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Cult Load Words EN 8

2021-12-29T13:04:27Z

Zhou Xiaoxue: /* Conclusion */

=Chapter 8:The Translation of Culture Loaded Words in English and Japanese Versions of Medicine=

'''《药》英日译本中文化负载词的翻译对比研究'''

周小雪 Zhou Xiaoxue, Hunan Normal University, China

===Abstract===
Language is an indispensable carrier of culture and closely related to culture. The translation of culture-loaded words has been one of the difficult problems for translators. Rich cultural connotations carried by culture-loaded words make it hard for the translator to find words in the target language that are equivalent to the original text in the source language. The same culture-loaded word may have different translation methods according to different target languages. This paper takes the novel Medicine as the research object, exploring the differences between English and Japanese translation text of the same culture-loaded words in it.

===Key words===
Culture-loaded Words; Medicine; English and Japanese Translation

=== 题目 ===
《药》英日译本中文化负载词的翻译对比研究
=== 摘要 ===
文化负载词的翻译一直是译者面临的一个难题。文化负载词背后的文化因素使得译者很难找到与之对应的词句。对于同一文化负载词，不同的语言有不同的翻译方法。本文以鲁迅的小说《药》为例，探讨同一文本中文化负载词的英、日翻译对比。

=== 关键词 ===
文化负载词；《药》；英日翻译对比
===Introduction===
Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only follow some principles and strategies to translate in the ways of faithfulness, expressiveness and elegance, but also consider the cultural concepts behind each word in the source text. Culture-loaded words have always been a difficult problem in translation. Due to cross-cultural differences, it is difficult for the translator to find equivalent words in the target language. In the translating process, the translation work done in a comparatively mechanical manner would make it hard for us to understand the true meaning of the source text. Therefore, the translation of culture-loaded words plays a very important role in the translation work.

===1. Culture-Loaded Words===

===1.1 Definition of Culture Loaded Words===
Language is an indispensable carrier of culture and closely related to culture. With the development of cross-cultural communication, more and more scholars begin to study with the translation of culture-loaded words. Different people have different definitions about culture-loaded words. Mona Baker put forward the the concept of “culture-specific” that one word in the source language is always different in the target language, which makes readers from the target language culture confused. There are not only abstract culture-loaded words involving religious beliefs or cultural customs, but also specific ones. Spanish translator Javier Franco Aixela put forward the definition of "cultural-specific item”. It holds that “there are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no equvalent item in the cultural system of the target language.In China, Jin Huikang thought “culture-loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent word. "(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of lexical gaps, meaning that the cultural information carried by one word in the source language has no counterpart in the target language. (Bao Huinan, 2004:10) He thinks that “every language is the product in the cultural development of one country and nation, and has its long historical background and rich cultural connotations. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, different language has its own specific vocabulary, idioms and allusions and culture-loaded words reflect such concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are "Words, phrases and idioms marking the unique things in its culture. These words reflect the unique activity mode gradually accumulated by one nation in the long historical process, which is different from other nations."(Liao Qiyi 2000:230) Language reflects different living conditions and religious beliefs, which lead to different thinking modes, moral values, and aesthetic standards. (Wang Chuanmei, 2008:5) Culture-loaded words are closely related to culture and have rich cultural significance. These words are closely related to cultural both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics.(Wu Xiaodan, 2015:19)

===1.2 Classification of Culture-loaded Words===
Nida points out that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is a challenging question for study or discussion. Nida divided culture-loaded words intoß five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refers to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words The main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as costume, architecture, cuisine and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries.

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior patterns. The words reflecting the characteristics of these fields are called social cultural-loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Japanese versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs. Therefore, in order to have a better understand of the culture of one nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious beliefs and cultural tradition of one nation or people. The difference of religious culture between countries makes it hard for readers to understand the words embodied in the religious culture.

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words, whose visual and linguistic effects are the biggest characteristics of this kind of words.

In the development history of one nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, and a certain cultural background or other characteristics are linguistic culture-loaded words. There are a lot of culture-loaded words in the novel Medicine.

===2.Introduction of Medicine===
Lu Xun was a great writer and thinker in modern China. His articles reflected the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, these cultural loaded words truly reflect the national culture of the times in the novel. At this point, the thesis chooses the masterpiece, Medicine as the typical representative of LuXun, the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.

===3.The Comparison of Culture-loaded words'Translation between English and Japanese of Medicine===
Lu Xun's novel Medicine contains a great deal of cultural load Words, and rich connotation.The research uses the English translation of Yang Hsien-yi in 1960 and the Japanese translation done by Inoue Kōbai in 1931 as the examples discussing the different translation strategies of culture-loaded words in English and Japanese version.

3.1 Ecological Culture-loaded Words （1）茶馆的两间屋子里，便弥漫了青白的光。 Yang:which shed a ghostly light over the two rooms of the tea-house. Inoue :青白い光は茶館の中のに満ちた。 “茶馆”means a place for drinking tea and is an important place in the novel. Chinese has the habit of drinking tea, so teahouse is a unique place in China, which is translated into English as tea-house, translated Japanese as “茶館”. （2）西关外靠着城根的地面，本是一块官地。　 Yang:Originally, the land adjacent to the city wall outside the West Gate had been public land. Inoue :西関外の城の根元にる地面はもとからの官有地で Both Yang and Inoue used free translation to translate “官地”,which are simple and easy for readers to understand. （3）老栓正在专心走路，忽然吃了一惊，远远里看见一条丁字街，明明白白横着。 Yang:Old Chuan was startled when he saw distinctly the cross-road ahead of him. Inoue :老栓はひたすら歩みを続けているうちにたちまち物に驚かされた。そこは一条の丁字街がありありと眼前に横たわっていたのだ。 Yang adopted the domesticating method, translating“丁字街” as “cross-road”,Inoue adopted the foreignizing method, translating“丁字街” as “丁字街”. The translation of Yang makes it easier for readers to understand what “丁字街”is,while the translation of Inoue will give readers a sense of freshnes.

