overview page of the topics. For the actual papers, please refer to: [[20220630_Culture]]

Every student needs to find a topic which is not yet in the textbook and has not been presented in class. Please check your topic for this. All topics are ok except from those which are marked red. If your topic is marked red, please find
a new topic and leave the red mark there, so that the teacher can check again.

==Tips for writing your final exam paper: How to indicate your references==
*You can use the existing book chapters here as an example.
*Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Do '''not''' write any references like in one of the sample chapters:

[1] dsalkfkdsa

[2] adsfadsfag

But only the following way:

(Liu Miqing 2010, 17) in the text

and then

'''References'''
*Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.

Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):
= = Topic = =
< c e n t e r > Student Name, Student no. < / c e n t e r >
= = = Abstract = = =
This chapter is on ....
= = = Key Words = = =
Egg, Hen
= = = 题目 = = =
= = = 摘要 = = =
= = = 关键词 = = =
= = = Introduction = = =
Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.
= = = The Egg = = =
Bla, bla, bla
= = = The Hen = = =
Bla, bla, bla
= = = Conclusion = = =
Bla, bla, bla
= = = References = = =
Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT

==Sample papers==
You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with "Sample paper".
* A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories
* An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications
* Comparative Study on Functional Equivalence Theory and Skopos Theroy
* Comparison of Derrida’s and Benjamin’s Translation View
* Impacts of Western Translation Theories on The Translator’s Guide to Chinglish
* On the Comparison between "Sublimation" an "Functonal Equivalence" Theories
* Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics
* The Translation of Culture-loaded Words in Chinese-English Communication
* Translators' Views on Translation Influence Their Translation Behavior

==Websites to write your final exam paper on==
The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).

==Here you can write your Final Exam Papers==

==英语笔译卞王倩 Bian Wangqian 202170081563 CE==

<center>'''Chinese Classics Translation from a Perspective of Translational Communication Studies'''</center>

<center>Bian Wangqian</center>

===Abstract===
A relatively massive Chinese classics translation can be back to the period during the late Ming dynasty and the early Qing dynasty, when excellent bilingual foreign missionaries in China introduced Chinese Classics abroad and brought them on a world stage, which can be seen as the individual translation activities that brought some Chinese Classics some popularity and fame among foreign countries, especially western ones. In the new era, China has made every effort to promote the “going-out” of Chinese culture with a focus on Chinese classics while strengthening its cultural soft power to build a modernized strong country, in which translational communication is no doubt playing an important role. Translational communication comes out of the application of communication theories to translation research and is an emerging subject that involves many specific fields for further research. And translational communication is a science of researching translational communication phenomena and their laws. A complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, the receiver of target language message, communication channels and translation effect, of which the initiator of communication and translator will be specifically illustrated here to deal with the issues of Chinese Classics Translation.

===Key words===
'''Chinese Classics Translation; Translational Communication; Initiator of Communication; Translator'''

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译曹姣 Cao Jiao 202170081564 MW==

<center>'''The Dissemination of ''The Compendium of Materia Medica'' Abroad'''</center>

<center>曹姣CaoJiao</center>

===Abstract===

===Introduction===
The ''Compendium of Materia Medica'' is one of the pharmaceutical classics of China [elaborate].

Since the outbreak of coronavirus pandemic, traditional Chinese medicine has demonstrated its curative effect [evidence based medical study double blind randomized] in prevention and other respects by means of early intervention and 'full participation' [explain], and traditional Chinese medicine has thus re-[do you really mean it?]entered the international visibility [really?].

===Structure===
This paper takes the overseas dissemination of the ''Compendium of Materia Medica'' (Chinese characters) as an example: the first part is about the spread and development of its original text, the second part is about the overseas dissemination of its translation, the third part is about the current acceptance of the book, and the fourth part is about the summary and further analysis of the dissemination of this pharmaceutical classic. The research on the dissemination of Chinese medical classics abroad will better help the Chinese medical classics to go abroad and promote the internationalization of TCM.

===Key words===
'''''the Compendium of Materia Medica''; overseas dissemination; Chinese medical classics;'''

===Introduction===
'''1. On the original'''

The original classic ''Compendium of Materia Medica'' consists of 52 volumes, including 16 parts and 60 categories, which recorded 1892 kinds of herbs, 11096 prescriptions and 1110 attached drawings. Based on traditional Chinese medicine, this book integrated mass disciplines encompassing basic theories of traditional Chinese medicine, medicament, prescription, and clinical application which almost involve all the contents of traditional Chinese medicine, reflecting the comprehensiveness of herbal knowledge and marking the extraordinary significance to the development of traditional Chinese medicine.

'''2. On the author of the original'''

Li Shizhen (courtesy name: Li Dongbi, assumed name: Li Binhu; 1518-1593) was from Qizhou (present Qichun County, Hubei Province). He came from a family lineage of physicians. His grandfather, an itinerant healer usually walked the streets to give treatment to poor people, and his father was a famous physician in his hometown. He was brought up and nurtured by his family tradition and he expressed keen interest in medicine.(Min Li, Yongxuan Liang 2015, 215-216)

===Literature Review===

===Methods and Theories===

===The original edition and the other three popular editions===
'''1. Jinling Edition'''
Li Shizhen has represented a great interest in medicine since he was young. He read previous works extensively, and when he had got some perceptions he would make notes and in this way he accumulated a large amount of knowledge. Meanwhile, he did not stick to the saying of the ancient people and adhered to “seeing is believing”.
From the age of 35, that is, the thirty-first year of Jiajing of the Ming Dynasty, Li began to write the''Compendium of Materia Medica'', and until the age of 62, that is, the sixth year of Wanli of Ming Dynasty, it was completed without manuscript. During this 27 years, after arduous efforts, Compendium of Materia Medica was finally written successfully in 1578. Because this book encompassed the content of the anti-taoist belief of immortals, its publishing process necessitated painstaking efforts. Finally, with the help of Wang Shizhen, a literary giant of that period, it was about to be published. However, Li passed away just as the engraving of his work was complete and was about to be printed. In 1596, the epoch-making ''Compendium of Materia Medica'' was published in Nanjing, known as the Jinling Edition.

'''2. Jiangxi Edition'''

'''3. Hangzhou Edition'''

'''4. Hefei Edition'''

===Dissemination in different regions ===
'''1. In Japan'''

'''2. In Korea'''

'''3. In Europea'''

'''4. In America'''

===Reception in contemporary foreign market===

===Analysis and enlightment===

===Conclusion===

===References===
*Min Li, Yongxuan Liang(2015). Li Shizhen and The Grand Compendium of Materia Medica. Journal of Traditional Chinese Medical Sciences 2, 215-216
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*
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==英语笔译陈路瑶 Chen Luyao 202170081565 CE==

<center>'''A Study on the Popularity of Tie Ning's "The Bathing Women "Abroad'''</center>

<center>Chen Luyao</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译邓阳林 Deng Yanglin 202170081567 MW==
'''A study on Xu Yuanchong's Song Poems translation'''

==英语笔译何丽娜 He Lina 202170081569 CE==

<center>'''A Study on the dilemma of the Chinese Cultural Classics'''</center>

<center>He Lina</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译胡良明 Hu Liangming 202170081570 MW==

<center>'''A study on Lin Yutang’s translation of Six Records of a Floating Life'''</center>

<center>Hu Liangming</center>

===Abstract===
Translation is a special art. When translating, the translator needs to express the original content in another different language. In this process, the translator not only needs to translate the original content, but also needs to preserve the mood, imagery, rhythm and writing style of the original text. Therefore, translation is not only a transformation between two different languages, but also an exchange between different cultures represented by the two languages. As a special type of translation, literary translation involves famous Chinese and Western literary works, so it is necessary to pay more attention to the connotation of words and sentences while translating. In literary translation, the translator should strive to express the artistic conception of the original work, so that readers can read the literary connotation from the translated work as if reading the original text, and can feel the beauty of the language. The Three Beauties Principle, which consists of beauty in sound, beauty in sense and beauty in form, is the translation standard put forward by the famous translator Xu Yuanchong. The Three Beauties Principle is regarded as the translation standard of Chinese classical poetry. Under this standard, the translator must express accurately the beauty in the poem. Since the styles of poetry and prose are very similar, this article aims to explore the effective methods of English translation of Classical Chinese by studying the translation aesthetics in Lin Yutang's English translation of Six Records of a Floating Life.

===Key words===
Three Beauties Principle, English translation of Classical Chinese, Six Records of a Floating Life.

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译黄琼 Huang Qiong 202170081571 CE==
<center>'''The Translation and Spread of Yu Hua's Works in Europe'''</center>

<center>黄琼 Huang Qiong</center>

===Abstract===
Yu Hua, the most famous[? statistics? Mo Yan] contemporary author in China, wrote a lot of masterpieces[?] such as ''To Live'' 活著, ''Cries in the Drizzle'', and ''Chronicle of a Blood Merchant''. He is one of the pioneers of Chinese avant-garde literature in the new period. As one of the most influential[?] contemporary Chinese writers, this paper will explore the translation and dissemination of Yu Hua’s works（''Brothers'' as an example）in Europe with emphasis on France and Germany. Through this case, I hope[?] to provide some experience for the dissemination of Chinese contemporary literature, so as to expand the influence of Chinese literature.[normativity? A value by itself?]

===Key words===
Yu Hua, ''Brothers'', Chinese contemporary literature, translation.

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*杭零 & 许钧.(2010).《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介. 文艺争鸣(07),131-137.
*王侃,蔡丽娟 & 朱志红.(2009).《兄弟》在法语世界——法语书评翻译小辑. 文艺争鸣(02),117-122.
*杭零.(2013).法兰西语境下对余华的阐释——从汉学界到主流媒体. 小说评论(05),67-74.

==英语笔译邝雨琪 Kuang Yuqi 202170081572 MW==
<center>'''A Study on C-E Translation of the Mao Zedong's Poetry from the Perspective of Eco-translatology'''</center>

<center>Kuang Yuqi</center>

===Abstract===
Based on eco-translatology theory, this thesis analyzes the translation of Mao Zedong’s poetry from three dimensions: language, culture and communication. Mao Zedong's poetry holds an important place in the history of Chinese and even world literature. The appropriate English translation of Mao Zedong's poems is of great significance for promoting Chinese culture and enhancing cultural soft power. This thesis will take Xu Yuanchong's translation of Mao Zedong's poems as an example to study the application of eco-translatology in the translation of Mao Zedong's poems. It aims to improve the English translation of Mao Zedong's poetry and apply this translation theory to the translation of other texts, so as to make the English translation of Chinese literature more perfect and understandable.

===Key words===
Eco- translatology; Mao Zedong's Poetry; Xu Yuanchong's Translation

===Introduction===
With the increasingly intimate exchanges between countries, the globalization is more and more irreversible. In this condition, translation becomes increasingly important. In addition to Tang and Song poetry, Mao Zedong’s poetry also occupies a very important position in the history of literature.
This thesis intends to improve the English translation of Mao Zedong's poetry, and apply the translation strategies to other texts’ translation, so as to make the English translation of Chinese literature more perfect and understandable.
The thesis consists of five parts. .......

===Literature Review===
Scholars at home and abroad have done a lot of research on the English translation of Mao Zedong's poetry. From the 1950s, Russia, the United States, France, Italy and other European and American countries officially began publishing the translation of Mao Zedong’s Poetry（李正栓，陶沙，2009）. Foreign scholars mainly focus on the translation of Mao Zedong's poems itself. The studies done by domestic scholars are mainly divided into three categories：introducing and commenting on the versions of Mao Zedong's poetry translation; studying Mao Zedong's poetry translation from different translation theories; comparing different translation versions of Mao Zedong's poems. Although some scholars have studied the translation of Mao Zedong’s poetry from the perspective of eco-translatology, there are many viewpoints on this theory, and few analyze it from the “three-dimensional transformation” principles.

===Methods and Theories===
This thesis studies the translation of Mao Zedong's poems from the perspective of eco-translatology, and the application of “three-dimensional transformation” theory in it.

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译黎溢佳 Li Yijia 202170081573 CE==
On the popularity of Three Body abroad

==英语笔译李思敏 Li Simin 202170081574 MW==
A Study on Translation Methods of Agricultural Terms in Chinese Sci-tech Classics —— A Case Study of Tian Gong Kai Wu

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of The Border Town from the Perspective of Eco-translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

===Abstract===
苗语是苗族文化的主要载具。在文化历史发展的过程中，由于受经济、地理、科学技术等方面的限制，苗语没有得到很好的继承和保护。本文主要介绍苗族的概况、分布情况以及苗语的基本特点。近十年来，对苗语进行研究的专家学者和相应著述越来越多，本文主要从介绍最基本的与苗语相关的情况，试图引起更多人对苗语以及更多少数民族语言的关注，从而对少数民族语言和文化进行保护。

===Key words===
Miaoyu, Hmong,language protection

===Introduction===
20世纪30年代，美国一些学者开始关注美洲印第安语和澳洲土著语言的大规模灭绝现象，并由此引发濒危语言研究的热潮。根据1996年，教科文组织发布的世界濒危语言地图显示，目前全世界大约有2500种语言存在不同程度的濒危情况。而面临濒危情况的语言主要由于一些语言是因为使用人数仅存一人而濒临灭绝，比如巴西的阿皮亚卡语（Apiaka）、迪亚霍伊语（Diahoi）以及中国台湾的拔泽海语（Pazeh）等都极度濒危，因为这些语言在2009年前大多只剩一人会说。同样我国是一个少数民族众多的国家，因而会有众多少数民族特有的语言，比如蒙古语，客家话，土家族语等。语言不仅是一种交际工具，更是一个民族文化的传承，每一种语言都是一个族群独特文化和族群特征的重要体现和表现形式。少数民族语言也面临着同样的现象，因此想对离自己生活比较接近的语言进行了解和研究。

===Literature Review===

===Methods and Theories===

===Subtitle 1 The Motivation of the Miaoyu===
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.

===Subtitle 2 Miao Nationality ===
1.The Source of the Name “Miao”
There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.
2.The Distribution of Miao Nationality
(1)Domestic Distribution
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.
(2)Overseas Distribution
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.

===Subtitle 3 The origin of the Hmong and the historical formation of the Hmong===
1. Origin of the Miao
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.
The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."
2. Historical formation of the Hmong
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.

===Subtitle 4 Miao Folk Beliefs===
phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".

===Conclusion===
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
The Translation and Reception of Sunzi: The Art of War in the West

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
This is a paragraph. (Wang 2021:423)

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Study on the canonization of Chinese Modern Poetry'''</center>

<center>Liu Ting</center>

===Abstract===

It has been more than a century since the birth of Chinese Modern Poetry, also known as the new poetry and its canonization has always been the common concern of writers, scholars and researchers. In any country, canonization of any literary work is a long and complicated process in terms of time and mechanism. The canonization of new poetry has rich texture in the synchronic and diachronic aspects of literary history. This paper analyzes the essential characteristics of the so-called "classic" works in terms of their influence, time, artistry, innovation and acceptability, and points out the problems and dilemmas faced by the canonization of new poetry and the relevant solutions.
===Key words===
Chinese modern poetry, canonization, classic work,
===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On Mo Yan’s Representative Works Translated Overseas'''</center>

<center>Liu Yao 刘瑶</center>

===Abstract===
With the implementation of “Going Global” strategy of Chinese literature, more and more works of outstanding Chinese writers have been translated and published in countries around the world, and Mo Yan’s works are representative of them. In 1988, The Dry River was published in Japan, which started the overseas publishing of Mo Yan’s works. As of October 2019, there are 388 kinds of Mo Yan’s works published in 41 countries and Mo Yan has become a representative of contemporary Chinese writers to the world. A comprehensive discussion on the development history, geographical and language distribution, and audience acceptance of Mo Yan's representative works translated overseas is an important topic that can summarize some features of Chinese literature translated overseas, from which to gain some revelation related to Chinese literature's going global. This paper collects relevant papers and journals on the translation and dissemination of Mo Yan's works, based on which this paper reaches a conclusion of information related to Mo Yan's three representative works —''Red Sorghum''《红高粱家族》, ''Frog''《蛙》, ''Big Breasts and Wide Hips''《丰乳肥臀》. Taking masterpieces of well-known writers as examples, this paper is in the hope of offering new ideas for the translation and dissemination of Chinese literature.Through study and research on the topic, this paper concludes that the significance of Mo Yan's works translated overseas is mainly reflected in the following three aspects: first, showing the global influence of Chinese contemporary literature; second, contributing to the further development of the dissemination of Chinese culture; third, setting a model for cultural communications between China and other countries. The translation and dissemination of Mo Yan's works also inspire us that the spread of Chinese literature needs not only policy support from the government, but also high level translation from translators, both of which are key factors in terms of Chinese literature's going global.

===Key words===
Mo Yan; representative works; translation; dissemination

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译刘珍 Liu Zhen 202170081588 MW==

<center>'''A Study of Strange Stories From a Chinese Studio from the Perspective of Skopos Theory'''</center>

<center>刘珍</center>

===Abstract===
Liao Zhai Zhi Yi written by Pu Songling is a famous collection of more than 400 peculiar short stories. As a work coming into being at the very beginning of the 17th century when the classical Chinese writing was on the wane, the appearance of Liao Zhai Zhi Yi (or Liao Zhai in abbreviation) injected vigor and vitality into the classical Chinese literature. Among the many foreign translations of this book, the English version named Strange Stories from a Chinese Studio translated by Herbert Allen Giles is the most popular and influential one so far, thus becoming an indispensable part for the study of the English translation of Liao Zhai. At a time that we are calling for Chinese culture going global, as a successful case of Chinese literature work well-accepted by the foreign market, the English translation if sure of high research values and guiding significance. This thesis attempts to take Skopos theory as the theoretical basis, and take Giles’s Strange Stories from a Chinese Studio as the main research object to study the translator’s aims, the choices of translation strategies and the achievement of translation function.

===Key words===
Strange Stories from a Chinese Studio; Herbert Allen Giles; Skopos theory; Reader Expectations

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译马艳焕 Ma Yanhuan 202170081591 CE==
The Translation and spread of Su Tong 's works Abroad

<center>'''The Translation and spread of Su Tong 's works Abroad'''</center>

<center> Ma Yanhuan 马艳焕 </center>

===Abstract===
Su Tong is one of the famous contemporary Chinese writers, whose works have been translated into a variety of languages and widely spread abroad. therefore, the writer Su Tong has also become one of the top three foreign translators of novels in China. Based on the present situation of the foreign translation of Su Tong's works, this paper will explore the reasons for the success or failure of its overseas dissemination, and put forward some countermeasures to provide a reference for the going out of Chinese literature.

===Key words===
Su Tong; Translation； Spread

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文.
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592 MW==

<center>'''Translation of Idioms in Howard Goldblatt's ''Life and Death are Wearing Me Out'''''</center>

<center>Nie Wei 聂薇</center>

===Abstract===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is full of vivid and interesting idioms, which make the language of this novel so unique and characteristic. Howard Goldblatt's translation of this novel has been a great success in the English-speaking world. In the translation of idioms in this novel, he mainly adopts the methods of foreignization and omission, and follows the translation principles of preserving the foreign culture and insisting on semantic correspondence in order to present the heterogeneity of the idioms, so that the Chinese culture contained in the idioms in ''Life and Death are Wearing Me Out'' is well presented to Western readers. His translation provides a more objective platform for Western readers to know the diverse cultures of the world. The study of Goldblatt's translation of this novel can help guide the English translation of Chinese literature, thus providing references for promoting Chinese culture abroad.
===Key words===
''Life and Death are Wearing Me Out''; Howard Goldblatt; translation of idioms; creative treason
===Introduction===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is not considered the best novel in China, but Goldblatt's English translation has received much attention in the English-speaking world, won many international awards, and is even considered one of the most important works for Mo Yan to win the Nobel Prize in Literature. One of the most distinctive features of this novel is its unique language style. Goldblatt’s exquisite translation enables Mo Yan's style to be reproduced, and the strong local flavor and magical realism to be manifested, all of which is an important factor for the success of the English translation of ''Life and Death are Wearing Me Out''. This paper discusses the translation methods and principles adopted by Goldblatt in his translation of the idioms in this book, and analyzes its influence on the dissemination of Chinese culture, so as to provide reference for future translations of Chinese classics. (Shi Chunrang 2019, 94)
===Literature Review===
I searched CNKI with keywords "''Life and Death are Wearing Me Out'' and translation" (searched until May 29, 2022) and found 355 related papers. These papers analyzed the translation methods, strategies and Goldblatt’s translation style of ''Life and Death are Wearing Me Out'' from different perspectives, such as relevance theory, Bourdieu’s theory of field, Reception Aesthetics Theory, eco-translatology, translation aesthetics, the post-colonialism perspective, rewriting theory, translation ethics, hermeneutics and translators' subjectivity.

Among them, there are five papers related to the study of proverbs ( idioms). Wang Yiting and Lin Mei point out that Goldblatt mostly uses literal translation to translate idioms in the linguistic dimension, chooses both literal and free translation in the cultural dimension, and uses rewriting in the communicative dimension. Liu Geng and Lu Weizhong, with the help of conceptual metaphor theory, point out that the English translation of the idioms in ''Life and Death are Wearing Me Out'' has certain translator's subjectivity, and the translator's metaphorical way of thinking affects the use of different translation strategies. Ye Pingting, based on the cultural translation view, uses the idioms in Goldblatt’s version as a corpus to explore how translators effectively convey cultural information. Chen Qiansa analyzes the use of idioms and their translation methods in this novel based on the Chinese-English parallel corpus. Shi Chunrang and Shi Yan analyze the role of idioms in ''Life and Death are Wearing Me Out'' in constructing the "image of the other" for Western readers, as well as in deconstructing the cultural psychology of western readers.

The study of idioms’ translations in Goldblatt's version includes both case studies, in which a single idiom is selected for discussion, and quantitative analyses supported by definite statistics. This paper provides an overall study of the methods and principles of translating idioms, and suggestions for improvements to the mistranslations in Life and Death are Wearing Me Out, so as to provide a reference for the English translation of Chinese literary works in the future.
===Methods and Theories===
This paper focuses on the study of Goldblatt’s translation based on Venuti's theory of domestication and foreignization and the concept of creative treason.

Lawrence Venuti firstly formulated and introduced the theory of domestication and foreignization in the book ''The Translator’s Invisibility''. According to Venuti, domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target readers, while foreignization refers to the type of translation in which a target text deliberately breaks target conventions by retaining something of the foreignness of the original.

The domestication method can express the language and culture of the source language with the language and culture familiar to the target language readers, and the translation is fluent and easy to read and accepted by the readers, but the "domestication method" tends to distort the facts of the original text, which is not conducive for the target readers to feel the "exoticism" of the foreign culture. On the other hand, the "foreignization method" can better maintain the style of the original text, convey the author's original intention, and let the target language readers truly feel the difference between the two cultures, but the disadvantage of it is that the translation may be obscure and difficult to understand, and may sometimes make the readers have cultural misunderstanding. (Zhu Zhouxain 2013,155)

Professor Xie Tianzhen published a book entitled ''Translation Studies'', in which he elaborated on the creative treason in literary translation in depth. In his book, he clearly pointed out that "the most fundamental characteristic of creative treason in literary translation is that it introduces the original work into a receptive environment that the original author did not originally anticipate, and changes the form originally given to the work by the original author."

Due to the specific differences in social, historical and cultural factors between the source language and the target language, the translator will certainly make appropriate and comprehensive "adjustments" to the specific differences in semantics between the two languages in different contexts during the whole process of translation. These "adjustments" are, on the surface, a "treason" against the original work, but it is not the translator's trampling on the original work at will, but the translator's attempt to make the translation convey the same meaning as the original work in the translated language environment. (Zhang Liyun 2019,141)

===1.Idioms in ''Life and Death are Wearing Me Out'' and their characteristics===
Idioms are simple and concise folk languages that are widespread and easy to understand. Most of them are short sentences that are transmitted orally by the laboring people, reflecting their experiences in production and life vividly. Idioms contain a great deal of background information and culture, and it is a form of language that has been developed over a long period of historical development and real life.

''Life and Death are Wearing Me Out'' is filled with lively and amusing idioms that bring uniqueness and vitality to the novel's language. This novel tells the story of joys and sorrows experienced by the landlord Ximen Nao’s family and the farmer Lan Jiefang’s family for more than half a century. The theme of the novel is closely related to the farmers and the land, which of course requires the use of a large number of idioms to narrate the story. (Shi Chunrang 2019,94)

Clearly, the idioms in this novel are diverse in form and peculiar in presentation. For example, when the donkey reincarnated from Ximen Nao bragged about being favored by the county chief, it said, "人们都知道，侍候好了县长的驴，就会让县长格外高兴。拍了我的驴屁，就等于拍了县长的马屁。" The translation is "Everyone knew that taking special care of the county chief's donkey made him very happy. Patting my rump was equivalent to patting the county chief's behind with flattery." Here cleverly, the common saying "拍马屁" in people's daily life is used as “拍驴屁”, which highlights the identity of the donkey, and also vividly and humorously depicts the complacency and arrogance of the donkey, while expressing its contempt for those who strive to curry favour with people in authority.

In addition, when the ghosts in the hell sneered at Xinmen Nao, they said, “猫改不了捕鼠，狗改不了吃屎”. The translation is “You can’t keep a cat from chasing mice or a dog from eating shit.” The language, though vulgar, is very common in people’s daily life and fits the overall style of the novel.

This kind of linguistic style is both traditional and innovative, both unbridled and unrestrained, and is highly effective for shaping the characters and plotting.
===2.Goldblatt’s translation methods of idioms in ''Life and Death are Wearing Me Out''===
(i) Foreignization

The method of foreignization is to deliberately make the translation violate the conventional linguistic models in target language and retain the exotic atmosphere of the original text, with the aim of "injecting the linguistic and cultural differences in the foreign text into the target language, sending the readers abroad" and providing them with an "unprecedented reading experience”. Goldblatt deliberately uses the method of foreignization to translate idioms in this novel.

Specifically, Goldblatt tries to convey the heterogeneity of idioms in the original text in the following ways.

First, he tries his best to show the target readers the meaning of Chinese idioms that is unique to China and not available in the Western culture. After all, idioms are developed in the production and life experiences of different peoples. Therefore, Goldblatt chooses literal translation whenever possible.

For example, “你是煮熟的螃蟹难横行了，你是瓮中之鳖难逃脱了” is translated into “You’re a cooked crab that can no longer sidle your way around，a turtle in a jar with no way out”. “瓮” is a unique Chinese utensil with rich Chinese cultural information. The image of "瓮" is missing in the English-speaking world. Therefore, he borrows the familiar apparatus "jar" from English to translate it, which is roughly similar to "瓮" in appearance. This translation uses an alternative image to convey the message of the original text, which reduces the connotative information of the original idiom but makes it easier for the target readers to understand the essential message of the idioms.

Second, for some idioms, Goldblatt translates them by literal translation with annotation. The literal translation is of course for presenting the original message of the idioms to the target readers, while the annotation is to help the readers better understand the essential message of the idioms, because some of them have complex metaphorical messages, so annotation is essential for understanding.

For example, “兔死狐悲，物伤其类” is translated into “When the rabbit dies，the fox grieves, for his turn will come.” This annotation “ for his turn will come” clearly illustrates the message of the original idiom and removes any confusion about why the fox grieves for the rabbit’s death. With annotation, the connotative meaning of the idiom becomes clearer.

Third, for some idioms that have exact equivalents in the target language, the translator deliberately translates them with explanatory literal translations instead of copying the idioms in the target culture. For example, “入乡随俗” is translated into “When you come to a new place，learn the local customs and follow them” rather than “When in Rome, do as the Romans do” in English. Obviously, the use of semantic equivalents of idioms in the target language cannot translate the information conveyed by the original context. An explanatory literal translation approach can help target readers better understand the plots of the novel and increase their interest in reading it. (Shi Chunrang 2019,95)

(ii) Domestication

Sometimes we may find that the Chinese idioms don’t have equivalents in the target language, so they can be translated through free translation, which means we can follow the principle of domestication by borrowing existing expressions in the target language, thus making the translation closer to the reading habits and cognition of the target readers. In Goldblatt's translation of idioms in ''Life and Death are Wearing Me Out'', about 30% of those idioms are translated through free translation. (Chen Qiansa, 2019,108)

For example, “洪泰岳你出口无信，食言而肥” is translated into “Hong Taiyue，your words meant nothing, you did not make good on your promise”. In this sentence, “食言而肥” and “出口无信” mean the same thing: not to keep one’s word. These two idioms came out of ''The Commentary of Zuo''. It is not possible for the translator to translate the allusions behind each idiom, which would result in a lengthy and unclear translation. So Goldblatt uses a phrase with similar meaning to express the idioms “食言而肥” and “出口无信”. He borrowed from the English idiom “not make good on your promise” and delivered an authentic translation cleverly.

Due to the differences between the English and Chinese languages and between Eastern and Western cultures, the “treason” of the original text in literary translation is inevitable. For example, in the novel ''Life and Death are Wearing Me Out'', there are many epithets such as "爷们" and "伙计", which are difficult to translate into English with full equivalence, and Goldblatt's creative "rewriting" of them also reflects his unique translation ideas. For example, according to different contexts, “伙计” is translated into “gentleman” “buddy” “old friend”; according to the specific meaning of the sentence, “掌柜的” is translated into “you are the head of the household” “my husband” “the old gentleman” “sir” and so on. (Zhang Qi 2019,329)

Although the domestication method changed the images or structure of the original sentence, Goldblatt's translation better conveys the original author's intentions and can be deemed as a kind of fidelity from a deeper level.

(iii) Omission

Omission means that the idiom is not translated from the original text. There are two kinds of idioms that Goldblatt did not translate. The first one is those idioms that contain distinctive local culture, which cannot adequately convey the content of the novel in the target language. For example, “我这哥，惯常闷着头不吭声，但没想到讲起大话来竟是‘博山的瓷盆——一套一套的’ ” is translated into “He was normally not much of a talker, so everyone was taken by surprise. To be honest, it turned me off.” The idiom “博山的瓷盆——一套一套的”(which means a set of porcelain pots from Boshan) has been omitted here because it contains an item known only to a small group of people, and the message it implies is so unique and unnecessary that the translator chose to omit it. (Shi Chunrang 2019,95)

In addition, Goldblatt chose to deliberately omit some idioms, such as “西游记”“小妖红孩儿”“封神演义”“哪吒”“天山童姥”. Because in his mind, "capturing the style, rhythm and imagery of the original work is the real task and challenge for the translator”. Omitting those idioms makes the storyline more compact and the language more straightforward and easily accepted by the target readers. (Zhang Qi 2019,329)

Second, some idioms that serve to add explanatory information and vividness to the original text are also often deleted by Goldblatt. For example, "出水才看两条腿" and "咱们骑驴看账本，走着瞧! " and other similar proverbs are omitted.

On the whole, however, the idioms in ''Life and Death are Wearing Me Out'' are very important for the novel’s general language style. Therefore, there are not many cases where the translators leave idioms untranslated.

(ⅳ) Mistranslation

In Xie Tianzhen’s article ''Mistranslation: Misunderstanding and Misinterpretation in Different Cultures'', he divides mistranslation into two types, namely intentional mistranslation and unintentional mistranslation. Intentional mistranslations are those in which the translator chooses to consciously misinterpret the meaning of the original text for some reason. Unintentional mistranslations can be divided into three types which are caused respectively by carelessness, poor linguistic skills and lack of knowledge of the cultural background of the original language. (Zhang Sen 2016,111)

Intentional mistranslation closely reflects the translator's creative treason and is also a major manifestation of the collision, distortion and deformation between cultures in literary and cultural exchanges. Therefore, this paper focuses on the current situation of intentional mistranslation in Goldblatt’s translation of ''Life and Death are Wearing Me Out'', and reveals how translators creatively fill the gaps between different cultures. (Zhang Liyun 2019,143)

For example, “……让老婆孩子吃糠咽菜的守财奴” is translated into “…made his wife and kids eat chaff and rotten vegetables”. The original text intended to use the idiom "吃糠咽菜" to depict the poor life of them, but in the translation it is translated into "eat chaff and rotten vegetables". In the original text, the word "菜" means "wild edible plants", because in the old days, Chinese people who could not afford to eat vegetables often used wild plants to fill the belly. But in the English version it is translated as "rotten vegetable". Why? Because with the improvement of people's livelihood, "wild edible plants" have become a delicious delicacy for people in both the East and the West. Therefore, in order to tell the target readers about the poor life of those people, he translated "糠咽菜" into "chaff and rotten vegetables", which makes it easier for the readers to accurately capture the meaning of the original text.

The translator plays an important role in this process, and the translator's personalized translations, mistranslations and omissions reflected in the translations are all manifestations of the translator's creative treason.
===3.Goldblatt’s principles for translating idioms===
(i) Preserving the culture of the original language

Generally speaking, idioms have deep semantic connotation and vividly reflect the material and spiritual culture with local characteristics. Therefore, when translating idioms, we should try to understand the deeper connotations of them and to express them clearly. By researching, communicating with the author and other methods, Goldblatt managed to understand the essential meaning of the idioms, their historical roots and the context in which they are used, so as to truly grasp their precise meaning. (Shi Chunrang 2019,97)

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopts the methods of foreignization and omission, so we can say that the principle he follows in translation is that of preserving the culture of the original language. He tries to highlight the heterogeneity of the original proverbs through literal translation, to reveal the uniqueness of Chinese culture, and to help Western readers understand the life experience of the Chinese people attached to the idioms through annotations.

Due to the cultural status of Europe and America, cultural differences and the marginal position of translated literature in the European and American literary world, European and American translators often choose to translate other countries' literary works by means of domestication, and the translation of ''The Story of the Stone'' by David Hawkes is an example of the use of domestication strategy. However, cultural hegemony and cultural colonization have led a group of translators with a sense of mission to choose a translation strategy that preserves the style of the original work, which is called foreignization.

The contradiction is obvious: the translator wants to preserve the taste of the original work, but the reader's difficulty in understanding the language and structure of the vernacular novel requires the translator to make concessions in the translation. Goldblatt's approach to translation reconciles this contradiction to a certain extent. He tries to strike a balance in the translated work so that it can be accepted by Western readers. (Tian Debei 2016,91)

(ii) Semantic correspondence

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt not only tries to reproduce the meaning of the idioms in the target language, but also strives to achieve an overall semantic correspondence between the proverbs and the context in which they are found. He helps to make the text more logical and readable by adding explanatory phrases, explicitly stating the implied meaning or adding connecting words. In achieving semantic correspondence, he tries to make the translation as close to the original text as possible, without adding or subtracting anything, and without creating ambiguity. In terms of choosing words, he tries to be as concise and appropriate as possible; in terms of sentence construction, he tries to achieve a sentence style that reflects some of the features of the original but is also in keeping with the conventions of the target language. (Shi Chunrang 2019,97)
===4.Implications of ''Life and Death are Wearing Me Out'' for the English Translation of Chinese Literature===
As mentioned above, guided by the principle of personalized translation, there is 'fidelity' in translating the idioms in ''Life and Death are Wearing Me Out'', as well as creative treason and omission of the original text. It can be seen that Goldblatt is not bound by the traditional dichotomy of literal translation and free translation. The language of his translation is authentic and fluent, reading like an original English novel but conveying exotic cultural imagery.

Goldblatt insists on translating for his readers, so he was selective in his translation strategies in order to make exotic Chinese literature accessible to western readers, thus allowing excellent literature to enter the field of foreign translated literature and achieving the effective dissemination of Chinese literature.

Compared with Western culture, Chinese culture is still in a disadvantaged position in the world cultural landscape. Therefore, if Chinese literature wants to “go global”, translators must take into account the special cultural background and general readers' acceptability.

Goldblatt’s choice and application of translation strategies carries with it the translator's subjectivity, and under the guidance of such translation principles, his translations meet both the literary standards of the Western world and the expectations of the Western readers for Chinese literature. (Zhang Qi 2019,330)

Whether Chinese literature has done a good job in “going global” is not only judged by the accuracy of their translations, but also by how well they are received by foreign readers. The difference between Chinese and Western cultures have resulted in readers’ different preferences for literary themes, so Goldblatt has paid great attention to the tastes of Western readers when selecting books he was going to work on, so that his translations can be better accepted by them. However, the mistranslation in his version has led to a deviation from the original Chinese works.

Compared with Chinese translators, Sinologists have a strong linguistic background, but their knowledge reserve of Chinese culture is still insufficient. So the best mode of translation is a kind of Chinese-foreign collaboration, in which the Chinese translators deal with the cultural challenges while the sinologists do the linguistic touch-ups, in order to ensure the integrity of Chinese culture in the West, and to achieve both fidelity to the original work and increased acceptance abroad, thus achieving success in the translation of Chinese culture. (Zhang Sen 2016,115)
===Conclusion===
In translating idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopted the strategies of literal translation (39.2%) and free translation(30.3%), supplemented by omissions, additions and borrowings, with a few mistranslations (about 10 cases). It is evident that he tends to retain the cultural image of the idioms in the source language, and tries not to add or delete; however, when those images in the source language don’t have equivalents in the target language, he will be bold enough to adopt free translation, so as to maintain the readability and fluency of the translated work. In the translation process, he stays true to the connotation of the text rather than the literal meaning, and stays true to the target readers rather than the readers of the source language. (Chen Qiansa 2019,110)

This helps us to reveal Goldblatt's faithful translation and reader-consciousness. In conclusion, in the process of translation, translators should preserve the style and image of the idioms in the original text as much as possible, so as to spread Chinese culture and enrich the English vocabulary; at the same time, they should take into account the readability of the translated work and adopt various translation approaches to deal with the Chinese idioms.

Goldblatt not only makes the message conveyed by the idioms and the proverb-rich language style of ''Life and Death are Wearing Me Out'' well presented to Western readers, but also makes them easily understood and accepted by Western readers. The translator does his best to spread Chinese culture and respect the culture clash between different cultures. His translation dares to face up to the cultural differences between China and English-speaking countries, and uses a unique translation method to strongly promote Chinese literature and culture to the Western world, which achieved good results, and also provides some useful references for us to do a good job in promoting Chinese culture to go abroad.

Therefore, we should not only consider the needs of Western readers at the expense of the dissemination of our own distinctive culture, instead, we should take the promotion of our own culture as our responsibility and take into account the reading needs of Western readers. The successful translation of idioms in Mo Yan’s novels is a good case in point. In the exchange between Chinese and foreign cultures, the translation of idioms in Mo Yan's novel adheres to the idea of faithful translation and mainly adopted foreignization, fully demonstrating the traditional Chinese culture with strong national flavor and distinctive regional characteristics, which is an important inspiration for the dissemination of Chinese culture today.
===References===
*Mo Yan 莫言. (2011). Life and Death are Wearing Me Out. tans. by Howard Goldblatt. New York: Arcade Publishing．
*Venuti, L. (1995). The translator’s Invisibility: A History of Translation. London and New York: Routledge．
*Xie Tianzhen 谢天振.(2012).创造性叛逆:争论、实质与意义[Creative Treason: Controversy, Substance and Meaning].''中国比较文学''Comparative Chinese Literature (2):33-40．
*Zhang Qi张琦.(2019).“创造性叛逆”:莫言《生死疲劳》英译特点及启示[Creative Treason: Characteristics and Insights of the English Translation of Mo Yan's “Life and Death are Wearing Me Out”].''上海理工大学学报''Journal of Shanghai University of Technology (04):327-330+337.
*Zhang Liyun, Wu Qingjuan张丽云,吴庆娟.(2019).创造性叛逆与葛浩文《生死疲劳》英译本的译介[Creative Treason and Goldblatt’s Translation of “Life and Death are Wearing Me Out”].''齐齐哈尔大学学报''Journal of Qiqihar University (10):141-143+172.
*Wang Yiting, Lin Mei王怡婷,林梅.(2014).翻译适应选择论视角下《生死疲劳》的习语翻译[The Translation of Idioms in "Life and Death are Wearing Me Out" from the Perspective of Translation Adaptation Selection Theory].''常州大学学报''Journal of Changzhou University (04):100-102+106.
*Shi Chunrang, Shi Yan石春让,石岩.(2019).葛浩文译《生死疲劳》中谚语的文化建构与解构[The Cultural Construction and Deconstruction of Idioms in Goldblatt's Translation of “Life and Death are Wearing Me Out”].''外国语文''Foreign Literature (01):94-99.
*Zhang Sen, Zhang Shijin张森,张世瑾.(2016).葛译《生死疲劳》中的误译现象与中国文化译介策略[Mistranslation in Goldblatt's Translation of Life and Death are Wearing Me Out and Strategies for Translating Chinese Culture].''河北大学学报''Journal of Hebei University (05):111-116.
*Liu Geng, Lu Weizhong刘庚,卢卫中.(2016).汉语熟语的转喻迁移及其英译策略——以《生死疲劳》的葛浩文英译为例[The Metonymic Migration of Chinese Idioms and Their English Translation Strategies - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''外语教学''Foreign Language Teaching (05):91-95.
*Chen Qiansa陈千飒.(2019).基于语料库的《生死疲劳》熟语英译研究[A Corpus-based Study on the English Translation of the Idioms in "Life and Death are Wearing Me Out”].''重庆交通大学学报''Journal of Chongqing Jiaotong University (01):105-111.
*Zhu Zhouxian朱周贤.(2013).论乡土小说翻译的难点——以葛浩文英译的《生死疲劳》为例[On the Difficulties of Translating Rural Literature - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''作家''The Writers (14):155-156.
*Tian Debei, Zhan Xuanwen田德蓓,詹宣文.(2016).入乡未能随俗:论葛浩文译《生死疲劳》的乡土气息[On the Local Flavor of Goldblatt's Translation of “Life and Death are Wearing Me Out”].''东北农业大学学报''Journal of Northeast Agricultural University (01):88-92.

==英语笔译孙丽君 Sun Lijun 202170081593 CE==

<center>'''An Analysis of English Translation of Luotuo Xiangzi from the Perspecctive of Rewriting Theory'''</center>

<center>Sun Lijun</center>

===Abstract===
Traditionally, translation is regarded as a kind of linguistic conversion, which means translating the source text from one language into another. And with further and deep study of translation, Bassnett and Lefevere went beyond the level of language, focusing on the mutual interaction between translation and culture, and the influences and restrictions of culture on translation. Therefore, the move from translation as text to translation as culture and politics is termed as the cultural turn. Rewriting Theory, proposed by Lefevere, is the representative fruit of the translation studies on culture, exerting profound influence on academia. Rewriting Theory shows that translation is regarded as rewriting, which is mainly constrained by the dominant poetics, ideology and patronage under certain backgrounds.
Luotuo Xiangzi, writtten by Lao She in the year of 1939, is one of the representative masterpieces of Chinese classics, gaining great popularity both at home and abroad since its first English version, translated by the American translator Evan King in 1945, came out. And this translated text obtained great success in America, which establishing Lao She’s reputation as a writer in the international literary circle. However, due to the inequivalence to the source text, Evan King’s translated work invited some critics from Chinese scholars even unsatisfied the original author Lao She himself. Thereafter, this short essay will briefly analyze the translation of Luotuo Xiangzi by Evan King from the perspective of Rewriting Theory, trying to find out the influences the dominant poetics, ideology and patronage exert on translation.