3.2 Material Culture-loaded Words （1）衣服前后一个大白圆圈，远地里也看的清楚。走过面前的，并且看出号衣上暗红色的镶边。 Yang:The large white circles on their uniforms, both in front and behind, were clear even at a distance; and as they drew nearer, he saw the dark red border too. Inoue :近寄って来ると、その白い円いものはの上の染め抜きで、のふちぬいの中にあることを知った。 The meaning of “号衣”is the marked garment worn by soldiers, officers, etc. in old times and marked with the words "soldier" or "brave". Yang translated it as a “uniform”, while Wang translates it as “のふちぬい”.Both adopted domesticating method. （2）便点上灯笼，吹媳灯盏，走向里屋去了。 Yang:then lighting a paper lantern and blowing out the lamp went into the inner room. Inoue :そこで彼はに火を移し、燈盞を吹き消して裏部屋の方へ行った。 Yang translated “灯笼” as“paper lantern” , while Inoue used Chinese words directly. （3）华大妈在枕头底下掏了半天，掏出一包洋钱，交给老栓。 Yang:After some fumbling under the pillow his wife produced a packet of silver dollars which she handed over. Old Chuan pocketed it nervously, patted his pocket twice Inoue :華大媽は枕の下をさぐって一包みの銀貨を取出し、老栓に手渡す。 The foreign currency used in China at that time was called “洋钱”.Yang adopted the domesticating method, translating“洋钱” as “silver dollars”.Because the meaning of “銀貨” in Japanese is similar to the meaning of “洋钱”in Chinese,so Inoue adopted translated“洋钱” as “銀貨”.But neither Yang nor Wang translated the meaning of foreign coins （4）那人一只大手，向他摊着；一只手却撮着一个鲜红的馒头，那红的还是一点一点的往下滴。 Yang:This man thrust one huge extended hand towards him, while in the other he held a roll of steamed bread, from which crimson drops were dripping to the ground. Inoue :その人は老栓の方に大きな手をひろげ、片ッぽの手に赤いをんでいたが、赤い汁は饅頭の上からぼたぼた落ちていた。 Because of bread is more common in the West, so Yang translated “馒头” into “a roll of steamed bread”. In Japan, they also have “馒头”,so Inoue translated “馒头” into “饅頭”. But it should be noted that “饅頭” are a little different from “馒头”. Both Yang and Inoue adopted foreignizing method. （5）小路上又来了一个女人,也是半百头发，褴褛的衣裙；提一个破旧的朱漆圆篮，外挂一串纸锭，三步一歇的走。 Yang:Another woman came down the path, grey-haired and in rags. Carrying an old, round, red-lacquered basket with a string of paper money hanging from it, she walked haltingly. Inoue :の上にまた一人、女が来た。これもの頭での著物の下に襤褸のをつけ、壊れかかったの丸籠を提げて、外へ銀紙のお宝を吊し、とぼとぼと力なく歩いて来た。 “纸锭” are made of tin foil paste silver ingot-like ghost money. Superstition holds that incineration is given to the dead so that they can be used as money. Both Yang and Inoue adopted the way of literal translation.