===Key words===
Luotuo Xiangzi; rewriting theory; translation

===Introduction===
As is known to all, translation is a kind of special and creative activity carried out in a certain context. And it is influenced by some certain activities of the society at one hand, while on the other hand, translation is also restricted by some factors of the works and the writers themselves. In a word, translation plays an essential and pivotal role in communicating and exchanging ideas in this global village. And with further cultural exchanges, some foreign masterworks have been introduced into China, broadening people’s horizon and enriching their daily life and spiritual life in China; also, some Chinese classics have been translated abroad and made foreign friends get a better understanding of Chinese culture. As one representative work of Chinese modern classics, Luotuo Xiangzi has been translated into several versions by some famous translators at home and abroad, including Evan King’s Rickshaw Boy, Jean M.James’ Rickshaw: The Novel Lo-t’o Hsiang Tzu, and Shu Xiaojing’s Camel Xiangzi. And due to the three English versions translated aboard, Luotuo Xiangzi turned out to be a huge hit as soon as it was published. However, as the first translated version in English, though wildly welcomed among American readers, it invited some terrible criticism made by the Chinese literary circles for Evan King broke the rule of equivalence and he did a lot of rewritings. Throughout the history of translation, we can tell that being true to the original text is of paramount importance no matter from the “faithfulness, expressiveness and elegance” proposed by the famous Chinese scholar Yan Fu or the “dynamic equivalence” or “functional equivalence” initiated by Eugene A. Nida. However, those translation theories concentrate on the source-text-oriented methods and techniques, paying much attention to how to translate the original text faithfully into the target text, which represents a kind of static status and mainly focuses on the linguistic level. However, as the march of translation studies, some scholars have studied translation approach from the perspective of culture, attempting to put translation into a larger context. Thus translation studies was labeled with cultural turn from then on. And the polysystem theory and rewriting theory were representatives in this regard. Taking the dominant poetics, ideology and patronage into consideration, Lefevere’s rewriting theory then exerted profound influence in the later translation studies, providing a brand new viewing angle for individuals who engage in the translation studies. Given the Evan King's translated version, it is of terrific significance to explore the underlying reasons why Evan King did a lot of rewritings to Lao She's Luotuo Xiangzi on the framework of Lefevere's rewriting theory.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594 MW==

<center>'''A Comparison of The Analects Translated by James Legge and Ku Hungming'''</center>

<center>Tong Yumeng</center>

===Abstract===
Confucius is a great thinker and educator in ancient China, the founder of the Confucian school, and one of the world's most famous cultural figures. As the only book recording the sayings and discourse between Confucius and his disciples, The Analects is a classic of Confucianism as well as of Chinese civilization. Up to now, there have been nearly forty English translations of The Analects, which indicates the importance of this work in China and western countries. This paper mainly focuses on two English translations of The Analects published in 1861 and in 1898 respectively. One is translated by James Legge, a Scottish protestant missionary of London Missionary Society. The other is the translation of Ku Hung-Ming, an extreme cultural conservative and a strong advocate of Confucianism at the turn of the 19th and 20th centuries. By comparing the two English translations, the paper tries hard to trace back their translating processes, find out the criteria used in interpreting the original text, and summarize the strategies adopted to resolve cultural conflicts in translation. Besides adopting the traditional translation theories, this paper conducts its investigation from the perspective of functionalist "skopos theory" and theories of Lefevere. At last, the paper also mentions the influence of the two English versions of The Analects and the images of Confucius they have helped construct.

===Key words===
Confucius, Legge, The Analects, English Translation

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译童略雅 Tong Lueya 202170081595 CE==

<center>'''A Brief Analysis of Reading Strategies of Chinese Classics in a Digitalization Era'''</center>

<center>Tong lueya</center>

===Abstract===
With the rapid development of the society and the in - depth application of science and technology, people’s traditional production and living habits have been gradually changed. And their reading habits, reading time, reading preferences and reading content have also shown new characteristics. Especially with the mature application of science and technology such as Internet, intelligent handheld device, cloud computing, big data and so on in various fields, the reading mode of readers has gradually changed from systematic reading to fragmented reading. Classic works are the crystallization of human civilization. Reading classic works is of great significance to individual growth and social development. It cannot be overemphasized to promote classic reading. This paper analyzes the status of classic reading in a digitalization era, and then attempts to put forward some suggestions in classics reading. In this way, it hoped that people could realize the significance of reading classics and then form good habits to reading them.

===Key words===
Classics reading; strategies; digitalization

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译庹树梅 Tuo Shumei 202170081596 MW==

<center>'''The Cantonization of the Dream of Red Mansions'''</center>

<center>庹树梅</center>

===Abstract===
As a treasure of Chinese literature and an important source of cultural confidence for the Chinese nation, Dream of the Red Chamber has been disseminated in the English-speaking world for two hundred years. Under the multiple views of traditional historiography, neo-Hanology, neo-history and neo-Songology, Dream of the Red Chamber has been transformed from a "historical text" to a "classic text" and has undergone an evolutionary path from an academic research classic to a literary classic and then to a cultural classic. The first chapter of this paper discusses what classicization is. The second chapter discusses why Dream of the Red Chamber has become a classic work and analyzes its intrinsic literary value. The third chapter discusses the impact of the classicization of Dream of the Red Chamber on the influence of Chinese culture in the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译王思琪 Wang Siqi 202170081597 CE==
A Study on C-E Translation of The Book of Songs from the Perspective of Xu Yuanchong’s Theory of Three Beauties

==英语笔译王亚娟 Wang Yajuan 202170081598 MW==

<center>'''On the Overseas Transmission Paths of Journey to the West'''</center>

<center>Wang Yajuan</center>

===Abstract===
The continuous development of Internet technology has not only changed the way of reading classics, but also the path of classical communication. According to American scholar Harold Lasswell's 5W communication model, medium is the basic component of the communication process. And in the present time of continuous media convergence, the multidimensional transmission paths of classical works are formed. It is necessary to study the development of communication paths. As one of the Four Great Works of China, Journey to the West has been disseminated overseas for hundreds of years. It has not only been translated into many languages such as English, French, German, Italian, and Russian, but also a large number of film and television dramas, stage plays, animation, video games and other works of that adaptation have been derived.
This paper takes the overseas transmission path of Journey to the West as the research object, first discusses the reasons why it was spread from the perspective of its value, and then clarifies the transmission path of Journey to the West in overseas by analyzing relevant books and papers, and finds that the print publication path mainly relies on paper media to publish translated works; with the evolving of transmission paths with help of new media, the multidimensional transmission path has emerged. And then talks about opportunities for the innovation of classics transmission paths brought by the times. Then studies effects of changing of transmission paths on the classic communication and its prospect, hoping that analysis of the transmission paths of Journey to the West, can provide reference for the continuous dissemination of other classic works.

===Key words===
Journey to the west; transmission paths; classic dissemination; medium; 5W

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译肖冬晴 Xiao Dongqing 202170081599 CE==

<center>'''On C-E Translation of Lexical Gaps in Teahouse from the Perspective of Reception Aesthetics Theory'''</center>

<center>Xiao Dongqing</center>

===Abstract===
Representing as a masterpiece of Lao She, ''Teahouse'' works as a monument in the history of Chinese drama. From the perspective of reception aesthetics theory, this paper studies the translation of lexical gaps in ''Teahouse'' translated by Ying Ruocheng. It briefly introduces the content of reception aesthetics and its main concepts, expounds the basic conception of lexical gaps and classifies them into four types. In this thesis, the author mainly focuses on the translation strategies adopted by the translator to deal with the lexical gaps in ''Teahouse''. It is found that in the translation of lexical gaps the translation strategy of domestication dominates while foreignization works as a supplement, a tactic which caters to its reader’s expectation horizon.

===Key words===
Reception aesthetics theory; ''Teahouse''; lexical gaps

===Introduction===
''Teahouse'' is a work of monument in the history of Chinese drama and a sensational one in the world. The key to investigating its reception overseas lies in the studies on its translated versions. Currently, there are two impactful translations in the literary community: the one translated by Chinese scholar Ying Ruocheng and the one translated by the prestigious American sinologist Howard Goldblatt. Over the years, researches and studies on ''Teahouse'' have never ceased. For instance, Lu Jun and Ma Chunfen (2009) studied from the perspective of cultural translation theory the translation of names and idioms in the two translated versions mentioned above, Yu Yanqing (2016) investigated the metaphors in the source text and elaborated on their translation in the two different versions as she deciphered some of the special connotations in them, while Jin Yan (2022) focused on some of the mistranslation phenomena in the English and Korean translated books based on cultural amnesia and memory reconstruction.

In cross-cultural communication, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.
Researches on the theory of vacancy and lexical gaps were initiated in the west when the distinguished American linguist Hockett put forward the idea of “random holes in patterns” (Hockett, 1954:106-123) in the comparison of the linguistic models between two languages. In the 1970s, the discussion over cultural vacancy attracted more scholars, among whom the American cultural anthropologist Hall took the lead. He used the term of “gap” (Hall, 1959:32) to describe the kind of absence in the study of the colour words of the aborigines when he noticed a lack of necessary colour words in the culture of those natives. In the 1980s, vacancy theory was officially put forward by Russian psycholinguists Jurij Sorokin and Irina Markovina as they conducted their research on the discourse and the characteristics of its national culture, dividing vacancies from the perspectives of linguistics, culture and discourse (Xu Gaoyu & Zhao Qiuye, 2008).

Reception aesthetics theory was first proposed in the 1960s in Germany. Unlike previous theories, it shifted its focus from the author and the original work to the role that the audience play in the process of cultural reception. The traditional translation view holds that translation is to convey the "meaning" of the original text into the target language. Reception aesthetics believes that the meaning of the text is uncertain, and it needs to be made concrete in reading by readers (including translators here). The most direct philosophical basis of reception aesthetics is philosophical hermeneutics. In China, many scholars have also worked a lot on this topic. For example, Qu Suwan (2019) studied on the translation of dialect words under the guidance of the reception aesthetics theory while Yu Shan (2015) conducted a comparative analysis of the translation strategies of culture-loaded terms in the two mentioned English versions.

From all the above, it’s clear that efforts have been made in the search of Chinese culture and Chinese classic translation based on aesthetics theory. Inspired by all the predecessors, this thesis is going to adopt the reception aesthetics theory to investigate the translation of lexical gaps in the English version translated by Ying Ruocheng. It will cover the basic outline of the theory itself, classify the lexical gaps in the work as it gives an overview of all the lexical gaps in the book and finally discuss the translation strategies used in Ying’s processing of the lexical gaps.

===Reception Aesthetics Theory===
Reception aesthetics is a theory of literary criticism raised by the German literature theoretician and aesthetician Hans Robert Jauss in the 1960s, in which the focus of literary studies is shifted from the author and text to the reader. It emphasizes reader's participation and acceptance during the text understanding, by shifting the central position of studies from the author and work to the reader. It claims that only the works that have been comprehended and delivered by readers possess artistic value and meaning.

'''2.1 The Role of Readers'''

“Literature and art only obtain a history that has the character of a process when the succession of works is mediated not only through the producing subject but also through the consuming subject, through the interaction of author and public” (Jauss 1989:43). Here the "consuming subject" refers to readers. Reader-centred status is underlined and more attention should be paid to reader's active role, subjective reception ability and creativity in literary works.

Reception aesthetics believes that the reader is an active or determinant factor in the process of text interpretation. In the process of translation, translator, as a reader, can only enter the world of text based on the vision developed by his pre-understanding and abilities. In the process of realization, the translator's pre-understanding plays an important role. The translator's pre-understanding and ability determine his understanding of the text world. It can be seen that in order to promote the meaning of the text, translators must pay attention to their own pre-understanding and the horizon of expectations of the reader. The translator must deeply understand the similarities and differences between the two languages in terms of language, history, and culture. They should use their subjective initiative and appropriately adjust their translation strategy to fill the gap in text understanding. After entering the text world, translators begin to analyse, judge and summarize until they are integrated with the text horizon. Iser believes that literary texts have a structural "blank". The so-called "blank" is the unwritten or unclear part of the text. Only in the specific process of reading and the reader's participation, these “blank” can be filled or explained.

To sum up, three points should be paid attention to in the process of translation. First of all, the interpretation of the original text is open. Secondly, the translator as a reader has a subjective position during the translation process. Thirdly, target readers' responses should be taken into consideration. Reception Aesthetics enables the translation work to centre on readers instead of texts. Therefore, the translator believes that the excerpts of this book can achieve its translation goal under the direction of reception aesthetics theory.

'''2.2 Blank'''

Reception aesthetic theory advocates the openness of the text, which undoubtedly helps to define the text in the process of translation. The text of literary works is a complex system full of blanks and uncertainties, which resonates well with the concept of “vacancy” or “gaps” this thesis is going to talk about. And according to Iser, the meaning of the works is not included in the text itself, but is obtained during reading.

Due to the uncertainty of the meaning of the text, there is no definite answer to the understanding of literary texts, so there is a saying that "a thousand readers have 1000 Hamlets". As far as translation is concerned, the uncertainty and openness of the text are the important reasons that lead to interpretative interpretation. It provides a broad space for translators to give full play to their imagination in the translation process, so that translators can interpret the text from different perspectives, thereby forming different translations.

'''2.3 Horizon of Expectation'''

Horizon of expectation is another important concept of reception aesthetics theory, which includes three kinds of meaning. Firstly, based on the readers experience, the horizon of expectations can be formed before reading. Secondly, even a literary work appeared in a new form, it cannot be regarded as absolutely new in the information vacuum. It reminds readers of the past reading memories and brings readers to a special feeling, and then calls for the expectations. At last, the horizon of expectations is changed accordingly.

There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text. As the source text is Chinese drama aimed for a larger audience abroad, more attention should be paid to its audience.

===An Overview of Lexical Gaps in ''Teahouse''===
''Teahouse'', a three-act play, is one of Lao She's most successful plays which represent the highest artistic achievement of Chinese drama writing. At that time, a teahouse is not only a place for the customers to kill time, but an epitome of Chinese society. The dialogue between characters has the unique national characteristics. It summarizes the sharp antagonism and conflict of various social strata and forces in China, and reveals the historical fate of semi-feudal and semi-colonial China.

'''3.1 The Definition of Lexical Gaps'''

As was mentioned in the first chapter, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field. Lexical gaps, therefore, are in essence the embodiment of cultural vacancies at the vocabulary level.

'''3.2 The Classification of Lexical Gaps'''

Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps. Here we will have a detailed discussion on them respectively.

Material lexical gaps refer to those words reflecting certain ways of life of a certain society, including things as daily material, tools of production and transportation, household appliances, products, food and so forth. For example, in ''Teahouse'', “盖碗茶” is unique to Chinese culture. Before the invention of this teacup, people could easily be burned or hurt when trying to drink from the tea bowl which was made of porcelain, and it could transmit heat quickly. To prevent getting hurt while drinking tea, ancient Chinese invented something similar to a wooden plate to support the tea bowl, which was becoming more and more delicate and eventually developed into the shapes and size that we see today. Obviously, “盖碗” is very culturally specific. The unique material life will produce the unique material culture. Here is a list of material lexical gaps appeared in ''Teahouse'':

盖碗茶 lidded cups of tea

绫罗绸缎 brocades

小叶茶 a cup of very best tea

马褂 jacket

满汉全席 imperial-style banquets

杂和面儿疙瘩汤 a bowl of dough drop soup with maize flour

五供儿 incense burner

纸钱 paper money

Social lexical gaps are the reflection of customs, ways of life, social life, historical background and behaviour of a nation or a country, including address and folk adage. The address can be a direct reflection of the personality of character. In ''Teahouse'', “唐铁嘴” is a fortune teller and a regular at the teahouse. His way of life was to persuade people to believe what he said, and to some extent he had to lie to make a living. “铁嘴” is literally a personal mouth made of iron, which is also a metaphor for the eloquent and plausibility of Mr. Tang. The list below provides an overview of social lexical gaps in the translated work:

相面/算命 fortune-telling

善扑营 Imperial Wrestler

说媒拉纤 go-betweens and pimps

庞太监 Eunuch Pang

唐铁嘴 Tang the Oracle

说评书的 story-teller

数来宝 improvised doggerel recitation

蹓鸟 strolling about with caged birds

北衙门 Northern Yamen

手相 palm-reading

“爷” master

旗人 bannerman

请安 bow

三教九流 people from all walks of life

Religious lexical gaps are those expressions relate to religion, for Chinese especially those words relate to Buddhism and Taoism. In ''Teahouse'', there are many lexical gap words related to the religious beliefs, for example, “念佛” means expressing sincere thanks to Buddha for all the good luck in your life. In Buddhism, “佛” refers to Buddha, an immoral person who is regarded by the Buddhists that can offer blessings to the human being. The following is a list displaying further religious lexical gaps in the work:

造化 a lucky fate

天师 Heavenly Teacher

“醉八仙” intoxicated eight immortals

财神龛 shrine of the god of wealth

念经 chanting Buddhist scriptures

八卦仙衣 special robes

Linguistic culture-loaded words and phrases reflect the characteristics of the phonetic, grammatical and formal systems of a certain language including pun and idioms. For example, in ''Teahouse'', the suffering Chinese drinkers who frequent Yutai always use “好死不如赖活着”(meaning “it is better to live in this world than to die under terrible circumstances”) to comfort themselves or others to show them the bright side and to endure seemingly persistent bad conditions. It is an idiom well reflects the wisdom and unremitting hope of the Chinese people in the act play, even when it was during the darkest times. Here are more examples of linguistic lexical gaps translated in the book:

化干戈为玉帛 restore peace

拿刀动杖 spoil for a fight

八仙过海，各显其能 try one’s best

“好死不如赖活着” a dog’s life’s better than no life

改良,改良,越改越凉!冰凉！ Reform indeed! Soon you’ll have nothing more left to reform!

“包圆儿” “it's all yours.”

According to calculation, there are altogether 34 lexical gaps in various in ''Teahouse'', of which the 14 social lexical gaps take the lead, accounting for about 41%, followed by 8 material lexical gaps which take up about 23%. There are only 6 religious and linguistic gaps, each of the two categories covering about 18% of all.

===The Translation Strategies of Lexical Gaps===
In 1995, American translator Lawrence Venuti discussed hand in hand invisibility in his work ''The Translator’s Invisibility'': domestication and foreignization. He (2008:15) bemoans the phenomenon of domestication since it involves ‘an ethnocentric reduction of the foreign text to receiving cultural values.’ Venuti allies it with Schleiermacher’s description of translation that ‘leaves the reader in peace, as much as possible, and moves the author toward him.’ Foreignization, on the other hand, ‘entails choosing a foreign text and developing a translation method along linnes which are excluded by dominant cultural values in the target language.’(ibid;242) From then on, domestication and foreignization were borrowed into the field of translation as two translation strategies.

According to calculation, of all the 34 lexical gaps in Teahouse, only three were translated using foreignization strategy, accounting for about 9%; the rest 31 lexical gaps taking up around 91% were translated under the guidance of domestication. Taking a closer look, there are 7 material lexical gaps out of 8, 13 social lexical gaps out of 14 and 5 religious lexical gaps out of 6 translated using domestication. All of linguistic lexical gaps were translated under the guidance of domestication strategy.
Given the translation by Ying Ruocheng was published and put into the market in the opening stage of the reform and opening-up in 1979, the sweeping domestication strategy applied in the translation is understandable.

'''4.1 Domestication'''

In the translation of lexical gaps, the translator adopted domestication strategy the most of times, which was especially true when it comes to the translation of linguistic lexical gaps. For example:

(1) ST：那总比没有强啊！好死不如赖活着，叫我自己去谋生，非死不可！

TT：Still that’s better than nothing! A dog’s life’s better than no life. If I were to earn my own living, I’d surely starve.

In this example, when dealing with the idiom“好死不如赖活着”，the translator didn't take it at face value reproducing it into“it is better to live in this world than to die under terrible circumstances”. Instead, he translated it based on his own pre-understanding as he took the readers’ expectation horizon into consideration. In selecting the similar expression“to live a dog’s life”from the target language, the translator managed to achieve fusion of horizons.

The phenomenon of homophones in Chinese linguistics is partly determined by the four tones in the language, each one containing a large collection of words capable of creating “puns” in daily use. For instance, the following marks a quotation taken from ''Teahouse'':

（2） ST：改良，改良，越改越凉！冰凉！

TT：Reform indeed! Soon you’ll have nothing more left to reform!

In the excerpt above, the Chinese characters“良”and“凉”are homophones with completely opposite connotations. Concerning this example, there was no equivalents in the target language able to convey exactly the same meaning. As a result, the translator dealt with the idiom liberally and represented the irony in the sentence thereby.

Unlike foreignization, domestication is more audience-friendly when it comes to understanding. However, this thesis believes that if the translator adopted the strategy of “overwhelming domestication” and used some expressions in the target language which failed to be the equivalent of the original, the meaning of the source text would be distorted, making it even harder for the translator to secure the readers’ horizon of expectation.

The following is an example taken from the translation of a material lexical gap “五供儿”:

（3）ST：娘娘，我得到一堂景泰蓝的五供儿，东西老，地道，也便宜，坛上用顶体面，您看看吧？

TT：Your Imperial Majesty, I managed to get hold of a set of cloisonne incense burners, five pieces in all. Antiques! The real thing! Dirt cheap too! Just right for the altar of our secret society. Why not have a peep of them?

Known as a set of vessels carrying the sacrifice during worship rituals in ancient China, “五供儿” first got its name from the amount of pieces of wares. In Teahouse, although the translation of “incense burner” kept some of its sacrificial usage, the actual meaning of the phrase was lost. After some research, therefore, the author believes it is more accurate if the translation would be changed into “sacrificial vessel”.

'''4.2 Foreignization'''

When it comes to the translation of “vacancy” or “gaps” in cross cultural communication, foreignization could help to narrow a bit through retaining the exotic feelings and traces of the original. However, little of lexical gaps in ''Teahouse'' were translated under the guidance of this strategy, which is partly due to the fact that most of the lexical gaps in the work were members of “absolute vacancy” which were unable to find their corresponding or even similar equivalents in the target language society. For instance, the material lexical gap“杂和面儿疙瘩汤”was translated literally into“a bowl of dough soup with maize flour”, an expression showing the ingredients of the snack. Meanwhile, the social lexical gap “北衙门” was translated into “Northern Yamen”, which combined both literal translation and transliteration conducive to meeting the innovative expectation of the audience of Beijing in modern China.

===Conclusion===
Drama is a unique literature genre with dual identities, both on the page and on the stage. The dual characteristics of dramatic text make drama translation distinct from other forms of literary translation. Reception aesthetics theory has practical guidance for the translation of drama works. Through the analysis of the translation strategies of various lexical gaps in ''Teahouse'', it has been found that at the early stage of reform and opening up when the Chinese literature was eager to go abroad and be well-received by the audience overseas, the translator had to adopt the strategy of domestication most of the time so as to cater to their horizon of expectation, even when it came to the translation of lexical gaps which may find no natural equivalents in the target language. Therefore, it could be concluded that translation literature is closely linked with politics, a notion echoing with the background witnessing the birth of reception theory.

The contents and key notions of reception aesthetics theory are discussed in this paper, which is helpful to have a more comprehension understanding of this theory. Then there is the definition and classification of lexical gaps in ''Teahouse''. As the treasure in the history of Chinese modern drama, the study of ''Teahouse'' is arousing more and more attention and academic interest both in China and abroad. Translation strategies --- foreignization and domestication in translation are highlighted in this paper, which has been elaborated by examples. In translation practice, only when the conceptual meaning and cultural meaning of lexical gaps are taken into account can the translator convey the meaning of words accurately and meet the readers’ horizon of expectation.

However, limitations are inevitable in this thesis due to the pressing time. Due to the writer’s limited knowledge and capacity, the analysis of the lexical gaps of ''Teahouse'' can never be all-inclusive. Yet it’s worth noting that researches on the Chinese drama ''Teahouse'' and the reception aesthetic theory should never come to a halt now that the background has changed from the way it used to be more than 40 years ago.

===References===
*Hall, Edward (1959). The Silent Language[M]. Garden City: Doubleday.

*Hockett, Charles (1954). Chinese Versus English: An Exploration of the Whorfian Theses[A]. Harry Hoijer(ed.). Language in Culture[C]. Chicago: University of Chicago Press.

*Jauss, Hans (1989). ''Question and Answer''[M]. University of Minnesota Press.

*Venuti, Lawrence (2008). ''The Translator’s Invisibility: A History of Translation''[M], London and New York: Routledge.

*Gao Fengxia 高凤霞. (2010). 跨文化交际中的文化空缺现象探讨[A Study of Cultural Vacancy in Intercultural Communication]. 社科纵横Social Sciences Review (03): 112-115.

*Lu Jun, Ma Chunfen 陆军, 马春芬. (2009). 从文化翻译观的角度看老舍《茶馆》两个英译本中文化信息的处理[Cultural information processing in Lao She's Two English versions of ''Teahouse'' from the perspective of Cultural Translation Theory]. 安徽文学Anhui Literature(10): 293-294.

*Jin Yan 金艳. (2022). 老舍《茶馆》翻译的文化记忆再现研究[A Study of Cultural Memory Representation in the Translation of Lao She's ''Teahouse'' ].中国朝鲜语文Korean Language in China(02): 83-89.

*Qu Suwan 渠苏婉. (2019). 接受美学视域下《茶馆》两译本中方言词汇的翻译[Study on the Translation of Dialect Words in ''Teahouse'' from the Respective of Reception Aesthetics]. 齐齐哈尔师范高等专科学校学报Journal of Qiqihar Junior Teachers' College (05):62-64.

*Xu Gaoyu, Zhao Qiuye 许高渝, 赵秋野. (2008). 俄罗斯心理语言学和外语教学[Russian Psycholinguistics and Foreign Language Teaching]. Beijing: Peking Univesity Press北京大学出版社.

*Yu Shan 于杉. (2015). 接受美学视角下《茶馆》两译本中文化负载词的比较研究[A Comparative Study of Culture-loaded Terms in Two English Versions of ''Teahouse'' from the Perspective of Reception Aesthetics].吉林大学Jilin University.

*Yu Yanqing 于艳青. (2016). 老舍作品《茶馆》的隐喻研究和文化解读——以霍华和英若诚英译版本为例[A Study of Metaphor Translation of Lao She’s ''Teahouse'' and Its Cultural Interpretation——A Case Study of Howard and Ying Ruocheng’s Versions]. 济宁学院学报Journal of Jining University(06):93-97.

===Terms and expressions===
Reception aesthetics theory 接受美学

Blank 空白

Horizon of expectation 期待视野

Fusion of horizons 视域融合

''The Translator’s Invisibility'' 《译者的隐身》

Material lexical gaps 物质类词汇空缺

Social lexical gaps 社会类词汇空缺

Religious lexical gaps 宗教类词汇空缺

Linguistic lexical gaps 语言类词汇空缺

===Questions===
1. How does the two reception activities work in the process of translation?

2. What is the definition of lexical gaps?

3. How many categories did the thesis divide the lexical gaps into?

===Answers===
1. There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text.

2. Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.

3. Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps.

==英语笔译肖佳莉 Xiao Jiali 202170081600 MW==

<center>'''The Canonization of Tao Te Ching'''</center>

<center>Xiao Jiali</center>

===Abstract===
Tao Te Ching can be divided into two parts.The first part of the moral Sutra is called the Taoist chapter, and the second part is called the moral chapter.The philosophical works written by Lao-tzu in Luoyang during the Spring and Autumn period.Taoism focuses on the view of the universe and nature.The moral focuses on social outlook and outlook on life. What does this mean?
First of all, we should know that all the schools of pre-Qin in China are concerned about the sociology of human relations, and almost no one cares about the problems of nature, which is in sharp contrast to ancient Greek philosophy. With the exception of Socrates, all the ancient Greek philosophers were concerned about the view of nature and the universe. Thales, the first philosopher in ancient Greece, left famous allusions, which were summed up by later generations into four words, called "looking up at the starry sky". However, it is strange that all the hundred schools in the pre-Qin period in China are all concerned with the sociology of human relations.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译谢晓莹 Xie Xiaoying 202170081601 CE==
<center>'''On the English Translation of The Analects in the Contemporary Era'''</center>

<center>谢晓莹</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译熊嘉玲 Xiong Jialing 202170081602 CE==
On the C-E Translation of The Book of Songs
<center>'''On the C-E Translation of The Book of Songs'''</center>

<center>Xiong Jialing</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译杨心怡 Yang Xinyi 202170081604 MW==

The Source of China Children's Literature and the Dilemma of Its Translation

==英语笔译杨紫微 Yang Ziwei 202170081605 CE==

<center>'''The English Translation of the Names in A Dream of Red Mansions from the Perspectives of Domestication and Alienation'''</center>

<center>Yang Ziwei</center>

===Abstract===
"A Dream of Red Mansions" is a great work of high ideological and artistic quality. There are many characters in the book, including more than 300 people with names. Some of the names of these characters are allusions to classics, and some borrow homophonic techniques, and these names also suggest backgrounds, identities, characters and fates of the characters. Cao Xueqin is unique in naming characters. However, due to the cultural background differences in the translation process, it is often difficult for translators to accurately translate the true meaning hidden behind names. Based on this, this paper intends to analyze the characteristics of people's names in A Dream of Red Mansions and explore the translation art of people's names in its English version. In addition, this paper compares Hawkes and Yang Xianyi's translation methods and rules in name translation from the perspective of domestication and alienation, so as to increase its fluency and readability and promote the spread of Chinese culture.

===Key words===
A Dream of Red Mansions;Domestication and Alienation;Name translation.

===Introduction===
A Dream of Red Mansions is one of the four great classical novels in ancient China. Written in the late feudal society, it systematically summarizes the cultural system of Chinese feudal society, deeply criticizes all aspects of the feudal society, and reaches the peak of ancient Chinese literary creation in terms of language and artistic aspects. On the one hand, the English version of A Dream of Red Mansions has provided western readers with an opportunity to understand Chinese culture, and on the other hand, it has made remarkable contributions to the cultural exchanges between China and the West. There are many characters in A Dream of Red Mansions. Cao Xueqin, the author, gives the characters distinctive characteristics with his ingenious naming techniques. Some of them quote ancient poems and some use homophony. The identity, character and even the whole life and destiny can be seen from the names. It is indispensable to understand the deep meaning of characters' names for grasping the connotation of literary works and letting English language readers understand the feudal culture of China.
In the 1980s, there appeared a complete English translation of A Dream of Red Mansions, the two most famous English translations nowadays which from Yang Xianyi and Hawkes. When translating the names of people in books, Yang xianyi and his wife mainly use transliteration of names, while Hawkes adopts the strategy of transliteration of main characters and free translation of secondary characters. Based on this, this paper analyzes hawkes and Yang Xianyi's translation of names from the perspective of domestication and alienation in order to explore the gain and loss of their translation of names.

===Literature Review===
To promote intercultural interaction, introducing Chinese culture to the world is important and urgent. Due to differences in cultures and languages in different countries, the most feasible and efficient way is to translate Chinese books for foreign readers. Chinese Classic literature is an insignificant part of Chinese culture, which plays an important role in this cultural communication, so translation of literary works is in desperate need.
Among all the literary works, A Dream of Red Mansions, as the Four Greatest Classic Novels, draws more and more attention from translators because of its artistic language, significant cultural values concerning aspects such as culinary, clothing, building, economy, politics, morality and so on. According to the view in Translation Strategies of Chinese Names in A Dream of Red Mansions, it is a rare book that deepens one’s understanding of the meanings of being human. Thus the translation of it is indisputably the greatest work among all the classic Chinese novels.
Acknowledged as a pinnacle of Chinese novel, A Dream of Red Mansions is a mixture of realism and romance, psychological motivation and fate, daily life and supernatural occurrences and the more than 400 names of characters in this novel represent the artistry of Chinese naming. Cao Xueqin deliberately located connotations and special functions in these names through their sounds and forms, giving them evocative and associative meanings and communicative functions.
As the symbol of human life, a name reflects elements of culture. As carriers of the writer’s values, ideas, artistry and creativity, names in literature which are associated with theirs scenarios, play active parts in the development of the story. In other words, naming is a kind of writing device to describe characters and present the theme. As a matter of fact, writers can give characters names which characterize them with associative cultural allusions. Because of its uniqueness, a personal name is a sign which distinguishes one person from the others. In addition, names especially those of literary figures possess special connotations concerning identity,status, personality physical features, fate and the theme. But it also brings great difficulties for translators to do translation.
To solve this problem, I choose name translation of this novel as my research target and compare translation strategies of Yang Xianyi and David Hawkes in the process of translating names in A Dream of Red Mansions.

===Methods and Theories===
This paper uses a text comparison analysis method, from the perspective of domestication and alienation, compares and contrasts the two English translation versions of Hawks and Yang Xianyi to analyze their translation methods and effect in name's translation of A Dream of Red Mansions. And this paper also compares the advantages and disadvantages of the two versions to explore how to output a high quality of the translation of Chinese classics as well as promote foreigners' understanding of Chinese classics. This thesis applies the theories of domestication and alienation in translation.

===Subtitle 1===
1. Significance and Characteristics of Personal Names

As an important form of cultural carrier, name has a long history of development and rich cultural connotation. The etymology of people's names is very extensive, and there are many allusions involved in it. The cultural capacity is huge and changeable, so the study of name's culture and translation of it is of great theoretical significance and practical value.

Literature, in essence, is also "human studies". The creation of literary works has always been centered on the description of "characters", which reflects the social reality through the characterization of characters. In general, in order to describe the characters' personalities more deeply, and to hint at their experiences, fates and endings, the author always chooses the names of the characters carefully. To some extent, text or narrative analysis usually follows a basic principle, that is, choosing names is an important technique in shaping characters' images, and each name has the function of showing characters' personality, vitality and fate.

As for siginificance of names in the work, Cao Xueqin's characters in A Dream of Red Mansions can be divided into three categories: the first category is the name indicates the development of the story. These symbolic names are usually named with homonym, that is, the sound of name reveals the connotation meaning of it which is the combination of sound and meaning. Such as “甄士隐” in the work, its homophonic meaning is "true things hidden"; “贾雨村”, that is "false language exists ", means to compile a story with false language. The second type is the name of the character indicates the fate and outcome of characters. Such names often indicate the author's laments for the tragic fate of the characters in the stories. For example, the names of “元春”，“迎春”，“探春”and“惜春”in Jia Family adopt the artistic technique of hidden pun, and the homonym of them when they are read together is “原应叹息”(Yuanyingtanxi) which means one should sigh(Qin Qiyue,2016). The third one is the personality and image implied by the name of the character. Cao Xueqin also used characters' names to introduce the characters' images and personalities suggestivingly. At the same time, through the names of these characters, readers can feel the author's basic attitude towards these characters, such as “贾敬” in the work, its homonym is "false dignity", suggesting that the character does not care about the world's psychological state; There is also “贾赦”, homophonic for "lustfulness", suggesting its lustful personality characteristics. It can be seen that names have irreplaceable functions and values in A Dream of Red Mansions.

In the aspects of characteristics, there are also three types of names: the first one is using homophonic names. For example, the homonym of “贾雨村” is "False language exists"; “甄士隐” is "truth hidden", which means that the truth of the matter is hidden; “英莲”means "should pity" which expresses that this character is worthy of sympathy and the homonym of the maid “娇杏”（侥幸） is "lucky". The second type is named after an anecdote. A typical example is the origin of Jia Baoyu. When he was born, there was a psychic treasure jade in his mouth which also engraved words: Never forget; Long expectancy(莫失莫忘，仙寿恒昌)(Duan Ruifang,2016). The Jia family therefore regarded him as a gifted child who could honor his family. The third is named after jade and jewelry. The name is not only an appellation symbol, but also reflects the identity, background, status, personality, vision and hobbies of the characters. Several large families in A Dream of Red Mansions naturally hope to have a prosperous family and a bright fortune, so many characters are named after gold and jade. Such as Baoyu, Baochai, Jia Zhen, Jia Zhu, Pearl, Amber and so on.

===Subtitle 2===
2.Translation Theories

The terms of domestication and alienation or foreignization were put forward by Lawrence Venuti, a famous American translation theorist, in his book The Invisibility of the Translator in 1995. As two translation strategies, domestication and alienation are opposites but complement each other. Absolute domestication and absolute foreignization do not exist. Historically, foreignization and domestication can be regarded as the conceptual extension of literal translation and free translation, but they are not completely equivalent to literal translation and free translation. The core problem of literal translation and free translation refers to how to deal with form and meaning at the linguistic level, while foreignization and domestication break through the limitations of linguistic factors and expand their horizons to linguistic, cultural and aesthetic factors. According to Venuti, the law of domestication is "to bring the original author into the target language culture", while the law of alienation is "to accept the linguistic and cultural differences of a foreign text and bring the reader into a foreign situation. It can be seen that literal translation and free translation are mainly value orientations limited to the language level, while foreignization and domestication are value orientations based on the cultural context. The differences between them are obvious and cannot be confused.

2.1 Domestication

Domestication is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to(Yang Yujie, Liao Ying,2014). It requires the translator to be close to the target language reader. The translator must speak like the native author. In order for the original author to speak directly to the reader, the translation must become authentic in the native language. Domestication translation helps readers to better understand the translation and enhance the readability and appreciation of the translation.

2.2 Alienation

Alienation means "the translator as little as possible to disturb the author, and let the reader close to the author"(Yang Yujie, Liao Ying,2014). Translation is to accommodate the language characteristics of foreign cultures and absorb foreign expressions which require the translator to be closer to the author and adopt expressions corresponding to the source language used by the author to convey the content of the original text, that is, to turn the source language into a destination. The purpose of using alienation is to consider the differences of national culture, preserve and reflect the characteristics of foreign ethnic and language style as well as the exoticism for target readers.

Since translation requires us to faithfully reproduce the original author's thoughts and style, which are highly exotic, so it is inevitable to adopt alienation; At the same time, the translation must take into account the readers' understanding and the fluency of the original text, so the adoption of domestication is necessary. It is not desirable or realistic to choose one strategy to the exclusion of another. Each of them has its own advantages and disadvantages, so the final translation cannot be achieved by focusing on one and losing the other.

In translation, we are always faced with the choice of foreignization and domestication, so that we have to find a "fusion point" of translation(Wang Wenting,Xuan Zhifeng ,2016). This "fusion point" sometimes closer to the author, sometimes to the reader. In other words, foreignization does not hinder the smoothness and understandability of the translation, and domestication does not lose the flavor of the original text. At the same time, we should stick to the strategy of domestication of the language form, and carry out foreignization of its cultural factors. In this way, translation works can combine the advantages of the two strategies and avoid the disadvantages. Therefore, domestication and foreignization should have a complementary dialectical unity relationship in the actual translation process.

===Subtitle 3===
3.Contrastive Analysis of Name Translation from the perspective of Domestication and Alienation

3.1 Name System in A Dream of Red Mansions

There are more than 400 names in the book. Every name has its own connotative meaning and special function. The use of semantic puns can be found everywhere in A Dream of Red Mansions from the naming of the rich to the servants. In this paper, I divide it into four types to analyze its translation in a clear way.

3.1.1 Names of People of High Social Status

The author used different Chinese character components or radicals to distinguish seniority in the family when naming nobles. For example, from the word "代" of names "贾代善" and "贾代化", we can know that they belong to the same generation, the same with "贾赦" and "贾政" according to Chinese character component "反", "贾琏" and "贾珍" with radical "王", "贾蓉" and "贾菌" with"草"(Chen Ying,2016). However, the author did not adopt this rule when naming Jia Baoyu（贾宝玉）, mainly to highlight the particularity of him and his special status in Jia family. In addition, the naming of four noble women in Jia family also has a unique charm. The four daughters are 贾元春,贾迎春,贾探春 and 贾惜春, their name of the first word is just four words homophonic “原应叹息” which means "should sigh". After entering the palace, Yuanchun was appointed as an imperial concubine. She sighed and wept when in matrimony. although enjoy all the glory and wealth in palace but she always difficult to flat the pain of her mind because of departure with family members; Although Yingchun was coward, she had a pure and kind heart. Unfortunately, she was betrothed to Sun Shaozu and had been abused quite often after married and died miserably. Tanchun was both talented and beautiful. However, as the family decayed, she had married far away and cut off contact with her relatives. It was really pitiful. Xichun's mother died early and her father did not take good care of her, and she was brought up by Grandmother Jia. Later on, the decline of four big families and the tragic fate of her three sisters made her decide to be a nun. From all of these, we can see that the author intends to use homophonic technique to express his deep sympathy wit their unfortunate fate with “原应叹息” or "should sigh"(Chen Ying,2016).

In addition, formerly known as "Zhen Yinglian" or "Xiang Ling", she was the daughter of Zhen Shiyin originally, who was abducted by a human trafficker. She thought her fate would turn around when she met Feng Yuan, but Xue Pan snatched her away and she was beaten and cursed by a bad woman Xia Jingui. The author named her "Yinglian" whose homophonic meaning was "should pity" to express his deep sympathy and regret.The woman with real power of the family is named “王熙凤”.“王”is a homophone to “亡” which means “to die and vanish”,“熙” means “brightness and property”and “凤”refers to “phoenix” which is the symbol of“nobility, dignity, power and wealth” Therefore, the whole name suggests that “prosperity, dignity and power will be gone”. "林黛玉" has a sense of weakness, bitterness and sensitiveness, because the family name“林”originated from a tragic story. In Shang Dynasty, the chancellor named Bigan was killed with his heart being gouging out and his wife escaped into a cave covered with forest and luckily, she gave birth to a son and survived. Since then, her son was bestowed with the family name“林”by the next brilliant king -Wu king of Zhou Dynasty. As a consequence,“林”,as a family name suggests eventful fate and life. “黛” means “black” which gives a sense of “bitterness and misery”and “玉”means "jade" which is fragile and easy to break. Another one in the novel is called“薛宝钗”.“薛”is the homophone of “削” which means “getting rid of or discarding”;“宝钗”is actually“宝钗楼”which is the place where prostitutes live it is a living hell to virtuous girls. Accordingly. the name owner is doomed to be abandoned and live in misery.

3.1.2 Names of Maids

There are many servants in the rich and powerful Jia family and their names have different functions in the story. I have chosen some of them to analyze and explain their functions.

In ancient China, the status of servants was so low that they could not be named by themselves, but their masters gave them the name(Duan Ruifang,2016). Therefore, the name of a servant largely represents the interests and cultural accomplishment of his or her master. Some of the maids' names indicate the status of their masters. For example,“琥珀” and “珍珠” are both Grandmother Jia's personal servant girls, since amber and pearl are precious jewelries, their names reflect that Grandma Jia occupies the highest status in Jia family. And as the daughter-in-law of Grandmother Jia, Lady King had her maid named “金钏” and “银钏”, which was not arrogated but prosperous.

Some of the maids' names show the personality and interests of their masters, such as those of Baoyu: “袭人”，“晴雯”，“锄药”，“焙茗”. The author named the servant girls around Baoyu with plants in their names, which reflected Baoyu's wildness and unwillingness to be bound by feudal etiquette and customs. The servant girls around the four girls in Jia family are “司棋”，“侍书”，“抱琴”，“入画”, which reflect the interests of the four girls as well as their personal expertises. Other servants' names reflect the expectations of the master. For example, Wang Xifeng's servants named as “平儿”,“封儿”,“兴儿”and“隆儿”.As Jia's financial housekeeper, Wang Xifeng was in charge of Jia's financial expenses, she was careful in budgeting and valuing money very much, so she was eager to be prosperous,and names of her servants mapped her aspiration.

In addition, there are also some servants' names reflecting the character of their masters. For example, Li Wan's two servant girls “素云” and “碧月”. Though li Wan became a widow when she was young, she craved neither money nor power and devoted herself to taking care of her mother-in-law and father-in-law and her son. Her heart was as pure and white as the maids' names around her.

3.1.3 Names of Performers

In Jia Family, there are entertainers named“宝官”，“棋官”“玉官”，“藕官”，“葵官”，“艾官”,“豆官”，“药官”，“茄官”，“蕊官”，“文官”，“芳官”and“龄官”(Cao Xue, Yin Xiaotang,2020).These names can be divided into three types:
(1)Names related to jewelry: “玉官”，“宝官”and“棋官”. These names show the nobility and high dignity of their masters;
(2)Names connected with flowers and plants: “藕官”,“葵官”、“艾官”，“豆官”,“药官”,“茄官”and “蕊官”.This indicates temperament and personality of the actresses who are tender and delicate;
(3)Names associated with personality: “文官”,“芳官”and“龄官”. And the last one indicates personal talents and charms of the actresses.

3.1.4 Names of Monks,Immortals and Nuns

Names of nuns include “静虚”,“智能”and“妙玉”which implicate meaning of tranquility, wisdom, capability and so on. These are all desirable virtues to people who believe in Buddhism. Names of immortals are“茫茫大士”,“渺渺真人”,“空空道人”,“警幻仙子”,“神瑛侍者”and“绛珠仙子”. As long as these immortals show up, there will be a turn of development of the story. All these names of immortals have a sense of mystery and extraordinariness(Cao Xue, Yin Xiaotang,2020).

3.2 Constractive Analysis of Translation Strategies of Yangxianyi and David Hawkes

3.2.1 Transliteration

Transliteration is to translate the source language through pinyin according to the pronunciation of Chinese, reserving only the pronunciation of the source language but not the content, meaning and writing form of the original text.

At present, transliteration is the most commonly used method in the translation of Chinese names. Yang Xianyi's version and Hawkes' version mostly use this method in the translation of main characters’ names, but there are subtle differences in the details. Yang's translations often use the phonetic transliteration of Wei's(韦氏音标音译). For example: 甄士隐, Chen Shih-yin；贾雨村，Chia Yu-tsun；贾宝玉， Chia Pao-Yu；林黛玉，Lin Tai-Yu；贾政，Chia Cheng；贾雨村，Chia Yu tsun；薛宝钗，Hsueh Pao chai；元春，Yuan-chun；迎春，Ying chun；惜春，His chun；探春，Tan chun；金钏，Chin Chuan；袭人，His jen；宝官，Pao Kuan. This translation is more in line with the common pronunciation habits of English and more acceptable to foreign readers. Hawkes mostly uses Chinese pinyin, for example: “甄士隐” is translated as Zhen Shiyin, “贾雨村” as Jia Yucun, “贾宝玉” as Jia Baoyu and “林黛玉” as Lin Dai-yu. This translation method retains the original taste of the original work to a large extent, making it easier for foreign readers to understand the most authentic Chinese culture.

From the perspective of domestication, Yang's translation retains the naming rules of the original text for the convenience of Chinese readers. From the perspective of alienation, Hawkes chose the easiest translation method, and such transliteration of names can be regarded as the introduction of a unique name culture for the West. On the other hand, although the translation is simple and straightforward, it only preserves the pronunciation and writing form of the source language, but loses the profound connotation of the original text.

3.2.2 Free Translation

Free translation is to translate according to the general meaning of the source language. It is neither word for word nor limited to the form of the source language, but more focused on connotation expression(Duan Ruifang,2016). Hawkes usually uses free translation when translating many metaphorical and homophonic names. Free translation is embodied in the following three ways:
(1)Literal translation of the original language. It largely preserves the literal and imaginary meanings behind it, such as the two maids of Grandmother Jia, “珍珠”and “琥珀”, which are translated as "Pearl" and "Amber" respectively. It highlights the Grandmother Jia’s prominent status in family.
(2) The original name is explained and extended according to the meaning of the target language. This is a way to enhance the readability of the translated text and make the foreign language readers easily accept the strange and obscure traditional Chinese culture. For example,“晴雯” is translated as "Skybright", which means "clear sky". The clear sky after rain fits the image of Qingwen as lively, cheerful and intelligent, which can enhance readers' impression of her.
(3) Adjust the original name and reconstruct the image. For example, the name of Daiyu's servant girl is “紫鹃”, which originally means "cuckoo". This kind of bird often expresses the meaning of "sorrow" in Chinese classical literature, which can easily remind people of the tragic fate of its owner. However, in English, cuckoo can not express this meaning. Therefore, Hawkes changed it into "Nightingale". And “袭人” was translated into Aroma, but it did not show the kindness and thoughtfulness of Aroma in her name.

As for Yang Xianyi, in order to keep the characters' names connected with the original story, he adopts free translation in the names of deified figures, such as monks. For example, “空空道人”was transalated as “The Reverend Void”, “渺渺真人” as “Boundless Space” and “茫茫大士”as “Buddhist of Infinite Space”. In Chinese feudal society, married women were addressed with their husband's surname, such as “贾氏”，“尤氏”and“封氏”. Yang's translation did not directly transliterate them but translated “尤氏” into "Madam Yu", indicating her position of the household steward. “贾氏”was translated as "Mrs.Jia," implying that she was the mistress of the family. .“贾母” was translated as “Lady Dowagers” and “刘姥姥”was Granny Liu(Chen Ying,2016).

3.2.3 Annotation

Due to the huge differences between Chinese and Western cultural backgrounds, it is difficult for target language readers to accurately comprehend the special meanings behind names as the source language readers do. Based on this situation, Yang Xianyi used pinyin in the translation, but in order to truly translate the original work, it is necessary to interpret or remark the cultural connotation implied by the name in the original work. This is because a few words can not fully explain the inner meaning, adding annotations is a crucial tool. There are two main reasons for the use of annotation method. First, annotation is not limited by the number of times and sentence length, so it can better fill the deficiency of free translation and literal translation. The other is that annotation will not interfere with the integrity and structure of the original text. According to these characteristics of annotation method, it can be concluded that all character names can be properly and accurately translated through annotation.
Hawkes’s and Yang's versions have adopted appropriate annotations to facilitate readers' understanding.
For example, Yang translated “甄士隐” as Zhen Shiyin. Homophone for "true facts concealed." while Hawkes translated it into Zhen Shi-yin(the Zhen-another word-play (who are a sort of mirror-reflection of the Jia family). Annotations are used in both translations to further explain the inherent meaning contained in character names. However, too simple annotations cannot effectively achieve the purpose, and too detailed translation will load redundant cultural information into the target language, causing reading barriers for readers and making it difficult for them to reproduce in the target language. Therefore, learn how to use annotation properly is hard but significant.

===Subtitle 4===
4.Influence of Name Translation in A Dream of Red Mansion

The translation purpose of Yang's translation is given by the Foreign Languages Press, so when facing translation problems, he chose the strategy of transliteration and try his best to be faithful to the original text(Chen Ying,2016). It is precisely because this translation mostly retains the original information of A Dream of Red Mansions and respects its cultural characteristics to a certain extent. With the development of China's soft power, Yang's translation has attracted more and more Western readers who are trying to understand with the help of Yang's translation the original ideas and cultural essence conveyed in the book. Similarly, Hawkes' translation should not be underestimated, especially for western countries. First of all, as a foreigner, he was able to complete the huge task of translating A Dream of Red Mansions. In addition, he gave full play to his initiative in translating characters' names. Getting to know hundreds of characters is a big problem for Western readers, who can't understand the deep meaning of the names. Hawkes used different translation strategies to give them English names and tried to help readers get a clear picture of the characters. It can be said that Hawkes's translation can make it easier for foreigners to understand Chinese culture, thus it plays an important role in the process of Chinese culture going to the world.

All in all, A Dream of Red Mansions represents the profoundness of Chinese classical culture. With the rapid rise of China's economy and the increasing curiosity of western countries about Chinese culture, it is a good opportunity for China to show its long history and culture to the world. We should strive to improve the translation of "A Dream of Red Mansions", and use a variety of methods to reduce readers' reading barriers and promote the spread of Chinese classical culture.

===Conclusion===
Hawkes uses transliteration of the main characters and free translation of the minor characters which better let English readers understand the connotation of the name, but also to reveal and predict the fate of the character. But on the whole, there are still some shortcomings in the translation(Wang Wenting,Xuan Zhifeng,2016). This kind of translation can help spread the original works to the West, make the target language readers better understand Chinese culture, and correct the mistakes in other English translations. However, because of direct transliteration, it is difficult for the target readers who do not know the Pinyin of Chinese characters to understand original text. If the annotation method is used to assist the translation and the annotations are added after transliteration, the target readers can understand the exact meaning of the original text. For girl servants names' translation, Hawkes mainly adopts the free translation strategy to translate the name according to the character's personality and fate, but this kind of translation is too generalized, which hinders the cultural communication between source language and target language, resulting in the reader can't fully understand the original meaning and losing the elegant charm of the original language.

Although the transliteration strategy adopted by Yang Xianyi failed to translate the pun, it also conveyed the original information to the maximum extent. His free translation based on his understanding of Chinese culture, which not only respects the literary context of the original work, but also smooth the understanding of English readers, and effectively reproduces its literary meaning.

By analyzing the English translation of names of Yang Xianyi and David Hawkes, we know that there is not fixed rules or uniform patterns in the translation of names. Whether transliteration, free translation, transliteration listed, or some special translation approaches, they require the translator, according to the specific style, the rhetoric and content of works, to convey the original meaning.

===References===
*Qin Qiyue秦启越(2016).《红楼梦》人名翻译艺术再探讨[On the Translation of Names in A Dream of Red Mansions].Chinese National Expo，200-201.

*Duan Ruifang 段瑞芳(2016).《红楼梦》英译本中的人名翻译艺术[The Art of Name Translation in the English Version of A Dream of Red Mansions].Overseas English(15):101-102.

*Lin Yao林瑶(2020).从功能翻译理论对比分析《红楼梦》的杨译本和霍译本的人名翻译[A Comparative Analysis of the Translation of Names in Yang's and Hawkes's versions of A Dream of Red Mansions from the Perspective of Functional Translation Theory].中外文学[The Chinese and Foreign Literature],4-5.

*Wang Wenting,Xuan Zhifeng 王文婷,轩治峰(2016).从异化和归化角度浅析《红楼梦》英译本的人名翻译——以霍克斯版为例[On the translation of people's names in the English version of A Dream of Red Mansions from the Perspective of foreignization and domestication -- a case study of Hawkes' version].唐山文学[Tangshan Literature],133-134.

*Yang Yujie, Liao Ying 杨玉洁,廖颖(2014).从归化与异化角度对比研究《红楼梦》人名翻译[A Comparative Study on the Translation of People's Names in A Dream of Red Mansions from the Perspective of Domestication and Alienation].Cultural Highlands,283.

*Li Shide李仕德(2015).功能翻译理论下《红楼梦》的人名翻译[Translation of people's names in A Dream of Red Mansions under the Theory of Functional Translation].语文建设[Chinese Construction],62-63.

*Chen Ying陈颖(2016).杨宪益《红楼梦》译本双关人名的翻译探讨[On the Translation of Pun Names in Yang Xianyi's Translation of A Dream of Red Mansions].陕西学前师范学院学报[Journal of Shaanxi Xueqian Normal University],(3):73-76.

*Cao Xue, Yin Xiaotang曹雪,尹晓棠(2020).《红楼梦》中人名的翻译策略[Translation Strategies of Chinese Names in A Dream of Red Mansions].作家天地[For Writers](8):17-18.

==英语笔译张国浩 Zhang Guohao 202170081606 MW==

<center>'''A Brief Analysis of Strategies of Promoting the Translation of Chinese Classics "Going Abroad"
'''</center>

<center>Zhang Guohao</center>

===Abstract===

Chinese culture is broad and profound, which has a long history about 5000 years. Classics culture is one of the most representative characteristics of Chinese culture. In the course of China’s five thousand years of civilization, a large number of ancient classics have been formed by the inheritance of Chinese culture and the creation of its spiritual connotation. These Chinese cultural classics contain a lot of wisdom, which is of great significance to solve the problems faced by human society today. With the increasingly close ties between countries in the world, cultural exchanges have become more frequent. Promoting the culture of Chinese excellent classics to go abroad is an important means to enhance the soft power of national culture. However, the translation of Chinese classics is still facing many difficulties at present. Chinese cultural classics are voluminous and rich in connotation. In the process of foreign translation and communication, it is necessary to improve the training mechanism of professional translators, build a market-oriented external publishing mechanism, and build a high-quality system of foreign translation of Chinese cultural classics.

===Key words===

Chinese cultural classics; Foreign translation strategies; Communication of Chinese culture

===Introduction===

China is one of the four ancient civilizations in the world and the only one among the four ancient civilizations whose traditional culture has been continued without interruption. The long history of Chinese culture is mainly due to the passing down of a large number of cultural classics. In the new era, China’s comprehensive national power and international influence have increased significantly, and there is a greater demand for spreading Chinese culture to the outside world and for the world to understand Chinese culture. Under this background, the translation of Chinese cultural classics has become inevitable. Under the circumstance of fierce cultural competition in today’s world, it is an important problem to be solved urgently that how to spread excellent Chinese classic culture to foreign countries and obtain important results. Culture is open and can only be inherited and developed in mutual exchanges. As the carrier of Chinese culture, the translation and dissemination of Chinese cultural classics are closely related to the improvement of China's international status and international influence. While the comprehensive national strength and international influence are greatly improving, China should further strengthen its cultural self-confidence, and strengthen the protection, inheritance and promotion of Chinese culture in the construction of socialist culture with Chinese characteristics, so as to maintain the Chinese style in the forest of nations in the world and highlight the Chinese style. To make China's voice heard requires not only telling the story of contemporary China, but also letting the people of the world know China from the depths of their soul and spiritual essence. In this context, Chinese cultural classics have become the basis for inheriting and carrying forward Chinese culture, and the dissemination of Chinese culture through traditional cultural classics has also become an important way to promote Chinese culture to the world. This paper will discuss the connotation of the culture of classics, the current situation and difficulties of the foreign translation of Chinese cultural classics and the significance of the foreign translation of Chinese cultural classics. Finally the author puts forward feasible strategies and schemes to promote the foreign translation of Chinese cultural classics, so as to provide reference and guidance for the translation of Chinese cultural classics in the future.

===1. The Defination of Chinese Cultural Classics===

According to Li Zhengshuan, cultural classics refer to ancient books or documents that record natural, humanistic and philosophical ideas as well as important laws and regulations (Li, 2012: 42). Generally speaking, classics mainly refer to the carving copies, hand-copied books, manuscripts and books of rubbings etc. of the previous dynasties before 1911. The concept of Chinese cultural classics have two meanings. Firstly, it refers to the important ancient documents and books-classical works in various fields of social sciences and humanities and natural science in China. Secondly, it refers to ancient Chinese codes and systems. As far as the value of cultural classics is concerned, it refers to the literature and classical books that have withstood the test and selection of time and played an important role in promoting the progress of national civilization and even the world civilization. In terms of its subject, the cultural classics include classics of ancient Chinese philosophy, religion, literature, military science, history, science and technology, law and so on. No matter in which era, cultural classics have always been studied, enriched, annotated, interpreted and used by scholars of all dynasties. They are the spiritual wealth shared by all mankind. As the prototype symbol of national culture, they have the function of continuous regeneration and inheritance.

===2. The Significance of Translation of Chinese Classics===

Firstly, the translation of Chinese classics has always been an important part of cultural exchanges between China and the west, and it is also an important way for the dissemination of Chinese history and culture. Chinese classics not only have important ideological value, but also contain rich cultural information, which makes them more difficult to understand and translate. Therefore, the accurate and complete transmission of the cultural information in the classics is of great practical significance for carrying forward Chinese culture and carrying out cultural exchanges between China and the West. However, due to historical reasons and the particularity of Chinese characters, the excellent culture accumulated in the process of Chinese civilization for thousands of years is rarely introduced to the world, so that the world lacks a comprehensive and in-depth understanding of China’s long and splendid history and culture. Therefore, the translation of Chinese classics is particularly important in the context of economic globalization.

Secondly, we have entered an era of globalization nowadays. If any nation or country wants to remain invincible among the world’s nations, it must learn from others. While learning from other nations, we should also know how to introduce the excellent translation of Chinese classics abroad, so that the world can better understand China. Only in this way can we enhance our competitiveness on the international stage, which is also the need of our reform and opening-up policy. As Chinese people, we have the responsibility and obligation to spread the excellent culture of Chinese nation to all parts of the world. Culture is not only the embodiment of national cohesion, but also the cultural soft power has become an important factor in the competition of comprehensive national strength. As the core content of traditional culture, the translation of Chinese classics is one of the important contents of cultural output.

Thirdly, from the perspective of modern history, the Chinese culture compared with the culture of other nations is in a “weak culture” state. In this case, most foreign translators will inevitably reflect the features of their own class when translating and introducing Chinese cultural classics for the benefit of the rulers they serve. Therefore, it is necessary for Chinese translators to provide the world with more comprehensive, systematic, complete and original versions of Chinese classics.

===3. The Foreign Translation Process of Chinese Cultural Classics===

The translation of Chinese culture classics began in the Ming and Qing dynasties, and the translators were mostly Western missionaries and sinologists at that time. For example, the Italian priest Matteo Ricci translated ''The Four Books'' into Latin around 1594. The French priest Joseph de Prémare translated ''Sacrifice'' into French around 1735 and the British sinologist James Legge translated ''The Four Books and The Five Classics'' into English between 1861 and 1886. These foreign translators completed these translations with the assistance of Chinese assistants. Until the early 20th century, Chinese scholars began to undertake the translation of Chinese cultural classics independently.

Since the founding of the People’s Republic of China, Western sinologists and Chinese scholars have continued to work in foreign translation Chinese cultural classics. Among them, the representative foreign translation project was the English version of Chinese Literature, founded by Ye Yongjian in 1951, which was the only official foreign translation that translated and introduced Chinese contemporary literature at that time. Since initiating reform and opening up, the first milestone in the foreign translation of Chinese culture classics was the Library of Chinese Classics project launched by the Chinese government in 1995. it was the first major national publishing project in China's history to systematically and comprehensively introduce foreign versions of Chinese cultural classics to the world. The Library of Chinese Classics project selected 100 most representative classical works in the fields of culture, history, philosophy, economy, military affairs, science and technology from the pre Qin period to modern times and expert would collate and sort out the topics and versions in detail, and translate them from Writings in Classical Chinese to vernacular, and then from vernacular to English. Chinese leaders have given great support and high praise to this translation project, and have repeatedly presented this series of translated works as an official gift to foreign dignitaries on important occasions. In addition to English translation, the second phrase the Library of Chinese Classics project started in December in 2007 has published Chinese-French, Chinese-Spanish, Chinese-Arabic, Chinese-Russian, Chinese-German, Chinese-Japanese, Chinese-Korean versions in an effort to achieve multilingual publication of Chinese culture classics.

In addition, over the past ten years, there have been many foreign translation projects of Chinese cultural classics which were vigorously promoted by Chinese government. The above-mentioned translation projects at the national level have enhanced the cultural confidence of the Chinese people and improved the soft power of Chinese culture. This is due not only to the importance of national support for traditional culture and translation, but also to the hard work of translators and publishers.

===4. The Current Status of Foreign Translation of Chinese Cultural Classics===

Under the background of economic globalization, the translation of Chinese cultural classics has made great progress with the great attention of the Chinese government and the joint efforts of many Chinese scholars and translators in recent years. In 1995, China began to launch the “Library of Chinese Classics” project, which was the first major publishing project in China to comprehensively and systematically introduce Chinese traditional cultural classics to the world. “Library of Chinese Classics” projects not only accurately translates China’s historical and cultural classics to the world, but also shows the world great Chinese culture. But even so, the current translation of Chinese classics is still facing many difficulties.

The first problem refers that there is a shortage of professional translation talents, and the coverage of translation talent education is also narrow. In the new era, China will unswervingly open wider to the outside world and strengthen its cultural self-confidence. Obviously, China is required to make efforts to promote Chinese culture to the world. The translation of Chinese cultural classics is one of the basic ways to promote the spread of Chinese culture to the world. The external translation and dissemination of cultural classics can not be separated from high-quality translation versions whose key lies in the cultivation of translation talents. At present, China lacks professional translation talents, and the coverage of translated language is narrow. Although China regards English as the basic content of national education and has basically established a higher education system covering the world’s major applied languages, the translation of Chinese cultural classics is a highly specialized translation work, which requires translators to be familiar with Chinese culture and have a deep understanding of the history and culture of the target-language countries This kind of integrated talents is relatively scarce, and it is difficult to cultivate a large number of such talents in a short period of time under the existing translation talent education mechanism.

In addition, the selection of translation materials of Chinese cultural classics is concentrated and single. The word “classics” in Cihai means “important national documents”. Professor Wang Hongyin clearly put forward the concept of “Chinese cultural classics” and limited its scope from three aspects. Then professor Zhao Changjiang also explained its definition in detail. In summary, we can draw the conclusion that Chinese classics involve the three disciplines of literature, history and philosophy, Confucianism, three religions of Confucianism, Buddhism and Taoism, as well as Chinese military classics, scientific and technological classics and so on. Among the vast Chinese classics, the ones that are truly translated into foreign languages are mostly concentrated in philosophical works such as “ The Four Books and The Five Classics” and ancient literary classics such as “Dream of the Red Chamber”. However, the foreign translation of prose and drama is very rare. The foreign translation of cultural classics of other nationalities in China is rarely involved, while the translation of scientific and technological classics is almost ignored. Therefore, it is very necessary to expand the scope of selection for classics translation in order to spread Chinese excellent culture through classics.

Facing the strong competition of Western culture, the market-oriented communication mechanism is not perfect. The translation and dissemination of Chinese cultural classics should rely on the market-oriented publishing mechanism, while the cultivation of foreign audiences’ reading demands mainly depends on the improvement of China’s international influence, especially the improvement of China’s international status in the process of economic globalization. At present, in the face of the strong position of the West in the international discourse system, the translation and dissemination of Chinese cultural classics in the market publishing face the strong competition of Western culture. At the same time, the market demand for the publication and distribution of Chinese cultural classics also lacks effective integration, and it will be difficult to obtain lasting impetus to promote the dissemination of Chinese culture by relying too much on national financial investment or incorporating the translation and dissemination of Chinese cultural classics into the cultural exchange mechanism under the national financial burden. The imperfect market mechanism for the translation and dissemination of Chinese cultural classics, the lack of scientific evaluation of the international publishing market demand and targeted marketing mechanism are important problems in promoting the translation and dissemination of Chinese cultural classics.

On the other hand, the quality of translation is uneven, and the adaptability of local culture in target-language countries needs to be improved. The development of the foreign translation market of Chinese cultural classics not only needs to cultivate the reading needs of foreign audiences and incorporate them into the construction of the publishing market, but also needs to establish the awareness of quality and build a quality system. Nowadays, although some high-quality versions have been formed in the foreign language translation of cultural classics in China, the quality of some translation works is not satisfactory. It is difficult to accurately transform the classics into the local culture of target-language countries. Especially for some minority-language countries and ethnic groups, it is difficult for China to engage in high-quality foreign language translation and form an optional quality system due to the lack of professional translators. At the same time, when translating Chinese cultural classics into foreign languages, China needs to improve the localization of text content. Whether the translated works of Chinese cultural classics can be compatible with the history and culture of target-language countries will have an important impact on the dissemination ability of Chinese cultural classics.

At the same time, the translation of Chinese cultural classics is still unevenly distributed. At present, the translation of Chinese cultural classics mainly focuses on the cultural classics of the Han nationality, while the foreign translation of cultural classics of other nationalities are in the dilemma of “small quantity”. Due to their uniqueness, the foreign translation and dissemination of them are relatively more complex. According to statistics, there are less than 20 foreign translations of cultural classics of other nationalities in China since the late Qing Dynasty, and only a few ethnic cultural classics such as Tibetan, Mongolian, Zhuang and Kirgiz have been translated into English. Compared with the 1000 volumes of ethnic minority ancient books or Han cultural classics in the Catalogue of National Rare Books in China, there is a fact that there is a small amount of foreign translation in other ethnic cultural classics. And due to the factors of Chinese local translators, the languages of translation and introduction are relatively single. The translated cultural classics of other nationalities in China are mainly focused on literary subjects, while other fields such as medicine, agriculture, science and technology are often ignored. Therefore, the number of foreign translation of them is even less.

===5. Measures to Promote Foreign Translation of Chinese Classics===

Targeted measures are needed to solve the above problems. Firstly, foreign readers’ reading demands should be guided and cultivated and a market-oriented foreign publishing mechanism should be built. At present, China’s comprehensive national strength has improved significantly and it occupies an important position in the global trade system. The exchanges and interactions between China and other countries in the world are becoming increasingly frequent, and the demand for countries in the world to understand Chinese culture is increasing. China should further guide and cultivate people’s cognitive needs of Chinese culture, and promote the construction of market-oriented foreign publishing mechanism with high-quality translation versions of Chinese cultural classics. China should encourage domestic publishing enterprises with strong strength to go out. On the basis of scientific evaluation of other countries’ demand for Chinese cultural classics reading, effective marketing strategies should be determined. Meanwhile, China also need to establish sound sales channels, and form a positive interaction mechanism between the cultivation of foreign Chinese classics reading market and the overseas publishing industry for spreading Chinese culture.

Secondly, China should build a system of excellent translation of Chinese classics to improve the local adaptability of the translated versions. As the carrier of Chinese culture, the humanistic spirit of Chinese classics should go to the world with the development of our country. China should actively promote the construction of an excellent translation system of Chinese classics. While providing guarantee in terms of talents, funds and policies, the government should also establish a standard system for the translation of excellent classics, and form several alternative high-quality versions for different countries and nationalities. In the construction of the excellent system of translation of Chinese classics, China should strengthen the exchange between the translated versions and the local culture of the targeted-language countries and select different classics according to the historical culture and religious customs of different countries and nations, so as to avoid the conflict between the contents of classics and the historical culture and religious customs of relevant countries.

Thirdly, the government should improve the training mechanism of professional translation talents and increase the number of foreign language for education. China should actively promote the construction of professional translation talent system, and construct the corresponding talent training mechanism based on the principle of specialization in the translation of Chinese classics. For example, China should set up the translation major of Chinese classics in the current translation major and integrate it with the study of various languages. In the process of learning foreign languages, China can take the translation of Chinese classics as the basic teaching content. At the same time, China should also cooperate with the implementation of the Belt and Road Initiative to carry out targeted translation education of Chinese classics.

The the Belt and Road Initiative is the direct driving force for the foreign translation of Chinese cultural classics. Since the advent of the new century, the Chinese government has paid more attention to cultural exchanges with other countries in the world. The proposal of the “the Belt and Road” Initiative in 2014 further demonstrates the determination of Chinese culture to go global. The translation of Chinese classics is the most direct means for Chinese culture to go global. As a corridor for cultural exchanges, the the Belt and Road Initiative provides a new opportunity for the translation of Chinese cultural classics and will directly promote the development of Chinese cultural classics translation. The Library of Chinese Classics project is the most prominent project in the national assistance to the foreign translation of Chinese cultural classics, even though these translation versions are not sold well abroad. However, these works condense China’s long history and splendid culture, and enhance the foreign dissemination of Chinese classics. In addition, works of the Library of Chinese Classics project are not only sold in bookstores, but also presented to foreign leaders as official gifts, which is of great benefit to the dissemination of Chinese culture. Buddhism and Buddhist classics were introduced to China through the ancient Silk Road. Nowadays, Chinese Confucianism and Confucian classics will spread to the world through the Belt and Road Initiative. First of all, in the process of the Belt and Road Initiative construction, the builders sent by China to countries and regions will spread Confucianism and Chinese culture in daily exchanges with local people. In addition, China actively promotes Confucius Institutes in the process of the Belt and Road Initiative construction, which directly promotes the external dissemination of Confucianism and classics. Finally, the construction of the Belt and Road Initiative can also increase the public’s recognition and understanding of Chinese cultural classics and promote the development of the English translation of these cultural classics.

===Conclusion===

Chinese classics are the crystallization of the wisdom of the Chinese nation and still have important guiding value for the problems confronted by human today. With the continuous enhancement of China’s comprehensive national strength, the translation of Chinese classics is imperative. In the process of translating classics, we should improve the training mechanism of professional translation talents, build a market-oriented external publishing mechanism, and build a system of excellent translation of Chinese cultural classics, so as to promote the better dissemination of Chinese culture abroad and enhance China’s cultural soft power.

===References===
*Li Wenge 李文革.(2000). 中国文化典籍的文化意蕴及翻译问题 [The Cultural Implication and Translation of Chinese Cultural Classics] ''外语研究'' Foreign Languages Research (1)42-44.
*Liu Xingfeng 刘性峰.(2005). 典籍英译的意义 [The Significance of Translation From Chinese Classics into English] ''皖西学院学报'' Journal of West Anhui University (2)105-107.
*Qiu Kean 裘克安.(1991). 更好地组织中国文化代表作的英译和出版 [Better Organization for the English Translation and Publication of Chinese Cultural Masterpieces] ''中国翻译'' Chinese Translators Journal (2)4-5.
*Wang Rongpei 汪榕培.(1997). ''比较与翻译'' [Comparison and Translation] Shanghai: Shanghai Foreign Language Education Press 上海外语教育出版社.
*Yang yingfa, Zhang Ji 杨英法, 张骥.(2017). 中华文化软实力提升与汉语弘扬间关系探讨 [The Discuss on the Relationship Between the Advance of Chinese Cultural Soft Power and the Promotion of Chinese] ''石家庄学院学报'' Journal of Shijiazhuang University (4)106-110.

===Terms and Expressions===

===Questions===

===Keys===

==英语笔译张姣玲 Zhang Jiaoling 202170081607 CE==

<center>'''On movie adaptation of Chinese classics - The example of Yu Hua’s ''To Live'''''</center>

<center>Zhang Jiaoling</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译张瑞 Zhang Rui 202170081608 MW==
<center>'''An Analysis of English Translation of Classical Prose Based on the Skopos Theory'''</center>

<center>张瑞 Zhang Rui</center>

===Abstract===
The information age has made cultural communication the norm in the world, and transmitting the essence of Chinese traditional culture to the world is not only an important way to show the profound cultural heritage of China, but also a good way to make the world understand China. This paper introduces the theory of cultural translation into the translation of Chinese classical prose. By selecting the classic prose of Han Yu, the first of the Eight Great Masters of the Tang and Song dynasties, as a case study, we analyze the English translation process of Han Yu's prose under the guidance of cultural translation, show the applicability of cultural translation in the English translation of classical prose, and provide new ideas and references for the future translation of classical prose.

===Key words===
Skopos Theory; Strategies for English translation of classical prose; the classic prose of Han Yu

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译赵宇翔 Zhao Yuxiang 202170081609 CE==
Research On Problems And Strategies of Translation of Chinese Classics

==英语笔译郑冬琴 Zheng Dongqin 202170081610 MW==

<center>'''The Development and Spread of Chinese Network Novels'''</center>

<center>Zheng Dongqin</center>

===Abstract===
Chinese online literature has had a history of more than 20 years of development, and it has gradually formed a mature development system. In recent years, with the rapid development and popularity of the Internet, online literature has played an increasingly large role in people's daily lives. Among them, online novels play a particularly important role in people's lives. Moreover, the development and dissemination of Chinese online novels overseas has also achieved great success. However, there are still some problems and shortcomings in the field of online fiction that need to be addressed. Therefore, in order to better promote Chinese cultural exports, we need to create our own cultural calling cards and promote Chinese network novels "go globle". In this paper, I will discuss five aspects of Chinese online fiction: definition, development, pros and cons, current situation and overseas dissemination.

===Key words===
Chinese Network Novels; Development; Dissemination; Value; Adaptation

===Introduction===
This paper focuses on the history of the development of Chinese online novels and the current state of their dissemination overseas. This essay is divided into five main parts. In the first part , it mainly gives a brief introduction to online novels, which includes three aspects of the definition, creative characteristics and main classifications of online novels. In the second part, it gives a brief overview of the history of the development of Chinese online novels, which includes the exploration stage, the transition stage and the maturity stage. In the third part, it discusses the pros and cons of Chinese online fiction in a dialectical manner. It mainly mentions the influence of online fiction on the younger generation, especially teenagers. In the fourth part, it analyses the current situation and trends of Chinese online novels, and it highlights the phenomenon of product homogenisation and the film and drama adaptations of popular novels. In the fifth part, it introduces the achievements of Chinese online novels in their overseas distribution by discussing two examples, namely The Legend of Zhen Huan and Ten Miles of Peach Blossoms. Finally, the paper provides a brief summary of the issues explored, with a view to offering some suggestions and help for Chinese culture to go global.

===1.A Brief Introduction to Network Novels===
1.1 Definition of network novels

Network novels are novels published by online writers relying on the web-based platform. It is a new genre of fiction that has emerged with the rapid development of the Internet. It is characterised by a wide variety of styles, unlimited genres, and simple publication and reading methods. Its main genres are fantasy and romance. The language of online novels is more colloquial and full of Internet buzzwords.(Cui Feng 2010) Besides, in addition to differences in textual content, network novels also make use of variations in symbols, patterns and typography compared to general novels. Online fiction is the main form of online literature.
Generally speaking, there is a broad and narrow definition of online fiction. Broadly speaking, it can include all fiction published and circulated on the Internet. However, on the narrower level of the origins of online fiction, it mainly refers to forms of fiction written by online writers and first published online, and then circulated.
Online novels fall into two main categories. One category is novels read by boys, which are generically referred to as male channel novels(男频), and the other category is novels read by girls, which are generically referred to as female channel novels(女频). Most novels read by boys seek to be powerful from body to power, while most novels read by girls are from the perspective of love. And the influence of these two types of novels depends on the ratio of males to females on the internet.

1.2 Creative characteristics of network novels

There is no doubt that online literature still belongs to the category of literature. Therefore, online novels naturally have the basic characteristics of all literary works. However, due to some characteristics of the Internet and the influence of the commercial model of literary websites, online literature has gradually formed its unique creative and artistic characteristics. The characteristics of online novels are mainly manifested in the following four aspects:
Firstly, the length of the network novel is very long. Because an online novel is usually formed in a long serial mode, it has a considerable number of words. Among them, long female channel novels are at least 600,000 words, while long male channel novels are up to millions of words.Secondly, online fiction is highly interactive. Because of the instantaneous nature of the Internet, authors and readers communicate online far more quickly than the previous correspondence. This makes online works naturally a little more interactive. What really determines the interactivity of an online novel, however, is its serial nature. Because online novels are often divided into chapters and sections, presented and completed gradually over a long period of serialisation, readers are able to express their views on the work at any point in its creation, expressing their appreciation or dissatisfaction, and offering suggestions and expectations for subsequent content. These comments will be seen by the author in the first instance. They can then influence the creation of the work to a large extent.Thirdly, the threshold for the creation of online novels is low. Generally speaking, the threshold for the creation of traditional literature is very high, and not any work can be published. However, the editorial and vetting standards for online literature are very low. Anyone who is literate and can tell a story has the opportunity to become an online writer, or even an online author. In other words, in the realm of online fiction, anyone who publishes and gets a certain number of readers can generate income. As a result, more and more people are becoming online writers and the creation of online novels is gradually becoming a way to earn an income.Fourth, online fiction is like a kind of fast food literature. The evaluation criteria of traditional literature are mainly reflected in values, outlook on life, and the author's writing skills. However, the focus of online novels is on entertainment and the reader's pleasure in reading them. In order to cater to the needs of readers, most online writers overly pursue the quantity of novels at the expense of quality. They over-express the reader's desires in their works, which makes them lack artistic and emotional value. Internet novels are like a kind of fast-food literature, which lacks nutrition and is difficult to be remembered and loved in the long run.

1.3 Classification of network novels

Online novels can be broadly classified into the following genres: fantasy novels, martial arts novels, immortal novels, science fiction, urban novels, romantic novels, supernatural novels, historical novels, mystery novels, military novels, sports novels, game novels, fan fiction, boy’s love novels, two-dimensional space novels and etc.According to online reader statistics, the ten most popular online novels are：

1、The Legend of Goku - Now Where 《悟空传》- 今何在

2、Ghost Blows Out the Light - Blogging site 《鬼吹灯》- 天下霸唱

3、Purple River - Old Pig 《紫川》- 老猪

4、Blasphemy - South of the Smoke 《亵渎》- 烟雨江南

5、Nebulous Journey - Potential Flute 《缥缈之旅》- 萧潜

6、How Bad Men Are Made - Six Paths 《坏蛋是怎样炼成的》- 六道

7、Time Raiders - Uncle Three of Southern School 《盗墓笔记》- 南派三叔

8、Kill the Immortals - Pot Flute 《诛仙》- 萧鼎

9、Fights Break Sphere - Silkworm Potato 《斗破苍穹》- 天蚕土豆

10、AutoFull - Wind Blow Strong 《傲风》- 风行烈

===2.The Development History of Chinese Network Novels===
Chinese online literature has had a history of over 20 years of development. Throughout the history of the development of online literature, we can divide it into three development stages: the exploration stage, the transition stage and the mature stage.

2.1 Exploration stage

During this period, online novels were mainly carried on computers and the payment model was established. In 1998, Riffraff Cai's The First Intimate Contact 《第一次亲密接触》was published on the Bulletin Board System(BBS), which opened the era of Chinese online novels. For the next 10 years, the computer served as the main vehicle for users to disseminate and read online literature. In October 2003, the business model of online literature became clear when the Starting Point Chinese Network Fiction(起点中文网)pioneered the paid online reading model. Some of the so-called "gods" of online fiction began to appear, and online fiction had its own stable, youth-centred and relatively small reading group. Annie Baby, Li Xunhuan and Xing Yusen were also representative online writers of that period.

2.2 Transition stage

From 2008 to 2014, online literature entered a transitional period, when reading behaviour began to penetrate into mobile smart devices. Around 2011, the proportion of users who read online literature on computers declined year by year, while the number of users on mobile smart devices grew rapidly. At the same time, reading platforms in the form of apps also sprang up, and mobile bookstores such as QQ Reading and Palm Reader became increasingly popular. After 2014, smartphones, tablets and other mobile smart devices became popular in China, making mobile phones the largest reading channel for online literature users. Novels in genres such as tomb raiding, mystery and romance have seen rapid development. Representative works of this period include Time Raiders, Tomb of the Gods and Fights Break Sphere.

2.3 Mature stage

As the scale of the online literature market continues to expand, Internet giants have become involved in online literature, and online literature enterprises have embarked on a stage of large-scale group operations. (Zhang Hainan,Han Lei 2021:79-83)In 2013, Tencent and the core team of the former Starting Point Chinese website (起点中文网)cooperated to establish Genesis Chinese Website(创世中文网); Baidu acquired 100% of the equity of Zongheng Chinese Website (纵横中文网)for 191.5 million; In 2014, Zongheng Chinese Website, 91 Panda Book (91熊猫看书)and Baidu Book City (百度书城)merged to form Baidu Literature(百度文学). In 2015, Chinese Online (17K Novel Website) was listed on the A-share GEM board with a $2 billion capital increase to build a pan-entertainment ecology. After Tencent's $5 billion acquisition of Shanda Literature Limited(盛大文学), it merged with Tencent Literature to form China Reading Limited(阅文集团); Ali acquired Shuqi Novel (书旗小说)and UC Book City (UC书城)and merged them with its own mobile reading business to form Ali Literature. At this point, the industry pattern of domestic online literature has basically taken shape.Since 2018, online literature has entered an era of convergence. The IP operation of online literature has gradually matured, film and television dramas and games adapted from online literature are favoured by the market, and free reading has gradually emerged, creating a new model of "free + advertising". Internet literature has established its own unique literary system and has received widespread attention from society. It has also become an important source for film and television adaptations. Nowadays, it seems that many important film and television works have come from online literature, and these super IPs have had a huge impact on the development of film and television culture. Representative works from this period include The Legend of Zhen Huan《甄嬛传》, The Legend of Mi Yue《芈月传》, The Journey of Flower《花千骨》, and Nirvana in Fire《琅琊榜》.

Nowadays, Chinese online literature has become an important literary phenomenon that cannot be ignored and has become an indispensable cultural resource for the younger generation. At the same time, from the perspective of world literature, China-centred online literature written in Chinese can be considered a unique phenomenon. Its unique creative characteristics and mode of operation are incomparable. It now seems that Chinese online literature has also gained its own unique status and significance in the development of literature across the globe. The wide distribution of The Three Bodies overseas in recent years is a good example of this.

===3.The Pros and Cons of Chinese Network Novels===
As a new form of literature, online literature has had a huge impact on people's daily lives. Like a double-edged sword, online fiction has its unique value and significance, but also has many problems and shortcomings. Therefore, we should adopt the right attitude towards it and take the essence and remove the dross.

3.1 The Pros of Chinese Online Fiction

3.1.1 Reading online novels can develop literary literacy

Firstly, there are many excellent works in online fiction that deserve to be read and appreciated with care. Outstanding online novels are characterised by their dramatic storylines, superb writing skills and meaningful themes. By learning from the authors' writing methods, we can develop our imagination and creativity, and thus improve our own writing skills.(Li Xin 2016:172) At the same time, by reading excellent works, we can increase our knowledge, broaden our horizons and improve our literary skills.

3.1.2 Reading online novels can improve reading skills

Secondly, because the online novel is serialized, it is updated very quickly and in very large numbers of words. Readers have something new to read almost every day. This means that in order to keep up with the author's updates, the reader needs to be able to read very quickly. If the reader is reading several online novels at the same time, then he needs to be able to read faster. Thus, by exercising over time, the reader can develop a good habit of reading every day and can improve his or her reading skills and abilities to a great extent.