3.3 Social Culture Culture-loaded Words （1）老栓候他平静下去，才低低的叫道，“小栓……你不要起来。……店么？你娘会安排的。 Yang:Old Chuan called softly: "Son! . . Don't you get up! . . . Your mother will see to the shop." Inoue :老栓はそののおさまるのを待って、静かに口をひらいた。「お前は起きないでいい。店はお母さんがいいにする」 Chinese people are used to calling older people “小~”younger people “小~”. Yang adopted domesticating transliteration strategy translating “老栓” as “Old Chuan”. , Inoue adopted foreignizing method using“老栓”directly. （2）老栓倒觉爽快，仿佛一旦变了少年，得了神通，有给人生命的本领似的，跨步格外高远。而且路也愈走愈分明，天也愈走愈亮了。 Yang:It was much colder than indoors, yet Old Chuan's spirits rose, as if he had grown suddenly younger and possessed some miraculous life-giving power. He lengthened his stride. And the road became increasingly clear, the sky increasingly bright. Inoue :天気は室内よりもよほど冷やかで老栓は爽快に感じた。何だか今日は子供の昔に還って、神通を得て人の命の本体を掴みにゆくような気がして、歩いているうちにも馬鹿に気高くなってしまった。行けば行くほど路がハッキリして来た。行けば行くほど空が亮るくなって来た。 The meaning of “神通”is getting magical powers.Yang adopted domesticating translation strategy,while Inoue adopted foreignizing method using“神通”directly. （3）仿佛抱着一个十世单传的婴儿。 Yang:as if it were the sole heir to an ancient house. Inoue :さながらの十世単伝の一人子を抱いているようなものであった。 The author refers to the preciousness of "human blood steamed bread" through the "十世单传". Yang adopted free translation strategy,while Inoue adopted literal translation strategy.However, both Yang and Inoue did not attach too much importance to the status of the only child, so readers cannot perceive the author's metaphorical meaning through this source area. （4）“谁的？不就是夏四奶奶的儿子么？ Yang:"Who? Son of Widow Hsia, of course! Young rascal! Inoue :「誰って、きまってまさ。夏四奶奶の子さ。あの餓鬼め」 Neither English nor Japanese can convey the meaning of the original text well. Yang Widow translated “夏四奶奶”into “Son of Widow Hsia”by free translation. Inoue adopted transliteration using“夏四奶奶”directly that will make people misunderstanding about the original text. （5）康大叔见众人都耸起耳朵听他，便格外高兴。 Yang:Seeing how they all hung on his words, Mr. Kang's spirits rose even higher. Inoue :康おじさんはみんながを引立てているのを見て、に得意になって瘤のがハチ切れそうな声を出した。 "叔" is the title of the father's younger brother. Now "叔" also refers to an older adult man, or a man more than 20 years older than oneself. In English, "uncle" does not mean blood relationship. "Mr. Kang" does not show the relationship between people.Both Yang and Inoue used domesticating method. （6）第一要算我们栓叔运气；第二是夏三爷赏了二十五两雪白的银子，独子落腰包，一文不花。 Yang:Our Old Chuan was luckiest, and after him Third Uncle Hsia. He pocketed the whole reward—twenty-five taels of bright silver—and didn't have to spend a cent!" Inoue :「第一は栓じいさんの運気を取逃がさねえためだ。第二は夏三爺から出る二十五両のの銀をそっくりのの中に納めて一文もつかわねえ算段だ」 Yang Widow translated “夏三爷”into “Third Uncle Hsia”by free translation. Inoue adopted transliteration using“夏三爺”directly. （7）夏三爷真是乖角儿，要是他不先告官，连他满门抄斩。 Yang:Third Uncle Hsia is really smart. If he hadn't informed, even his family would have been executed, and their property confiscated. Inoue :夏三爺はすばしッこいね。もし前に訴え出がなければ今頃はどんな風になるのだろう。一家一門は皆殺されているぜ。 “乖角儿” in Chinese means a clever and intelligent person. “满门抄斩” is an ancient Chinese punishment, which means to confiscate property and kill the whole family. Both Yang and Inoue used domesticating method. （8）“义哥是一手好拳棒，这两下，一定够他受用了。” Yang:Red-eye is a good boxer. Those slaps must have hurt!" Inoue :義哥は棒使いの名人だ。二つも食ったら参っちまうぜ It was difficult to understand the local dialect.Both Yang and Inoue used domesticating method. （9）他这贱骨头打不怕，还要说可怜可怜哩。 Yang:"The rotter was not afraid of being beaten. He even said how sorry he was." Inoue :「ところがあの馬の骨め、打たれても平気で、そうだ。そうだ、と抜かしやがるんだ」 "贱骨头" is a common saying often used by Chinese people to scold people. It was difficult for translators to translate it. So both Yang and Inoue used domesticating method and free translation. （10）这一年的清明，分外寒冷。 Yang:The Ching Ming Festival that year was unusually cold. Inoue :今年の清明節は殊の外寒く “清明” is a traditional Chinese festival. It is also one of the most important sacrificial festivals. It is also the day for ancestor worship and tomb sweeping. Influenced by Chinese culture, in Japan,they also have “清明”. so it can be directly translated as Japan’s “清明節” .Because the western countries do not have this holiday, so Yang translated it as “The Ching Ming Festival”by foreignizing method.

3.4 Linguistic Culture-loaded Words （1）只有小栓坐在里牌的桌前吃饭，大粒的汗，从额上滚下，夹袄也贴住了脊心，两块肩胛骨高高凸出印成一个阳文的”八”字。 Yang:Only his son sat eating at a table by the wall. Beads of sweat stood out on his forehead, his lined jacket clung to his spine, and his shoulder blades stuck out so sharply, an inverted V seemed stamped there. Inoue :見ると額の上から大粒の汗がころげ落ち、左右の肩骨が近頃めっきり高くなって、背中にピタリとついている夾襖の上に、八字の皺が浮紋のように飛び出していた。 “阳文”is the pattern printed on some utensils. It describes the bony appearance of Xiao Shuan. Lu Xun used the character "eight" to tell readers that Xiao Shuan is thin and weak, which is very vivid and clear to us. However, it is difficult for foreign language readers to understand. The inverted English letter "V" is very similar to the Chinese letter "八".so Yang translated it to "V". And since Japan also has the word "八", so Inoue used it directly. （2）还要老虎头上搔痒，便给他两个嘴巴！ Yang:and then the young fool would 'scratch the tiger's head,' so he gave him a couple of slaps." Inoue :あいつが虎の頭を掻いたから堪らない。たちまちポカポカと二つほど頂戴したぜ "老虎头上搔痒" is a allegory of boldness, recklessness and overreach. It can also be extended to mean "seeking death" or "not afraid of death". both Yang and Inoue adopted literal translation.

===Conclusion===
Culture-loaded words are closely related to culture and have rich cultural conceptions. These words are closely related to cultural relations, both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics. The biggest difficulty in translation is not the language itself, but the cultural conceptions that language carries. Medicine, as one national literary work, contains a large number of culture-loaded words. The culture-loaded words in Medicine are classified on the basis of classification, and we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. The great differences between eastern and Western cultures make it difficult to achieve a perfect equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method or free translation. While China and Japan have had a long communication history since ancient times and Japanese culture has been greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation or transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have some similar culture and also use Chinese characters. In addition, foreignizing translation, domestication translation, literal translation, free translation, and transliteration are not isolated from each other, sometimes they need to be combined to play a better role in the translation of culture-loaded words. The translation of culture-loaded word involves all aspects of culture and is a complex process needing further discussion. Only by fully understanding the cultural concepts of the source text and accurately interpreting the author's intention, can the translation better convey the cultural information of culture-loaded words to readers.