3.1.3 Reading online novels can relieve stress

Thirdly, online novels can help readers to vent their negative emotions and relieve stress to a certain extent. In today's highly developed economic, political and cultural world, people face a variety of challenges and pressures in their daily lives, such as the pressure of marriage, interpersonal relationships, mortgage repayments, further education and job promotions, and so on. They are reluctant to face the cruelty of reality and need a space where they can forget their worries and keep their mood happy. Therefore, the beautiful virtual worlds created by online novels have gradually become a place for people to vent their emotions, express their desires and seek solace. Moreover, with the rapid development of the Internet, mobile communication devices have become widely popular. Nowadays, almost everyone, young and old, has their own mobile phone, which makes it possible for people to read online novels through various mobile apps and websites anytime and anywhere. We have found that the majority of readers of online novels in China find themselves relieving their stress and gaining a great deal of pleasure from reading online novels. For female readers, they tend to read romance novels and urban novels. For male readers, they prefer to read mystery novels and tomb raiding novels. In short, for those devoted novel lovers, the virtual world constructed by online novels is a perfect, utopian ideal society. As the characters and storylines portrayed in online novels are very close to life, such a setting easily arouses readers' emotional resonance, thus giving them a strong sense of vicariousness. In this virtual world, they can relieve the stress and worries brought about by the real world, allowing them to relax their long-tightened nerves. This is also a form of stress relief for the young generation of today.

3.2 The Cons of Chinese Online Fiction

3.2.1 Adverse effects on people's daily habits

In this highly developed society with the Internet, people can use mobile phone apps to read online novels anytime and anywhere. It is because of this convenience that online novels are having an increasing impact on people's daily lives. Online fiction is like a drug that makes people addicted to them. For adult readers who are addicted to online novels, they read all day and night and do not even feel hungry. As a result of staring at their mobile phone screens for long hours, some suffer from myopia, while others are so addicted to the pleasure and thrill of reading online novels that they miss work. Faced with online novels, they lack self-control and self-discipline, which makes them break the regular routine of life. When reading online novels, they see themselves as the protagonists in the novels, causing them to be unable to distinguish between real life and the virtual world. Over time, this group of people who are obsessed with online novels may suffer from severe procrastination, which then puts their lives in a vicious cycle.
While for young readers, the dangers posed by online novels seem to be even more serious. Some online novels are not suitable for teenagers. If young readers are exposed to these novels, it is inevitable that they will become too precocious and may even lead them astray. For example, one of the most iconic Internet classics, The First Intimate Contact, is very popular among secondary school students. The author tells a poignant love story that expresses a common ideal in metropolitan life, namely the desire to make romantic love denied in reality a reality in the virtual world. (Li Xin 2016:172) Many teenagers have admitted that they have imagined or even actually experienced online romance after reading The First Intimate Contact. In addition, many urban and romance novels such as Laugh Slightly Very Bend City, The Left Ear and Fleet of Time also have had an impact on teenagers.

3.2.2 Causing distortion of values

Because of the low threshold for the creation of online novels and the lax regulation of the market, there are many low-quality works on the Internet that contain unhealthy information. These vulgar novels are filled with many contents that are not conducive to the healthy physical and mental development of young people, such as violence, cruelty, pornography, selfishness and so on. In the process of reading online novels, readers will unconsciously accept these wrong values. As the main force of the online novel reading group, teenagers are often more susceptible to the influence of bad values. On the one hand, as the minds and hearts of teenagers are not yet mature, they lack the ability to select works and self-discipline. On the other hand, as teenagers are more curious about the unknown, they are more likely to be attracted to the characters portrayed in online novels and develop a stronger sense of immersion. Moreover, as teenagers are in the process of forming their values and worldview, the harmful information in online novels can have a huge negative impact on their values, and may even cause distortion of values. For example, some reported cases of school bullying, murder and rape are related to the harm caused by vulgar online novels.

3.2.3 Fast food novels waste time

Many online novels are fast food novels. It would be a mistake for people to devote too much time and energy to these online novels. Due to the low threshold for the creation of online novels and the lax regulation of the market, various genres of online novels are springing up in the world today, which makes many online writers see their creation as a way to make profit only, and they devote more time and energy to the quantity rather than the quality of their novels. As a result, most online novels are written with a tumultuous plot to capture the reader's attention and interest. These novels often lack depth of thoughtfulness, and some even contain frequent misspellings, misuse of idioms and grammatical errors. If we fail to spot these errors in time, this can inadvertently deepen our impression of the wrong usage to the extent that these errors may appear in our own writing.
In addition, readers tend to read online novels at a very fast pace. Some can even finish reading several online novels in a day. However, these fast-food novels, which lack nutrition and value, do not give readers a great deal to gain. When people are reading these online novels, the content of the novels hardly cause the readers to think. As a result, readers are not impressed with the content of the novels after reading them. This kind of reading behaviour without value and meaning is in essence a waste of time. Instead of wasting our time and energy on these unproductive online novels, it would be better for us to choose a classic work of literature to read and appreciate its connotations and meanings by heart. By reading and appreciating the classics, we can communicate with great souls across time and space. In this way, our literary skills can be improved, our minds can be sublimated and our souls can be purified. So, from now on, please take the time to develop a good habit of reading classics again, which will benefit you for the rest of your life.

===4.The Status and Trend of Chinese Network Novels===
4.1 Homogenization of products

Although the market is flooded with online novels of various genres and themes, only truly outstanding works are accepted and loved by the public. As a result, there is serious vicious competition in the field of online fiction, which has led to the homogenisation of products in the current online fiction market. When a work becomes successful, there will be many imitations. Many novels have highly similar themes, motifs and plots, and even have very similar backgrounds, characterisations and life settings. Once these popular characterisations have formed a fixed format, they become as similar as industrially produced products. As a result, these similar novels will cause aesthetic fatigue among the audience and their dissemination will be greatly reduced. (Qin Junxiang,Li Ting 2017:38-42)For example, online novelist Qiong Yao publicly reported on Weibo that Yu Zheng's Palace 3:The Lost Daughter《宫锁连城》had copied several plots from her work The Plum Blossoms《梅花烙》. In addition, when the TV series Jade Palace Lock Heart《宫》 started to make a splash on TV screens in 2011, there were many other similarly titled dramas. Some authors ignored historical facts and made a mess of historical adaptations in order to cater to the taste of their audience, which reduced the literary, artistic and aesthetic value of the work itself. Some authors even deliberately make up all sorts of fascinating but unethical plots in order to gain high click-through rates, which has caused a distortion of the values of some works. This series of homogenisation and vicious competition has not only led to infringement and plagiarism, but has also led to monotonous content of works, aesthetic fatigue among readers and an impact on the market order. In short, homogenisation and plagiarism are not conducive to the innovation and development of online literature.The relevant government departments should strengthen the supervision and regulation of the online literature market. They should establish a sound copyright protection mechanism, improve the professionalism and aesthetic level of online authors and film producers, and raise audiences' awareness of copyright protection, so as to promote the healthy and benign development of the online literature market and the film industry.(Liu Yang 2017:95)

4.2 Adaptation of novels into film and TV series

The emergence of film and television adaptations of online novels can be traced back to The First Intimate Contact , an adaptation of the novel of the same name by Chinese Taiwanese author Tsai Chi-hang. This novel was made into a film in 2000 and adapted into a TV series in 2004. This was the first time in the history of Chinese film and television that an online novel was adapted into a film or television production. (Xiao Yudi,Ouyang Changlin 2021:33-38)However, the audience response at the time was poor, with fans who had read the original novel not liking the format and content presented in the TV series very much. Although the audience response did not meet expectations, it made the novel an instant hit. The first trial of a web novel adaptation showed its potential and problems, drawing the attention of some film and television producers. After six years of hibernation, the adaptation of web novels for film and television finally made its official entry onto the television screen in 2010. The first wave of Chinese online novels adapted for film and television was marked by the TV series Beauty's Rival in Palace《美人心计》.Subsequently, costume dramas such as The Legend of Zhen Huan《甄嬛传》, Startling by Each Step《步步惊心》, Princess Dumping World《倾世皇妃》and Jade Palace Lock Heart《宫锁心玉》received high ratings and were unanimously praised and recommended by the public. Soon, with the rise and development of online video platforms, China ushered in a second wave of web novel adaptation dramas. In 2015, there were a number of web novel adaptations represented by The Journey of Flower《花千骨》 and Nirvana in Fire《琅琊榜》, which not only achieved high ratings during their television broadcast, but also reaped superb viewership and buzz on major video platforms. In 2017, the online novel adaptation television series Ten Miles of Peach Blossoms《三生三世十里桃花》began to dominate the public's attention, marking the arrival of the third wave of adaptation boom. The drama took over Weibo's top searches and headlines almost every day, and its original novel, plot, cast, headgear, make-up, costumes and soundtrack became a daily topic of conversation for the public at their leisure. In recent years, popular costume dramas such as East Palace《东宫》, Qing Yu Nian《庆余年》 and The Untamed《陈情令》have brought the craze for web novel adaptations to a peak.In terms of film and TV drama adaptations of novels, costume and romance novels have become the main trends in Chinese online novels.

===5.The Overseas Dissemination of Chinese Network Novels===
In recent years, Chinese costume novels have become very popular overseas. There are websites dedicated to Chinese novels such as "Wuxia World"(武侠世界) and "Webnovel"(起点国际). There are even people overseas who read serialised novels to kick drug addiction and treat depression. This shows the huge influence of our online novels overseas.

For example, in recent years, Legend of Concubine Zhen Huan has become popular in Japan, South Korea and some countries and regions in Southeast Asia. In addition, the cast of The Legend of Concubine Zhen Huan has joined forces with the American television station HBO to edit the original 76-episode series into six short episodes (each 90 minutes long) for broadcast overseas. The release of Legend of Concubine Zhen Huan on the US pay platform Netflix a few years ago also created a national sensation, and Legend of Chu Qiao《楚乔传》and Ten Miles of Peach Blossoms have long been officially synchronised on Youtube at the time of its launch. This marked the successful spread of Chinese costume novels overseas.

Take Ten Miles of Peach Blossoms as an example, the translator of Ten Miles of Peach Blossoms, Poppy Toland, is a British freelance translator who studied Chinese at the University of Leeds and lived in Beijing, China for four years. She was commissioned by Amazon.com, the copyright holder of the novel, to translate Ten Miles of Peach Blossoms into English before the TV series hit the airwaves.(Ma Xiaoxing,Zhao Mengyuan 2020:59-62) In order to ensure that the translation does not lose the flavour of the original, she insists on using the translation strategy of domestication to deal with the linguistic forms. However, for the cultural elements in the original work (such as mythology, religion and other cultural factors), she introduces Chinese culture directly to Western readers through the method of foreignization. On 23 August 2016, To the Sky Kingdom, the English translation of Ten Miles of Peach Blossoms, was released on Amazon in the United States. Upon its release, the translation reached number three on Amazon's Asian Literature bestseller list and number one in the Asian Literature section of the Kindle Edition bestseller list. The translation was recommended to foreign readers on Amazon.com, along with other famous novels such as Three Bodies《三体》and Wolf Totem《狼图腾》, and was once ranked the third best-selling Chinese novel on Amazon.com.It shows that Chinese online novels have achieved great success in overseas distribution.

===Conclusion===
After more than two decades of development, Chinese online novels have developed a relatively mature industry system, not only in terms of accumulation in the domestic market, but also in terms of expansion in overseas markets. However, there are still some problems and shortcomings in the process of its domestic development and overseas distribution. Therefore, we need to further improve the quality and value of Chinese online novels and strive to build a unique international cultural brand of our own. We need to help Chinese culture go overseas through cultural branding so that more foreign friends can understand and enjoy traditional Chinese culture. In short, it is the duty of every Chinese to strengthen our cultural soft power and enhance the cultural confidence of the Chinese nation.

===References===
*Cui Feng 崔冯.(2010).网络小说的文体特征研究[Research on the Genre Characteristics of Online Novels].重庆师范大学Chongqing Normal University.
*Li Xin 李昕.(2016).网络小说利弊纵横谈[The Pros and Cons of Online Novels].西部皮革Western Leather(12):172.
*Liu Yang 刘杨.(2017).中国网络小说改编剧的困境与建议[The Dilemma and Suggestions of Chinese Online Novel Adaptations].参花Participation Flowers(16):95.
*Ma Xiaoxing, Zhao Mengyuan 马孝幸,赵梦源.(2020).中国文化“走出去”背景下的网文出海研究——以《三生三世十里桃花》外译为例[A Study on the Overseas Translation of Chinese Culture in the Context of "Going Global"--The Foreign Translation of "Ten Miles of Peach Blossoms].新阅读New Reading(08):59-62.
*Qin Junxiang,Li Ting 秦俊香,李婷.(2017).网络小说改编剧的同质化现象批评——以权谋宫斗题材古装剧为例[Criticism of the Homogenization Phenomenon of Online Novel Adaptations - Taking Ancient Costume Dramas on the Theme of Power and Palace Combat as An Example].中国电视China TV(06):38-42.
*Xiao Yudi, Ouyang Changlin 肖雨笛,欧阳常林.(2021).网络小说改编剧的狂欢与思考[The Carnival and Reflection on the Adaptation of Online Novels].肇庆学院学报Journal of Zhaoqing College(03):33-38.
*Zhang Hainan, Han Lei 张海楠,韩磊.(2021).网络小说创作主体迅猛发展成因探析[An Analysis of the Causes of the Rapid Development of the Main Body of Network Novel Creation].兰州文理学院学报(社会科学版)Journal of Lanzhou College of Arts and Sciences (Social Science Edition)(03):79-83.

===Terms and expressions===
*The Legend of Goku 《悟空传》
*Ghost Blows Out the Light 《鬼吹灯》
*Purple River 《紫川》
*Blasphemy 《亵渎》
*Nebulous Journey 《缥缈之旅》
*How Bad Men Are Made 《坏蛋是怎样炼成的》
*Time Raiders 《盗墓笔记》
*Kill the Immortals 《诛仙》
*Fights Break Sphere 《斗破苍穹》
*AutoFull 《傲风》
*Wolf Totem《狼图腾》
*Nirvana in Fire《琅琊榜》
*The Legend of Zhen Huan《甄嬛传》
*The Plum Blossoms《梅花烙》
*Jade Palace Lock Heart《宫》
*Laugh Slightly Very Bend City 《微微一笑很倾城》
*The Left Ear 《左耳》
*Fleet of Time 《匆匆那年》
*Startling by Each Step《步步惊心》
*The Journey of Flower《花千骨》
*East Palace《东宫》
*The Untamed《陈情令》
*Qing Yu Nian《庆余年》
*Legend of Chu Qiao《楚乔传》
*To the Sky Kingdom《三生三世十里桃花》
*The First Intimate Contact 《第一次亲密接触》
*The Legend of Mi Yue《芈月传》
*Palace 3:The Lost Daughter《宫锁连城》
*Princess Dumping World《倾世皇妃》
*Beauty's Rival in Palace《美人心计》
*Men's Channel 男频，即男生频道，是网络小说网中对男生爱看的网络小说的一种称呼。男频以玄幻、推理、盗墓等题材的小说为主。
*Women's Channel 女频，即女生频道，是网络小说网中对女生爱看的网络小说的一种称呼。女频以都市、言情和穿越等题材的小说为主。

===Questions===
1.Which of the following is a common genre of male channel fiction?

A.Time Travel Fiction

B.Fantasy Novels

C.Romance Fiction

D.Urban Soap Novels

2.When was the online novel The First Intimate Contact published?

A.In 1996

B.In 1997

C.In 1998

D.In 1999

3.How many stages does the author of this article divide the history of Chinese online fiction into?

A.2

B.3

C.4

D.5

4.Which of the following is not a work by Yu Zheng?

A.Jade Palace Lock Heart

B.Palace 3:The Lost Daughter

C.Beauty's Rival in Palace

D.The Plum Blossoms

5.Which of the following novels is a work of transition stage?

A.The First Intimate Contact

B.Nirvana in Fire

C.Time Raiders

D.The Untamed

===Answers===
1.B

2.C

3.B

4.D

5.C

==英语笔译钟青 Zhong Qing 202170081611 CE==
On the Translation and Spread of Three Kingdoms

==英语笔译周皓熙 Zhou Haoxi 202170081612 MW==
On the Translation and Spread of Guanzi

==英语笔译周哲 Zhou Zhe 202170081613 CE==
<center>'''On the Translation of Peony Pavilion'''</center>

<center>周哲 Zhou Zhe</center>

===Abstract===
The Peony Pavilion, also known as "The Return of the Soul", is a masterpiece by Tang Xianzu (1550-1616), an outstanding Chinese opera singer of the 16th century. Compared with the script, The Peony Pavilion has not only been greatly changed in terms of plot and description, it has also improved greatly in terms of theme and thought. The Peony Pavilion has also reached an unparalleled artistic level in terms of diction, singing, music, stance and performance. In this essay, the full translations by Wang Rongpei, Cyril Birch, and Zhang Guangqian are selected for analysis and comparison, and their translations are abbreviated as follows: Wang's translation, Birch's translation, and Zhang's translation.

===Key words===
conveying the meaning in its full flavor; The Peony Pavillion;

===Introduction===
''The Peony Pavilion'', with its dizzying plot and magnificent structure, is especially good at portraying characters. With more than 160 characters, the play is a living panorama of the times. The artistic and literary value of ''The Peony Pavilion'' has been highly praised in both China and the West. The ''Drama 100: A Ranking of the Greatest Plays of All Time'' (2008) by Daniel S. Burt ranks ''The Peony Pavilion'' at number 32, and he (2008:184) comments that Tang Xianzu's ''The Peony Pavilion'' is the first great work to feature a female protagonist, and from it the reader can enter the tradition of Chinese classical literature.As you can see, this is still a very high opinion.

The earliest English translation of ''The Peony Pavilion'' is Acton's hybridity of translation "Ch'un-hsiang Nao Hsüeh" in Tian Hsia Monthly, vol. 8, no. 4, 1939. Cyril Birch translated some scenes of The Peony Pavilion in 1965 in Selected Readings in Chinese Literature, and published a full translation in 1980 at Indiana University Press; Zhang Guangqian's full English translation was published by Beijing Foreign Language Press in 2001; and Wang Rongpei's full English rhyming translation was first published by Shanghai Foreign Language Education Press in 2000. In 1999, an English version of the novel ''The Peony Pavilion'' was published. One adaptation, by Chen Meilin, was published by New World Press, and another adaptation was published by Seahorse Books, New Jersey, USA.

===Translator Introduction===
1. Wang Rongpei's Translation

Professor Wang Rongpei began his translation of The Peony Pavilion in 1996, which lasted for more than three years. In order to get a sense of Tang Xianzu's life and writing, he visited Tang's hometown of Fuzhou, Jiangxi Province, which was called Linchuan in the old times, in March 1999. In the preface to his translation, Professor Wang said that he set the goal of "conveying the meaning in its full flavor" for his translation. Specifically speaking, first, the translation should creatively and accurately reproduce the style of the original. In the process of translation, he tried to recreate the original in English to reflect the beauty of the original text, so he translated the prose dialogues or monologues into understandable English as much as possible. For example, he translated “吾今年已二八,未逢折桂之夫” as "I've turned sixteen now, but no one has come to ask for my hand". At the same time, when translating the lyrics and verses, the original imagery of the author is kept as much as possible without affecting the understanding of the English readers, otherwise it is rather sacrificed and replaced by corresponding expressions in English. Second, for the poetic and lyric parts of the original text, some forms of traditional English metrical poetry are adopted in translation. In addition, the lyrics of Tang Xianzu's The Peony Pavilion follows a strict tune, and the poetic part is also in the form of metrical poetry. Therefore, Professor Wang uses the iambic pentameter as the basic format and adopts a variety of different rhyme schemes when translating them.

2. Birch’s Translation

Birch was born in Lancaster, England, in 1925. He studied Chinese at the Institute of Oriental and African Studies at the University of London, where he received his Ph.D. in Chinese literature in 1954, taught Chinese at his alma mater from 1948 to 1960, taught in the Department of Oriental Languages at Berkeley University in 1960, and later became Professor of Chinese and Comparative Literature and Head of the Department, retiring from Berkeley University in 1991 as Professor Emeritus. Birch 's writings cover traditional Chinese fiction and drama as well as modern Chinese literature, and he is best known for his translations of Ming dynasty plays and stories. His translations of The Peony Pavilion (Acts 1-5, 7, 9, and 10) were published in the third issues of The Translation Series, respectively. Although Birch had edited many anthologies of Chinese literature in verse and verse, his favorite of all literary genres was classical drama. Bai's translation of The Peony Pavilion was published by Indiana University Press in 1980. Birch is a leading contemporary American sinologist who, in addition to his translation of The Peony Pavilion, has translated works such as Chinese Gods and Monsters, Selected Stories of the Ming Dynasty, and Selected Plays of the Chinese Ming Dynasty, and has edited books such as Selected Readings in Chinese Literature and Studies in Chinese Literary Genres. His essays on The Peony Pavilion include "(The Peony Pavilion) or (The Return of the Soul)," "The Structure of The Peony Pavilion," and "The Winter's Tale> and The Peony Pavilion.

Birch 's English translation reproduces the original in fluent modern English and is generally faithful to the original text, with free verse in both the choral and poetic sections (Wang Rongpei, 2000:33). This is evidence of his rigorous academic attitude. It took at least seven or eight years from the earliest translation to the final revision of the text. In general, Birch's translation was a success, and all performances of The Peony Pavilion in the West were based on Birch 's translation, but his translation was not immune to the errors of understanding that are common among Western translators.

3. Zhang Xianqian’s Translation

Zhang Guangqian's translation of The Peony Pavilion was published by the Travel Education Press in 1994 and reprinted by the Beijing Foreign Language Press in 2001, the first full English translation done independently by a Chinese translator.

In his preface to The Peony Pavilion, Professor Wang Rongpei (2000:35-36) also comments on Zhang's translation, arguing that, compared to Birch's translation, Zhang's translation has the greatest advantage of being more accurate in conveying the meaning of the original, which is a clear strength of Chinese translators in translating Chinese classical masterpieces. It is clear from the translation that Zhang's mastery of ancient literary knowledge is very solid. In his translations of the lyrics and verses, he uses the format of sung poetry on most occasions, with iambic pentameter as the basic rhythm, and occasional rhymes that follow their nature. On the whole, Zhang Guangqian's translation is successful, and in many places it is more accurate and refined than Birch's translation.

===Examples and Analysis===
Example 1:（柳梦梅）：谩说书中能富贵，颜如玉，和黄金那里?

Wang: The saying goes that studies bring the wealth, but where is pretty lady and

where is gold?

Birch: "In books lie fame and fortune," they say—then tell me, where are the jade-smooth cheeks, the room of yellow gold?

Zhang: Some say that books will provide you with what you need, Yet, where is the promised beauty, where the gold?

The Peony Pavilion is a masterpiece of Tang Xianzu. Tang Xianzu is good at quoting scriptures and references, and there are countless allusions and proverbs in the book, which gives the text a deep cultural connotation. From the perspective of "reaching the meaning", when translating this kind of text, we should not only pay attention to the semantic meaning of the language, but also pay more attention to the semantic meaning and cognitive meaning. Specifically. This is reflected in the translation of words with profound cultural connotations. In this sense, it is not easy to translate classical operas to "reach the meaning", but it is even more difficult to "convey the spirit".

For the understanding of "In books lie fame and fortune", there is a problem with the translation of Birch, which does not mean that books themselves can give people wealth, but that they can create wealth only after learning and mastering knowledge. And Zhang's translation "Some say that books will provide you with what you need" does not clearly translate what "wealth" is. The chorus also contains two words with cultural connotations: "Yan Ru Yu" and "House of Gold". Birch's translation literally translates "the jade-smooth checks" and "the room of yellow gold," but not the true meaning of these two words. On the issue of cultural treatment, Prof. Wang's strategy is to reflect his own understanding directly into the translation, as his translation is intended for a general Western audience, and therefore does not add additional notes on the words that contain cultural connotations. The strategy adopted by the Zhang translation is consistent with that of the Wang translation.

Example 2:（柳梦梅）：敢甚处里杨曾系马?

Wang: Are you an old acquaintance to see me now?

Birch: In some former time and place, did we "tie our steeds beneath green aspen"?

Zhang: Or, is it because your horse was once attached to my tree?

This is the phrase that Liu Mengmei asked Du Liniang, who guessed where they had met before? The phrase "敢甚处里杨曾系马" is a cultural phrase related to the times. In feudal China, unmarried girls could only stay in their boudoir. Therefore, it is not logical to translate it as "met somewhere". However, the literal translation

The literal translation does not reflect the cultural connotation of the sentence, so the paraphrase is used. Both Bai and Zhang translate literally, which may not be understood by readers of the target language and may even cause misunderstanding. Wang's translation is more appropriate and better conveys the connotation of the original text, achieving a high level of "reaching the meaning" at the linguistic and cognitive levels.

Example 3:（陈最良）： "玉不琢，不成器；人不学，不知道。"

Wang: As The Book of Rites says, "Uncarved jade is unfit for use; uneducated men

are unaware of Tao."

Birch: "Jade unsculpted unfit for use; person untutored unaware of the Way."

Zhang: It's said, "Unpolished jade has little worth; untutored man has little wit."

The phrase "If jade is not cut, it does not become a tool; if a man does not learn, he does not know" is from the Book of Rites, and for Western readers who do not know Chinese culture, they do not know the context of the phrase, so Wang adds "The Book of Rites" in the translation to make it clear to readers at a glance, and it is easier for them to understand the context after understanding the cultural background of the phrase. Although Zhang's translation adds "It" to indicate that this is a well-known thing, it does not specify the specific source, so the reader still cannot understand it. If we look at this sentence from the perspective of "conveying the meaning", its "conveying the spirit" lies mainly in its simplicity and neat syntax. If we look at these three translations only from the perspective of "conveying the meaning", they are indeed comparable, but a careful reader will find that Wang's choice of words is actually very careful. Normally, "Uncarved", "unsculpted" and "Unpolished" seem to have the same meaning, but when they are placed in the whole sentence, the difference appears. If the word "Uncarved" in Wang's translation is replaced by "unsculpted" or "Unpolished", the rhythm of the whole sentence will be incongruous, and it will be awkward to read. This is the same reason why Wang used "islet" instead of "isle" in his translation of the Book of Psalms. Obviously, Wang's translation has paid attention to the problem of rhyme, so it reads with a particularly strong sense of rhythm.

Example 4:（杜丽娘）：先生万福。

（春香）：先生万福。

Wang: I wish you happiness, respected tutor.

I wish you kindness, respected tutor.

Birch: Our best respects, esteemed sir.

We hope you're not vexed, esteemed sir.

Zhang: Boundless happiness to my teacher.

Boundless kindness to your pupils.

These are the words spoken by Du Liniang and Chunxiang as they salute Chen Milliang. Although the words spoken by the maids are the same as those spoken by the ladies, the translation should be different to show their different linguistic characteristics. Wang and Zhang did notice this point, but from the point of view of "expressing the meaning", it is Birch's translation that is more accurate. Since they are late in entering the school, the teacher is already a little upset, so Chunxiang says "Don't be angry, teacher!" when greeting her. This accurately conveys the quick-talking character of Chunxiang, a maid, and also fits the situation at that time.

The author keeps emphasizing that the parameters of "conveyance" are analyzed for expository reasons, but in specific texts, many of them are integrated with each other, as in this case. The previous paragraph is analyzed on a pragmatic level, but it does not reflect the "transmission"! The wording, tone, and inflection of Duliniang and Chunxiang's speech all reflect the translation's grasp of the style and emotion of the original text. Still, "convey the spirit and meaning" should be grasped as a whole, as can be seen from this example.

Example 5:（杜丽娘）：以后不敢了。

（春香）：知道了。今夜不睡了，三更时分，请老师上书。

Wang: I won't be late from now on.

I see, I won't go to the bed tonight and I shall ask you to give me lessons at midnight.

Birch: We shall not be late again.

We understand. Tonight we won't go to bed so that we can present ourselves for our lesson in the middle of the night.

Zhang: I won't be late again.

I see. Tonight I won't go to bed at all so that teacher can start the lessons at midnight.

Du Liniang and Chunxiang both bowed to the gentleman, Chen Miliang said: "Girls, you should get up immediately after the rooster crows and greet your parents first. After eating breakfast, you should do whatever you want to do. If you are studying, you should get up early" (Zhao Shanlin, 2002:11). These two lines are their response to Chen Milliang's rebuke, in which Chunxiang's reply is relatively sharp, which on the one hand reflects Chunxiang's quick-talking character, and on the other hand, reveals On the one hand, this reflects Chunxiang's quick-talking character, but on the other hand, it also reveals her attitude of not being convinced by Chen Miliang's words.

Looking at the three translations from the perspective of "expressing the meaning", Wang and Zhang have no problem with their translations, but Birch has a deviation in his understanding. The deviation of Birch's translation does not occur at the semantic level, but at the pragmatic and cognitive level, which is reflected in Birch's insufficient understanding of traditional Chinese culture. According to the old rituals and customs, the rich and noble families had a very strict hierarchy of respect, and the young lady and the maid had to take into account their status and position when they spoke, so the "We" in Birch's translation is inappropriate, and in addition, Birch's translation of the latter paragraph does not express the meaning of "asking the teacher to write a letter".

In terms of "evocative", Wang's translation is better overall. The mischievous Chunxiang hates reading the boring Confucian classics and deliberately messes with Chen Mingliang, while Duliniang originally shares Chunxiang's feelings, but she still acts serious in front of Chen Mingliang due to the constraints of ritual. Compared with the Birch translation, the Wang translation pays more attention to observing the psychological changes of the characters, especially highlighting the word "please" in the original text, which accurately conveys the characteristics of Chunxiang's sharp tongue and her defiant state of mind at that time, and well captures the change of emotions in the "transmission".

Example 6:（杜丽娘）（作恼介）：劣丫头那里去?

（春香）：溺尿去也。原来有座大花园。花明柳绿，好耍子哩。

Wang: Where have you been, nasty maid?

I've been to the toilet. I went by a big garden overgrown with flowers and willows. It's fun over there.

Birch: (annoyed)： What have you been doing, silly creature?

Peeing. But I found a lovely big garden full of pretty flowers and willows, lots of fun.

Zhang: Naughty girl, where have you been?

Pissing. I happened to have discovered a huge garden, with lush trees and bright flowers. A very nice place indeed.

After Chen Miliang finished explaining the "Poetry", he asked Du Liniang to write again. Chunxiang stayed at one side really impatient, excuse to go to the toilet to sneak out to play. After a long time, when Du Liniang saw that Chunxiang had not come back, she said, "Why hasn't Chunxiang come back yet? Du Liniang scolded: "Bad girl, where did you go"? Chunxiang replied: "I went to pee. There is a big garden behind the house, with red flowers and green willows, which is very interesting!" (Zhao Shanlin, 2002:12).

This play is called "Make Trouble in School", and this "trouble" is mainly manifested in Chunxiang's body, but of course, it is only with Du Liniang's tacit approval. The difference between the two of them in status, position and upbringing is so great that it is not possible for Du Liniang to make a scene like Chunxiang, but Du Liniang's "scene" is in the dark, elegant and clever. In fact, this is Du Liniang in front of Chen most Liang fake anger at Chunxiang, but in fact full of pity for her; and Chunxiang also know Du Liniang will not really blame her. Chunxiang's mischievousness is also obvious.

The above three translations are more accurate in terms of "conveying the meaning", but the subtle differences are reflected in "conveying the spirit", which is also expressed in the transmission of "emotion". Reading through the context, we know that Chunxiang's answer of "peeing" is actually an excuse, not really going to "pee", but the transitive word "But" in the Birch translation gives the impression that Chunxiang really went to pee, but happened to find a garden when she returned. Wang and Zhang are more accurate in handling this detail, and they are in the middle of the pack.

From the above examples, we can see that there are many factors to be considered in the translation process, such as character characteristics, tone of voice, psychological state, language characteristics, etc., but it is not easy to take into account the overall situation, which is a test of the translator's language mastery and skills.

Example 6:（柳梦梅）：好一座宝殿哩。怎生左边这牌位上写着＂杜小姐神王＂，是那位女王

（石道姑）：是没人题主哩。杜小姐。

Wang: What a magnificent hall! On the memorial tablet on the left is the inscription "The Spiri of Miss Du". What's the meaning of "spiri"? To complete the service, we need someone to add the final letter. It's "The Spirit of Miss Du" .

Birch: What a majestic temple! By the way, which queen is that memorial tablet

Oh, it's Miss Du's memorial tablet. The last stroke hasn't been added onto it yet.

Zhang: What a magnificent shrine! But I don't understand the inscription on this tablet: "The Ruler, Miss Du." Which "ruler" was this? The character that looks like "ruler" needs an extra dot on top to make it read “host”, that is to say, “tablet lodging the spirit of Miss Du.” We are waiting for some person of distinction to inscribe the dot.

This dialogue is from the 33rd episode of The Peony Pavilion, "Secret Discussion". Liu Mengmei was entrusted by Du Liniang to dig a grave for her, but he was a scholar, so he had to follow Du Liniang's suggestion and come to Shi Dao Gu for discussion (Zhao Shanlin, 2002:127). Then Shi Dao Gu leads Liu Mengmei to visit the temple, and Liu Mengmei exclaims: What a precious temple. Why does the tablet on the left say "Miss Du, God King"? Shi Daoist nun replied: "No one is the subject. Miss Du." In the olden days, when the deceased was given the sign of the gods, a point was deliberately missing from the 'main' and a prestigious person was asked to put a dot on it with a vermilion pen on a certain day, and this ceremony was called "dotting the main" or "inscribing the main" (ibid., 2002:128).

From the translations of the three translators, they all have a certain understanding of the ancient customary ritual of "inscription of the Lord", among which Wang and Zhang express the meaning more clearly, while Birch omits the phrase "How can the left side of this tablet have Miss Du's divine king written on it", which is unknown whether it is a mistake of the translator or some other reason, and cannot be verified.

This is particularly evident in Wang's translation, where "convey the spirit" is the sublimation of "reach the meaning". Zhang's translation basically conveys the meaning, and the language is more plain. The treatment of Shan in the Qian translation is very impressive. It can be said. The words "stem" and "main" in the text are word games. This is a difficult point in translation. It is very tricky. But at the same time. If handled properly, it will add an unexpected effect to the translation. Wang's translation is very creative, as he creates his own word "Spiri" and "Spirit" to echo each other, bringing out the effect of "王" and "主" in the original text.

Example 7:

（杜丽娘）：晓妆台圆梦鹊声高，

闲把金钗带笑破。

博山秋影飘，

盼泥金俺明香暗焦。

Wang: When magpies greet me for my happy dream,

I tap my golden hairpins with a smile.

The incense smoke coils in autumn breeze

And makes me anxious for news all the while.

Birch: Noisy magpies greeted my rising

Presage of dream's fulfilment;

With happy smile I set my gold hair ornaments.

Fragrant smoke mingled with autumn haze,

Hopes of gilded placard of success Burned bright as incense glow.

Zhang: The chirping magpies are discussing last night's dream;

Smile creeps on my lips as I tap the golden pins.

Autumn wavers in incense smoke.

Yearning for word of success,

My heart burns like the incense sticks.

On the day of Liu Mengmei's examination, Du Liniang was at home waiting for the result of the examination. When Du Liniang got up early in the morning to do her make-up in the mirror, the sound of magpies reported the good news, which was in accordance with the auspicious omen in her dream, so she was in a particularly good mood. Among them, "博山" refers to the Boshan stove, a kind of incense burner; "泥金" refers to the mud gold post, which is used to report the joy of the new entry into the earth and the enrolment in the university; "焦" is a semantic double meaning: one refers to the incense burning into ashes, and the other refers to the anxiety in Du Liniang's heart.

Double meaning refers to the use of speech, a word, or a sentence in a certain linguistic environment, while associating two different things, expressing double meaning, and the words in this meaning in the other, also known as "multiple meaning association". The literal meaning of double meaning is clear; the implicit meaning is implied. From the point of view of "expressing the meaning", the three translations are inaccurate: first, the use of "Noisy" to describe the magpie's cry is inaccurate, as we know from the above analysis that the magpie's cry here means "announcing good news". The second is that the phrase "盼泥金俺明香暗焦" is inaccurate, not like "hope for good news is burning", but that Du Liniang's heart is very anxious.

From the point of view of "conveyance of spirit". Let's look at the problem of form first. It is obvious that the original text has only four lines, but Zhang's translation has one more line; Wang's translation is relatively concise and clear, and while paying attention to rhyme, it also uses the rhyme scheme of xava without losing time, which has a strong sense of rhythm. In terms of conveying emotions, Wang and Zhang are comparable in that they both express the anxious mood of Duliniang, but the difference between them lies in the fact that Wang uses implicit metaphors while Zhang uses explicit ones.

Example 8:（杜丽娘）：可知我一生儿爱好是天然。

Wang: （DuLiniang）：But love of beauty is my natural design.

Birch: （Du）：Always my nature to love fine things.

Zhang: （Du）： My love of beauty is of natural build.

This is one of the more famous lines in The Peony Pavilion, which is usually widely recited as a clear and beautiful phrase. However, there are two ways to interpret these two lines: First, it can be seen that my lifelong hobby is "天然", that is, I like things in their natural color; second, it can be seen that my lifelong love of "好" is natural, that is, the love of beauty is my nature. In the absence of context, both understandings are fine. However, the difference will be obvious. The difference will be obvious. This has to be inferred from the context of the chant. This is the tenth play "dream" in the singing words. It was a beautiful day. In the morning, the sound of birds and swallows woke up Du Liniang from her sleep, and Chunxiang brought Du Liniang dressing clothes, and Du Liniang dressed up in the mirror. Chunxiang saw the beauty of the lady, could not help but say: "today’s dressing is really good"! This immediately resonated with Du Liniang. With this context, the meaning of this line is obvious: "It is my nature to love beauty". Among the above three translations, Wang's and Zhang's are accurate, while Birch's does not match the original. This shows that reasonable logical reasoning in context is also necessary in translation.

Example 9:（杜丽娘）：原来姹紫嫣红开遍，似这般都付与断井颓垣。良辰美景奈何天，赏心乐事谁家院!

Wang: (Du Liniang)：The flowers glitter brightly in the air,

Around the wells and walls deserted here and there Where is the "pleasant day and pretty sight"? Who can enjoy the "contentment and delight"?

Birch: (Du)： See how deepest purple, brightest scarlet Open their beauty only to dry dwell crumbling. "Bright the morn, lovely the scene," Listless and lost the heart—where is the garden "gay with joyous cries"?

Zhang: (Du)： So the garden is all abloom in pink and red, yet all abandoned to dry wells and crumbling walls. The best of seasons won't forever last; can any household claim undying joy?

These are the four most famous lines of the Peony Pavilion. When Du Liniang finished dressing, Chunxiang reminded Du Liniang that it was time for breakfast, so they walked out of the room and came to the garden with spring colors. Looking at such a beautiful scenery in front of her. Du Liniang could not help but exclaim: "the original flowers bloom so bright and beautiful". But at the same time see the dilapidated walls, wells, can not help but be sad: "Such a beautiful scenery, how is in such a dilapidated courtyard it? This is just like their beautiful youth is buried? As the old saying goes, ''It is difficult to combine the four: good time, beautiful scenery, pleasure and joy. (Zhao Shanlin, 2002:29-30).

From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".

The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Khan's translation. First of all, the "spirit" of Khan's translation is reflected in the form. The original rhymes with "abab", while the Wang translation rhymes with "aabb", and what is even more remarkable is that the Wang translation also takes into account the rhythm of the translation while rhyming, which gives a sense of intonation and staccato. Secondly, Wang's translation is very good at conveying emotions. The lyrics make one feel the faint sorrow of Du Liniang: she is enchanted by the beauty in front of her, and on the other hand, she is saddened by the spring sorrow she has nowhere else to go. The lyrics include "姹紫嫣红" and "断井颓垣", "良辰美景奈何天" and "赏心乐事谁家院!" One happy and one sad corresponding to the state of mind of Du Liniang depicted to the fullest, sad! It must be admitted that the words are emotionally charged. The words used by the translator indicate the kind of emotion he wants to express. The words "pleasant", "pretty", "contentment" and "bright" in Wang's translation are all words that mean "beautiful", but the addition of a "?" at the end of the sentence has the opposite effect. The effect is the opposite after adding a "?" at the end of the sentence, and the use of two "?" in a row in the third and fourth sentences to enhance the effect. It can be seen that Wang's translation conveys the emotion in a very clever way, so that people can appreciate the meaning of the original text without realizing it.

===Conclusion===
From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Wang Peirong's translation.

===References===
*Wang Rongpei (2000). The Peony Pavilion. Changsha: Hunan People's Press
*Zhao Shanlin. Selected Reviews on The Peony Pavilion. Shanghai: Shanghai Ancient Books Press

==英语笔译朱丽娟 Zhu Lijuan 202170081614 MW==
The Sinicization of Religion And its Development in China

==英语口译段小蝶 Duan Xiaodie 202170081615 CE==

<center>'''Difficulties and Countermeasures in the Translation of Chinese Classics'''</center>

<center>Duan Xiaodie</center>

===Abstract===
The translation of Chinese classics is an important part of the external transmission of Chinese culture. The difficulties and obstacles to the translation of Chinese classics in modern times mainly exist in the following aspects: 1) the pattern of world culture dominated by the west, the edge of the China culture in the contemporary and weak position; 2) the definition of Chinese cultural classics is unclear; 3) The translation concept of China cultural classics needs to be updated; 4) inadequate investigation of translation, 5) inaccurate grasp of audience taste, 6) inadequate understanding of translation work, 7) lack of talent and other subjective and objective factors. This paper aims to analyze the current situation of Chinese cultural transmission to the outside world, explain the causes of the above obstacles, and put forward several personal thoughts trying to overcome these obstacles like using diversified media, flexible presentation means and flexible cooperation with foreign companies, changing the way of the training translation talents in colleges and universities in order to achieve better Chinese culture transmission.

===Key words===
Chinese Classics; Translation and Transmission; Difficulties and Countermeasures

===Introduction===
Improving cultural soft power is an inevitable requirement and important condition for the rise of a country. The concept of soft power is proposed by Joseph Nye. "The country's soft power is mainly from three kinds of resources: culture (where it works to create appeal in other countries), political values (when it can really live up to those values at home and abroad), and foreign policy (when it is seen as having legitimacy and moral authority)." (Joseph Nye, 2018). China has a history of thousands of years, and cultural classics are the cultural quintessence precipitated in its long history, which embodies the spirit and values of the Chinese people.
The translation of Chinese classics is one of the most important parts in the media of China cultural transmission. Chinese literature has long been translated and introduced to foreign countries in various ways. With the improvement of China's international status and the proposal of the "going out" strategy, the translation of Chinese classics has shown an increasing trend in terms of type and quantity. The translation of Chinese classics is one of the most important parts in the media of China cultural transmission. Chinese literature has long been translated and introduced to foreign countries in various ways. The large - scale and systematic "going out" efforts planned by China include: Panda Books published in 1981 and Library of the Chinese Classics published in 1995. At the same time, the government has also set up the Chinese Academic Foreign Translation Project, which aims to cultivate translation talents and encourage translators to promote traditional Chinese classics overseas. In October 2011, the "Decision of the CPC Central Committee on Several Major Issues Concerning Deepening the Reform of the Cultural System and Promoting the Great Development and Prosperity of Socialist Culture" pointed out: "Implement the cultural going out project, improve the policies and measures to support cultural products and services going out, support key mainstream media to set up branches overseas, cultivate a number of export-oriented cultural enterprises and intermediary institutions with international competitiveness, improve the support mechanisms for translation, promotion, and consultation, and open up the international cultural market." However, despite the strong support of the government, the translation of contemporary Chinese cultural classics is still in the dilemma of "self-congratulation" in isolation. The response to these efforts abroad has also been very limited. In the case of the Panda Series, for example, most of the translations did not generate any repercussions among British and American readers, except for a few translations that were welcomed by British and American readers. According to sales statistics around the world, the "Panda Series" can sometimes sell dozens of copies, sometimes only two or three copies, and sometimes even one cannot be sold. China’s cultural strength and cultural influence do not match its international status. Although in the economic field, "Made in China" products have gone global and brought a huge trade surplus to China, in the cultural field, China's "trade deficit" situation is still serious, which is worth pondering deeply.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==比较文学与跨文化研究 MAHZAD SADAT HEYDARIAN 202021080004 MW==
'''
Academies of Classical Learning

The Shūyuàn (书院), usually known in English as Academies or Academies of Classical Learning, were private research and educational institutions in ancient China. They were built as early as the eighth century and flourished during the tenth and eleventh centuries with the support of various Emperors. The Shuyuan were not only centers for the compilation and study of classical literature, but were crucial for the development of Confucianism and Neo-Confucianism; notable Confucian thinkers such as Zhu Xi and Wang Yangming developed their ideas and taught at the Shuyuan.