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Bao Huinan包惠南(2001),《文化语境与语言翻译》[Cultural context and language translation]。北京：中国对外翻译岀版公司 Beijing: China International Translation & Publication Company.

Guo Shuai郭帅(2019).《边城》英俄译本文化负载词翻译策略研究 The Translation of Culture-Loaded Words in English and Russian Versions of ''Border Town''[D].北京外国语大学 Beijing Foreign Studies University.

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Jin Huikang金惠康(2003),跨文化交际翻译 Cross-cultural communication translation［Ｍ］.中国对外翻译出版公司 China International Translation and Publishing Corporation.

Li Ying(2017). Chinese-English Translation of Culture-loaded Words from the Perspective of Interpretation Theory: A Case Study of Simultaneous Interpretation of Important Chinese Leaders'Conference. Journal of Liaoning University of Engineering and Technology (Social Science Edition),19 (04): 419-424.

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LuXun鲁迅(2015)，呐喊[Outcry]［Ｍ］.南京：江苏人民出版社 Nanjing:Jiangsu People's Publishing House.

Ni Xiaopeng倪晓鹏(2014). 《阿Q正传》中的文化负载词日译研究 Japanese Translation of Cultural Load Words In Ah Q Zhengzhuan [D].广东外语外贸大学 Guangdong University of Foreign Studies.

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Cult Load Words EN 8

2021-12-29T13:01:34Z

Zhou Xiaoxue: /* 2.Introduction of Medicine */

=Chapter 8:The Translation of Culture Loaded Words in English and Japanese Versions of Medicine=

'''《药》英日译本中文化负载词的翻译对比研究'''

周小雪 Zhou Xiaoxue, Hunan Normal University, China

===Abstract===
Language is an indispensable carrier of culture and closely related to culture. The translation of culture-loaded words has been one of the difficult problems for translators. Rich cultural connotations carried by culture-loaded words make it hard for the translator to find words in the target language that are equivalent to the original text in the source language. The same culture-loaded word may have different translation methods according to different target languages. This paper takes the novel Medicine as the research object, exploring the differences between English and Japanese translation text of the same culture-loaded words in it.

===Key words===
Culture-loaded Words; Medicine; English and Japanese Translation

=== 题目 ===
《药》英日译本中文化负载词的翻译对比研究
=== 摘要 ===
文化负载词的翻译一直是译者面临的一个难题。文化负载词背后的文化因素使得译者很难找到与之对应的词句。对于同一文化负载词，不同的语言有不同的翻译方法。本文以鲁迅的小说《药》为例，探讨同一文本中文化负载词的英、日翻译对比。

=== 关键词 ===
文化负载词；《药》；英日翻译对比
===Introduction===
Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only follow some principles and strategies to translate in the ways of faithfulness, expressiveness and elegance, but also consider the cultural concepts behind each word in the source text. Culture-loaded words have always been a difficult problem in translation. Due to cross-cultural differences, it is difficult for the translator to find equivalent words in the target language. In the translating process, the translation work done in a comparatively mechanical manner would make it hard for us to understand the true meaning of the source text. Therefore, the translation of culture-loaded words plays a very important role in the translation work.

===1. Culture-Loaded Words===

===1.1 Definition of Culture Loaded Words===
Language is an indispensable carrier of culture and closely related to culture. With the development of cross-cultural communication, more and more scholars begin to study with the translation of culture-loaded words. Different people have different definitions about culture-loaded words. Mona Baker put forward the the concept of “culture-specific” that one word in the source language is always different in the target language, which makes readers from the target language culture confused. There are not only abstract culture-loaded words involving religious beliefs or cultural customs, but also specific ones. Spanish translator Javier Franco Aixela put forward the definition of "cultural-specific item”. It holds that “there are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no equvalent item in the cultural system of the target language.In China, Jin Huikang thought “culture-loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent word. "(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of lexical gaps, meaning that the cultural information carried by one word in the source language has no counterpart in the target language. (Bao Huinan, 2004:10) He thinks that “every language is the product in the cultural development of one country and nation, and has its long historical background and rich cultural connotations. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, different language has its own specific vocabulary, idioms and allusions and culture-loaded words reflect such concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are "Words, phrases and idioms marking the unique things in its culture. These words reflect the unique activity mode gradually accumulated by one nation in the long historical process, which is different from other nations."(Liao Qiyi 2000:230) Language reflects different living conditions and religious beliefs, which lead to different thinking modes, moral values, and aesthetic standards. (Wang Chuanmei, 2008:5) Culture-loaded words are closely related to culture and have rich cultural significance. These words are closely related to cultural both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics.(Wu Xiaodan, 2015:19)

===1.2 Classification of Culture-loaded Words===
Nida points out that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is a challenging question for study or discussion. Nida divided culture-loaded words intoß five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refers to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words The main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as costume, architecture, cuisine and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries.

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior patterns. The words reflecting the characteristics of these fields are called social cultural-loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Japanese versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs. Therefore, in order to have a better understand of the culture of one nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious beliefs and cultural tradition of one nation or people. The difference of religious culture between countries makes it hard for readers to understand the words embodied in the religious culture.

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words, whose visual and linguistic effects are the biggest characteristics of this kind of words.

In the development history of one nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, and a certain cultural background or other characteristics are linguistic culture-loaded words. There are a lot of culture-loaded words in the novel Medicine.

===2.Introduction of Medicine===
Lu Xun was a great writer and thinker in modern China. His articles reflected the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, these cultural loaded words truly reflect the national culture of the times in the novel. At this point, the thesis chooses the masterpiece, Medicine as the typical representative of LuXun, the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.