==外国语言文学 Muhammad Numan 202121080002 CE==

==英语语言文学 TOURE MARIAM 202021080005 MW==

==外国语言文学 UDDIN NIZAM 202121080007 CE==

Chinese Classics in World Literature: The Viewpoints of the West towards the Four Famous Chinese Novels

==翻译学 201911080004 SAGARA SEYDOU MW==

Chinese Classics in World literature . Anthologies and World Literary History Book

Chinese Classics Translation 2022 LIST OF FINAL EXAM PAPERS

2022-06-16T07:15:43Z

Zhang Guohao: /* 5. Measures to Promote Foreign Translation of Chinese Classics */

[https://bou.de/u/wiki/Chinese_Language_and_Culture_2022|Back to course homepage]

This is the overview page of the topics. For the actual papers, please refer to: [[20220630_Culture]]

Every student needs to find a topic which is not yet in the textbook and has not been presented in class. Please check your topic for this. All topics are ok except from those which are marked red. If your topic is marked red, please find
a new topic and leave the red mark there, so that the teacher can check again.

==Tips for writing your final exam paper: How to indicate your references==
*You can use the existing book chapters here as an example.
*Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Do '''not''' write any references like in one of the sample chapters:

[1] dsalkfkdsa

[2] adsfadsfag

But only the following way:

(Liu Miqing 2010, 17) in the text

and then

'''References'''
*Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.

Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):
= = Topic = =
< c e n t e r > Student Name, Student no. < / c e n t e r >
= = = Abstract = = =
This chapter is on ....
= = = Key Words = = =
Egg, Hen
= = = 题目 = = =
= = = 摘要 = = =
= = = 关键词 = = =
= = = Introduction = = =
Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.
= = = The Egg = = =
Bla, bla, bla
= = = The Hen = = =
Bla, bla, bla
= = = Conclusion = = =
Bla, bla, bla
= = = References = = =
Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT

==Sample papers==
You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with "Sample paper".
* A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories
* An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications
* Comparative Study on Functional Equivalence Theory and Skopos Theroy
* Comparison of Derrida’s and Benjamin’s Translation View
* Impacts of Western Translation Theories on The Translator’s Guide to Chinglish
* On the Comparison between "Sublimation" an "Functonal Equivalence" Theories
* Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics
* The Translation of Culture-loaded Words in Chinese-English Communication
* Translators' Views on Translation Influence Their Translation Behavior

==Websites to write your final exam paper on==
The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).

==Here you can write your Final Exam Papers==

==英语笔译卞王倩 Bian Wangqian 202170081563 CE==

<center>'''Chinese Classics Translation from a Perspective of Translational Communication Studies'''</center>

<center>Bian Wangqian</center>

===Abstract===
A relatively massive Chinese classics translation can be back to the period during the late Ming dynasty and the early Qing dynasty, when excellent bilingual foreign missionaries in China introduced Chinese Classics abroad and brought them on a world stage, which can be seen as the individual translation activities that brought some Chinese Classics some popularity and fame among foreign countries, especially western ones. In the new era, China has made every effort to promote the “going-out” of Chinese culture with a focus on Chinese classics while strengthening its cultural soft power to build a modernized strong country, in which translational communication is no doubt playing an important role. Translational communication comes out of the application of communication theories to translation research and is an emerging subject that involves many specific fields for further research. And translational communication is a science of researching translational communication phenomena and their laws. A complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, the receiver of target language message, communication channels and translation effect, of which the initiator of communication and translator will be specifically illustrated here to deal with the issues of Chinese Classics Translation.

===Key words===
'''Chinese Classics Translation; Translational Communication; Initiator of Communication; Translator'''

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译曹姣 Cao Jiao 202170081564 MW==

<center>'''The Dissemination of ''The Compendium of Materia Medica'' Abroad'''</center>

<center>曹姣CaoJiao</center>

===Abstract===

===Introduction===
The ''Compendium of Materia Medica'' is one of the pharmaceutical classics of China [elaborate].

Since the outbreak of coronavirus pandemic, traditional Chinese medicine has demonstrated its curative effect [evidence based medical study double blind randomized] in prevention and other respects by means of early intervention and 'full participation' [explain], and traditional Chinese medicine has thus re-[do you really mean it?]entered the international visibility [really?].

===Structure===
This paper takes the overseas dissemination of the ''Compendium of Materia Medica'' (Chinese characters) as an example: the first part is about the spread and development of its original text, the second part is about the overseas dissemination of its translation, the third part is about the current acceptance of the book, and the fourth part is about the summary and further analysis of the dissemination of this pharmaceutical classic. The research on the dissemination of Chinese medical classics abroad will better help the Chinese medical classics to go abroad and promote the internationalization of TCM.

===Key words===
'''''the Compendium of Materia Medica''; overseas dissemination; Chinese medical classics;'''

===Introduction===
'''1. On the original'''

The original classic ''Compendium of Materia Medica'' consists of 52 volumes, including 16 parts and 60 categories, which recorded 1892 kinds of herbs, 11096 prescriptions and 1110 attached drawings. Based on traditional Chinese medicine, this book integrated mass disciplines encompassing basic theories of traditional Chinese medicine, medicament, prescription, and clinical application which almost involve all the contents of traditional Chinese medicine, reflecting the comprehensiveness of herbal knowledge and marking the extraordinary significance to the development of traditional Chinese medicine.

'''2. On the author of the original'''

Li Shizhen (courtesy name: Li Dongbi, assumed name: Li Binhu; 1518-1593) was from Qizhou (present Qichun County, Hubei Province). He came from a family lineage of physicians. His grandfather, an itinerant healer usually walked the streets to give treatment to poor people, and his father was a famous physician in his hometown. He was brought up and nurtured by his family tradition and he expressed keen interest in medicine.(Min Li, Yongxuan Liang 2015, 215-216)

===Literature Review===

===Methods and Theories===

===The original edition and the other three popular editions===
'''1. Jinling Edition'''
Li Shizhen has represented a great interest in medicine since he was young. He read previous works extensively, and when he had got some perceptions he would make notes and in this way he accumulated a large amount of knowledge. Meanwhile, he did not stick to the saying of the ancient people and adhered to “seeing is believing”.
From the age of 35, that is, the thirty-first year of Jiajing of the Ming Dynasty, Li began to write the''Compendium of Materia Medica'', and until the age of 62, that is, the sixth year of Wanli of Ming Dynasty, it was completed without manuscript. During this 27 years, after arduous efforts, Compendium of Materia Medica was finally written successfully in 1578. Because this book encompassed the content of the anti-taoist belief of immortals, its publishing process necessitated painstaking efforts. Finally, with the help of Wang Shizhen, a literary giant of that period, it was about to be published. However, Li passed away just as the engraving of his work was complete and was about to be printed. In 1596, the epoch-making ''Compendium of Materia Medica'' was published in Nanjing, known as the Jinling Edition.

'''2. Jiangxi Edition'''

'''3. Hangzhou Edition'''

'''4. Hefei Edition'''

===Dissemination in different regions ===
'''1. In Japan'''

'''2. In Korea'''

'''3. In Europea'''

'''4. In America'''

===Reception in contemporary foreign market===

===Analysis and enlightment===

===Conclusion===

===References===
*Min Li, Yongxuan Liang(2015). Li Shizhen and The Grand Compendium of Materia Medica. Journal of Traditional Chinese Medical Sciences 2, 215-216
*
*
*

==英语笔译陈路瑶 Chen Luyao 202170081565 CE==

<center>'''A Study on the Popularity of Tie Ning's "The Bathing Women "Abroad'''</center>

<center>Chen Luyao</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译邓阳林 Deng Yanglin 202170081567 MW==
'''A study on Xu Yuanchong's Song Poems translation'''

==英语笔译何丽娜 He Lina 202170081569 CE==

<center>'''A Study on the dilemma of the Chinese Cultural Classics'''</center>

<center>He Lina</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译胡良明 Hu Liangming 202170081570 MW==

<center>'''A study on Lin Yutang’s translation of Six Records of a Floating Life'''</center>

<center>Hu Liangming</center>

===Abstract===
Translation is a special art. When translating, the translator needs to express the original content in another different language. In this process, the translator not only needs to translate the original content, but also needs to preserve the mood, imagery, rhythm and writing style of the original text. Therefore, translation is not only a transformation between two different languages, but also an exchange between different cultures represented by the two languages. As a special type of translation, literary translation involves famous Chinese and Western literary works, so it is necessary to pay more attention to the connotation of words and sentences while translating. In literary translation, the translator should strive to express the artistic conception of the original work, so that readers can read the literary connotation from the translated work as if reading the original text, and can feel the beauty of the language. The Three Beauties Principle, which consists of beauty in sound, beauty in sense and beauty in form, is the translation standard put forward by the famous translator Xu Yuanchong. The Three Beauties Principle is regarded as the translation standard of Chinese classical poetry. Under this standard, the translator must express accurately the beauty in the poem. Since the styles of poetry and prose are very similar, this article aims to explore the effective methods of English translation of Classical Chinese by studying the translation aesthetics in Lin Yutang's English translation of Six Records of a Floating Life.

===Key words===
Three Beauties Principle, English translation of Classical Chinese, Six Records of a Floating Life.

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译黄琼 Huang Qiong 202170081571 CE==
<center>'''The Translation and Spread of Yu Hua's Works in Europe'''</center>

<center>黄琼 Huang Qiong</center>

===Abstract===
Yu Hua, the most famous[? statistics? Mo Yan] contemporary author in China, wrote a lot of masterpieces[?] such as ''To Live'' 活著, ''Cries in the Drizzle'', and ''Chronicle of a Blood Merchant''. He is one of the pioneers of Chinese avant-garde literature in the new period. As one of the most influential[?] contemporary Chinese writers, this paper will explore the translation and dissemination of Yu Hua’s works（''Brothers'' as an example）in Europe with emphasis on France and Germany. Through this case, I hope[?] to provide some experience for the dissemination of Chinese contemporary literature, so as to expand the influence of Chinese literature.[normativity? A value by itself?]

===Key words===
Yu Hua, ''Brothers'', Chinese contemporary literature, translation.

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*杭零 & 许钧.(2010).《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介. 文艺争鸣(07),131-137.
*王侃,蔡丽娟 & 朱志红.(2009).《兄弟》在法语世界——法语书评翻译小辑. 文艺争鸣(02),117-122.
*杭零.(2013).法兰西语境下对余华的阐释——从汉学界到主流媒体. 小说评论(05),67-74.

==英语笔译邝雨琪 Kuang Yuqi 202170081572 MW==
<center>'''A Study on C-E Translation of the Mao Zedong's Poetry from the Perspective of Eco-translatology'''</center>

<center>Kuang Yuqi</center>

===Abstract===
Based on eco-translatology theory, this thesis analyzes the translation of Mao Zedong’s poetry from three dimensions: language, culture and communication. Mao Zedong's poetry holds an important place in the history of Chinese and even world literature. The appropriate English translation of Mao Zedong's poems is of great significance for promoting Chinese culture and enhancing cultural soft power. This thesis will take Xu Yuanchong's translation of Mao Zedong's poems as an example to study the application of eco-translatology in the translation of Mao Zedong's poems. It aims to improve the English translation of Mao Zedong's poetry and apply this translation theory to the translation of other texts, so as to make the English translation of Chinese literature more perfect and understandable.

===Key words===
Eco- translatology; Mao Zedong's Poetry; Xu Yuanchong's Translation

===Introduction===
With the increasingly intimate exchanges between countries, the globalization is more and more irreversible. In this condition, translation becomes increasingly important. In addition to Tang and Song poetry, Mao Zedong’s poetry also occupies a very important position in the history of literature.
This thesis intends to improve the English translation of Mao Zedong's poetry, and apply the translation strategies to other texts’ translation, so as to make the English translation of Chinese literature more perfect and understandable.
The thesis consists of five parts. .......

===Literature Review===
Scholars at home and abroad have done a lot of research on the English translation of Mao Zedong's poetry. From the 1950s, Russia, the United States, France, Italy and other European and American countries officially began publishing the translation of Mao Zedong’s Poetry（李正栓，陶沙，2009）. Foreign scholars mainly focus on the translation of Mao Zedong's poems itself. The studies done by domestic scholars are mainly divided into three categories：introducing and commenting on the versions of Mao Zedong's poetry translation; studying Mao Zedong's poetry translation from different translation theories; comparing different translation versions of Mao Zedong's poems. Although some scholars have studied the translation of Mao Zedong’s poetry from the perspective of eco-translatology, there are many viewpoints on this theory, and few analyze it from the “three-dimensional transformation” principles.

===Methods and Theories===
This thesis studies the translation of Mao Zedong's poems from the perspective of eco-translatology, and the application of “three-dimensional transformation” theory in it.

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译黎溢佳 Li Yijia 202170081573 CE==
On the popularity of Three Body abroad

==英语笔译李思敏 Li Simin 202170081574 MW==
A Study on Translation Methods of Agricultural Terms in Chinese Sci-tech Classics —— A Case Study of Tian Gong Kai Wu

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of The Border Town from the Perspective of Eco-translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

===Abstract===
苗语是苗族文化的主要载具。在文化历史发展的过程中，由于受经济、地理、科学技术等方面的限制，苗语没有得到很好的继承和保护。本文主要介绍苗族的概况、分布情况以及苗语的基本特点。近十年来，对苗语进行研究的专家学者和相应著述越来越多，本文主要从介绍最基本的与苗语相关的情况，试图引起更多人对苗语以及更多少数民族语言的关注，从而对少数民族语言和文化进行保护。

===Key words===
Miaoyu, Hmong,language protection

===Introduction===
20世纪30年代，美国一些学者开始关注美洲印第安语和澳洲土著语言的大规模灭绝现象，并由此引发濒危语言研究的热潮。根据1996年，教科文组织发布的世界濒危语言地图显示，目前全世界大约有2500种语言存在不同程度的濒危情况。而面临濒危情况的语言主要由于一些语言是因为使用人数仅存一人而濒临灭绝，比如巴西的阿皮亚卡语（Apiaka）、迪亚霍伊语（Diahoi）以及中国台湾的拔泽海语（Pazeh）等都极度濒危，因为这些语言在2009年前大多只剩一人会说。同样我国是一个少数民族众多的国家，因而会有众多少数民族特有的语言，比如蒙古语，客家话，土家族语等。语言不仅是一种交际工具，更是一个民族文化的传承，每一种语言都是一个族群独特文化和族群特征的重要体现和表现形式。少数民族语言也面临着同样的现象，因此想对离自己生活比较接近的语言进行了解和研究。

===Literature Review===

===Methods and Theories===

===Subtitle 1 The Motivation of the Miaoyu===
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.

===Subtitle 2 Miao Nationality ===
1.The Source of the Name “Miao”
There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.
2.The Distribution of Miao Nationality
(1)Domestic Distribution
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.
(2)Overseas Distribution
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.

===Subtitle 3 The origin of the Hmong and the historical formation of the Hmong===
1. Origin of the Miao
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.
The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."
2. Historical formation of the Hmong
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.

===Subtitle 4 Miao Folk Beliefs===
phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".

===Conclusion===
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
The Translation and Reception of Sunzi: The Art of War in the West

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
This is a paragraph. (Wang 2021:423)

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Study on the canonization of Chinese Modern Poetry'''</center>

<center>Liu Ting</center>

===Abstract===

It has been more than a century since the birth of Chinese Modern Poetry, also known as the new poetry and its canonization has always been the common concern of writers, scholars and researchers. In any country, canonization of any literary work is a long and complicated process in terms of time and mechanism. The canonization of new poetry has rich texture in the synchronic and diachronic aspects of literary history. This paper analyzes the essential characteristics of the so-called "classic" works in terms of their influence, time, artistry, innovation and acceptability, and points out the problems and dilemmas faced by the canonization of new poetry and the relevant solutions.
===Key words===
Chinese modern poetry, canonization, classic work,
===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On Mo Yan’s Representative Works Translated Overseas'''</center>

<center>Liu Yao 刘瑶</center>

===Abstract===
With the implementation of “Going Global” strategy of Chinese literature, more and more works of outstanding Chinese writers have been translated and published in countries around the world, and Mo Yan’s works are representative of them. In 1988, The Dry River was published in Japan, which started the overseas publishing of Mo Yan’s works. As of October 2019, there are 388 kinds of Mo Yan’s works published in 41 countries and Mo Yan has become a representative of contemporary Chinese writers to the world. A comprehensive discussion on the development history, geographical and language distribution, and audience acceptance of Mo Yan's representative works translated overseas is an important topic that can summarize some features of Chinese literature translated overseas, from which to gain some revelation related to Chinese literature's going global. This paper collects relevant papers and journals on the translation and dissemination of Mo Yan's works, based on which this paper reaches a conclusion of information related to Mo Yan's three representative works —''Red Sorghum''《红高粱家族》, ''Frog''《蛙》, ''Big Breasts and Wide Hips''《丰乳肥臀》. Taking masterpieces of well-known writers as examples, this paper is in the hope of offering new ideas for the translation and dissemination of Chinese literature.Through study and research on the topic, this paper concludes that the significance of Mo Yan's works translated overseas is mainly reflected in the following three aspects: first, showing the global influence of Chinese contemporary literature; second, contributing to the further development of the dissemination of Chinese culture; third, setting a model for cultural communications between China and other countries. The translation and dissemination of Mo Yan's works also inspire us that the spread of Chinese literature needs not only policy support from the government, but also high level translation from translators, both of which are key factors in terms of Chinese literature's going global.

===Key words===
Mo Yan; representative works; translation; dissemination

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译刘珍 Liu Zhen 202170081588 MW==

<center>'''A Study of Strange Stories From a Chinese Studio from the Perspective of Skopos Theory'''</center>

<center>刘珍</center>

===Abstract===
Liao Zhai Zhi Yi written by Pu Songling is a famous collection of more than 400 peculiar short stories. As a work coming into being at the very beginning of the 17th century when the classical Chinese writing was on the wane, the appearance of Liao Zhai Zhi Yi (or Liao Zhai in abbreviation) injected vigor and vitality into the classical Chinese literature. Among the many foreign translations of this book, the English version named Strange Stories from a Chinese Studio translated by Herbert Allen Giles is the most popular and influential one so far, thus becoming an indispensable part for the study of the English translation of Liao Zhai. At a time that we are calling for Chinese culture going global, as a successful case of Chinese literature work well-accepted by the foreign market, the English translation if sure of high research values and guiding significance. This thesis attempts to take Skopos theory as the theoretical basis, and take Giles’s Strange Stories from a Chinese Studio as the main research object to study the translator’s aims, the choices of translation strategies and the achievement of translation function.

===Key words===
Strange Stories from a Chinese Studio; Herbert Allen Giles; Skopos theory; Reader Expectations

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译马艳焕 Ma Yanhuan 202170081591 CE==
The Translation and spread of Su Tong 's works Abroad

<center>'''The Translation and spread of Su Tong 's works Abroad'''</center>

<center> Ma Yanhuan 马艳焕 </center>

===Abstract===
Su Tong is one of the famous contemporary Chinese writers, whose works have been translated into a variety of languages and widely spread abroad. therefore, the writer Su Tong has also become one of the top three foreign translators of novels in China. Based on the present situation of the foreign translation of Su Tong's works, this paper will explore the reasons for the success or failure of its overseas dissemination, and put forward some countermeasures to provide a reference for the going out of Chinese literature.

===Key words===
Su Tong; Translation； Spread

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文.
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592 MW==

<center>'''Translation of Idioms in Howard Goldblatt's ''Life and Death are Wearing Me Out'''''</center>

<center>Nie Wei 聂薇</center>

===Abstract===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is full of vivid and interesting idioms, which make the language of this novel so unique and characteristic. Howard Goldblatt's translation of this novel has been a great success in the English-speaking world. In the translation of idioms in this novel, he mainly adopts the methods of foreignization and omission, and follows the translation principles of preserving the foreign culture and insisting on semantic correspondence in order to present the heterogeneity of the idioms, so that the Chinese culture contained in the idioms in ''Life and Death are Wearing Me Out'' is well presented to Western readers. His translation provides a more objective platform for Western readers to know the diverse cultures of the world. The study of Goldblatt's translation of this novel can help guide the English translation of Chinese literature, thus providing references for promoting Chinese culture abroad.
===Key words===
''Life and Death are Wearing Me Out''; Howard Goldblatt; translation of idioms; creative treason
===Introduction===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is not considered the best novel in China, but Goldblatt's English translation has received much attention in the English-speaking world, won many international awards, and is even considered one of the most important works for Mo Yan to win the Nobel Prize in Literature. One of the most distinctive features of this novel is its unique language style. Goldblatt’s exquisite translation enables Mo Yan's style to be reproduced, and the strong local flavor and magical realism to be manifested, all of which is an important factor for the success of the English translation of ''Life and Death are Wearing Me Out''. This paper discusses the translation methods and principles adopted by Goldblatt in his translation of the idioms in this book, and analyzes its influence on the dissemination of Chinese culture, so as to provide reference for future translations of Chinese classics. (Shi Chunrang 2019, 94)
===Literature Review===
I searched CNKI with keywords "''Life and Death are Wearing Me Out'' and translation" (searched until May 29, 2022) and found 355 related papers. These papers analyzed the translation methods, strategies and Goldblatt’s translation style of ''Life and Death are Wearing Me Out'' from different perspectives, such as relevance theory, Bourdieu’s theory of field, Reception Aesthetics Theory, eco-translatology, translation aesthetics, the post-colonialism perspective, rewriting theory, translation ethics, hermeneutics and translators' subjectivity.

Among them, there are five papers related to the study of proverbs ( idioms). Wang Yiting and Lin Mei point out that Goldblatt mostly uses literal translation to translate idioms in the linguistic dimension, chooses both literal and free translation in the cultural dimension, and uses rewriting in the communicative dimension. Liu Geng and Lu Weizhong, with the help of conceptual metaphor theory, point out that the English translation of the idioms in ''Life and Death are Wearing Me Out'' has certain translator's subjectivity, and the translator's metaphorical way of thinking affects the use of different translation strategies. Ye Pingting, based on the cultural translation view, uses the idioms in Goldblatt’s version as a corpus to explore how translators effectively convey cultural information. Chen Qiansa analyzes the use of idioms and their translation methods in this novel based on the Chinese-English parallel corpus. Shi Chunrang and Shi Yan analyze the role of idioms in ''Life and Death are Wearing Me Out'' in constructing the "image of the other" for Western readers, as well as in deconstructing the cultural psychology of western readers.

The study of idioms’ translations in Goldblatt's version includes both case studies, in which a single idiom is selected for discussion, and quantitative analyses supported by definite statistics. This paper provides an overall study of the methods and principles of translating idioms, and suggestions for improvements to the mistranslations in Life and Death are Wearing Me Out, so as to provide a reference for the English translation of Chinese literary works in the future.
===Methods and Theories===
This paper focuses on the study of Goldblatt’s translation based on Venuti's theory of domestication and foreignization and the concept of creative treason.

Lawrence Venuti firstly formulated and introduced the theory of domestication and foreignization in the book ''The Translator’s Invisibility''. According to Venuti, domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target readers, while foreignization refers to the type of translation in which a target text deliberately breaks target conventions by retaining something of the foreignness of the original.

The domestication method can express the language and culture of the source language with the language and culture familiar to the target language readers, and the translation is fluent and easy to read and accepted by the readers, but the "domestication method" tends to distort the facts of the original text, which is not conducive for the target readers to feel the "exoticism" of the foreign culture. On the other hand, the "foreignization method" can better maintain the style of the original text, convey the author's original intention, and let the target language readers truly feel the difference between the two cultures, but the disadvantage of it is that the translation may be obscure and difficult to understand, and may sometimes make the readers have cultural misunderstanding. (Zhu Zhouxain 2013,155)

Professor Xie Tianzhen published a book entitled ''Translation Studies'', in which he elaborated on the creative treason in literary translation in depth. In his book, he clearly pointed out that "the most fundamental characteristic of creative treason in literary translation is that it introduces the original work into a receptive environment that the original author did not originally anticipate, and changes the form originally given to the work by the original author."

Due to the specific differences in social, historical and cultural factors between the source language and the target language, the translator will certainly make appropriate and comprehensive "adjustments" to the specific differences in semantics between the two languages in different contexts during the whole process of translation. These "adjustments" are, on the surface, a "treason" against the original work, but it is not the translator's trampling on the original work at will, but the translator's attempt to make the translation convey the same meaning as the original work in the translated language environment. (Zhang Liyun 2019,141)

===1.Idioms in ''Life and Death are Wearing Me Out'' and their characteristics===
Idioms are simple and concise folk languages that are widespread and easy to understand. Most of them are short sentences that are transmitted orally by the laboring people, reflecting their experiences in production and life vividly. Idioms contain a great deal of background information and culture, and it is a form of language that has been developed over a long period of historical development and real life.

''Life and Death are Wearing Me Out'' is filled with lively and amusing idioms that bring uniqueness and vitality to the novel's language. This novel tells the story of joys and sorrows experienced by the landlord Ximen Nao’s family and the farmer Lan Jiefang’s family for more than half a century. The theme of the novel is closely related to the farmers and the land, which of course requires the use of a large number of idioms to narrate the story. (Shi Chunrang 2019,94)

Clearly, the idioms in this novel are diverse in form and peculiar in presentation. For example, when the donkey reincarnated from Ximen Nao bragged about being favored by the county chief, it said, "人们都知道，侍候好了县长的驴，就会让县长格外高兴。拍了我的驴屁，就等于拍了县长的马屁。" The translation is "Everyone knew that taking special care of the county chief's donkey made him very happy. Patting my rump was equivalent to patting the county chief's behind with flattery." Here cleverly, the common saying "拍马屁" in people's daily life is used as “拍驴屁”, which highlights the identity of the donkey, and also vividly and humorously depicts the complacency and arrogance of the donkey, while expressing its contempt for those who strive to curry favour with people in authority.

In addition, when the ghosts in the hell sneered at Xinmen Nao, they said, “猫改不了捕鼠，狗改不了吃屎”. The translation is “You can’t keep a cat from chasing mice or a dog from eating shit.” The language, though vulgar, is very common in people’s daily life and fits the overall style of the novel.

This kind of linguistic style is both traditional and innovative, both unbridled and unrestrained, and is highly effective for shaping the characters and plotting.
===2.Goldblatt’s translation methods of idioms in ''Life and Death are Wearing Me Out''===
(i) Foreignization

The method of foreignization is to deliberately make the translation violate the conventional linguistic models in target language and retain the exotic atmosphere of the original text, with the aim of "injecting the linguistic and cultural differences in the foreign text into the target language, sending the readers abroad" and providing them with an "unprecedented reading experience”. Goldblatt deliberately uses the method of foreignization to translate idioms in this novel.

Specifically, Goldblatt tries to convey the heterogeneity of idioms in the original text in the following ways.

First, he tries his best to show the target readers the meaning of Chinese idioms that is unique to China and not available in the Western culture. After all, idioms are developed in the production and life experiences of different peoples. Therefore, Goldblatt chooses literal translation whenever possible.

For example, “你是煮熟的螃蟹难横行了，你是瓮中之鳖难逃脱了” is translated into “You’re a cooked crab that can no longer sidle your way around，a turtle in a jar with no way out”. “瓮” is a unique Chinese utensil with rich Chinese cultural information. The image of "瓮" is missing in the English-speaking world. Therefore, he borrows the familiar apparatus "jar" from English to translate it, which is roughly similar to "瓮" in appearance. This translation uses an alternative image to convey the message of the original text, which reduces the connotative information of the original idiom but makes it easier for the target readers to understand the essential message of the idioms.

Second, for some idioms, Goldblatt translates them by literal translation with annotation. The literal translation is of course for presenting the original message of the idioms to the target readers, while the annotation is to help the readers better understand the essential message of the idioms, because some of them have complex metaphorical messages, so annotation is essential for understanding.

For example, “兔死狐悲，物伤其类” is translated into “When the rabbit dies，the fox grieves, for his turn will come.” This annotation “ for his turn will come” clearly illustrates the message of the original idiom and removes any confusion about why the fox grieves for the rabbit’s death. With annotation, the connotative meaning of the idiom becomes clearer.

Third, for some idioms that have exact equivalents in the target language, the translator deliberately translates them with explanatory literal translations instead of copying the idioms in the target culture. For example, “入乡随俗” is translated into “When you come to a new place，learn the local customs and follow them” rather than “When in Rome, do as the Romans do” in English. Obviously, the use of semantic equivalents of idioms in the target language cannot translate the information conveyed by the original context. An explanatory literal translation approach can help target readers better understand the plots of the novel and increase their interest in reading it. (Shi Chunrang 2019,95)

(ii) Domestication

Sometimes we may find that the Chinese idioms don’t have equivalents in the target language, so they can be translated through free translation, which means we can follow the principle of domestication by borrowing existing expressions in the target language, thus making the translation closer to the reading habits and cognition of the target readers. In Goldblatt's translation of idioms in ''Life and Death are Wearing Me Out'', about 30% of those idioms are translated through free translation. (Chen Qiansa, 2019,108)

For example, “洪泰岳你出口无信，食言而肥” is translated into “Hong Taiyue，your words meant nothing, you did not make good on your promise”. In this sentence, “食言而肥” and “出口无信” mean the same thing: not to keep one’s word. These two idioms came out of ''The Commentary of Zuo''. It is not possible for the translator to translate the allusions behind each idiom, which would result in a lengthy and unclear translation. So Goldblatt uses a phrase with similar meaning to express the idioms “食言而肥” and “出口无信”. He borrowed from the English idiom “not make good on your promise” and delivered an authentic translation cleverly.

Due to the differences between the English and Chinese languages and between Eastern and Western cultures, the “treason” of the original text in literary translation is inevitable. For example, in the novel ''Life and Death are Wearing Me Out'', there are many epithets such as "爷们" and "伙计", which are difficult to translate into English with full equivalence, and Goldblatt's creative "rewriting" of them also reflects his unique translation ideas. For example, according to different contexts, “伙计” is translated into “gentleman” “buddy” “old friend”; according to the specific meaning of the sentence, “掌柜的” is translated into “you are the head of the household” “my husband” “the old gentleman” “sir” and so on. (Zhang Qi 2019,329)

Although the domestication method changed the images or structure of the original sentence, Goldblatt's translation better conveys the original author's intentions and can be deemed as a kind of fidelity from a deeper level.

(iii) Omission

Omission means that the idiom is not translated from the original text. There are two kinds of idioms that Goldblatt did not translate. The first one is those idioms that contain distinctive local culture, which cannot adequately convey the content of the novel in the target language. For example, “我这哥，惯常闷着头不吭声，但没想到讲起大话来竟是‘博山的瓷盆——一套一套的’ ” is translated into “He was normally not much of a talker, so everyone was taken by surprise. To be honest, it turned me off.” The idiom “博山的瓷盆——一套一套的”(which means a set of porcelain pots from Boshan) has been omitted here because it contains an item known only to a small group of people, and the message it implies is so unique and unnecessary that the translator chose to omit it. (Shi Chunrang 2019,95)

In addition, Goldblatt chose to deliberately omit some idioms, such as “西游记”“小妖红孩儿”“封神演义”“哪吒”“天山童姥”. Because in his mind, "capturing the style, rhythm and imagery of the original work is the real task and challenge for the translator”. Omitting those idioms makes the storyline more compact and the language more straightforward and easily accepted by the target readers. (Zhang Qi 2019,329)

Second, some idioms that serve to add explanatory information and vividness to the original text are also often deleted by Goldblatt. For example, "出水才看两条腿" and "咱们骑驴看账本，走着瞧! " and other similar proverbs are omitted.

On the whole, however, the idioms in ''Life and Death are Wearing Me Out'' are very important for the novel’s general language style. Therefore, there are not many cases where the translators leave idioms untranslated.

(ⅳ) Mistranslation

In Xie Tianzhen’s article ''Mistranslation: Misunderstanding and Misinterpretation in Different Cultures'', he divides mistranslation into two types, namely intentional mistranslation and unintentional mistranslation. Intentional mistranslations are those in which the translator chooses to consciously misinterpret the meaning of the original text for some reason. Unintentional mistranslations can be divided into three types which are caused respectively by carelessness, poor linguistic skills and lack of knowledge of the cultural background of the original language. (Zhang Sen 2016,111)

Intentional mistranslation closely reflects the translator's creative treason and is also a major manifestation of the collision, distortion and deformation between cultures in literary and cultural exchanges. Therefore, this paper focuses on the current situation of intentional mistranslation in Goldblatt’s translation of ''Life and Death are Wearing Me Out'', and reveals how translators creatively fill the gaps between different cultures. (Zhang Liyun 2019,143)

For example, “……让老婆孩子吃糠咽菜的守财奴” is translated into “…made his wife and kids eat chaff and rotten vegetables”. The original text intended to use the idiom "吃糠咽菜" to depict the poor life of them, but in the translation it is translated into "eat chaff and rotten vegetables". In the original text, the word "菜" means "wild edible plants", because in the old days, Chinese people who could not afford to eat vegetables often used wild plants to fill the belly. But in the English version it is translated as "rotten vegetable". Why? Because with the improvement of people's livelihood, "wild edible plants" have become a delicious delicacy for people in both the East and the West. Therefore, in order to tell the target readers about the poor life of those people, he translated "糠咽菜" into "chaff and rotten vegetables", which makes it easier for the readers to accurately capture the meaning of the original text.

The translator plays an important role in this process, and the translator's personalized translations, mistranslations and omissions reflected in the translations are all manifestations of the translator's creative treason.
===3.Goldblatt’s principles for translating idioms===
(i) Preserving the culture of the original language

Generally speaking, idioms have deep semantic connotation and vividly reflect the material and spiritual culture with local characteristics. Therefore, when translating idioms, we should try to understand the deeper connotations of them and to express them clearly. By researching, communicating with the author and other methods, Goldblatt managed to understand the essential meaning of the idioms, their historical roots and the context in which they are used, so as to truly grasp their precise meaning. (Shi Chunrang 2019,97)

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopts the methods of foreignization and omission, so we can say that the principle he follows in translation is that of preserving the culture of the original language. He tries to highlight the heterogeneity of the original proverbs through literal translation, to reveal the uniqueness of Chinese culture, and to help Western readers understand the life experience of the Chinese people attached to the idioms through annotations.

Due to the cultural status of Europe and America, cultural differences and the marginal position of translated literature in the European and American literary world, European and American translators often choose to translate other countries' literary works by means of domestication, and the translation of ''The Story of the Stone'' by David Hawkes is an example of the use of domestication strategy. However, cultural hegemony and cultural colonization have led a group of translators with a sense of mission to choose a translation strategy that preserves the style of the original work, which is called foreignization.

The contradiction is obvious: the translator wants to preserve the taste of the original work, but the reader's difficulty in understanding the language and structure of the vernacular novel requires the translator to make concessions in the translation. Goldblatt's approach to translation reconciles this contradiction to a certain extent. He tries to strike a balance in the translated work so that it can be accepted by Western readers. (Tian Debei 2016,91)

(ii) Semantic correspondence

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt not only tries to reproduce the meaning of the idioms in the target language, but also strives to achieve an overall semantic correspondence between the proverbs and the context in which they are found. He helps to make the text more logical and readable by adding explanatory phrases, explicitly stating the implied meaning or adding connecting words. In achieving semantic correspondence, he tries to make the translation as close to the original text as possible, without adding or subtracting anything, and without creating ambiguity. In terms of choosing words, he tries to be as concise and appropriate as possible; in terms of sentence construction, he tries to achieve a sentence style that reflects some of the features of the original but is also in keeping with the conventions of the target language. (Shi Chunrang 2019,97)
===4.Implications of ''Life and Death are Wearing Me Out'' for the English Translation of Chinese Literature===
As mentioned above, guided by the principle of personalized translation, there is 'fidelity' in translating the idioms in ''Life and Death are Wearing Me Out'', as well as creative treason and omission of the original text. It can be seen that Goldblatt is not bound by the traditional dichotomy of literal translation and free translation. The language of his translation is authentic and fluent, reading like an original English novel but conveying exotic cultural imagery.

Goldblatt insists on translating for his readers, so he was selective in his translation strategies in order to make exotic Chinese literature accessible to western readers, thus allowing excellent literature to enter the field of foreign translated literature and achieving the effective dissemination of Chinese literature.

Compared with Western culture, Chinese culture is still in a disadvantaged position in the world cultural landscape. Therefore, if Chinese literature wants to “go global”, translators must take into account the special cultural background and general readers' acceptability.

Goldblatt’s choice and application of translation strategies carries with it the translator's subjectivity, and under the guidance of such translation principles, his translations meet both the literary standards of the Western world and the expectations of the Western readers for Chinese literature. (Zhang Qi 2019,330)

Whether Chinese literature has done a good job in “going global” is not only judged by the accuracy of their translations, but also by how well they are received by foreign readers. The difference between Chinese and Western cultures have resulted in readers’ different preferences for literary themes, so Goldblatt has paid great attention to the tastes of Western readers when selecting books he was going to work on, so that his translations can be better accepted by them. However, the mistranslation in his version has led to a deviation from the original Chinese works.

Compared with Chinese translators, Sinologists have a strong linguistic background, but their knowledge reserve of Chinese culture is still insufficient. So the best mode of translation is a kind of Chinese-foreign collaboration, in which the Chinese translators deal with the cultural challenges while the sinologists do the linguistic touch-ups, in order to ensure the integrity of Chinese culture in the West, and to achieve both fidelity to the original work and increased acceptance abroad, thus achieving success in the translation of Chinese culture. (Zhang Sen 2016,115)
===Conclusion===
In translating idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopted the strategies of literal translation (39.2%) and free translation(30.3%), supplemented by omissions, additions and borrowings, with a few mistranslations (about 10 cases). It is evident that he tends to retain the cultural image of the idioms in the source language, and tries not to add or delete; however, when those images in the source language don’t have equivalents in the target language, he will be bold enough to adopt free translation, so as to maintain the readability and fluency of the translated work. In the translation process, he stays true to the connotation of the text rather than the literal meaning, and stays true to the target readers rather than the readers of the source language. (Chen Qiansa 2019,110)

This helps us to reveal Goldblatt's faithful translation and reader-consciousness. In conclusion, in the process of translation, translators should preserve the style and image of the idioms in the original text as much as possible, so as to spread Chinese culture and enrich the English vocabulary; at the same time, they should take into account the readability of the translated work and adopt various translation approaches to deal with the Chinese idioms.

Goldblatt not only makes the message conveyed by the idioms and the proverb-rich language style of ''Life and Death are Wearing Me Out'' well presented to Western readers, but also makes them easily understood and accepted by Western readers. The translator does his best to spread Chinese culture and respect the culture clash between different cultures. His translation dares to face up to the cultural differences between China and English-speaking countries, and uses a unique translation method to strongly promote Chinese literature and culture to the Western world, which achieved good results, and also provides some useful references for us to do a good job in promoting Chinese culture to go abroad.

Therefore, we should not only consider the needs of Western readers at the expense of the dissemination of our own distinctive culture, instead, we should take the promotion of our own culture as our responsibility and take into account the reading needs of Western readers. The successful translation of idioms in Mo Yan’s novels is a good case in point. In the exchange between Chinese and foreign cultures, the translation of idioms in Mo Yan's novel adheres to the idea of faithful translation and mainly adopted foreignization, fully demonstrating the traditional Chinese culture with strong national flavor and distinctive regional characteristics, which is an important inspiration for the dissemination of Chinese culture today.
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*Shi Chunrang, Shi Yan石春让,石岩.(2019).葛浩文译《生死疲劳》中谚语的文化建构与解构[The Cultural Construction and Deconstruction of Idioms in Goldblatt's Translation of “Life and Death are Wearing Me Out”].''外国语文''Foreign Literature (01):94-99.
*Zhang Sen, Zhang Shijin张森,张世瑾.(2016).葛译《生死疲劳》中的误译现象与中国文化译介策略[Mistranslation in Goldblatt's Translation of Life and Death are Wearing Me Out and Strategies for Translating Chinese Culture].''河北大学学报''Journal of Hebei University (05):111-116.
*Liu Geng, Lu Weizhong刘庚,卢卫中.(2016).汉语熟语的转喻迁移及其英译策略——以《生死疲劳》的葛浩文英译为例[The Metonymic Migration of Chinese Idioms and Their English Translation Strategies - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''外语教学''Foreign Language Teaching (05):91-95.
*Chen Qiansa陈千飒.(2019).基于语料库的《生死疲劳》熟语英译研究[A Corpus-based Study on the English Translation of the Idioms in "Life and Death are Wearing Me Out”].''重庆交通大学学报''Journal of Chongqing Jiaotong University (01):105-111.
*Zhu Zhouxian朱周贤.(2013).论乡土小说翻译的难点——以葛浩文英译的《生死疲劳》为例[On the Difficulties of Translating Rural Literature - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''作家''The Writers (14):155-156.
*Tian Debei, Zhan Xuanwen田德蓓,詹宣文.(2016).入乡未能随俗:论葛浩文译《生死疲劳》的乡土气息[On the Local Flavor of Goldblatt's Translation of “Life and Death are Wearing Me Out”].''东北农业大学学报''Journal of Northeast Agricultural University (01):88-92.