===3.The Comparison of Culture-loaded words'Translation between English and Japanese of Medicine===
Lu Xun's novel Medicine contains a great deal of cultural load Words, and rich connotation.The research uses the English translation of Yang Hsien-yi in 1960 and the Japanese translation done by Inoue Kōbai in 1931 as the examples discussing the different translation strategies of culture-loaded words in English and Japanese version.

3.1 Ecological Culture-loaded Words （1）茶馆的两间屋子里，便弥漫了青白的光。 Yang:which shed a ghostly light over the two rooms of the tea-house. Inoue :青白い光は茶館の中のに満ちた。 “茶馆”means a place for drinking tea and is an important place in the novel. Chinese has the habit of drinking tea, so teahouse is a unique place in China, which is translated into English as tea-house, translated Japanese as “茶館”. （2）西关外靠着城根的地面，本是一块官地。　 Yang:Originally, the land adjacent to the city wall outside the West Gate had been public land. Inoue :西関外の城の根元にる地面はもとからの官有地で Both Yang and Inoue used free translation to translate “官地”,which are simple and easy for readers to understand. （3）老栓正在专心走路，忽然吃了一惊，远远里看见一条丁字街，明明白白横着。 Yang:Old Chuan was startled when he saw distinctly the cross-road ahead of him. Inoue :老栓はひたすら歩みを続けているうちにたちまち物に驚かされた。そこは一条の丁字街がありありと眼前に横たわっていたのだ。 Yang adopted the domesticating method, translating“丁字街” as “cross-road”,Inoue adopted the foreignizing method, translating“丁字街” as “丁字街”. The translation of Yang makes it easier for readers to understand what “丁字街”is,while the translation of Inoue will give readers a sense of freshnes.

3.2 Material Culture-loaded Words （1）衣服前后一个大白圆圈，远地里也看的清楚。走过面前的，并且看出号衣上暗红色的镶边。 Yang:The large white circles on their uniforms, both in front and behind, were clear even at a distance; and as they drew nearer, he saw the dark red border too. Inoue :近寄って来ると、その白い円いものはの上の染め抜きで、のふちぬいの中にあることを知った。 The meaning of “号衣”is the marked garment worn by soldiers, officers, etc. in old times and marked with the words "soldier" or "brave". Yang translated it as a “uniform”, while Wang translates it as “のふちぬい”.Both adopted domesticating method. （2）便点上灯笼，吹媳灯盏，走向里屋去了。 Yang:then lighting a paper lantern and blowing out the lamp went into the inner room. Inoue :そこで彼はに火を移し、燈盞を吹き消して裏部屋の方へ行った。 Yang translated “灯笼” as“paper lantern” , while Inoue used Chinese words directly. （3）华大妈在枕头底下掏了半天，掏出一包洋钱，交给老栓。 Yang:After some fumbling under the pillow his wife produced a packet of silver dollars which she handed over. Old Chuan pocketed it nervously, patted his pocket twice Inoue :華大媽は枕の下をさぐって一包みの銀貨を取出し、老栓に手渡す。 The foreign currency used in China at that time was called “洋钱”.Yang adopted the domesticating method, translating“洋钱” as “silver dollars”.Because the meaning of “銀貨” in Japanese is similar to the meaning of “洋钱”in Chinese,so Inoue adopted translated“洋钱” as “銀貨”.But neither Yang nor Wang translated the meaning of foreign coins （4）那人一只大手，向他摊着；一只手却撮着一个鲜红的馒头，那红的还是一点一点的往下滴。 Yang:This man thrust one huge extended hand towards him, while in the other he held a roll of steamed bread, from which crimson drops were dripping to the ground. Inoue :その人は老栓の方に大きな手をひろげ、片ッぽの手に赤いをんでいたが、赤い汁は饅頭の上からぼたぼた落ちていた。 Because of bread is more common in the West, so Yang translated “馒头” into “a roll of steamed bread”. In Japan, they also have “馒头”,so Inoue translated “馒头” into “饅頭”. But it should be noted that “饅頭” are a little different from “馒头”. Both Yang and Inoue adopted foreignizing method. （5）小路上又来了一个女人,也是半百头发，褴褛的衣裙；提一个破旧的朱漆圆篮，外挂一串纸锭，三步一歇的走。 Yang:Another woman came down the path, grey-haired and in rags. Carrying an old, round, red-lacquered basket with a string of paper money hanging from it, she walked haltingly. Inoue :の上にまた一人、女が来た。これもの頭での著物の下に襤褸のをつけ、壊れかかったの丸籠を提げて、外へ銀紙のお宝を吊し、とぼとぼと力なく歩いて来た。 “纸锭” are made of tin foil paste silver ingot-like ghost money. Superstition holds that incineration is given to the dead so that they can be used as money. Both Yang and Inoue adopted the way of literal translation.

3.3 Social Culture Culture-loaded Words （1）老栓候他平静下去，才低低的叫道，“小栓……你不要起来。……店么？你娘会安排的。 Yang:Old Chuan called softly: "Son! . . Don't you get up! . . . Your mother will see to the shop." Inoue :老栓はそののおさまるのを待って、静かに口をひらいた。「お前は起きないでいい。店はお母さんがいいにする」 Chinese people are used to calling older people “小~”younger people “小~”. Yang adopted domesticating transliteration strategy translating “老栓” as “Old Chuan”. , Inoue adopted foreignizing method using“老栓”directly. （2）老栓倒觉爽快，仿佛一旦变了少年，得了神通，有给人生命的本领似的，跨步格外高远。而且路也愈走愈分明，天也愈走愈亮了。 Yang:It was much colder than indoors, yet Old Chuan's spirits rose, as if he had grown suddenly younger and possessed some miraculous life-giving power. He lengthened his stride. And the road became increasingly clear, the sky increasingly bright. Inoue :天気は室内よりもよほど冷やかで老栓は爽快に感じた。何だか今日は子供の昔に還って、神通を得て人の命の本体を掴みにゆくような気がして、歩いているうちにも馬鹿に気高くなってしまった。行けば行くほど路がハッキリして来た。行けば行くほど空が亮るくなって来た。 The meaning of “神通”is getting magical powers.Yang adopted domesticating translation strategy,while Inoue adopted foreignizing method using“神通”directly. （3）仿佛抱着一个十世单传的婴儿。 Yang:as if it were the sole heir to an ancient house. Inoue :さながらの十世単伝の一人子を抱いているようなものであった。 The author refers to the preciousness of "human blood steamed bread" through the "十世单传". Yang adopted free translation strategy,while Inoue adopted literal translation strategy.However, both Yang and Inoue did not attach too much importance to the status of the only child, so readers cannot perceive the author's metaphorical meaning through this source area. （4）“谁的？不就是夏四奶奶的儿子么？ Yang:"Who? Son of Widow Hsia, of course! Young rascal! Inoue :「誰って、きまってまさ。夏四奶奶の子さ。あの餓鬼め」 Neither English nor Japanese can convey the meaning of the original text well. Yang Widow translated “夏四奶奶”into “Son of Widow Hsia”by free translation. Inoue adopted transliteration using“夏四奶奶”directly that will make people misunderstanding about the original text. （5）康大叔见众人都耸起耳朵听他，便格外高兴。 Yang:Seeing how they all hung on his words, Mr. Kang's spirits rose even higher. Inoue :康おじさんはみんながを引立てているのを見て、に得意になって瘤のがハチ切れそうな声を出した。 "叔" is the title of the father's younger brother. Now "叔" also refers to an older adult man, or a man more than 20 years older than oneself. In English, "uncle" does not mean blood relationship. "Mr. Kang" does not show the relationship between people.Both Yang and Inoue used domesticating method. （6）第一要算我们栓叔运气；第二是夏三爷赏了二十五两雪白的银子，独子落腰包，一文不花。 Yang:Our Old Chuan was luckiest, and after him Third Uncle Hsia. He pocketed the whole reward—twenty-five taels of bright silver—and didn't have to spend a cent!" Inoue :「第一は栓じいさんの運気を取逃がさねえためだ。第二は夏三爺から出る二十五両のの銀をそっくりのの中に納めて一文もつかわねえ算段だ」 Yang Widow translated “夏三爷”into “Third Uncle Hsia”by free translation. Inoue adopted transliteration using“夏三爺”directly. （7）夏三爷真是乖角儿，要是他不先告官，连他满门抄斩。 Yang:Third Uncle Hsia is really smart. If he hadn't informed, even his family would have been executed, and their property confiscated. Inoue :夏三爺はすばしッこいね。もし前に訴え出がなければ今頃はどんな風になるのだろう。一家一門は皆殺されているぜ。 “乖角儿” in Chinese means a clever and intelligent person. “满门抄斩” is an ancient Chinese punishment, which means to confiscate property and kill the whole family. Both Yang and Inoue used domesticating method. （8）“义哥是一手好拳棒，这两下，一定够他受用了。” Yang:Red-eye is a good boxer. Those slaps must have hurt!" Inoue :義哥は棒使いの名人だ。二つも食ったら参っちまうぜ It was difficult to understand the local dialect.Both Yang and Inoue used domesticating method. （9）他这贱骨头打不怕，还要说可怜可怜哩。 Yang:"The rotter was not afraid of being beaten. He even said how sorry he was." Inoue :「ところがあの馬の骨め、打たれても平気で、そうだ。そうだ、と抜かしやがるんだ」 "贱骨头" is a common saying often used by Chinese people to scold people. It was difficult for translators to translate it. So both Yang and Inoue used domesticating method and free translation. （10）这一年的清明，分外寒冷。 Yang:The Ching Ming Festival that year was unusually cold. Inoue :今年の清明節は殊の外寒く “清明” is a traditional Chinese festival. It is also one of the most important sacrificial festivals. It is also the day for ancestor worship and tomb sweeping. Influenced by Chinese culture, in Japan,they also have “清明”. so it can be directly translated as Japan’s “清明節” .Because the western countries do not have this holiday, so Yang translated it as “The Ching Ming Festival”by foreignizing method.

3.4 Linguistic Culture-loaded Words （1）只有小栓坐在里牌的桌前吃饭，大粒的汗，从额上滚下，夹袄也贴住了脊心，两块肩胛骨高高凸出印成一个阳文的”八”字。 Yang:Only his son sat eating at a table by the wall. Beads of sweat stood out on his forehead, his lined jacket clung to his spine, and his shoulder blades stuck out so sharply, an inverted V seemed stamped there. Inoue :見ると額の上から大粒の汗がころげ落ち、左右の肩骨が近頃めっきり高くなって、背中にピタリとついている夾襖の上に、八字の皺が浮紋のように飛び出していた。 “阳文”is the pattern printed on some utensils. It describes the bony appearance of Xiao Shuan. Lu Xun used the character "eight" to tell readers that Xiao Shuan is thin and weak, which is very vivid and clear to us. However, it is difficult for foreign language readers to understand. The inverted English letter "V" is very similar to the Chinese letter "八".so Yang translated it to "V". And since Japan also has the word "八", so Inoue used it directly. （2）还要老虎头上搔痒，便给他两个嘴巴！ Yang:and then the young fool would 'scratch the tiger's head,' so he gave him a couple of slaps." Inoue :あいつが虎の頭を掻いたから堪らない。たちまちポカポカと二つほど頂戴したぜ "老虎头上搔痒" is a allegory of boldness, recklessness and overreach. It can also be extended to mean "seeking death" or "not afraid of death". both Yang and Inoue adopted literal translation.