==英语笔译孙丽君 Sun Lijun 202170081593 CE==

<center>'''An Analysis of English Translation of Luotuo Xiangzi from the Perspecctive of Rewriting Theory'''</center>

<center>Sun Lijun</center>

===Abstract===
Traditionally, translation is regarded as a kind of linguistic conversion, which means translating the source text from one language into another. And with further and deep study of translation, Bassnett and Lefevere went beyond the level of language, focusing on the mutual interaction between translation and culture, and the influences and restrictions of culture on translation. Therefore, the move from translation as text to translation as culture and politics is termed as the cultural turn. Rewriting Theory, proposed by Lefevere, is the representative fruit of the translation studies on culture, exerting profound influence on academia. Rewriting Theory shows that translation is regarded as rewriting, which is mainly constrained by the dominant poetics, ideology and patronage under certain backgrounds.
Luotuo Xiangzi, writtten by Lao She in the year of 1939, is one of the representative masterpieces of Chinese classics, gaining great popularity both at home and abroad since its first English version, translated by the American translator Evan King in 1945, came out. And this translated text obtained great success in America, which establishing Lao She’s reputation as a writer in the international literary circle. However, due to the inequivalence to the source text, Evan King’s translated work invited some critics from Chinese scholars even unsatisfied the original author Lao She himself. Thereafter, this short essay will briefly analyze the translation of Luotuo Xiangzi by Evan King from the perspective of Rewriting Theory, trying to find out the influences the dominant poetics, ideology and patronage exert on translation.

===Key words===
Luotuo Xiangzi; rewriting theory; translation

===Introduction===
As is known to all, translation is a kind of special and creative activity carried out in a certain context. And it is influenced by some certain activities of the society at one hand, while on the other hand, translation is also restricted by some factors of the works and the writers themselves. In a word, translation plays an essential and pivotal role in communicating and exchanging ideas in this global village. And with further cultural exchanges, some foreign masterworks have been introduced into China, broadening people’s horizon and enriching their daily life and spiritual life in China; also, some Chinese classics have been translated abroad and made foreign friends get a better understanding of Chinese culture. As one representative work of Chinese modern classics, Luotuo Xiangzi has been translated into several versions by some famous translators at home and abroad, including Evan King’s Rickshaw Boy, Jean M.James’ Rickshaw: The Novel Lo-t’o Hsiang Tzu, and Shu Xiaojing’s Camel Xiangzi. And due to the three English versions translated aboard, Luotuo Xiangzi turned out to be a huge hit as soon as it was published. However, as the first translated version in English, though wildly welcomed among American readers, it invited some terrible criticism made by the Chinese literary circles for Evan King broke the rule of equivalence and he did a lot of rewritings. Throughout the history of translation, we can tell that being true to the original text is of paramount importance no matter from the “faithfulness, expressiveness and elegance” proposed by the famous Chinese scholar Yan Fu or the “dynamic equivalence” or “functional equivalence” initiated by Eugene A. Nida. However, those translation theories concentrate on the source-text-oriented methods and techniques, paying much attention to how to translate the original text faithfully into the target text, which represents a kind of static status and mainly focuses on the linguistic level. However, as the march of translation studies, some scholars have studied translation approach from the perspective of culture, attempting to put translation into a larger context. Thus translation studies was labeled with cultural turn from then on. And the polysystem theory and rewriting theory were representatives in this regard. Taking the dominant poetics, ideology and patronage into consideration, Lefevere’s rewriting theory then exerted profound influence in the later translation studies, providing a brand new viewing angle for individuals who engage in the translation studies. Given the Evan King's translated version, it is of terrific significance to explore the underlying reasons why Evan King did a lot of rewritings to Lao She's Luotuo Xiangzi on the framework of Lefevere's rewriting theory.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594 MW==

<center>'''A Comparison of The Analects Translated by James Legge and Ku Hungming'''</center>

<center>Tong Yumeng</center>

===Abstract===
Confucius is a great thinker and educator in ancient China, the founder of the Confucian school, and one of the world's most famous cultural figures. As the only book recording the sayings and discourse between Confucius and his disciples, The Analects is a classic of Confucianism as well as of Chinese civilization. Up to now, there have been nearly forty English translations of The Analects, which indicates the importance of this work in China and western countries. This paper mainly focuses on two English translations of The Analects published in 1861 and in 1898 respectively. One is translated by James Legge, a Scottish protestant missionary of London Missionary Society. The other is the translation of Ku Hung-Ming, an extreme cultural conservative and a strong advocate of Confucianism at the turn of the 19th and 20th centuries. By comparing the two English translations, the paper tries hard to trace back their translating processes, find out the criteria used in interpreting the original text, and summarize the strategies adopted to resolve cultural conflicts in translation. Besides adopting the traditional translation theories, this paper conducts its investigation from the perspective of functionalist "skopos theory" and theories of Lefevere. At last, the paper also mentions the influence of the two English versions of The Analects and the images of Confucius they have helped construct.

===Key words===
Confucius, Legge, The Analects, English Translation

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译童略雅 Tong Lueya 202170081595 CE==

<center>'''A Brief Analysis of Reading Strategies of Chinese Classics in a Digitalization Era'''</center>

<center>Tong lueya</center>

===Abstract===
With the rapid development of the society and the in - depth application of science and technology, people’s traditional production and living habits have been gradually changed. And their reading habits, reading time, reading preferences and reading content have also shown new characteristics. Especially with the mature application of science and technology such as Internet, intelligent handheld device, cloud computing, big data and so on in various fields, the reading mode of readers has gradually changed from systematic reading to fragmented reading. Classic works are the crystallization of human civilization. Reading classic works is of great significance to individual growth and social development. It cannot be overemphasized to promote classic reading. This paper analyzes the status of classic reading in a digitalization era, and then attempts to put forward some suggestions in classics reading. In this way, it hoped that people could realize the significance of reading classics and then form good habits to reading them.

===Key words===
Classics reading; strategies; digitalization

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译庹树梅 Tuo Shumei 202170081596 MW==

<center>'''The Cantonization of the Dream of Red Mansions'''</center>

<center>庹树梅</center>

===Abstract===
As a treasure of Chinese literature and an important source of cultural confidence for the Chinese nation, Dream of the Red Chamber has been disseminated in the English-speaking world for two hundred years. Under the multiple views of traditional historiography, neo-Hanology, neo-history and neo-Songology, Dream of the Red Chamber has been transformed from a "historical text" to a "classic text" and has undergone an evolutionary path from an academic research classic to a literary classic and then to a cultural classic. The first chapter of this paper discusses what classicization is. The second chapter discusses why Dream of the Red Chamber has become a classic work and analyzes its intrinsic literary value. The third chapter discusses the impact of the classicization of Dream of the Red Chamber on the influence of Chinese culture in the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译王思琪 Wang Siqi 202170081597 CE==
A Study on C-E Translation of The Book of Songs from the Perspective of Xu Yuanchong’s Theory of Three Beauties

==英语笔译王亚娟 Wang Yajuan 202170081598 MW==

<center>'''On the Overseas Transmission Paths of Journey to the West'''</center>

<center>Wang Yajuan</center>

===Abstract===
The continuous development of Internet technology has not only changed the way of reading classics, but also the path of classical communication. According to American scholar Harold Lasswell's 5W communication model, medium is the basic component of the communication process. And in the present time of continuous media convergence, the multidimensional transmission paths of classical works are formed. It is necessary to study the development of communication paths. As one of the Four Great Works of China, Journey to the West has been disseminated overseas for hundreds of years. It has not only been translated into many languages such as English, French, German, Italian, and Russian, but also a large number of film and television dramas, stage plays, animation, video games and other works of that adaptation have been derived.
This paper takes the overseas transmission path of Journey to the West as the research object, first discusses the reasons why it was spread from the perspective of its value, and then clarifies the transmission path of Journey to the West in overseas by analyzing relevant books and papers, and finds that the print publication path mainly relies on paper media to publish translated works; with the evolving of transmission paths with help of new media, the multidimensional transmission path has emerged. And then talks about opportunities for the innovation of classics transmission paths brought by the times. Then studies effects of changing of transmission paths on the classic communication and its prospect, hoping that analysis of the transmission paths of Journey to the West, can provide reference for the continuous dissemination of other classic works.

===Key words===
Journey to the west; transmission paths; classic dissemination; medium; 5W

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译肖冬晴 Xiao Dongqing 202170081599 CE==

<center>'''On C-E Translation of Lexical Gaps in Teahouse from the Perspective of Reception Aesthetics Theory'''</center>

<center>Xiao Dongqing</center>

===Abstract===
Representing as a masterpiece of Lao She, ''Teahouse'' works as a monument in the history of Chinese drama. From the perspective of reception aesthetics theory, this paper studies the translation of lexical gaps in ''Teahouse'' translated by Ying Ruocheng. It briefly introduces the content of reception aesthetics and its main concepts, expounds the basic conception of lexical gaps and classifies them into four types. In this thesis, the author mainly focuses on the translation strategies adopted by the translator to deal with the lexical gaps in ''Teahouse''. It is found that in the translation of lexical gaps the translation strategy of domestication dominates while foreignization works as a supplement, a tactic which caters to its reader’s expectation horizon.

===Key words===
Reception aesthetics theory; ''Teahouse''; lexical gaps

===Introduction===
''Teahouse'' is a work of monument in the history of Chinese drama and a sensational one in the world. The key to investigating its reception overseas lies in the studies on its translated versions. Currently, there are two impactful translations in the literary community: the one translated by Chinese scholar Ying Ruocheng and the one translated by the prestigious American sinologist Howard Goldblatt. Over the years, researches and studies on ''Teahouse'' have never ceased. For instance, Lu Jun and Ma Chunfen (2009) studied from the perspective of cultural translation theory the translation of names and idioms in the two translated versions mentioned above, Yu Yanqing (2016) investigated the metaphors in the source text and elaborated on their translation in the two different versions as she deciphered some of the special connotations in them, while Jin Yan (2022) focused on some of the mistranslation phenomena in the English and Korean translated books based on cultural amnesia and memory reconstruction.

In cross-cultural communication, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.
Researches on the theory of vacancy and lexical gaps were initiated in the west when the distinguished American linguist Hockett put forward the idea of “random holes in patterns” (Hockett, 1954:106-123) in the comparison of the linguistic models between two languages. In the 1970s, the discussion over cultural vacancy attracted more scholars, among whom the American cultural anthropologist Hall took the lead. He used the term of “gap” (Hall, 1959:32) to describe the kind of absence in the study of the colour words of the aborigines when he noticed a lack of necessary colour words in the culture of those natives. In the 1980s, vacancy theory was officially put forward by Russian psycholinguists Jurij Sorokin and Irina Markovina as they conducted their research on the discourse and the characteristics of its national culture, dividing vacancies from the perspectives of linguistics, culture and discourse (Xu Gaoyu & Zhao Qiuye, 2008).

Reception aesthetics theory was first proposed in the 1960s in Germany. Unlike previous theories, it shifted its focus from the author and the original work to the role that the audience play in the process of cultural reception. The traditional translation view holds that translation is to convey the "meaning" of the original text into the target language. Reception aesthetics believes that the meaning of the text is uncertain, and it needs to be made concrete in reading by readers (including translators here). The most direct philosophical basis of reception aesthetics is philosophical hermeneutics. In China, many scholars have also worked a lot on this topic. For example, Qu Suwan (2019) studied on the translation of dialect words under the guidance of the reception aesthetics theory while Yu Shan (2015) conducted a comparative analysis of the translation strategies of culture-loaded terms in the two mentioned English versions.

From all the above, it’s clear that efforts have been made in the search of Chinese culture and Chinese classic translation based on aesthetics theory. Inspired by all the predecessors, this thesis is going to adopt the reception aesthetics theory to investigate the translation of lexical gaps in the English version translated by Ying Ruocheng. It will cover the basic outline of the theory itself, classify the lexical gaps in the work as it gives an overview of all the lexical gaps in the book and finally discuss the translation strategies used in Ying’s processing of the lexical gaps.

===Reception Aesthetics Theory===
Reception aesthetics is a theory of literary criticism raised by the German literature theoretician and aesthetician Hans Robert Jauss in the 1960s, in which the focus of literary studies is shifted from the author and text to the reader. It emphasizes reader's participation and acceptance during the text understanding, by shifting the central position of studies from the author and work to the reader. It claims that only the works that have been comprehended and delivered by readers possess artistic value and meaning.

'''2.1 The Role of Readers'''

“Literature and art only obtain a history that has the character of a process when the succession of works is mediated not only through the producing subject but also through the consuming subject, through the interaction of author and public” (Jauss 1989:43). Here the "consuming subject" refers to readers. Reader-centred status is underlined and more attention should be paid to reader's active role, subjective reception ability and creativity in literary works.

Reception aesthetics believes that the reader is an active or determinant factor in the process of text interpretation. In the process of translation, translator, as a reader, can only enter the world of text based on the vision developed by his pre-understanding and abilities. In the process of realization, the translator's pre-understanding plays an important role. The translator's pre-understanding and ability determine his understanding of the text world. It can be seen that in order to promote the meaning of the text, translators must pay attention to their own pre-understanding and the horizon of expectations of the reader. The translator must deeply understand the similarities and differences between the two languages in terms of language, history, and culture. They should use their subjective initiative and appropriately adjust their translation strategy to fill the gap in text understanding. After entering the text world, translators begin to analyse, judge and summarize until they are integrated with the text horizon. Iser believes that literary texts have a structural "blank". The so-called "blank" is the unwritten or unclear part of the text. Only in the specific process of reading and the reader's participation, these “blank” can be filled or explained.

To sum up, three points should be paid attention to in the process of translation. First of all, the interpretation of the original text is open. Secondly, the translator as a reader has a subjective position during the translation process. Thirdly, target readers' responses should be taken into consideration. Reception Aesthetics enables the translation work to centre on readers instead of texts. Therefore, the translator believes that the excerpts of this book can achieve its translation goal under the direction of reception aesthetics theory.

'''2.2 Blank'''

Reception aesthetic theory advocates the openness of the text, which undoubtedly helps to define the text in the process of translation. The text of literary works is a complex system full of blanks and uncertainties, which resonates well with the concept of “vacancy” or “gaps” this thesis is going to talk about. And according to Iser, the meaning of the works is not included in the text itself, but is obtained during reading.

Due to the uncertainty of the meaning of the text, there is no definite answer to the understanding of literary texts, so there is a saying that "a thousand readers have 1000 Hamlets". As far as translation is concerned, the uncertainty and openness of the text are the important reasons that lead to interpretative interpretation. It provides a broad space for translators to give full play to their imagination in the translation process, so that translators can interpret the text from different perspectives, thereby forming different translations.

'''2.3 Horizon of Expectation'''

Horizon of expectation is another important concept of reception aesthetics theory, which includes three kinds of meaning. Firstly, based on the readers experience, the horizon of expectations can be formed before reading. Secondly, even a literary work appeared in a new form, it cannot be regarded as absolutely new in the information vacuum. It reminds readers of the past reading memories and brings readers to a special feeling, and then calls for the expectations. At last, the horizon of expectations is changed accordingly.

There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text. As the source text is Chinese drama aimed for a larger audience abroad, more attention should be paid to its audience.

===An Overview of Lexical Gaps in ''Teahouse''===
''Teahouse'', a three-act play, is one of Lao She's most successful plays which represent the highest artistic achievement of Chinese drama writing. At that time, a teahouse is not only a place for the customers to kill time, but an epitome of Chinese society. The dialogue between characters has the unique national characteristics. It summarizes the sharp antagonism and conflict of various social strata and forces in China, and reveals the historical fate of semi-feudal and semi-colonial China.

'''3.1 The Definition of Lexical Gaps'''

As was mentioned in the first chapter, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field. Lexical gaps, therefore, are in essence the embodiment of cultural vacancies at the vocabulary level.

'''3.2 The Classification of Lexical Gaps'''

Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps. Here we will have a detailed discussion on them respectively.

Material lexical gaps refer to those words reflecting certain ways of life of a certain society, including things as daily material, tools of production and transportation, household appliances, products, food and so forth. For example, in ''Teahouse'', “盖碗茶” is unique to Chinese culture. Before the invention of this teacup, people could easily be burned or hurt when trying to drink from the tea bowl which was made of porcelain, and it could transmit heat quickly. To prevent getting hurt while drinking tea, ancient Chinese invented something similar to a wooden plate to support the tea bowl, which was becoming more and more delicate and eventually developed into the shapes and size that we see today. Obviously, “盖碗” is very culturally specific. The unique material life will produce the unique material culture. Here is a list of material lexical gaps appeared in ''Teahouse'':

盖碗茶 lidded cups of tea

绫罗绸缎 brocades

小叶茶 a cup of very best tea

马褂 jacket

满汉全席 imperial-style banquets

杂和面儿疙瘩汤 a bowl of dough drop soup with maize flour

五供儿 incense burner

纸钱 paper money

Social lexical gaps are the reflection of customs, ways of life, social life, historical background and behaviour of a nation or a country, including address and folk adage. The address can be a direct reflection of the personality of character. In ''Teahouse'', “唐铁嘴” is a fortune teller and a regular at the teahouse. His way of life was to persuade people to believe what he said, and to some extent he had to lie to make a living. “铁嘴” is literally a personal mouth made of iron, which is also a metaphor for the eloquent and plausibility of Mr. Tang. The list below provides an overview of social lexical gaps in the translated work:

相面/算命 fortune-telling

善扑营 Imperial Wrestler

说媒拉纤 go-betweens and pimps

庞太监 Eunuch Pang

唐铁嘴 Tang the Oracle

说评书的 story-teller

数来宝 improvised doggerel recitation

蹓鸟 strolling about with caged birds

北衙门 Northern Yamen

手相 palm-reading

“爷” master

旗人 bannerman

请安 bow

三教九流 people from all walks of life

Religious lexical gaps are those expressions relate to religion, for Chinese especially those words relate to Buddhism and Taoism. In ''Teahouse'', there are many lexical gap words related to the religious beliefs, for example, “念佛” means expressing sincere thanks to Buddha for all the good luck in your life. In Buddhism, “佛” refers to Buddha, an immoral person who is regarded by the Buddhists that can offer blessings to the human being. The following is a list displaying further religious lexical gaps in the work:

造化 a lucky fate

天师 Heavenly Teacher

“醉八仙” intoxicated eight immortals

财神龛 shrine of the god of wealth

念经 chanting Buddhist scriptures

八卦仙衣 special robes

Linguistic culture-loaded words and phrases reflect the characteristics of the phonetic, grammatical and formal systems of a certain language including pun and idioms. For example, in ''Teahouse'', the suffering Chinese drinkers who frequent Yutai always use “好死不如赖活着”(meaning “it is better to live in this world than to die under terrible circumstances”) to comfort themselves or others to show them the bright side and to endure seemingly persistent bad conditions. It is an idiom well reflects the wisdom and unremitting hope of the Chinese people in the act play, even when it was during the darkest times. Here are more examples of linguistic lexical gaps translated in the book:

化干戈为玉帛 restore peace

拿刀动杖 spoil for a fight

八仙过海，各显其能 try one’s best

“好死不如赖活着” a dog’s life’s better than no life

改良,改良,越改越凉!冰凉！ Reform indeed! Soon you’ll have nothing more left to reform!

“包圆儿” “it's all yours.”

According to calculation, there are altogether 34 lexical gaps in various in ''Teahouse'', of which the 14 social lexical gaps take the lead, accounting for about 41%, followed by 8 material lexical gaps which take up about 23%. There are only 6 religious and linguistic gaps, each of the two categories covering about 18% of all.

===The Translation Strategies of Lexical Gaps===
In 1995, American translator Lawrence Venuti discussed hand in hand invisibility in his work ''The Translator’s Invisibility'': domestication and foreignization. He (2008:15) bemoans the phenomenon of domestication since it involves ‘an ethnocentric reduction of the foreign text to receiving cultural values.’ Venuti allies it with Schleiermacher’s description of translation that ‘leaves the reader in peace, as much as possible, and moves the author toward him.’ Foreignization, on the other hand, ‘entails choosing a foreign text and developing a translation method along linnes which are excluded by dominant cultural values in the target language.’(ibid;242) From then on, domestication and foreignization were borrowed into the field of translation as two translation strategies.

According to calculation, of all the 34 lexical gaps in Teahouse, only three were translated using foreignization strategy, accounting for about 9%; the rest 31 lexical gaps taking up around 91% were translated under the guidance of domestication. Taking a closer look, there are 7 material lexical gaps out of 8, 13 social lexical gaps out of 14 and 5 religious lexical gaps out of 6 translated using domestication. All of linguistic lexical gaps were translated under the guidance of domestication strategy.
Given the translation by Ying Ruocheng was published and put into the market in the opening stage of the reform and opening-up in 1979, the sweeping domestication strategy applied in the translation is understandable.

'''4.1 Domestication'''

In the translation of lexical gaps, the translator adopted domestication strategy the most of times, which was especially true when it comes to the translation of linguistic lexical gaps. For example:

(1) ST：那总比没有强啊！好死不如赖活着，叫我自己去谋生，非死不可！

TT：Still that’s better than nothing! A dog’s life’s better than no life. If I were to earn my own living, I’d surely starve.

In this example, when dealing with the idiom“好死不如赖活着”，the translator didn't take it at face value reproducing it into“it is better to live in this world than to die under terrible circumstances”. Instead, he translated it based on his own pre-understanding as he took the readers’ expectation horizon into consideration. In selecting the similar expression“to live a dog’s life”from the target language, the translator managed to achieve fusion of horizons.

The phenomenon of homophones in Chinese linguistics is partly determined by the four tones in the language, each one containing a large collection of words capable of creating “puns” in daily use. For instance, the following marks a quotation taken from ''Teahouse'':

（2） ST：改良，改良，越改越凉！冰凉！

TT：Reform indeed! Soon you’ll have nothing more left to reform!

In the excerpt above, the Chinese characters“良”and“凉”are homophones with completely opposite connotations. Concerning this example, there was no equivalents in the target language able to convey exactly the same meaning. As a result, the translator dealt with the idiom liberally and represented the irony in the sentence thereby.

Unlike foreignization, domestication is more audience-friendly when it comes to understanding. However, this thesis believes that if the translator adopted the strategy of “overwhelming domestication” and used some expressions in the target language which failed to be the equivalent of the original, the meaning of the source text would be distorted, making it even harder for the translator to secure the readers’ horizon of expectation.

The following is an example taken from the translation of a material lexical gap “五供儿”:

（3）ST：娘娘，我得到一堂景泰蓝的五供儿，东西老，地道，也便宜，坛上用顶体面，您看看吧？

TT：Your Imperial Majesty, I managed to get hold of a set of cloisonne incense burners, five pieces in all. Antiques! The real thing! Dirt cheap too! Just right for the altar of our secret society. Why not have a peep of them?

Known as a set of vessels carrying the sacrifice during worship rituals in ancient China, “五供儿” first got its name from the amount of pieces of wares. In Teahouse, although the translation of “incense burner” kept some of its sacrificial usage, the actual meaning of the phrase was lost. After some research, therefore, the author believes it is more accurate if the translation would be changed into “sacrificial vessel”.

'''4.2 Foreignization'''

When it comes to the translation of “vacancy” or “gaps” in cross cultural communication, foreignization could help to narrow a bit through retaining the exotic feelings and traces of the original. However, little of lexical gaps in ''Teahouse'' were translated under the guidance of this strategy, which is partly due to the fact that most of the lexical gaps in the work were members of “absolute vacancy” which were unable to find their corresponding or even similar equivalents in the target language society. For instance, the material lexical gap“杂和面儿疙瘩汤”was translated literally into“a bowl of dough soup with maize flour”, an expression showing the ingredients of the snack. Meanwhile, the social lexical gap “北衙门” was translated into “Northern Yamen”, which combined both literal translation and transliteration conducive to meeting the innovative expectation of the audience of Beijing in modern China.

===Conclusion===
Drama is a unique literature genre with dual identities, both on the page and on the stage. The dual characteristics of dramatic text make drama translation distinct from other forms of literary translation. Reception aesthetics theory has practical guidance for the translation of drama works. Through the analysis of the translation strategies of various lexical gaps in ''Teahouse'', it has been found that at the early stage of reform and opening up when the Chinese literature was eager to go abroad and be well-received by the audience overseas, the translator had to adopt the strategy of domestication most of the time so as to cater to their horizon of expectation, even when it came to the translation of lexical gaps which may find no natural equivalents in the target language. Therefore, it could be concluded that translation literature is closely linked with politics, a notion echoing with the background witnessing the birth of reception theory.

The contents and key notions of reception aesthetics theory are discussed in this paper, which is helpful to have a more comprehension understanding of this theory. Then there is the definition and classification of lexical gaps in ''Teahouse''. As the treasure in the history of Chinese modern drama, the study of ''Teahouse'' is arousing more and more attention and academic interest both in China and abroad. Translation strategies --- foreignization and domestication in translation are highlighted in this paper, which has been elaborated by examples. In translation practice, only when the conceptual meaning and cultural meaning of lexical gaps are taken into account can the translator convey the meaning of words accurately and meet the readers’ horizon of expectation.

However, limitations are inevitable in this thesis due to the pressing time. Due to the writer’s limited knowledge and capacity, the analysis of the lexical gaps of ''Teahouse'' can never be all-inclusive. Yet it’s worth noting that researches on the Chinese drama ''Teahouse'' and the reception aesthetic theory should never come to a halt now that the background has changed from the way it used to be more than 40 years ago.

===References===
*Hall, Edward (1959). The Silent Language[M]. Garden City: Doubleday.

*Hockett, Charles (1954). Chinese Versus English: An Exploration of the Whorfian Theses[A]. Harry Hoijer(ed.). Language in Culture[C]. Chicago: University of Chicago Press.

*Jauss, Hans (1989). ''Question and Answer''[M]. University of Minnesota Press.

*Venuti, Lawrence (2008). ''The Translator’s Invisibility: A History of Translation''[M], London and New York: Routledge.

*Gao Fengxia 高凤霞. (2010). 跨文化交际中的文化空缺现象探讨[A Study of Cultural Vacancy in Intercultural Communication]. 社科纵横Social Sciences Review (03): 112-115.

*Lu Jun, Ma Chunfen 陆军, 马春芬. (2009). 从文化翻译观的角度看老舍《茶馆》两个英译本中文化信息的处理[Cultural information processing in Lao She's Two English versions of ''Teahouse'' from the perspective of Cultural Translation Theory]. 安徽文学Anhui Literature(10): 293-294.

*Jin Yan 金艳. (2022). 老舍《茶馆》翻译的文化记忆再现研究[A Study of Cultural Memory Representation in the Translation of Lao She's ''Teahouse'' ].中国朝鲜语文Korean Language in China(02): 83-89.

*Qu Suwan 渠苏婉. (2019). 接受美学视域下《茶馆》两译本中方言词汇的翻译[Study on the Translation of Dialect Words in ''Teahouse'' from the Respective of Reception Aesthetics]. 齐齐哈尔师范高等专科学校学报Journal of Qiqihar Junior Teachers' College (05):62-64.

*Xu Gaoyu, Zhao Qiuye 许高渝, 赵秋野. (2008). 俄罗斯心理语言学和外语教学[Russian Psycholinguistics and Foreign Language Teaching]. Beijing: Peking Univesity Press北京大学出版社.

*Yu Shan 于杉. (2015). 接受美学视角下《茶馆》两译本中文化负载词的比较研究[A Comparative Study of Culture-loaded Terms in Two English Versions of ''Teahouse'' from the Perspective of Reception Aesthetics].吉林大学Jilin University.

*Yu Yanqing 于艳青. (2016). 老舍作品《茶馆》的隐喻研究和文化解读——以霍华和英若诚英译版本为例[A Study of Metaphor Translation of Lao She’s ''Teahouse'' and Its Cultural Interpretation——A Case Study of Howard and Ying Ruocheng’s Versions]. 济宁学院学报Journal of Jining University(06):93-97.

===Terms and expressions===
Reception aesthetics theory 接受美学

Blank 空白

Horizon of expectation 期待视野

Fusion of horizons 视域融合

''The Translator’s Invisibility'' 《译者的隐身》

Material lexical gaps 物质类词汇空缺

Social lexical gaps 社会类词汇空缺

Religious lexical gaps 宗教类词汇空缺

Linguistic lexical gaps 语言类词汇空缺

===Questions===
1. How does the two reception activities work in the process of translation?

2. What is the definition of lexical gaps?

3. How many categories did the thesis divide the lexical gaps into?

===Answers===
1. There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text.

2. Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.

3. Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps.

==英语笔译肖佳莉 Xiao Jiali 202170081600 MW==

<center>'''The Canonization of Tao Te Ching'''</center>

<center>Xiao Jiali</center>

===Abstract===
Tao Te Ching can be divided into two parts.The first part of the moral Sutra is called the Taoist chapter, and the second part is called the moral chapter.The philosophical works written by Lao-tzu in Luoyang during the Spring and Autumn period.Taoism focuses on the view of the universe and nature.The moral focuses on social outlook and outlook on life. What does this mean?
First of all, we should know that all the schools of pre-Qin in China are concerned about the sociology of human relations, and almost no one cares about the problems of nature, which is in sharp contrast to ancient Greek philosophy. With the exception of Socrates, all the ancient Greek philosophers were concerned about the view of nature and the universe. Thales, the first philosopher in ancient Greece, left famous allusions, which were summed up by later generations into four words, called "looking up at the starry sky". However, it is strange that all the hundred schools in the pre-Qin period in China are all concerned with the sociology of human relations.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译谢晓莹 Xie Xiaoying 202170081601 CE==
<center>'''On the English Translation of The Analects in the Contemporary Era'''</center>

<center>谢晓莹</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译熊嘉玲 Xiong Jialing 202170081602 CE==
On the C-E Translation of The Book of Songs
<center>'''On the C-E Translation of The Book of Songs'''</center>

<center>Xiong Jialing</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译杨心怡 Yang Xinyi 202170081604 MW==

The Source of China Children's Literature and the Dilemma of Its Translation

==英语笔译杨紫微 Yang Ziwei 202170081605 CE==

<center>'''The English Translation of the Names in A Dream of Red Mansions from the Perspectives of Domestication and Alienation'''</center>

<center>Yang Ziwei</center>

===Abstract===
"A Dream of Red Mansions" is a great work of high ideological and artistic quality. There are many characters in the book, including more than 300 people with names. Some of the names of these characters are allusions to classics, and some borrow homophonic techniques, and these names also suggest backgrounds, identities, characters and fates of the characters. Cao Xueqin is unique in naming characters. However, due to the cultural background differences in the translation process, it is often difficult for translators to accurately translate the true meaning hidden behind names. Based on this, this paper intends to analyze the characteristics of people's names in A Dream of Red Mansions and explore the translation art of people's names in its English version. In addition, this paper compares Hawkes and Yang Xianyi's translation methods and rules in name translation from the perspective of domestication and alienation, so as to increase its fluency and readability and promote the spread of Chinese culture.

===Key words===
A Dream of Red Mansions;Domestication and Alienation;Name translation.

===Introduction===
A Dream of Red Mansions is one of the four great classical novels in ancient China. Written in the late feudal society, it systematically summarizes the cultural system of Chinese feudal society, deeply criticizes all aspects of the feudal society, and reaches the peak of ancient Chinese literary creation in terms of language and artistic aspects. On the one hand, the English version of A Dream of Red Mansions has provided western readers with an opportunity to understand Chinese culture, and on the other hand, it has made remarkable contributions to the cultural exchanges between China and the West. There are many characters in A Dream of Red Mansions. Cao Xueqin, the author, gives the characters distinctive characteristics with his ingenious naming techniques. Some of them quote ancient poems and some use homophony. The identity, character and even the whole life and destiny can be seen from the names. It is indispensable to understand the deep meaning of characters' names for grasping the connotation of literary works and letting English language readers understand the feudal culture of China.
In the 1980s, there appeared a complete English translation of A Dream of Red Mansions, the two most famous English translations nowadays which from Yang Xianyi and Hawkes. When translating the names of people in books, Yang xianyi and his wife mainly use transliteration of names, while Hawkes adopts the strategy of transliteration of main characters and free translation of secondary characters. Based on this, this paper analyzes hawkes and Yang Xianyi's translation of names from the perspective of domestication and alienation in order to explore the gain and loss of their translation of names.

===Literature Review===
To promote intercultural interaction, introducing Chinese culture to the world is important and urgent. Due to differences in cultures and languages in different countries, the most feasible and efficient way is to translate Chinese books for foreign readers. Chinese Classic literature is an insignificant part of Chinese culture, which plays an important role in this cultural communication, so translation of literary works is in desperate need.
Among all the literary works, A Dream of Red Mansions, as the Four Greatest Classic Novels, draws more and more attention from translators because of its artistic language, significant cultural values concerning aspects such as culinary, clothing, building, economy, politics, morality and so on. According to the view in Translation Strategies of Chinese Names in A Dream of Red Mansions, it is a rare book that deepens one’s understanding of the meanings of being human. Thus the translation of it is indisputably the greatest work among all the classic Chinese novels.
Acknowledged as a pinnacle of Chinese novel, A Dream of Red Mansions is a mixture of realism and romance, psychological motivation and fate, daily life and supernatural occurrences and the more than 400 names of characters in this novel represent the artistry of Chinese naming. Cao Xueqin deliberately located connotations and special functions in these names through their sounds and forms, giving them evocative and associative meanings and communicative functions.
As the symbol of human life, a name reflects elements of culture. As carriers of the writer’s values, ideas, artistry and creativity, names in literature which are associated with theirs scenarios, play active parts in the development of the story. In other words, naming is a kind of writing device to describe characters and present the theme. As a matter of fact, writers can give characters names which characterize them with associative cultural allusions. Because of its uniqueness, a personal name is a sign which distinguishes one person from the others. In addition, names especially those of literary figures possess special connotations concerning identity,status, personality physical features, fate and the theme. But it also brings great difficulties for translators to do translation.
To solve this problem, I choose name translation of this novel as my research target and compare translation strategies of Yang Xianyi and David Hawkes in the process of translating names in A Dream of Red Mansions.

===Methods and Theories===
This paper uses a text comparison analysis method, from the perspective of domestication and alienation, compares and contrasts the two English translation versions of Hawks and Yang Xianyi to analyze their translation methods and effect in name's translation of A Dream of Red Mansions. And this paper also compares the advantages and disadvantages of the two versions to explore how to output a high quality of the translation of Chinese classics as well as promote foreigners' understanding of Chinese classics. This thesis applies the theories of domestication and alienation in translation.

===Subtitle 1===
1. Significance and Characteristics of Personal Names

As an important form of cultural carrier, name has a long history of development and rich cultural connotation. The etymology of people's names is very extensive, and there are many allusions involved in it. The cultural capacity is huge and changeable, so the study of name's culture and translation of it is of great theoretical significance and practical value.

Literature, in essence, is also "human studies". The creation of literary works has always been centered on the description of "characters", which reflects the social reality through the characterization of characters. In general, in order to describe the characters' personalities more deeply, and to hint at their experiences, fates and endings, the author always chooses the names of the characters carefully. To some extent, text or narrative analysis usually follows a basic principle, that is, choosing names is an important technique in shaping characters' images, and each name has the function of showing characters' personality, vitality and fate.

As for siginificance of names in the work, Cao Xueqin's characters in A Dream of Red Mansions can be divided into three categories: the first category is the name indicates the development of the story. These symbolic names are usually named with homonym, that is, the sound of name reveals the connotation meaning of it which is the combination of sound and meaning. Such as “甄士隐” in the work, its homophonic meaning is "true things hidden"; “贾雨村”, that is "false language exists ", means to compile a story with false language. The second type is the name of the character indicates the fate and outcome of characters. Such names often indicate the author's laments for the tragic fate of the characters in the stories. For example, the names of “元春”，“迎春”，“探春”and“惜春”in Jia Family adopt the artistic technique of hidden pun, and the homonym of them when they are read together is “原应叹息”(Yuanyingtanxi) which means one should sigh(Qin Qiyue,2016). The third one is the personality and image implied by the name of the character. Cao Xueqin also used characters' names to introduce the characters' images and personalities suggestivingly. At the same time, through the names of these characters, readers can feel the author's basic attitude towards these characters, such as “贾敬” in the work, its homonym is "false dignity", suggesting that the character does not care about the world's psychological state; There is also “贾赦”, homophonic for "lustfulness", suggesting its lustful personality characteristics. It can be seen that names have irreplaceable functions and values in A Dream of Red Mansions.

In the aspects of characteristics, there are also three types of names: the first one is using homophonic names. For example, the homonym of “贾雨村” is "False language exists"; “甄士隐” is "truth hidden", which means that the truth of the matter is hidden; “英莲”means "should pity" which expresses that this character is worthy of sympathy and the homonym of the maid “娇杏”（侥幸） is "lucky". The second type is named after an anecdote. A typical example is the origin of Jia Baoyu. When he was born, there was a psychic treasure jade in his mouth which also engraved words: Never forget; Long expectancy(莫失莫忘，仙寿恒昌)(Duan Ruifang,2016). The Jia family therefore regarded him as a gifted child who could honor his family. The third is named after jade and jewelry. The name is not only an appellation symbol, but also reflects the identity, background, status, personality, vision and hobbies of the characters. Several large families in A Dream of Red Mansions naturally hope to have a prosperous family and a bright fortune, so many characters are named after gold and jade. Such as Baoyu, Baochai, Jia Zhen, Jia Zhu, Pearl, Amber and so on.

===Subtitle 2===
2.Translation Theories

The terms of domestication and alienation or foreignization were put forward by Lawrence Venuti, a famous American translation theorist, in his book The Invisibility of the Translator in 1995. As two translation strategies, domestication and alienation are opposites but complement each other. Absolute domestication and absolute foreignization do not exist. Historically, foreignization and domestication can be regarded as the conceptual extension of literal translation and free translation, but they are not completely equivalent to literal translation and free translation. The core problem of literal translation and free translation refers to how to deal with form and meaning at the linguistic level, while foreignization and domestication break through the limitations of linguistic factors and expand their horizons to linguistic, cultural and aesthetic factors. According to Venuti, the law of domestication is "to bring the original author into the target language culture", while the law of alienation is "to accept the linguistic and cultural differences of a foreign text and bring the reader into a foreign situation. It can be seen that literal translation and free translation are mainly value orientations limited to the language level, while foreignization and domestication are value orientations based on the cultural context. The differences between them are obvious and cannot be confused.

2.1 Domestication

Domestication is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to(Yang Yujie, Liao Ying,2014). It requires the translator to be close to the target language reader. The translator must speak like the native author. In order for the original author to speak directly to the reader, the translation must become authentic in the native language. Domestication translation helps readers to better understand the translation and enhance the readability and appreciation of the translation.

2.2 Alienation

Alienation means "the translator as little as possible to disturb the author, and let the reader close to the author"(Yang Yujie, Liao Ying,2014). Translation is to accommodate the language characteristics of foreign cultures and absorb foreign expressions which require the translator to be closer to the author and adopt expressions corresponding to the source language used by the author to convey the content of the original text, that is, to turn the source language into a destination. The purpose of using alienation is to consider the differences of national culture, preserve and reflect the characteristics of foreign ethnic and language style as well as the exoticism for target readers.

Since translation requires us to faithfully reproduce the original author's thoughts and style, which are highly exotic, so it is inevitable to adopt alienation; At the same time, the translation must take into account the readers' understanding and the fluency of the original text, so the adoption of domestication is necessary. It is not desirable or realistic to choose one strategy to the exclusion of another. Each of them has its own advantages and disadvantages, so the final translation cannot be achieved by focusing on one and losing the other.

In translation, we are always faced with the choice of foreignization and domestication, so that we have to find a "fusion point" of translation(Wang Wenting,Xuan Zhifeng ,2016). This "fusion point" sometimes closer to the author, sometimes to the reader. In other words, foreignization does not hinder the smoothness and understandability of the translation, and domestication does not lose the flavor of the original text. At the same time, we should stick to the strategy of domestication of the language form, and carry out foreignization of its cultural factors. In this way, translation works can combine the advantages of the two strategies and avoid the disadvantages. Therefore, domestication and foreignization should have a complementary dialectical unity relationship in the actual translation process.

===Subtitle 3===
3.Contrastive Analysis of Name Translation from the perspective of Domestication and Alienation

3.1 Name System in A Dream of Red Mansions

There are more than 400 names in the book. Every name has its own connotative meaning and special function. The use of semantic puns can be found everywhere in A Dream of Red Mansions from the naming of the rich to the servants. In this paper, I divide it into four types to analyze its translation in a clear way.

3.1.1 Names of People of High Social Status

The author used different Chinese character components or radicals to distinguish seniority in the family when naming nobles. For example, from the word "代" of names "贾代善" and "贾代化", we can know that they belong to the same generation, the same with "贾赦" and "贾政" according to Chinese character component "反", "贾琏" and "贾珍" with radical "王", "贾蓉" and "贾菌" with"草"(Chen Ying,2016). However, the author did not adopt this rule when naming Jia Baoyu（贾宝玉）, mainly to highlight the particularity of him and his special status in Jia family. In addition, the naming of four noble women in Jia family also has a unique charm. The four daughters are 贾元春,贾迎春,贾探春 and 贾惜春, their name of the first word is just four words homophonic “原应叹息” which means "should sigh". After entering the palace, Yuanchun was appointed as an imperial concubine. She sighed and wept when in matrimony. although enjoy all the glory and wealth in palace but she always difficult to flat the pain of her mind because of departure with family members; Although Yingchun was coward, she had a pure and kind heart. Unfortunately, she was betrothed to Sun Shaozu and had been abused quite often after married and died miserably. Tanchun was both talented and beautiful. However, as the family decayed, she had married far away and cut off contact with her relatives. It was really pitiful. Xichun's mother died early and her father did not take good care of her, and she was brought up by Grandmother Jia. Later on, the decline of four big families and the tragic fate of her three sisters made her decide to be a nun. From all of these, we can see that the author intends to use homophonic technique to express his deep sympathy wit their unfortunate fate with “原应叹息” or "should sigh"(Chen Ying,2016).

In addition, formerly known as "Zhen Yinglian" or "Xiang Ling", she was the daughter of Zhen Shiyin originally, who was abducted by a human trafficker. She thought her fate would turn around when she met Feng Yuan, but Xue Pan snatched her away and she was beaten and cursed by a bad woman Xia Jingui. The author named her "Yinglian" whose homophonic meaning was "should pity" to express his deep sympathy and regret.The woman with real power of the family is named “王熙凤”.“王”is a homophone to “亡” which means “to die and vanish”,“熙” means “brightness and property”and “凤”refers to “phoenix” which is the symbol of“nobility, dignity, power and wealth” Therefore, the whole name suggests that “prosperity, dignity and power will be gone”. "林黛玉" has a sense of weakness, bitterness and sensitiveness, because the family name“林”originated from a tragic story. In Shang Dynasty, the chancellor named Bigan was killed with his heart being gouging out and his wife escaped into a cave covered with forest and luckily, she gave birth to a son and survived. Since then, her son was bestowed with the family name“林”by the next brilliant king -Wu king of Zhou Dynasty. As a consequence,“林”,as a family name suggests eventful fate and life. “黛” means “black” which gives a sense of “bitterness and misery”and “玉”means "jade" which is fragile and easy to break. Another one in the novel is called“薛宝钗”.“薛”is the homophone of “削” which means “getting rid of or discarding”;“宝钗”is actually“宝钗楼”which is the place where prostitutes live it is a living hell to virtuous girls. Accordingly. the name owner is doomed to be abandoned and live in misery.

3.1.2 Names of Maids

There are many servants in the rich and powerful Jia family and their names have different functions in the story. I have chosen some of them to analyze and explain their functions.

In ancient China, the status of servants was so low that they could not be named by themselves, but their masters gave them the name(Duan Ruifang,2016). Therefore, the name of a servant largely represents the interests and cultural accomplishment of his or her master. Some of the maids' names indicate the status of their masters. For example,“琥珀” and “珍珠” are both Grandmother Jia's personal servant girls, since amber and pearl are precious jewelries, their names reflect that Grandma Jia occupies the highest status in Jia family. And as the daughter-in-law of Grandmother Jia, Lady King had her maid named “金钏” and “银钏”, which was not arrogated but prosperous.

Some of the maids' names show the personality and interests of their masters, such as those of Baoyu: “袭人”，“晴雯”，“锄药”，“焙茗”. The author named the servant girls around Baoyu with plants in their names, which reflected Baoyu's wildness and unwillingness to be bound by feudal etiquette and customs. The servant girls around the four girls in Jia family are “司棋”，“侍书”，“抱琴”，“入画”, which reflect the interests of the four girls as well as their personal expertises. Other servants' names reflect the expectations of the master. For example, Wang Xifeng's servants named as “平儿”,“封儿”,“兴儿”and“隆儿”.As Jia's financial housekeeper, Wang Xifeng was in charge of Jia's financial expenses, she was careful in budgeting and valuing money very much, so she was eager to be prosperous,and names of her servants mapped her aspiration.

In addition, there are also some servants' names reflecting the character of their masters. For example, Li Wan's two servant girls “素云” and “碧月”. Though li Wan became a widow when she was young, she craved neither money nor power and devoted herself to taking care of her mother-in-law and father-in-law and her son. Her heart was as pure and white as the maids' names around her.

3.1.3 Names of Performers

In Jia Family, there are entertainers named“宝官”，“棋官”“玉官”，“藕官”，“葵官”，“艾官”,“豆官”，“药官”，“茄官”，“蕊官”，“文官”，“芳官”and“龄官”(Cao Xue, Yin Xiaotang,2020).These names can be divided into three types:
(1)Names related to jewelry: “玉官”，“宝官”and“棋官”. These names show the nobility and high dignity of their masters;
(2)Names connected with flowers and plants: “藕官”,“葵官”、“艾官”，“豆官”,“药官”,“茄官”and “蕊官”.This indicates temperament and personality of the actresses who are tender and delicate;
(3)Names associated with personality: “文官”,“芳官”and“龄官”. And the last one indicates personal talents and charms of the actresses.

3.1.4 Names of Monks,Immortals and Nuns

Names of nuns include “静虚”,“智能”and“妙玉”which implicate meaning of tranquility, wisdom, capability and so on. These are all desirable virtues to people who believe in Buddhism. Names of immortals are“茫茫大士”,“渺渺真人”,“空空道人”,“警幻仙子”,“神瑛侍者”and“绛珠仙子”. As long as these immortals show up, there will be a turn of development of the story. All these names of immortals have a sense of mystery and extraordinariness(Cao Xue, Yin Xiaotang,2020).

3.2 Constractive Analysis of Translation Strategies of Yangxianyi and David Hawkes

3.2.1 Transliteration

Transliteration is to translate the source language through pinyin according to the pronunciation of Chinese, reserving only the pronunciation of the source language but not the content, meaning and writing form of the original text.

At present, transliteration is the most commonly used method in the translation of Chinese names. Yang Xianyi's version and Hawkes' version mostly use this method in the translation of main characters’ names, but there are subtle differences in the details. Yang's translations often use the phonetic transliteration of Wei's(韦氏音标音译). For example: 甄士隐, Chen Shih-yin；贾雨村，Chia Yu-tsun；贾宝玉， Chia Pao-Yu；林黛玉，Lin Tai-Yu；贾政，Chia Cheng；贾雨村，Chia Yu tsun；薛宝钗，Hsueh Pao chai；元春，Yuan-chun；迎春，Ying chun；惜春，His chun；探春，Tan chun；金钏，Chin Chuan；袭人，His jen；宝官，Pao Kuan. This translation is more in line with the common pronunciation habits of English and more acceptable to foreign readers. Hawkes mostly uses Chinese pinyin, for example: “甄士隐” is translated as Zhen Shiyin, “贾雨村” as Jia Yucun, “贾宝玉” as Jia Baoyu and “林黛玉” as Lin Dai-yu. This translation method retains the original taste of the original work to a large extent, making it easier for foreign readers to understand the most authentic Chinese culture.

From the perspective of domestication, Yang's translation retains the naming rules of the original text for the convenience of Chinese readers. From the perspective of alienation, Hawkes chose the easiest translation method, and such transliteration of names can be regarded as the introduction of a unique name culture for the West. On the other hand, although the translation is simple and straightforward, it only preserves the pronunciation and writing form of the source language, but loses the profound connotation of the original text.

3.2.2 Free Translation

Free translation is to translate according to the general meaning of the source language. It is neither word for word nor limited to the form of the source language, but more focused on connotation expression(Duan Ruifang,2016). Hawkes usually uses free translation when translating many metaphorical and homophonic names. Free translation is embodied in the following three ways:
(1)Literal translation of the original language. It largely preserves the literal and imaginary meanings behind it, such as the two maids of Grandmother Jia, “珍珠”and “琥珀”, which are translated as "Pearl" and "Amber" respectively. It highlights the Grandmother Jia’s prominent status in family.
(2) The original name is explained and extended according to the meaning of the target language. This is a way to enhance the readability of the translated text and make the foreign language readers easily accept the strange and obscure traditional Chinese culture. For example,“晴雯” is translated as "Skybright", which means "clear sky". The clear sky after rain fits the image of Qingwen as lively, cheerful and intelligent, which can enhance readers' impression of her.
(3) Adjust the original name and reconstruct the image. For example, the name of Daiyu's servant girl is “紫鹃”, which originally means "cuckoo". This kind of bird often expresses the meaning of "sorrow" in Chinese classical literature, which can easily remind people of the tragic fate of its owner. However, in English, cuckoo can not express this meaning. Therefore, Hawkes changed it into "Nightingale". And “袭人” was translated into Aroma, but it did not show the kindness and thoughtfulness of Aroma in her name.

As for Yang Xianyi, in order to keep the characters' names connected with the original story, he adopts free translation in the names of deified figures, such as monks. For example, “空空道人”was transalated as “The Reverend Void”, “渺渺真人” as “Boundless Space” and “茫茫大士”as “Buddhist of Infinite Space”. In Chinese feudal society, married women were addressed with their husband's surname, such as “贾氏”，“尤氏”and“封氏”. Yang's translation did not directly transliterate them but translated “尤氏” into "Madam Yu", indicating her position of the household steward. “贾氏”was translated as "Mrs.Jia," implying that she was the mistress of the family. .“贾母” was translated as “Lady Dowagers” and “刘姥姥”was Granny Liu(Chen Ying,2016).

3.2.3 Annotation

Due to the huge differences between Chinese and Western cultural backgrounds, it is difficult for target language readers to accurately comprehend the special meanings behind names as the source language readers do. Based on this situation, Yang Xianyi used pinyin in the translation, but in order to truly translate the original work, it is necessary to interpret or remark the cultural connotation implied by the name in the original work. This is because a few words can not fully explain the inner meaning, adding annotations is a crucial tool. There are two main reasons for the use of annotation method. First, annotation is not limited by the number of times and sentence length, so it can better fill the deficiency of free translation and literal translation. The other is that annotation will not interfere with the integrity and structure of the original text. According to these characteristics of annotation method, it can be concluded that all character names can be properly and accurately translated through annotation.
Hawkes’s and Yang's versions have adopted appropriate annotations to facilitate readers' understanding.
For example, Yang translated “甄士隐” as Zhen Shiyin. Homophone for "true facts concealed." while Hawkes translated it into Zhen Shi-yin(the Zhen-another word-play (who are a sort of mirror-reflection of the Jia family). Annotations are used in both translations to further explain the inherent meaning contained in character names. However, too simple annotations cannot effectively achieve the purpose, and too detailed translation will load redundant cultural information into the target language, causing reading barriers for readers and making it difficult for them to reproduce in the target language. Therefore, learn how to use annotation properly is hard but significant.

===Subtitle 4===
4.Influence of Name Translation in A Dream of Red Mansion

The translation purpose of Yang's translation is given by the Foreign Languages Press, so when facing translation problems, he chose the strategy of transliteration and try his best to be faithful to the original text(Chen Ying,2016). It is precisely because this translation mostly retains the original information of A Dream of Red Mansions and respects its cultural characteristics to a certain extent. With the development of China's soft power, Yang's translation has attracted more and more Western readers who are trying to understand with the help of Yang's translation the original ideas and cultural essence conveyed in the book. Similarly, Hawkes' translation should not be underestimated, especially for western countries. First of all, as a foreigner, he was able to complete the huge task of translating A Dream of Red Mansions. In addition, he gave full play to his initiative in translating characters' names. Getting to know hundreds of characters is a big problem for Western readers, who can't understand the deep meaning of the names. Hawkes used different translation strategies to give them English names and tried to help readers get a clear picture of the characters. It can be said that Hawkes's translation can make it easier for foreigners to understand Chinese culture, thus it plays an important role in the process of Chinese culture going to the world.

All in all, A Dream of Red Mansions represents the profoundness of Chinese classical culture. With the rapid rise of China's economy and the increasing curiosity of western countries about Chinese culture, it is a good opportunity for China to show its long history and culture to the world. We should strive to improve the translation of "A Dream of Red Mansions", and use a variety of methods to reduce readers' reading barriers and promote the spread of Chinese classical culture.

===Conclusion===
Hawkes uses transliteration of the main characters and free translation of the minor characters which better let English readers understand the connotation of the name, but also to reveal and predict the fate of the character. But on the whole, there are still some shortcomings in the translation(Wang Wenting,Xuan Zhifeng,2016). This kind of translation can help spread the original works to the West, make the target language readers better understand Chinese culture, and correct the mistakes in other English translations. However, because of direct transliteration, it is difficult for the target readers who do not know the Pinyin of Chinese characters to understand original text. If the annotation method is used to assist the translation and the annotations are added after transliteration, the target readers can understand the exact meaning of the original text. For girl servants names' translation, Hawkes mainly adopts the free translation strategy to translate the name according to the character's personality and fate, but this kind of translation is too generalized, which hinders the cultural communication between source language and target language, resulting in the reader can't fully understand the original meaning and losing the elegant charm of the original language.

Although the transliteration strategy adopted by Yang Xianyi failed to translate the pun, it also conveyed the original information to the maximum extent. His free translation based on his understanding of Chinese culture, which not only respects the literary context of the original work, but also smooth the understanding of English readers, and effectively reproduces its literary meaning.

By analyzing the English translation of names of Yang Xianyi and David Hawkes, we know that there is not fixed rules or uniform patterns in the translation of names. Whether transliteration, free translation, transliteration listed, or some special translation approaches, they require the translator, according to the specific style, the rhetoric and content of works, to convey the original meaning.

===References===
*Qin Qiyue秦启越(2016).《红楼梦》人名翻译艺术再探讨[On the Translation of Names in A Dream of Red Mansions].Chinese National Expo，200-201.

*Duan Ruifang 段瑞芳(2016).《红楼梦》英译本中的人名翻译艺术[The Art of Name Translation in the English Version of A Dream of Red Mansions].Overseas English(15):101-102.

*Lin Yao林瑶(2020).从功能翻译理论对比分析《红楼梦》的杨译本和霍译本的人名翻译[A Comparative Analysis of the Translation of Names in Yang's and Hawkes's versions of A Dream of Red Mansions from the Perspective of Functional Translation Theory].中外文学[The Chinese and Foreign Literature],4-5.

*Wang Wenting,Xuan Zhifeng 王文婷,轩治峰(2016).从异化和归化角度浅析《红楼梦》英译本的人名翻译——以霍克斯版为例[On the translation of people's names in the English version of A Dream of Red Mansions from the Perspective of foreignization and domestication -- a case study of Hawkes' version].唐山文学[Tangshan Literature],133-134.

*Yang Yujie, Liao Ying 杨玉洁,廖颖(2014).从归化与异化角度对比研究《红楼梦》人名翻译[A Comparative Study on the Translation of People's Names in A Dream of Red Mansions from the Perspective of Domestication and Alienation].Cultural Highlands,283.

*Li Shide李仕德(2015).功能翻译理论下《红楼梦》的人名翻译[Translation of people's names in A Dream of Red Mansions under the Theory of Functional Translation].语文建设[Chinese Construction],62-63.

*Chen Ying陈颖(2016).杨宪益《红楼梦》译本双关人名的翻译探讨[On the Translation of Pun Names in Yang Xianyi's Translation of A Dream of Red Mansions].陕西学前师范学院学报[Journal of Shaanxi Xueqian Normal University],(3):73-76.

*Cao Xue, Yin Xiaotang曹雪,尹晓棠(2020).《红楼梦》中人名的翻译策略[Translation Strategies of Chinese Names in A Dream of Red Mansions].作家天地[For Writers](8):17-18.

==英语笔译张国浩 Zhang Guohao 202170081606 MW==

<center>'''A Brief Analysis of Strategies of Promoting the Translation of Chinese Classics "Going Abroad"
'''</center>

<center>Zhang Guohao</center>

===Abstract===

Chinese culture is broad and profound, which has a long history about 5000 years. Classics culture is one of the most representative characteristics of Chinese culture. In the course of China’s five thousand years of civilization, a large number of ancient classics have been formed by the inheritance of Chinese culture and the creation of its spiritual connotation. These Chinese cultural classics contain a lot of wisdom, which is of great significance to solve the problems faced by human society today. With the increasingly close ties between countries in the world, cultural exchanges have become more frequent. Promoting the culture of Chinese excellent classics to go abroad is an important means to enhance the soft power of national culture. However, the translation of Chinese classics is still facing many difficulties at present. Chinese cultural classics are voluminous and rich in connotation. In the process of foreign translation and communication, it is necessary to improve the training mechanism of professional translators, build a market-oriented external publishing mechanism, and build a high-quality system of foreign translation of Chinese cultural classics.

===Key words===

Chinese cultural classics; Foreign translation strategies; Communication of Chinese culture

===Introduction===

China is one of the four ancient civilizations in the world and the only one among the four ancient civilizations whose traditional culture has been continued without interruption. The long history of Chinese culture is mainly due to the passing down of a large number of cultural classics. In the new era, China’s comprehensive national power and international influence have increased significantly, and there is a greater demand for spreading Chinese culture to the outside world and for the world to understand Chinese culture. Under this background, the translation of Chinese cultural classics has become inevitable. Under the circumstance of fierce cultural competition in today’s world, it is an important problem to be solved urgently that how to spread excellent Chinese classic culture to foreign countries and obtain important results. Culture is open and can only be inherited and developed in mutual exchanges. As the carrier of Chinese culture, the translation and dissemination of Chinese cultural classics are closely related to the improvement of China's international status and international influence. While the comprehensive national strength and international influence are greatly improving, China should further strengthen its cultural self-confidence, and strengthen the protection, inheritance and promotion of Chinese culture in the construction of socialist culture with Chinese characteristics, so as to maintain the Chinese style in the forest of nations in the world and highlight the Chinese style. To make China's voice heard requires not only telling the story of contemporary China, but also letting the people of the world know China from the depths of their soul and spiritual essence. In this context, Chinese cultural classics have become the basis for inheriting and carrying forward Chinese culture, and the dissemination of Chinese culture through traditional cultural classics has also become an important way to promote Chinese culture to the world. This paper will discuss the connotation of the culture of classics, the current situation and difficulties of the foreign translation of Chinese cultural classics and the significance of the foreign translation of Chinese cultural classics. Finally the author puts forward feasible strategies and schemes to promote the foreign translation of Chinese cultural classics, so as to provide reference and guidance for the translation of Chinese cultural classics in the future.

===1. The Defination of Chinese Cultural Classics===

According to Li Zhengshuan, cultural classics refer to ancient books or documents that record natural, humanistic and philosophical ideas as well as important laws and regulations (Li, 2012: 42). Generally speaking, classics mainly refer to the carving copies, hand-copied books, manuscripts and books of rubbings etc. of the previous dynasties before 1911. The concept of Chinese cultural classics have two meanings. Firstly, it refers to the important ancient documents and books-classical works in various fields of social sciences and humanities and natural science in China. Secondly, it refers to ancient Chinese codes and systems. As far as the value of cultural classics is concerned, it refers to the literature and classical books that have withstood the test and selection of time and played an important role in promoting the progress of national civilization and even the world civilization. In terms of its subject, the cultural classics include classics of ancient Chinese philosophy, religion, literature, military science, history, science and technology, law and so on. No matter in which era, cultural classics have always been studied, enriched, annotated, interpreted and used by scholars of all dynasties. They are the spiritual wealth shared by all mankind. As the prototype symbol of national culture, they have the function of continuous regeneration and inheritance.

===2. The Significance of Translation of Chinese Classics===

Firstly, the translation of Chinese classics has always been an important part of cultural exchanges between China and the west, and it is also an important way for the dissemination of Chinese history and culture. Chinese classics not only have important ideological value, but also contain rich cultural information, which makes them more difficult to understand and translate. Therefore, the accurate and complete transmission of the cultural information in the classics is of great practical significance for carrying forward Chinese culture and carrying out cultural exchanges between China and the West. However, due to historical reasons and the particularity of Chinese characters, the excellent culture accumulated in the process of Chinese civilization for thousands of years is rarely introduced to the world, so that the world lacks a comprehensive and in-depth understanding of China’s long and splendid history and culture. Therefore, the translation of Chinese classics is particularly important in the context of economic globalization.

Secondly, we have entered an era of globalization nowadays. If any nation or country wants to remain invincible among the world’s nations, it must learn from others. While learning from other nations, we should also know how to introduce the excellent translation of Chinese classics abroad, so that the world can better understand China. Only in this way can we enhance our competitiveness on the international stage, which is also the need of our reform and opening-up policy. As Chinese people, we have the responsibility and obligation to spread the excellent culture of Chinese nation to all parts of the world. Culture is not only the embodiment of national cohesion, but also the cultural soft power has become an important factor in the competition of comprehensive national strength. As the core content of traditional culture, the translation of Chinese classics is one of the important contents of cultural output.

Thirdly, from the perspective of modern history, the Chinese culture compared with the culture of other nations is in a “weak culture” state. In this case, most foreign translators will inevitably reflect the features of their own class when translating and introducing Chinese cultural classics for the benefit of the rulers they serve. Therefore, it is necessary for Chinese translators to provide the world with more comprehensive, systematic, complete and original versions of Chinese classics.

===3. The Foreign Translation Process of Chinese Cultural Classics===

The translation of Chinese culture classics began in the Ming and Qing dynasties, and the translators were mostly Western missionaries and sinologists at that time. For example, the Italian priest Matteo Ricci translated ''The Four Books'' into Latin around 1594. The French priest Joseph de Prémare translated ''Sacrifice'' into French around 1735 and the British sinologist James Legge translated ''The Four Books and The Five Classics'' into English between 1861 and 1886. These foreign translators completed these translations with the assistance of Chinese assistants. Until the early 20th century, Chinese scholars began to undertake the translation of Chinese cultural classics independently.

Since the founding of the People’s Republic of China, Western sinologists and Chinese scholars have continued to work in foreign translation Chinese cultural classics. Among them, the representative foreign translation project was the English version of Chinese Literature, founded by Ye Yongjian in 1951, which was the only official foreign translation that translated and introduced Chinese contemporary literature at that time. Since initiating reform and opening up, the first milestone in the foreign translation of Chinese culture classics was the Library of Chinese Classics project launched by the Chinese government in 1995. it was the first major national publishing project in China's history to systematically and comprehensively introduce foreign versions of Chinese cultural classics to the world. The Library of Chinese Classics project selected 100 most representative classical works in the fields of culture, history, philosophy, economy, military affairs, science and technology from the pre Qin period to modern times and expert would collate and sort out the topics and versions in detail, and translate them from Writings in Classical Chinese to vernacular, and then from vernacular to English. Chinese leaders have given great support and high praise to this translation project, and have repeatedly presented this series of translated works as an official gift to foreign dignitaries on important occasions. In addition to English translation, the second phrase the Library of Chinese Classics project started in December in 2007 has published Chinese-French, Chinese-Spanish, Chinese-Arabic, Chinese-Russian, Chinese-German, Chinese-Japanese, Chinese-Korean versions in an effort to achieve multilingual publication of Chinese culture classics.

In addition, over the past ten years, there have been many foreign translation projects of Chinese cultural classics which were vigorously promoted by Chinese government. The above-mentioned translation projects at the national level have enhanced the cultural confidence of the Chinese people and improved the soft power of Chinese culture. This is due not only to the importance of national support for traditional culture and translation, but also to the hard work of translators and publishers.

===4. The Current Status of Foreign Translation of Chinese Cultural Classics===

Under the background of economic globalization, the translation of Chinese cultural classics has made great progress with the great attention of the Chinese government and the joint efforts of many Chinese scholars and translators in recent years. In 1995, China began to launch the “Library of Chinese Classics” project, which was the first major publishing project in China to comprehensively and systematically introduce Chinese traditional cultural classics to the world. “Library of Chinese Classics” projects not only accurately translates China’s historical and cultural classics to the world, but also shows the world great Chinese culture. But even so, the current translation of Chinese classics is still facing many difficulties.

The first problem refers that there is a shortage of professional translation talents, and the coverage of translation talent education is also narrow. In the new era, China will unswervingly open wider to the outside world and strengthen its cultural self-confidence. Obviously, China is required to make efforts to promote Chinese culture to the world. The translation of Chinese cultural classics is one of the basic ways to promote the spread of Chinese culture to the world. The external translation and dissemination of cultural classics can not be separated from high-quality translation versions whose key lies in the cultivation of translation talents. At present, China lacks professional translation talents, and the coverage of translated language is narrow. Although China regards English as the basic content of national education and has basically established a higher education system covering the world’s major applied languages, the translation of Chinese cultural classics is a highly specialized translation work, which requires translators to be familiar with Chinese culture and have a deep understanding of the history and culture of the target-language countries This kind of integrated talents is relatively scarce, and it is difficult to cultivate a large number of such talents in a short period of time under the existing translation talent education mechanism.

Facing the strong competition of Western culture, the market-oriented communication mechanism is not perfect. The translation and dissemination of Chinese cultural classics should rely on the market-oriented publishing mechanism, while the cultivation of foreign audiences’ reading demands mainly depends on the improvement of China’s international influence, especially the improvement of China’s international status in the process of economic globalization. At present, in the face of the strong position of the West in the international discourse system, the translation and dissemination of Chinese cultural classics in the market publishing face the strong competition of Western culture. At the same time, the market demand for the publication and distribution of Chinese cultural classics also lacks effective integration, and it will be difficult to obtain lasting impetus to promote the dissemination of Chinese culture by relying too much on national financial investment or incorporating the translation and dissemination of Chinese cultural classics into the cultural exchange mechanism under the national financial burden. The imperfect market mechanism for the translation and dissemination of Chinese cultural classics, the lack of scientific evaluation of the international publishing market demand and targeted marketing mechanism are important problems in promoting the translation and dissemination of Chinese cultural classics.

On the other hand, the quality of translation is uneven, and the adaptability of local culture in target-language countries needs to be improved. The development of the foreign translation market of Chinese cultural classics not only needs to cultivate the reading needs of foreign audiences and incorporate them into the construction of the publishing market, but also needs to establish the awareness of quality and build a quality system. Nowadays, although some high-quality versions have been formed in the foreign language translation of cultural classics in China, the quality of some translation works is not satisfactory. It is difficult to accurately transform the classics into the local culture of target-language countries. Especially for some minority-language countries and ethnic groups, it is difficult for China to engage in high-quality foreign language translation and form an optional quality system due to the lack of professional translators. At the same time, when translating Chinese cultural classics into foreign languages, China needs to improve the localization of text content. Whether the translated works of Chinese cultural classics can be compatible with the history and culture of target-language countries will have an important impact on the dissemination ability of Chinese cultural classics.

At the same time, the translation of Chinese cultural classics is still unevenly distributed. At present, the translation of Chinese cultural classics mainly focuses on the cultural classics of the Han nationality, while the foreign translation of cultural classics of other nationalities are in the dilemma of “small quantity”. Due to their uniqueness, the foreign translation and dissemination of them are relatively more complex. According to statistics, there are less than 20 foreign translations of cultural classics of other nationalities in China since the late Qing Dynasty, and only a few ethnic cultural classics such as Tibetan, Mongolian, Zhuang and Kirgiz have been translated into English. Compared with the 1000 volumes of ethnic minority ancient books or Han cultural classics in the Catalogue of National Rare Books in China, there is a fact that there is a small amount of foreign translation in other ethnic cultural classics. And due to the factors of Chinese local translators, the languages of translation and introduction are relatively single. The translated cultural classics of other nationalities in China are mainly focused on literary subjects, while other fields such as medicine, agriculture, science and technology are often ignored. Therefore, the number of foreign translation of them is even less.

===5. Measures to Promote Foreign Translation of Chinese Classics===

Targeted measures are needed to solve the above problems. Firstly, foreign readers’ reading demands should be guided and cultivated and a market-oriented foreign publishing mechanism should be built. At present, China’s comprehensive national strength has improved significantly and it occupies an important position in the global trade system. The exchanges and interactions between China and other countries in the world are becoming increasingly frequent, and the demand for countries in the world to understand Chinese culture is increasing. China should further guide and cultivate people’s cognitive needs of Chinese culture, and promote the construction of market-oriented foreign publishing mechanism with high-quality translation versions of Chinese cultural classics. China should encourage domestic publishing enterprises with strong strength to go out. On the basis of scientific evaluation of other countries’ demand for Chinese cultural classics reading, effective marketing strategies should be determined. Meanwhile, China also need to establish sound sales channels, and form a positive interaction mechanism between the cultivation of foreign Chinese classics reading market and the overseas publishing industry for spreading Chinese culture.

Secondly, China should build a system of excellent translation of Chinese classics to improve the local adaptability of the translated versions. As the carrier of Chinese culture, the humanistic spirit of Chinese classics should go to the world with the development of our country. China should actively promote the construction of an excellent translation system of Chinese classics. While providing guarantee in terms of talents, funds and policies, the government should also establish a standard system for the translation of excellent classics, and form several alternative high-quality versions for different countries and nationalities. In the construction of the excellent system of translation of Chinese classics, China should strengthen the exchange between the translated versions and the local culture of the targeted-language countries and select different classics according to the historical culture and religious customs of different countries and nations, so as to avoid the conflict between the contents of classics and the historical culture and religious customs of relevant countries.

Thirdly, the government should improve the training mechanism of professional translation talents and increase the number of foreign language for education. China should actively promote the construction of professional translation talent system, and construct the corresponding talent training mechanism based on the principle of specialization in the translation of Chinese classics. For example, China should set up the translation major of Chinese classics in the current translation major and integrate it with the study of various languages. In the process of learning foreign languages, China can take the translation of Chinese classics as the basic teaching content. At the same time, China should also cooperate with the implementation of the Belt and Road Initiative to carry out targeted translation education of Chinese classics.

===Conclusion===

Chinese classics are the crystallization of the wisdom of the Chinese nation and still have important guiding value for the problems confronted by human today. With the continuous enhancement of China’s comprehensive national strength, the translation of Chinese classics is imperative. In the process of translating classics, we should improve the training mechanism of professional translation talents, build a market-oriented external publishing mechanism, and build a system of excellent translation of Chinese cultural classics, so as to promote the better dissemination of Chinese culture abroad and enhance China’s cultural soft power.

===References===
*Li Wenge 李文革.(2000). 中国文化典籍的文化意蕴及翻译问题 [The Cultural Implication and Translation of Chinese Cultural Classics] ''外语研究'' Foreign Languages Research (1)42-44.
*Liu Xingfeng 刘性峰.(2005). 典籍英译的意义 [The Significance of Translation From Chinese Classics into English] ''皖西学院学报'' Journal of West Anhui University (2)105-107.
*Qiu Kean 裘克安.(1991). 更好地组织中国文化代表作的英译和出版 [Better Organization for the English Translation and Publication of Chinese Cultural Masterpieces] ''中国翻译'' Chinese Translators Journal (2)4-5.
*Wang Rongpei 汪榕培.(1997). ''比较与翻译'' [Comparison and Translation] Shanghai: Shanghai Foreign Language Education Press 上海外语教育出版社.
*Yang yingfa, Zhang Ji 杨英法, 张骥.(2017). 中华文化软实力提升与汉语弘扬间关系探讨 [The Discuss on the Relationship Between the Advance of Chinese Cultural Soft Power and the Promotion of Chinese] ''石家庄学院学报'' Journal of Shijiazhuang University (4)106-110.

==英语笔译张姣玲 Zhang Jiaoling 202170081607 CE==

<center>'''On movie adaptation of Chinese classics - The example of Yu Hua’s ''To Live'''''</center>

<center>Zhang Jiaoling</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译张瑞 Zhang Rui 202170081608 MW==
<center>'''An Analysis of English Translation of Classical Prose Based on the Skopos Theory'''</center>

<center>张瑞 Zhang Rui</center>

===Abstract===
The information age has made cultural communication the norm in the world, and transmitting the essence of Chinese traditional culture to the world is not only an important way to show the profound cultural heritage of China, but also a good way to make the world understand China. This paper introduces the theory of cultural translation into the translation of Chinese classical prose. By selecting the classic prose of Han Yu, the first of the Eight Great Masters of the Tang and Song dynasties, as a case study, we analyze the English translation process of Han Yu's prose under the guidance of cultural translation, show the applicability of cultural translation in the English translation of classical prose, and provide new ideas and references for the future translation of classical prose.

===Key words===
Skopos Theory; Strategies for English translation of classical prose; the classic prose of Han Yu

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译赵宇翔 Zhao Yuxiang 202170081609 CE==
Research On Problems And Strategies of Translation of Chinese Classics

==英语笔译郑冬琴 Zheng Dongqin 202170081610 MW==

<center>'''The Development and Spread of Chinese Network Novels'''</center>

<center>Zheng Dongqin</center>

===Abstract===
Chinese online literature has had a history of more than 20 years of development, and it has gradually formed a mature development system. In recent years, with the rapid development and popularity of the Internet, online literature has played an increasingly large role in people's daily lives. Among them, online novels play a particularly important role in people's lives. Moreover, the development and dissemination of Chinese online novels overseas has also achieved great success. However, there are still some problems and shortcomings in the field of online fiction that need to be addressed. Therefore, in order to better promote Chinese cultural exports, we need to create our own cultural calling cards and promote Chinese network novels "go globle". In this paper, I will discuss five aspects of Chinese online fiction: definition, development, pros and cons, current situation and overseas dissemination.

===Key words===
Chinese Network Novels; Development; Dissemination; Value; Adaptation

===Introduction===
This paper focuses on the history of the development of Chinese online novels and the current state of their dissemination overseas. This essay is divided into five main parts. In the first part , it mainly gives a brief introduction to online novels, which includes three aspects of the definition, creative characteristics and main classifications of online novels. In the second part, it gives a brief overview of the history of the development of Chinese online novels, which includes the exploration stage, the transition stage and the maturity stage. In the third part, it discusses the pros and cons of Chinese online fiction in a dialectical manner. It mainly mentions the influence of online fiction on the younger generation, especially teenagers. In the fourth part, it analyses the current situation and trends of Chinese online novels, and it highlights the phenomenon of product homogenisation and the film and drama adaptations of popular novels. In the fifth part, it introduces the achievements of Chinese online novels in their overseas distribution by discussing two examples, namely The Legend of Zhen Huan and Ten Miles of Peach Blossoms. Finally, the paper provides a brief summary of the issues explored, with a view to offering some suggestions and help for Chinese culture to go global.

===1.A Brief Introduction to Network Novels===
1.1 Definition of network novels

Network novels are novels published by online writers relying on the web-based platform. It is a new genre of fiction that has emerged with the rapid development of the Internet. It is characterised by a wide variety of styles, unlimited genres, and simple publication and reading methods. Its main genres are fantasy and romance. The language of online novels is more colloquial and full of Internet buzzwords.(Cui Feng 2010) Besides, in addition to differences in textual content, network novels also make use of variations in symbols, patterns and typography compared to general novels. Online fiction is the main form of online literature.
Generally speaking, there is a broad and narrow definition of online fiction. Broadly speaking, it can include all fiction published and circulated on the Internet. However, on the narrower level of the origins of online fiction, it mainly refers to forms of fiction written by online writers and first published online, and then circulated.
Online novels fall into two main categories. One category is novels read by boys, which are generically referred to as male channel novels(男频), and the other category is novels read by girls, which are generically referred to as female channel novels(女频). Most novels read by boys seek to be powerful from body to power, while most novels read by girls are from the perspective of love. And the influence of these two types of novels depends on the ratio of males to females on the internet.

1.2 Creative characteristics of network novels

There is no doubt that online literature still belongs to the category of literature. Therefore, online novels naturally have the basic characteristics of all literary works. However, due to some characteristics of the Internet and the influence of the commercial model of literary websites, online literature has gradually formed its unique creative and artistic characteristics. The characteristics of online novels are mainly manifested in the following four aspects:
Firstly, the length of the network novel is very long. Because an online novel is usually formed in a long serial mode, it has a considerable number of words. Among them, long female channel novels are at least 600,000 words, while long male channel novels are up to millions of words.Secondly, online fiction is highly interactive. Because of the instantaneous nature of the Internet, authors and readers communicate online far more quickly than the previous correspondence. This makes online works naturally a little more interactive. What really determines the interactivity of an online novel, however, is its serial nature. Because online novels are often divided into chapters and sections, presented and completed gradually over a long period of serialisation, readers are able to express their views on the work at any point in its creation, expressing their appreciation or dissatisfaction, and offering suggestions and expectations for subsequent content. These comments will be seen by the author in the first instance. They can then influence the creation of the work to a large extent.Thirdly, the threshold for the creation of online novels is low. Generally speaking, the threshold for the creation of traditional literature is very high, and not any work can be published. However, the editorial and vetting standards for online literature are very low. Anyone who is literate and can tell a story has the opportunity to become an online writer, or even an online author. In other words, in the realm of online fiction, anyone who publishes and gets a certain number of readers can generate income. As a result, more and more people are becoming online writers and the creation of online novels is gradually becoming a way to earn an income.Fourth, online fiction is like a kind of fast food literature. The evaluation criteria of traditional literature are mainly reflected in values, outlook on life, and the author's writing skills. However, the focus of online novels is on entertainment and the reader's pleasure in reading them. In order to cater to the needs of readers, most online writers overly pursue the quantity of novels at the expense of quality. They over-express the reader's desires in their works, which makes them lack artistic and emotional value. Internet novels are like a kind of fast-food literature, which lacks nutrition and is difficult to be remembered and loved in the long run.

1.3 Classification of network novels

Online novels can be broadly classified into the following genres: fantasy novels, martial arts novels, immortal novels, science fiction, urban novels, romantic novels, supernatural novels, historical novels, mystery novels, military novels, sports novels, game novels, fan fiction, boy’s love novels, two-dimensional space novels and etc.According to online reader statistics, the ten most popular online novels are：

1、The Legend of Goku - Now Where 《悟空传》- 今何在

2、Ghost Blows Out the Light - Blogging site 《鬼吹灯》- 天下霸唱

3、Purple River - Old Pig 《紫川》- 老猪

4、Blasphemy - South of the Smoke 《亵渎》- 烟雨江南

5、Nebulous Journey - Potential Flute 《缥缈之旅》- 萧潜

6、How Bad Men Are Made - Six Paths 《坏蛋是怎样炼成的》- 六道

7、Time Raiders - Uncle Three of Southern School 《盗墓笔记》- 南派三叔

8、Kill the Immortals - Pot Flute 《诛仙》- 萧鼎

9、Fights Break Sphere - Silkworm Potato 《斗破苍穹》- 天蚕土豆

10、AutoFull - Wind Blow Strong 《傲风》- 风行烈

===2.The Development History of Chinese Network Novels===
Chinese online literature has had a history of over 20 years of development. Throughout the history of the development of online literature, we can divide it into three development stages: the exploration stage, the transition stage and the mature stage.

2.1 Exploration stage

During this period, online novels were mainly carried on computers and the payment model was established. In 1998, Riffraff Cai's The First Intimate Contact 《第一次亲密接触》was published on the Bulletin Board System(BBS), which opened the era of Chinese online novels. For the next 10 years, the computer served as the main vehicle for users to disseminate and read online literature. In October 2003, the business model of online literature became clear when the Starting Point Chinese Network Fiction(起点中文网)pioneered the paid online reading model. Some of the so-called "gods" of online fiction began to appear, and online fiction had its own stable, youth-centred and relatively small reading group. Annie Baby, Li Xunhuan and Xing Yusen were also representative online writers of that period.

2.2 Transition stage

From 2008 to 2014, online literature entered a transitional period, when reading behaviour began to penetrate into mobile smart devices. Around 2011, the proportion of users who read online literature on computers declined year by year, while the number of users on mobile smart devices grew rapidly. At the same time, reading platforms in the form of apps also sprang up, and mobile bookstores such as QQ Reading and Palm Reader became increasingly popular. After 2014, smartphones, tablets and other mobile smart devices became popular in China, making mobile phones the largest reading channel for online literature users. Novels in genres such as tomb raiding, mystery and romance have seen rapid development. Representative works of this period include Time Raiders, Tomb of the Gods and Fights Break Sphere.

2.3 Mature stage

As the scale of the online literature market continues to expand, Internet giants have become involved in online literature, and online literature enterprises have embarked on a stage of large-scale group operations. (Zhang Hainan,Han Lei 2021:79-83)In 2013, Tencent and the core team of the former Starting Point Chinese website (起点中文网)cooperated to establish Genesis Chinese Website(创世中文网); Baidu acquired 100% of the equity of Zongheng Chinese Website (纵横中文网)for 191.5 million; In 2014, Zongheng Chinese Website, 91 Panda Book (91熊猫看书)and Baidu Book City (百度书城)merged to form Baidu Literature(百度文学). In 2015, Chinese Online (17K Novel Website) was listed on the A-share GEM board with a $2 billion capital increase to build a pan-entertainment ecology. After Tencent's $5 billion acquisition of Shanda Literature Limited(盛大文学), it merged with Tencent Literature to form China Reading Limited(阅文集团); Ali acquired Shuqi Novel (书旗小说)and UC Book City (UC书城)and merged them with its own mobile reading business to form Ali Literature. At this point, the industry pattern of domestic online literature has basically taken shape.Since 2018, online literature has entered an era of convergence. The IP operation of online literature has gradually matured, film and television dramas and games adapted from online literature are favoured by the market, and free reading has gradually emerged, creating a new model of "free + advertising". Internet literature has established its own unique literary system and has received widespread attention from society. It has also become an important source for film and television adaptations. Nowadays, it seems that many important film and television works have come from online literature, and these super IPs have had a huge impact on the development of film and television culture. Representative works from this period include The Legend of Zhen Huan《甄嬛传》, The Legend of Mi Yue《芈月传》, The Journey of Flower《花千骨》, and Nirvana in Fire《琅琊榜》.

Nowadays, Chinese online literature has become an important literary phenomenon that cannot be ignored and has become an indispensable cultural resource for the younger generation. At the same time, from the perspective of world literature, China-centred online literature written in Chinese can be considered a unique phenomenon. Its unique creative characteristics and mode of operation are incomparable. It now seems that Chinese online literature has also gained its own unique status and significance in the development of literature across the globe. The wide distribution of The Three Bodies overseas in recent years is a good example of this.

===3.The Pros and Cons of Chinese Network Novels===
As a new form of literature, online literature has had a huge impact on people's daily lives. Like a double-edged sword, online fiction has its unique value and significance, but also has many problems and shortcomings. Therefore, we should adopt the right attitude towards it and take the essence and remove the dross.

3.1 The Pros of Chinese Online Fiction

3.1.1 Reading online novels can develop literary literacy

Firstly, there are many excellent works in online fiction that deserve to be read and appreciated with care. Outstanding online novels are characterised by their dramatic storylines, superb writing skills and meaningful themes. By learning from the authors' writing methods, we can develop our imagination and creativity, and thus improve our own writing skills.(Li Xin 2016:172) At the same time, by reading excellent works, we can increase our knowledge, broaden our horizons and improve our literary skills.

3.1.2 Reading online novels can improve reading skills

Secondly, because the online novel is serialized, it is updated very quickly and in very large numbers of words. Readers have something new to read almost every day. This means that in order to keep up with the author's updates, the reader needs to be able to read very quickly. If the reader is reading several online novels at the same time, then he needs to be able to read faster. Thus, by exercising over time, the reader can develop a good habit of reading every day and can improve his or her reading skills and abilities to a great extent.

3.1.3 Reading online novels can relieve stress

Thirdly, online novels can help readers to vent their negative emotions and relieve stress to a certain extent. In today's highly developed economic, political and cultural world, people face a variety of challenges and pressures in their daily lives, such as the pressure of marriage, interpersonal relationships, mortgage repayments, further education and job promotions, and so on. They are reluctant to face the cruelty of reality and need a space where they can forget their worries and keep their mood happy. Therefore, the beautiful virtual worlds created by online novels have gradually become a place for people to vent their emotions, express their desires and seek solace. Moreover, with the rapid development of the Internet, mobile communication devices have become widely popular. Nowadays, almost everyone, young and old, has their own mobile phone, which makes it possible for people to read online novels through various mobile apps and websites anytime and anywhere. We have found that the majority of readers of online novels in China find themselves relieving their stress and gaining a great deal of pleasure from reading online novels. For female readers, they tend to read romance novels and urban novels. For male readers, they prefer to read mystery novels and tomb raiding novels. In short, for those devoted novel lovers, the virtual world constructed by online novels is a perfect, utopian ideal society. As the characters and storylines portrayed in online novels are very close to life, such a setting easily arouses readers' emotional resonance, thus giving them a strong sense of vicariousness. In this virtual world, they can relieve the stress and worries brought about by the real world, allowing them to relax their long-tightened nerves. This is also a form of stress relief for the young generation of today.

3.2 The Cons of Chinese Online Fiction

3.2.1 Adverse effects on people's daily habits

In this highly developed society with the Internet, people can use mobile phone apps to read online novels anytime and anywhere. It is because of this convenience that online novels are having an increasing impact on people's daily lives. Online fiction is like a drug that makes people addicted to them. For adult readers who are addicted to online novels, they read all day and night and do not even feel hungry. As a result of staring at their mobile phone screens for long hours, some suffer from myopia, while others are so addicted to the pleasure and thrill of reading online novels that they miss work. Faced with online novels, they lack self-control and self-discipline, which makes them break the regular routine of life. When reading online novels, they see themselves as the protagonists in the novels, causing them to be unable to distinguish between real life and the virtual world. Over time, this group of people who are obsessed with online novels may suffer from severe procrastination, which then puts their lives in a vicious cycle.
While for young readers, the dangers posed by online novels seem to be even more serious. Some online novels are not suitable for teenagers. If young readers are exposed to these novels, it is inevitable that they will become too precocious and may even lead them astray. For example, one of the most iconic Internet classics, The First Intimate Contact, is very popular among secondary school students. The author tells a poignant love story that expresses a common ideal in metropolitan life, namely the desire to make romantic love denied in reality a reality in the virtual world. (Li Xin 2016:172) Many teenagers have admitted that they have imagined or even actually experienced online romance after reading The First Intimate Contact. In addition, many urban and romance novels such as Laugh Slightly Very Bend City, The Left Ear and Fleet of Time also have had an impact on teenagers.