===Conclusion===
Culture-loaded words are closely related to culture and have rich cultural meanings. These words are closely related to cultural relations, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication and communication. On the other hand, people living in different social contexts may have different cognitive concepts, emotional colors and subjective judgments. Because of this, some words are endowed with special meanings, which are rooted in the culture of a country or a nation. Deeply reflects the cultural characteristics.The biggest difficulty in translation is not the language itself, but the cultural implications that language carries.Medicine, as a national literary work, contains a large number of culture-loaded words. the culture-loaded words in Medicine are classified On the basis of classification, we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. Due to the great differences between eastern and Western cultures, it is difficult to find a complete equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method and free translation. Since Japan and China have had a lot of communication since ancient times and were greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation and transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have similar culture and both use Chinese characters. foreignizing translation and domestication translation, literal translation, free translation, transliteration are not in isolation, Sometimes they need to be combined to play a better role in the translation of culture-loaded words. the translation of culture-loaded word involves all aspects of culture, is a complex and worthy of further discussion. Only by fully understanding the culture of the original text and accurately interpreting the author's intention, can we better convey the cultural information of culture-loaded words to readers.

Culture-loaded words are closely related to culture and have rich cultural conceptions. These words are closely related to cultural relations, both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics. The biggest difficulty in translation is not the language itself, but the cultural conceptions that language carries. Medicine, as one national literary work, contains a large number of culture-loaded words. The culture-loaded words in Medicine are classified on the basis of classification, and we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. The great differences between eastern and Western cultures make it difficult to achieve a perfect equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method or free translation. While China and Japan have had a long communication history since ancient times and Japanese culture has been greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation or transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have some similar culture and also use Chinese characters. In addition, foreignizing translation, domestication translation, literal translation, free translation, and transliteration are not isolated from each other, sometimes they need to be combined to play a better role in the translation of culture-loaded words. The translation of culture-loaded word involves all aspects of culture and is a complex process needing further discussion. Only by fully understanding the cultural concepts of the source text and accurately interpreting the author's intention, can the translation better convey the cultural information of culture-loaded words to readers.--Fu Shiyu (talk) 09:39, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:38, 15 December 2021 (UTC)

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Cult Load Words EN 8

2021-12-29T13:00:00Z

Zhou Xiaoxue: /* 1.2 Classification of Culture-loaded Words */

=Chapter 8:The Translation of Culture Loaded Words in English and Japanese Versions of Medicine=

'''《药》英日译本中文化负载词的翻译对比研究'''

周小雪 Zhou Xiaoxue, Hunan Normal University, China

===Abstract===
Language is an indispensable carrier of culture and closely related to culture. The translation of culture-loaded words has been one of the difficult problems for translators. Rich cultural connotations carried by culture-loaded words make it hard for the translator to find words in the target language that are equivalent to the original text in the source language. The same culture-loaded word may have different translation methods according to different target languages. This paper takes the novel Medicine as the research object, exploring the differences between English and Japanese translation text of the same culture-loaded words in it.

===Key words===
Culture-loaded Words; Medicine; English and Japanese Translation

=== 题目 ===
《药》英日译本中文化负载词的翻译对比研究
=== 摘要 ===
文化负载词的翻译一直是译者面临的一个难题。文化负载词背后的文化因素使得译者很难找到与之对应的词句。对于同一文化负载词，不同的语言有不同的翻译方法。本文以鲁迅的小说《药》为例，探讨同一文本中文化负载词的英、日翻译对比。

=== 关键词 ===
文化负载词；《药》；英日翻译对比
===Introduction===
Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only follow some principles and strategies to translate in the ways of faithfulness, expressiveness and elegance, but also consider the cultural concepts behind each word in the source text. Culture-loaded words have always been a difficult problem in translation. Due to cross-cultural differences, it is difficult for the translator to find equivalent words in the target language. In the translating process, the translation work done in a comparatively mechanical manner would make it hard for us to understand the true meaning of the source text. Therefore, the translation of culture-loaded words plays a very important role in the translation work.

===1. Culture-Loaded Words===

===1.1 Definition of Culture Loaded Words===
Language is an indispensable carrier of culture and closely related to culture. With the development of cross-cultural communication, more and more scholars begin to study with the translation of culture-loaded words. Different people have different definitions about culture-loaded words. Mona Baker put forward the the concept of “culture-specific” that one word in the source language is always different in the target language, which makes readers from the target language culture confused. There are not only abstract culture-loaded words involving religious beliefs or cultural customs, but also specific ones. Spanish translator Javier Franco Aixela put forward the definition of "cultural-specific item”. It holds that “there are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no equvalent item in the cultural system of the target language.In China, Jin Huikang thought “culture-loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent word. "(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of lexical gaps, meaning that the cultural information carried by one word in the source language has no counterpart in the target language. (Bao Huinan, 2004:10) He thinks that “every language is the product in the cultural development of one country and nation, and has its long historical background and rich cultural connotations. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, different language has its own specific vocabulary, idioms and allusions and culture-loaded words reflect such concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are "Words, phrases and idioms marking the unique things in its culture. These words reflect the unique activity mode gradually accumulated by one nation in the long historical process, which is different from other nations."(Liao Qiyi 2000:230) Language reflects different living conditions and religious beliefs, which lead to different thinking modes, moral values, and aesthetic standards. (Wang Chuanmei, 2008:5) Culture-loaded words are closely related to culture and have rich cultural significance. These words are closely related to cultural both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics.(Wu Xiaodan, 2015:19)

===1.2 Classification of Culture-loaded Words===
Nida points out that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is a challenging question for study or discussion. Nida divided culture-loaded words intoß five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refers to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words The main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as costume, architecture, cuisine and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries.