3.2.2 Causing distortion of values

Because of the low threshold for the creation of online novels and the lax regulation of the market, there are many low-quality works on the Internet that contain unhealthy information. These vulgar novels are filled with many contents that are not conducive to the healthy physical and mental development of young people, such as violence, cruelty, pornography, selfishness and so on. In the process of reading online novels, readers will unconsciously accept these wrong values. As the main force of the online novel reading group, teenagers are often more susceptible to the influence of bad values. On the one hand, as the minds and hearts of teenagers are not yet mature, they lack the ability to select works and self-discipline. On the other hand, as teenagers are more curious about the unknown, they are more likely to be attracted to the characters portrayed in online novels and develop a stronger sense of immersion. Moreover, as teenagers are in the process of forming their values and worldview, the harmful information in online novels can have a huge negative impact on their values, and may even cause distortion of values. For example, some reported cases of school bullying, murder and rape are related to the harm caused by vulgar online novels.

3.2.3 Fast food novels waste time

Many online novels are fast food novels. It would be a mistake for people to devote too much time and energy to these online novels. Due to the low threshold for the creation of online novels and the lax regulation of the market, various genres of online novels are springing up in the world today, which makes many online writers see their creation as a way to make profit only, and they devote more time and energy to the quantity rather than the quality of their novels. As a result, most online novels are written with a tumultuous plot to capture the reader's attention and interest. These novels often lack depth of thoughtfulness, and some even contain frequent misspellings, misuse of idioms and grammatical errors. If we fail to spot these errors in time, this can inadvertently deepen our impression of the wrong usage to the extent that these errors may appear in our own writing.
In addition, readers tend to read online novels at a very fast pace. Some can even finish reading several online novels in a day. However, these fast-food novels, which lack nutrition and value, do not give readers a great deal to gain. When people are reading these online novels, the content of the novels hardly cause the readers to think. As a result, readers are not impressed with the content of the novels after reading them. This kind of reading behaviour without value and meaning is in essence a waste of time. Instead of wasting our time and energy on these unproductive online novels, it would be better for us to choose a classic work of literature to read and appreciate its connotations and meanings by heart. By reading and appreciating the classics, we can communicate with great souls across time and space. In this way, our literary skills can be improved, our minds can be sublimated and our souls can be purified. So, from now on, please take the time to develop a good habit of reading classics again, which will benefit you for the rest of your life.

===4.The Status and Trend of Chinese Network Novels===
4.1 Homogenization of products

Although the market is flooded with online novels of various genres and themes, only truly outstanding works are accepted and loved by the public. As a result, there is serious vicious competition in the field of online fiction, which has led to the homogenisation of products in the current online fiction market. When a work becomes successful, there will be many imitations. Many novels have highly similar themes, motifs and plots, and even have very similar backgrounds, characterisations and life settings. Once these popular characterisations have formed a fixed format, they become as similar as industrially produced products. As a result, these similar novels will cause aesthetic fatigue among the audience and their dissemination will be greatly reduced. (Qin Junxiang,Li Ting 2017:38-42)For example, online novelist Qiong Yao publicly reported on Weibo that Yu Zheng's Palace 3:The Lost Daughter《宫锁连城》had copied several plots from her work The Plum Blossoms《梅花烙》. In addition, when the TV series Jade Palace Lock Heart《宫》 started to make a splash on TV screens in 2011, there were many other similarly titled dramas. Some authors ignored historical facts and made a mess of historical adaptations in order to cater to the taste of their audience, which reduced the literary, artistic and aesthetic value of the work itself. Some authors even deliberately make up all sorts of fascinating but unethical plots in order to gain high click-through rates, which has caused a distortion of the values of some works. This series of homogenisation and vicious competition has not only led to infringement and plagiarism, but has also led to monotonous content of works, aesthetic fatigue among readers and an impact on the market order. In short, homogenisation and plagiarism are not conducive to the innovation and development of online literature.The relevant government departments should strengthen the supervision and regulation of the online literature market. They should establish a sound copyright protection mechanism, improve the professionalism and aesthetic level of online authors and film producers, and raise audiences' awareness of copyright protection, so as to promote the healthy and benign development of the online literature market and the film industry.(Liu Yang 2017:95)

4.2 Adaptation of novels into film and TV series

The emergence of film and television adaptations of online novels can be traced back to The First Intimate Contact , an adaptation of the novel of the same name by Chinese Taiwanese author Tsai Chi-hang. This novel was made into a film in 2000 and adapted into a TV series in 2004. This was the first time in the history of Chinese film and television that an online novel was adapted into a film or television production. (Xiao Yudi,Ouyang Changlin 2021:33-38)However, the audience response at the time was poor, with fans who had read the original novel not liking the format and content presented in the TV series very much. Although the audience response did not meet expectations, it made the novel an instant hit. The first trial of a web novel adaptation showed its potential and problems, drawing the attention of some film and television producers. After six years of hibernation, the adaptation of web novels for film and television finally made its official entry onto the television screen in 2010. The first wave of Chinese online novels adapted for film and television was marked by the TV series Beauty's Rival in Palace《美人心计》.Subsequently, costume dramas such as The Legend of Zhen Huan《甄嬛传》, Startling by Each Step《步步惊心》, Princess Dumping World《倾世皇妃》and Jade Palace Lock Heart《宫锁心玉》received high ratings and were unanimously praised and recommended by the public. Soon, with the rise and development of online video platforms, China ushered in a second wave of web novel adaptation dramas. In 2015, there were a number of web novel adaptations represented by The Journey of Flower《花千骨》 and Nirvana in Fire《琅琊榜》, which not only achieved high ratings during their television broadcast, but also reaped superb viewership and buzz on major video platforms. In 2017, the online novel adaptation television series Ten Miles of Peach Blossoms《三生三世十里桃花》began to dominate the public's attention, marking the arrival of the third wave of adaptation boom. The drama took over Weibo's top searches and headlines almost every day, and its original novel, plot, cast, headgear, make-up, costumes and soundtrack became a daily topic of conversation for the public at their leisure. In recent years, popular costume dramas such as East Palace《东宫》, Qing Yu Nian《庆余年》 and The Untamed《陈情令》have brought the craze for web novel adaptations to a peak.In terms of film and TV drama adaptations of novels, costume and romance novels have become the main trends in Chinese online novels.

===5.The Overseas Dissemination of Chinese Network Novels===
In recent years, Chinese costume novels have become very popular overseas. There are websites dedicated to Chinese novels such as "Wuxia World"(武侠世界) and "Webnovel"(起点国际). There are even people overseas who read serialised novels to kick drug addiction and treat depression. This shows the huge influence of our online novels overseas.

For example, in recent years, Legend of Concubine Zhen Huan has become popular in Japan, South Korea and some countries and regions in Southeast Asia. In addition, the cast of The Legend of Concubine Zhen Huan has joined forces with the American television station HBO to edit the original 76-episode series into six short episodes (each 90 minutes long) for broadcast overseas. The release of Legend of Concubine Zhen Huan on the US pay platform Netflix a few years ago also created a national sensation, and Legend of Chu Qiao《楚乔传》and Ten Miles of Peach Blossoms have long been officially synchronised on Youtube at the time of its launch. This marked the successful spread of Chinese costume novels overseas.

Take Ten Miles of Peach Blossoms as an example, the translator of Ten Miles of Peach Blossoms, Poppy Toland, is a British freelance translator who studied Chinese at the University of Leeds and lived in Beijing, China for four years. She was commissioned by Amazon.com, the copyright holder of the novel, to translate Ten Miles of Peach Blossoms into English before the TV series hit the airwaves.(Ma Xiaoxing,Zhao Mengyuan 2020:59-62) In order to ensure that the translation does not lose the flavour of the original, she insists on using the translation strategy of domestication to deal with the linguistic forms. However, for the cultural elements in the original work (such as mythology, religion and other cultural factors), she introduces Chinese culture directly to Western readers through the method of foreignization. On 23 August 2016, To the Sky Kingdom, the English translation of Ten Miles of Peach Blossoms, was released on Amazon in the United States. Upon its release, the translation reached number three on Amazon's Asian Literature bestseller list and number one in the Asian Literature section of the Kindle Edition bestseller list. The translation was recommended to foreign readers on Amazon.com, along with other famous novels such as Three Bodies《三体》and Wolf Totem《狼图腾》, and was once ranked the third best-selling Chinese novel on Amazon.com.It shows that Chinese online novels have achieved great success in overseas distribution.

===Conclusion===
After more than two decades of development, Chinese online novels have developed a relatively mature industry system, not only in terms of accumulation in the domestic market, but also in terms of expansion in overseas markets. However, there are still some problems and shortcomings in the process of its domestic development and overseas distribution. Therefore, we need to further improve the quality and value of Chinese online novels and strive to build a unique international cultural brand of our own. We need to help Chinese culture go overseas through cultural branding so that more foreign friends can understand and enjoy traditional Chinese culture. In short, it is the duty of every Chinese to strengthen our cultural soft power and enhance the cultural confidence of the Chinese nation.

===References===
*Cui Feng 崔冯.(2010).网络小说的文体特征研究[Research on the Genre Characteristics of Online Novels].重庆师范大学Chongqing Normal University.
*Li Xin 李昕.(2016).网络小说利弊纵横谈[The Pros and Cons of Online Novels].西部皮革Western Leather(12):172.
*Liu Yang 刘杨.(2017).中国网络小说改编剧的困境与建议[The Dilemma and Suggestions of Chinese Online Novel Adaptations].参花Participation Flowers(16):95.
*Ma Xiaoxing, Zhao Mengyuan 马孝幸,赵梦源.(2020).中国文化“走出去”背景下的网文出海研究——以《三生三世十里桃花》外译为例[A Study on the Overseas Translation of Chinese Culture in the Context of "Going Global"--The Foreign Translation of "Ten Miles of Peach Blossoms].新阅读New Reading(08):59-62.
*Qin Junxiang,Li Ting 秦俊香,李婷.(2017).网络小说改编剧的同质化现象批评——以权谋宫斗题材古装剧为例[Criticism of the Homogenization Phenomenon of Online Novel Adaptations - Taking Ancient Costume Dramas on the Theme of Power and Palace Combat as An Example].中国电视China TV(06):38-42.
*Xiao Yudi, Ouyang Changlin 肖雨笛,欧阳常林.(2021).网络小说改编剧的狂欢与思考[The Carnival and Reflection on the Adaptation of Online Novels].肇庆学院学报Journal of Zhaoqing College(03):33-38.
*Zhang Hainan, Han Lei 张海楠,韩磊.(2021).网络小说创作主体迅猛发展成因探析[An Analysis of the Causes of the Rapid Development of the Main Body of Network Novel Creation].兰州文理学院学报(社会科学版)Journal of Lanzhou College of Arts and Sciences (Social Science Edition)(03):79-83.

===Terms and expressions===
*The Legend of Goku 《悟空传》
*Ghost Blows Out the Light 《鬼吹灯》
*Purple River 《紫川》
*Blasphemy 《亵渎》
*Nebulous Journey 《缥缈之旅》
*How Bad Men Are Made 《坏蛋是怎样炼成的》
*Time Raiders 《盗墓笔记》
*Kill the Immortals 《诛仙》
*Fights Break Sphere 《斗破苍穹》
*AutoFull 《傲风》
*Wolf Totem《狼图腾》
*Nirvana in Fire《琅琊榜》
*The Legend of Zhen Huan《甄嬛传》
*The Plum Blossoms《梅花烙》
*Jade Palace Lock Heart《宫》
*Laugh Slightly Very Bend City 《微微一笑很倾城》
*The Left Ear 《左耳》
*Fleet of Time 《匆匆那年》
*Startling by Each Step《步步惊心》
*The Journey of Flower《花千骨》
*East Palace《东宫》
*The Untamed《陈情令》
*Qing Yu Nian《庆余年》
*Legend of Chu Qiao《楚乔传》
*To the Sky Kingdom《三生三世十里桃花》
*The First Intimate Contact 《第一次亲密接触》
*The Legend of Mi Yue《芈月传》
*Palace 3:The Lost Daughter《宫锁连城》
*Princess Dumping World《倾世皇妃》
*Beauty's Rival in Palace《美人心计》
*Men's Channel 男频，即男生频道，是网络小说网中对男生爱看的网络小说的一种称呼。男频以玄幻、推理、盗墓等题材的小说为主。
*Women's Channel 女频，即女生频道，是网络小说网中对女生爱看的网络小说的一种称呼。女频以都市、言情和穿越等题材的小说为主。

===Questions===
1.Which of the following is a common genre of male channel fiction?

A.Time Travel Fiction

B.Fantasy Novels

C.Romance Fiction

D.Urban Soap Novels

2.When was the online novel The First Intimate Contact published?

A.In 1996

B.In 1997

C.In 1998

D.In 1999

3.How many stages does the author of this article divide the history of Chinese online fiction into?

A.2

B.3

C.4

D.5

4.Which of the following is not a work by Yu Zheng?

A.Jade Palace Lock Heart

B.Palace 3:The Lost Daughter

C.Beauty's Rival in Palace

D.The Plum Blossoms

5.Which of the following novels is a work of transition stage?

A.The First Intimate Contact

B.Nirvana in Fire

C.Time Raiders

D.The Untamed

===Answers===
1.B

2.C

3.B

4.D

5.C

==英语笔译钟青 Zhong Qing 202170081611 CE==
On the Translation and Spread of Three Kingdoms

==英语笔译周皓熙 Zhou Haoxi 202170081612 MW==
On the Translation and Spread of Guanzi

==英语笔译周哲 Zhou Zhe 202170081613 CE==
<center>'''On the Translation of Peony Pavilion'''</center>

<center>周哲 Zhou Zhe</center>

===Abstract===
The Peony Pavilion, also known as "The Return of the Soul", is a masterpiece by Tang Xianzu (1550-1616), an outstanding Chinese opera singer of the 16th century. Compared with the script, The Peony Pavilion has not only been greatly changed in terms of plot and description, it has also improved greatly in terms of theme and thought. The Peony Pavilion has also reached an unparalleled artistic level in terms of diction, singing, music, stance and performance. In this essay, the full translations by Wang Rongpei, Cyril Birch, and Zhang Guangqian are selected for analysis and comparison, and their translations are abbreviated as follows: Wang's translation, Birch's translation, and Zhang's translation.

===Key words===
conveying the meaning in its full flavor; The Peony Pavillion;

===Introduction===
''The Peony Pavilion'', with its dizzying plot and magnificent structure, is especially good at portraying characters. With more than 160 characters, the play is a living panorama of the times. The artistic and literary value of ''The Peony Pavilion'' has been highly praised in both China and the West. The ''Drama 100: A Ranking of the Greatest Plays of All Time'' (2008) by Daniel S. Burt ranks ''The Peony Pavilion'' at number 32, and he (2008:184) comments that Tang Xianzu's ''The Peony Pavilion'' is the first great work to feature a female protagonist, and from it the reader can enter the tradition of Chinese classical literature.As you can see, this is still a very high opinion.

The earliest English translation of ''The Peony Pavilion'' is Acton's hybridity of translation "Ch'un-hsiang Nao Hsüeh" in Tian Hsia Monthly, vol. 8, no. 4, 1939. Cyril Birch translated some scenes of The Peony Pavilion in 1965 in Selected Readings in Chinese Literature, and published a full translation in 1980 at Indiana University Press; Zhang Guangqian's full English translation was published by Beijing Foreign Language Press in 2001; and Wang Rongpei's full English rhyming translation was first published by Shanghai Foreign Language Education Press in 2000. In 1999, an English version of the novel ''The Peony Pavilion'' was published. One adaptation, by Chen Meilin, was published by New World Press, and another adaptation was published by Seahorse Books, New Jersey, USA.

===Translator Introduction===
1. Wang Rongpei's Translation

Professor Wang Rongpei began his translation of The Peony Pavilion in 1996, which lasted for more than three years. In order to get a sense of Tang Xianzu's life and writing, he visited Tang's hometown of Fuzhou, Jiangxi Province, which was called Linchuan in the old times, in March 1999. In the preface to his translation, Professor Wang said that he set the goal of "conveying the meaning in its full flavor" for his translation. Specifically speaking, first, the translation should creatively and accurately reproduce the style of the original. In the process of translation, he tried to recreate the original in English to reflect the beauty of the original text, so he translated the prose dialogues or monologues into understandable English as much as possible. For example, he translated “吾今年已二八,未逢折桂之夫” as "I've turned sixteen now, but no one has come to ask for my hand". At the same time, when translating the lyrics and verses, the original imagery of the author is kept as much as possible without affecting the understanding of the English readers, otherwise it is rather sacrificed and replaced by corresponding expressions in English. Second, for the poetic and lyric parts of the original text, some forms of traditional English metrical poetry are adopted in translation. In addition, the lyrics of Tang Xianzu's The Peony Pavilion follows a strict tune, and the poetic part is also in the form of metrical poetry. Therefore, Professor Wang uses the iambic pentameter as the basic format and adopts a variety of different rhyme schemes when translating them.

2. Birch’s Translation

Birch was born in Lancaster, England, in 1925. He studied Chinese at the Institute of Oriental and African Studies at the University of London, where he received his Ph.D. in Chinese literature in 1954, taught Chinese at his alma mater from 1948 to 1960, taught in the Department of Oriental Languages at Berkeley University in 1960, and later became Professor of Chinese and Comparative Literature and Head of the Department, retiring from Berkeley University in 1991 as Professor Emeritus. Birch 's writings cover traditional Chinese fiction and drama as well as modern Chinese literature, and he is best known for his translations of Ming dynasty plays and stories. His translations of The Peony Pavilion (Acts 1-5, 7, 9, and 10) were published in the third issues of The Translation Series, respectively. Although Birch had edited many anthologies of Chinese literature in verse and verse, his favorite of all literary genres was classical drama. Bai's translation of The Peony Pavilion was published by Indiana University Press in 1980. Birch is a leading contemporary American sinologist who, in addition to his translation of The Peony Pavilion, has translated works such as Chinese Gods and Monsters, Selected Stories of the Ming Dynasty, and Selected Plays of the Chinese Ming Dynasty, and has edited books such as Selected Readings in Chinese Literature and Studies in Chinese Literary Genres. His essays on The Peony Pavilion include "(The Peony Pavilion) or (The Return of the Soul)," "The Structure of The Peony Pavilion," and "The Winter's Tale> and The Peony Pavilion.

Birch 's English translation reproduces the original in fluent modern English and is generally faithful to the original text, with free verse in both the choral and poetic sections (Wang Rongpei, 2000:33). This is evidence of his rigorous academic attitude. It took at least seven or eight years from the earliest translation to the final revision of the text. In general, Birch's translation was a success, and all performances of The Peony Pavilion in the West were based on Birch 's translation, but his translation was not immune to the errors of understanding that are common among Western translators.

3. Zhang Xianqian’s Translation

Zhang Guangqian's translation of The Peony Pavilion was published by the Travel Education Press in 1994 and reprinted by the Beijing Foreign Language Press in 2001, the first full English translation done independently by a Chinese translator.

In his preface to The Peony Pavilion, Professor Wang Rongpei (2000:35-36) also comments on Zhang's translation, arguing that, compared to Birch's translation, Zhang's translation has the greatest advantage of being more accurate in conveying the meaning of the original, which is a clear strength of Chinese translators in translating Chinese classical masterpieces. It is clear from the translation that Zhang's mastery of ancient literary knowledge is very solid. In his translations of the lyrics and verses, he uses the format of sung poetry on most occasions, with iambic pentameter as the basic rhythm, and occasional rhymes that follow their nature. On the whole, Zhang Guangqian's translation is successful, and in many places it is more accurate and refined than Birch's translation.

===Examples and Analysis===
Example 1:（柳梦梅）：谩说书中能富贵，颜如玉，和黄金那里?

Wang: The saying goes that studies bring the wealth, but where is pretty lady and

where is gold?

Birch: "In books lie fame and fortune," they say—then tell me, where are the jade-smooth cheeks, the room of yellow gold?

Zhang: Some say that books will provide you with what you need, Yet, where is the promised beauty, where the gold?

The Peony Pavilion is a masterpiece of Tang Xianzu. Tang Xianzu is good at quoting scriptures and references, and there are countless allusions and proverbs in the book, which gives the text a deep cultural connotation. From the perspective of "reaching the meaning", when translating this kind of text, we should not only pay attention to the semantic meaning of the language, but also pay more attention to the semantic meaning and cognitive meaning. Specifically. This is reflected in the translation of words with profound cultural connotations. In this sense, it is not easy to translate classical operas to "reach the meaning", but it is even more difficult to "convey the spirit".

For the understanding of "In books lie fame and fortune", there is a problem with the translation of Birch, which does not mean that books themselves can give people wealth, but that they can create wealth only after learning and mastering knowledge. And Zhang's translation "Some say that books will provide you with what you need" does not clearly translate what "wealth" is. The chorus also contains two words with cultural connotations: "Yan Ru Yu" and "House of Gold". Birch's translation literally translates "the jade-smooth checks" and "the room of yellow gold," but not the true meaning of these two words. On the issue of cultural treatment, Prof. Wang's strategy is to reflect his own understanding directly into the translation, as his translation is intended for a general Western audience, and therefore does not add additional notes on the words that contain cultural connotations. The strategy adopted by the Zhang translation is consistent with that of the Wang translation.

Example 2:（柳梦梅）：敢甚处里杨曾系马?

Wang: Are you an old acquaintance to see me now?

Birch: In some former time and place, did we "tie our steeds beneath green aspen"?

Zhang: Or, is it because your horse was once attached to my tree?

This is the phrase that Liu Mengmei asked Du Liniang, who guessed where they had met before? The phrase "敢甚处里杨曾系马" is a cultural phrase related to the times. In feudal China, unmarried girls could only stay in their boudoir. Therefore, it is not logical to translate it as "met somewhere". However, the literal translation

The literal translation does not reflect the cultural connotation of the sentence, so the paraphrase is used. Both Bai and Zhang translate literally, which may not be understood by readers of the target language and may even cause misunderstanding. Wang's translation is more appropriate and better conveys the connotation of the original text, achieving a high level of "reaching the meaning" at the linguistic and cognitive levels.

Example 3:（陈最良）： "玉不琢，不成器；人不学，不知道。"

Wang: As The Book of Rites says, "Uncarved jade is unfit for use; uneducated men

are unaware of Tao."

Birch: "Jade unsculpted unfit for use; person untutored unaware of the Way."

Zhang: It's said, "Unpolished jade has little worth; untutored man has little wit."

The phrase "If jade is not cut, it does not become a tool; if a man does not learn, he does not know" is from the Book of Rites, and for Western readers who do not know Chinese culture, they do not know the context of the phrase, so Wang adds "The Book of Rites" in the translation to make it clear to readers at a glance, and it is easier for them to understand the context after understanding the cultural background of the phrase. Although Zhang's translation adds "It" to indicate that this is a well-known thing, it does not specify the specific source, so the reader still cannot understand it. If we look at this sentence from the perspective of "conveying the meaning", its "conveying the spirit" lies mainly in its simplicity and neat syntax. If we look at these three translations only from the perspective of "conveying the meaning", they are indeed comparable, but a careful reader will find that Wang's choice of words is actually very careful. Normally, "Uncarved", "unsculpted" and "Unpolished" seem to have the same meaning, but when they are placed in the whole sentence, the difference appears. If the word "Uncarved" in Wang's translation is replaced by "unsculpted" or "Unpolished", the rhythm of the whole sentence will be incongruous, and it will be awkward to read. This is the same reason why Wang used "islet" instead of "isle" in his translation of the Book of Psalms. Obviously, Wang's translation has paid attention to the problem of rhyme, so it reads with a particularly strong sense of rhythm.

Example 4:（杜丽娘）：先生万福。

（春香）：先生万福。

Wang: I wish you happiness, respected tutor.

I wish you kindness, respected tutor.

Birch: Our best respects, esteemed sir.

We hope you're not vexed, esteemed sir.

Zhang: Boundless happiness to my teacher.

Boundless kindness to your pupils.

These are the words spoken by Du Liniang and Chunxiang as they salute Chen Milliang. Although the words spoken by the maids are the same as those spoken by the ladies, the translation should be different to show their different linguistic characteristics. Wang and Zhang did notice this point, but from the point of view of "expressing the meaning", it is Birch's translation that is more accurate. Since they are late in entering the school, the teacher is already a little upset, so Chunxiang says "Don't be angry, teacher!" when greeting her. This accurately conveys the quick-talking character of Chunxiang, a maid, and also fits the situation at that time.

The author keeps emphasizing that the parameters of "conveyance" are analyzed for expository reasons, but in specific texts, many of them are integrated with each other, as in this case. The previous paragraph is analyzed on a pragmatic level, but it does not reflect the "transmission"! The wording, tone, and inflection of Duliniang and Chunxiang's speech all reflect the translation's grasp of the style and emotion of the original text. Still, "convey the spirit and meaning" should be grasped as a whole, as can be seen from this example.

Example 5:（杜丽娘）：以后不敢了。

（春香）：知道了。今夜不睡了，三更时分，请老师上书。

Wang: I won't be late from now on.

I see, I won't go to the bed tonight and I shall ask you to give me lessons at midnight.

Birch: We shall not be late again.

We understand. Tonight we won't go to bed so that we can present ourselves for our lesson in the middle of the night.

Zhang: I won't be late again.

I see. Tonight I won't go to bed at all so that teacher can start the lessons at midnight.

Du Liniang and Chunxiang both bowed to the gentleman, Chen Miliang said: "Girls, you should get up immediately after the rooster crows and greet your parents first. After eating breakfast, you should do whatever you want to do. If you are studying, you should get up early" (Zhao Shanlin, 2002:11). These two lines are their response to Chen Milliang's rebuke, in which Chunxiang's reply is relatively sharp, which on the one hand reflects Chunxiang's quick-talking character, and on the other hand, reveals On the one hand, this reflects Chunxiang's quick-talking character, but on the other hand, it also reveals her attitude of not being convinced by Chen Miliang's words.

Looking at the three translations from the perspective of "expressing the meaning", Wang and Zhang have no problem with their translations, but Birch has a deviation in his understanding. The deviation of Birch's translation does not occur at the semantic level, but at the pragmatic and cognitive level, which is reflected in Birch's insufficient understanding of traditional Chinese culture. According to the old rituals and customs, the rich and noble families had a very strict hierarchy of respect, and the young lady and the maid had to take into account their status and position when they spoke, so the "We" in Birch's translation is inappropriate, and in addition, Birch's translation of the latter paragraph does not express the meaning of "asking the teacher to write a letter".

In terms of "evocative", Wang's translation is better overall. The mischievous Chunxiang hates reading the boring Confucian classics and deliberately messes with Chen Mingliang, while Duliniang originally shares Chunxiang's feelings, but she still acts serious in front of Chen Mingliang due to the constraints of ritual. Compared with the Birch translation, the Wang translation pays more attention to observing the psychological changes of the characters, especially highlighting the word "please" in the original text, which accurately conveys the characteristics of Chunxiang's sharp tongue and her defiant state of mind at that time, and well captures the change of emotions in the "transmission".

Example 6:（杜丽娘）（作恼介）：劣丫头那里去?

（春香）：溺尿去也。原来有座大花园。花明柳绿，好耍子哩。

Wang: Where have you been, nasty maid?

I've been to the toilet. I went by a big garden overgrown with flowers and willows. It's fun over there.

Birch: (annoyed)： What have you been doing, silly creature?

Peeing. But I found a lovely big garden full of pretty flowers and willows, lots of fun.

Zhang: Naughty girl, where have you been?

Pissing. I happened to have discovered a huge garden, with lush trees and bright flowers. A very nice place indeed.

After Chen Miliang finished explaining the "Poetry", he asked Du Liniang to write again. Chunxiang stayed at one side really impatient, excuse to go to the toilet to sneak out to play. After a long time, when Du Liniang saw that Chunxiang had not come back, she said, "Why hasn't Chunxiang come back yet? Du Liniang scolded: "Bad girl, where did you go"? Chunxiang replied: "I went to pee. There is a big garden behind the house, with red flowers and green willows, which is very interesting!" (Zhao Shanlin, 2002:12).

This play is called "Make Trouble in School", and this "trouble" is mainly manifested in Chunxiang's body, but of course, it is only with Du Liniang's tacit approval. The difference between the two of them in status, position and upbringing is so great that it is not possible for Du Liniang to make a scene like Chunxiang, but Du Liniang's "scene" is in the dark, elegant and clever. In fact, this is Du Liniang in front of Chen most Liang fake anger at Chunxiang, but in fact full of pity for her; and Chunxiang also know Du Liniang will not really blame her. Chunxiang's mischievousness is also obvious.

The above three translations are more accurate in terms of "conveying the meaning", but the subtle differences are reflected in "conveying the spirit", which is also expressed in the transmission of "emotion". Reading through the context, we know that Chunxiang's answer of "peeing" is actually an excuse, not really going to "pee", but the transitive word "But" in the Birch translation gives the impression that Chunxiang really went to pee, but happened to find a garden when she returned. Wang and Zhang are more accurate in handling this detail, and they are in the middle of the pack.

From the above examples, we can see that there are many factors to be considered in the translation process, such as character characteristics, tone of voice, psychological state, language characteristics, etc., but it is not easy to take into account the overall situation, which is a test of the translator's language mastery and skills.

Example 6:（柳梦梅）：好一座宝殿哩。怎生左边这牌位上写着＂杜小姐神王＂，是那位女王

（石道姑）：是没人题主哩。杜小姐。

Wang: What a magnificent hall! On the memorial tablet on the left is the inscription "The Spiri of Miss Du". What's the meaning of "spiri"? To complete the service, we need someone to add the final letter. It's "The Spirit of Miss Du" .

Birch: What a majestic temple! By the way, which queen is that memorial tablet

Oh, it's Miss Du's memorial tablet. The last stroke hasn't been added onto it yet.

Zhang: What a magnificent shrine! But I don't understand the inscription on this tablet: "The Ruler, Miss Du." Which "ruler" was this? The character that looks like "ruler" needs an extra dot on top to make it read “host”, that is to say, “tablet lodging the spirit of Miss Du.” We are waiting for some person of distinction to inscribe the dot.

This dialogue is from the 33rd episode of The Peony Pavilion, "Secret Discussion". Liu Mengmei was entrusted by Du Liniang to dig a grave for her, but he was a scholar, so he had to follow Du Liniang's suggestion and come to Shi Dao Gu for discussion (Zhao Shanlin, 2002:127). Then Shi Dao Gu leads Liu Mengmei to visit the temple, and Liu Mengmei exclaims: What a precious temple. Why does the tablet on the left say "Miss Du, God King"? Shi Daoist nun replied: "No one is the subject. Miss Du." In the olden days, when the deceased was given the sign of the gods, a point was deliberately missing from the 'main' and a prestigious person was asked to put a dot on it with a vermilion pen on a certain day, and this ceremony was called "dotting the main" or "inscribing the main" (ibid., 2002:128).

From the translations of the three translators, they all have a certain understanding of the ancient customary ritual of "inscription of the Lord", among which Wang and Zhang express the meaning more clearly, while Birch omits the phrase "How can the left side of this tablet have Miss Du's divine king written on it", which is unknown whether it is a mistake of the translator or some other reason, and cannot be verified.

This is particularly evident in Wang's translation, where "convey the spirit" is the sublimation of "reach the meaning". Zhang's translation basically conveys the meaning, and the language is more plain. The treatment of Shan in the Qian translation is very impressive. It can be said. The words "stem" and "main" in the text are word games. This is a difficult point in translation. It is very tricky. But at the same time. If handled properly, it will add an unexpected effect to the translation. Wang's translation is very creative, as he creates his own word "Spiri" and "Spirit" to echo each other, bringing out the effect of "王" and "主" in the original text.

Example 7:

（杜丽娘）：晓妆台圆梦鹊声高，

闲把金钗带笑破。

博山秋影飘，

盼泥金俺明香暗焦。

Wang: When magpies greet me for my happy dream,

I tap my golden hairpins with a smile.

The incense smoke coils in autumn breeze

And makes me anxious for news all the while.

Birch: Noisy magpies greeted my rising

Presage of dream's fulfilment;

With happy smile I set my gold hair ornaments.

Fragrant smoke mingled with autumn haze,

Hopes of gilded placard of success Burned bright as incense glow.

Zhang: The chirping magpies are discussing last night's dream;

Smile creeps on my lips as I tap the golden pins.

Autumn wavers in incense smoke.

Yearning for word of success,

My heart burns like the incense sticks.

On the day of Liu Mengmei's examination, Du Liniang was at home waiting for the result of the examination. When Du Liniang got up early in the morning to do her make-up in the mirror, the sound of magpies reported the good news, which was in accordance with the auspicious omen in her dream, so she was in a particularly good mood. Among them, "博山" refers to the Boshan stove, a kind of incense burner; "泥金" refers to the mud gold post, which is used to report the joy of the new entry into the earth and the enrolment in the university; "焦" is a semantic double meaning: one refers to the incense burning into ashes, and the other refers to the anxiety in Du Liniang's heart.

Double meaning refers to the use of speech, a word, or a sentence in a certain linguistic environment, while associating two different things, expressing double meaning, and the words in this meaning in the other, also known as "multiple meaning association". The literal meaning of double meaning is clear; the implicit meaning is implied. From the point of view of "expressing the meaning", the three translations are inaccurate: first, the use of "Noisy" to describe the magpie's cry is inaccurate, as we know from the above analysis that the magpie's cry here means "announcing good news". The second is that the phrase "盼泥金俺明香暗焦" is inaccurate, not like "hope for good news is burning", but that Du Liniang's heart is very anxious.

From the point of view of "conveyance of spirit". Let's look at the problem of form first. It is obvious that the original text has only four lines, but Zhang's translation has one more line; Wang's translation is relatively concise and clear, and while paying attention to rhyme, it also uses the rhyme scheme of xava without losing time, which has a strong sense of rhythm. In terms of conveying emotions, Wang and Zhang are comparable in that they both express the anxious mood of Duliniang, but the difference between them lies in the fact that Wang uses implicit metaphors while Zhang uses explicit ones.

Example 8:（杜丽娘）：可知我一生儿爱好是天然。

Wang: （DuLiniang）：But love of beauty is my natural design.

Birch: （Du）：Always my nature to love fine things.

Zhang: （Du）： My love of beauty is of natural build.

This is one of the more famous lines in The Peony Pavilion, which is usually widely recited as a clear and beautiful phrase. However, there are two ways to interpret these two lines: First, it can be seen that my lifelong hobby is "天然", that is, I like things in their natural color; second, it can be seen that my lifelong love of "好" is natural, that is, the love of beauty is my nature. In the absence of context, both understandings are fine. However, the difference will be obvious. The difference will be obvious. This has to be inferred from the context of the chant. This is the tenth play "dream" in the singing words. It was a beautiful day. In the morning, the sound of birds and swallows woke up Du Liniang from her sleep, and Chunxiang brought Du Liniang dressing clothes, and Du Liniang dressed up in the mirror. Chunxiang saw the beauty of the lady, could not help but say: "today’s dressing is really good"! This immediately resonated with Du Liniang. With this context, the meaning of this line is obvious: "It is my nature to love beauty". Among the above three translations, Wang's and Zhang's are accurate, while Birch's does not match the original. This shows that reasonable logical reasoning in context is also necessary in translation.

Example 9:（杜丽娘）：原来姹紫嫣红开遍，似这般都付与断井颓垣。良辰美景奈何天，赏心乐事谁家院!

Wang: (Du Liniang)：The flowers glitter brightly in the air,

Around the wells and walls deserted here and there Where is the "pleasant day and pretty sight"? Who can enjoy the "contentment and delight"?

Birch: (Du)： See how deepest purple, brightest scarlet Open their beauty only to dry dwell crumbling. "Bright the morn, lovely the scene," Listless and lost the heart—where is the garden "gay with joyous cries"?

Zhang: (Du)： So the garden is all abloom in pink and red, yet all abandoned to dry wells and crumbling walls. The best of seasons won't forever last; can any household claim undying joy?

These are the four most famous lines of the Peony Pavilion. When Du Liniang finished dressing, Chunxiang reminded Du Liniang that it was time for breakfast, so they walked out of the room and came to the garden with spring colors. Looking at such a beautiful scenery in front of her. Du Liniang could not help but exclaim: "the original flowers bloom so bright and beautiful". But at the same time see the dilapidated walls, wells, can not help but be sad: "Such a beautiful scenery, how is in such a dilapidated courtyard it? This is just like their beautiful youth is buried? As the old saying goes, ''It is difficult to combine the four: good time, beautiful scenery, pleasure and joy. (Zhao Shanlin, 2002:29-30).

From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".

The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Khan's translation. First of all, the "spirit" of Khan's translation is reflected in the form. The original rhymes with "abab", while the Wang translation rhymes with "aabb", and what is even more remarkable is that the Wang translation also takes into account the rhythm of the translation while rhyming, which gives a sense of intonation and staccato. Secondly, Wang's translation is very good at conveying emotions. The lyrics make one feel the faint sorrow of Du Liniang: she is enchanted by the beauty in front of her, and on the other hand, she is saddened by the spring sorrow she has nowhere else to go. The lyrics include "姹紫嫣红" and "断井颓垣", "良辰美景奈何天" and "赏心乐事谁家院!" One happy and one sad corresponding to the state of mind of Du Liniang depicted to the fullest, sad! It must be admitted that the words are emotionally charged. The words used by the translator indicate the kind of emotion he wants to express. The words "pleasant", "pretty", "contentment" and "bright" in Wang's translation are all words that mean "beautiful", but the addition of a "?" at the end of the sentence has the opposite effect. The effect is the opposite after adding a "?" at the end of the sentence, and the use of two "?" in a row in the third and fourth sentences to enhance the effect. It can be seen that Wang's translation conveys the emotion in a very clever way, so that people can appreciate the meaning of the original text without realizing it.

===Conclusion===
From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Wang Peirong's translation.

===References===
*Wang Rongpei (2000). The Peony Pavilion. Changsha: Hunan People's Press
*Zhao Shanlin. Selected Reviews on The Peony Pavilion. Shanghai: Shanghai Ancient Books Press

==英语笔译朱丽娟 Zhu Lijuan 202170081614 MW==
The Sinicization of Religion And its Development in China

==英语口译段小蝶 Duan Xiaodie 202170081615 CE==

<center>'''Difficulties and Countermeasures in the Translation of Chinese Classics'''</center>

<center>Duan Xiaodie</center>

===Abstract===
The translation of Chinese classics is an important part of the external transmission of Chinese culture. The difficulties and obstacles to the translation of Chinese classics in modern times mainly exist in the following aspects: 1) the pattern of world culture dominated by the west, the edge of the China culture in the contemporary and weak position; 2) the definition of Chinese cultural classics is unclear; 3) The translation concept of China cultural classics needs to be updated; 4) inadequate investigation of translation, 5) inaccurate grasp of audience taste, 6) inadequate understanding of translation work, 7) lack of talent and other subjective and objective factors. This paper aims to analyze the current situation of Chinese cultural transmission to the outside world, explain the causes of the above obstacles, and put forward several personal thoughts trying to overcome these obstacles like using diversified media, flexible presentation means and flexible cooperation with foreign companies, changing the way of the training translation talents in colleges and universities in order to achieve better Chinese culture transmission.

===Key words===
Chinese Classics; Translation and Transmission; Difficulties and Countermeasures

===Introduction===
Improving cultural soft power is an inevitable requirement and important condition for the rise of a country. The concept of soft power is proposed by Joseph Nye. "The country's soft power is mainly from three kinds of resources: culture (where it works to create appeal in other countries), political values (when it can really live up to those values at home and abroad), and foreign policy (when it is seen as having legitimacy and moral authority)." (Joseph Nye, 2018). China has a history of thousands of years, and cultural classics are the cultural quintessence precipitated in its long history, which embodies the spirit and values of the Chinese people.
The translation of Chinese classics is one of the most important parts in the media of China cultural transmission. Chinese literature has long been translated and introduced to foreign countries in various ways. With the improvement of China's international status and the proposal of the "going out" strategy, the translation of Chinese classics has shown an increasing trend in terms of type and quantity. The translation of Chinese classics is one of the most important parts in the media of China cultural transmission. Chinese literature has long been translated and introduced to foreign countries in various ways. The large - scale and systematic "going out" efforts planned by China include: Panda Books published in 1981 and Library of the Chinese Classics published in 1995. At the same time, the government has also set up the Chinese Academic Foreign Translation Project, which aims to cultivate translation talents and encourage translators to promote traditional Chinese classics overseas. In October 2011, the "Decision of the CPC Central Committee on Several Major Issues Concerning Deepening the Reform of the Cultural System and Promoting the Great Development and Prosperity of Socialist Culture" pointed out: "Implement the cultural going out project, improve the policies and measures to support cultural products and services going out, support key mainstream media to set up branches overseas, cultivate a number of export-oriented cultural enterprises and intermediary institutions with international competitiveness, improve the support mechanisms for translation, promotion, and consultation, and open up the international cultural market." However, despite the strong support of the government, the translation of contemporary Chinese cultural classics is still in the dilemma of "self-congratulation" in isolation. The response to these efforts abroad has also been very limited. In the case of the Panda Series, for example, most of the translations did not generate any repercussions among British and American readers, except for a few translations that were welcomed by British and American readers. According to sales statistics around the world, the "Panda Series" can sometimes sell dozens of copies, sometimes only two or three copies, and sometimes even one cannot be sold. China’s cultural strength and cultural influence do not match its international status. Although in the economic field, "Made in China" products have gone global and brought a huge trade surplus to China, in the cultural field, China's "trade deficit" situation is still serious, which is worth pondering deeply.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==比较文学与跨文化研究 MAHZAD SADAT HEYDARIAN 202021080004 MW==
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Academies of Classical Learning

The Shūyuàn (书院), usually known in English as Academies or Academies of Classical Learning, were private research and educational institutions in ancient China. They were built as early as the eighth century and flourished during the tenth and eleventh centuries with the support of various Emperors. The Shuyuan were not only centers for the compilation and study of classical literature, but were crucial for the development of Confucianism and Neo-Confucianism; notable Confucian thinkers such as Zhu Xi and Wang Yangming developed their ideas and taught at the Shuyuan.

==外国语言文学 Muhammad Numan 202121080002 CE==

==英语语言文学 TOURE MARIAM 202021080005 MW==

==外国语言文学 UDDIN NIZAM 202121080007 CE==

Chinese Classics in World Literature: The Viewpoints of the West towards the Four Famous Chinese Novels

==翻译学 201911080004 SAGARA SEYDOU MW==

Chinese Classics in World literature . Anthologies and World Literary History Book