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior patterns. The words reflecting the characteristics of these fields are called social cultural-loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Japanese versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs. Therefore, in order to have a better understand of the culture of one nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious beliefs and cultural tradition of one nation or people. The difference of religious culture between countries makes it hard for readers to understand the words embodied in the religious culture.

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words, whose visual and linguistic effects are the biggest characteristics of this kind of words.

In the development history of one nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, and a certain cultural background or other characteristics are linguistic culture-loaded words. There are a lot of culture-loaded words in the novel Medicine.

===2.Introduction of Medicine===
Lu Xun was a great writer and thinker in modern China. His articles reflected the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, these cultural loaded words truly reflect the national culture of the times in the novel. At this point, the thesis chooses the masterpiece, Medicine as the typical representative of LuXun, the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.

Lu Xun was a great writer and thinker in modern China. His articles reflect the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, truly reflecting the national culture of that time in the novel. At this point, this thesis chooses the masterpiece Medicine as the research object, witch is the typical representative of LuXun and the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.--Fu Shiyu (talk) 09:19, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:39, 15 December 2021 (UTC)

===3.The Comparison of Culture-loaded words'Translation between English and Japanese of Medicine===
Lu Xun's novel Medicine contains a great deal of cultural load Words, and rich connotation.The research uses the English translation of Yang Hsien-yi in 1960 and the Japanese translation done by Inoue Kōbai in 1931 as the examples discussing the different translation strategies of culture-loaded words in English and Japanese version.

3.1 Ecological Culture-loaded Words （1）茶馆的两间屋子里，便弥漫了青白的光。 Yang:which shed a ghostly light over the two rooms of the tea-house. Inoue :青白い光は茶館の中のに満ちた。 “茶馆”means a place for drinking tea and is an important place in the novel. Chinese has the habit of drinking tea, so teahouse is a unique place in China, which is translated into English as tea-house, translated Japanese as “茶館”. （2）西关外靠着城根的地面，本是一块官地。　 Yang:Originally, the land adjacent to the city wall outside the West Gate had been public land. Inoue :西関外の城の根元にる地面はもとからの官有地で Both Yang and Inoue used free translation to translate “官地”,which are simple and easy for readers to understand. （3）老栓正在专心走路，忽然吃了一惊，远远里看见一条丁字街，明明白白横着。 Yang:Old Chuan was startled when he saw distinctly the cross-road ahead of him. Inoue :老栓はひたすら歩みを続けているうちにたちまち物に驚かされた。そこは一条の丁字街がありありと眼前に横たわっていたのだ。 Yang adopted the domesticating method, translating“丁字街” as “cross-road”,Inoue adopted the foreignizing method, translating“丁字街” as “丁字街”. The translation of Yang makes it easier for readers to understand what “丁字街”is,while the translation of Inoue will give readers a sense of freshnes.

3.2 Material Culture-loaded Words （1）衣服前后一个大白圆圈，远地里也看的清楚。走过面前的，并且看出号衣上暗红色的镶边。 Yang:The large white circles on their uniforms, both in front and behind, were clear even at a distance; and as they drew nearer, he saw the dark red border too. Inoue :近寄って来ると、その白い円いものはの上の染め抜きで、のふちぬいの中にあることを知った。 The meaning of “号衣”is the marked garment worn by soldiers, officers, etc. in old times and marked with the words "soldier" or "brave". Yang translated it as a “uniform”, while Wang translates it as “のふちぬい”.Both adopted domesticating method. （2）便点上灯笼，吹媳灯盏，走向里屋去了。 Yang:then lighting a paper lantern and blowing out the lamp went into the inner room. Inoue :そこで彼はに火を移し、燈盞を吹き消して裏部屋の方へ行った。 Yang translated “灯笼” as“paper lantern” , while Inoue used Chinese words directly. （3）华大妈在枕头底下掏了半天，掏出一包洋钱，交给老栓。 Yang:After some fumbling under the pillow his wife produced a packet of silver dollars which she handed over. Old Chuan pocketed it nervously, patted his pocket twice Inoue :華大媽は枕の下をさぐって一包みの銀貨を取出し、老栓に手渡す。 The foreign currency used in China at that time was called “洋钱”.Yang adopted the domesticating method, translating“洋钱” as “silver dollars”.Because the meaning of “銀貨” in Japanese is similar to the meaning of “洋钱”in Chinese,so Inoue adopted translated“洋钱” as “銀貨”.But neither Yang nor Wang translated the meaning of foreign coins （4）那人一只大手，向他摊着；一只手却撮着一个鲜红的馒头，那红的还是一点一点的往下滴。 Yang:This man thrust one huge extended hand towards him, while in the other he held a roll of steamed bread, from which crimson drops were dripping to the ground. Inoue :その人は老栓の方に大きな手をひろげ、片ッぽの手に赤いをんでいたが、赤い汁は饅頭の上からぼたぼた落ちていた。 Because of bread is more common in the West, so Yang translated “馒头” into “a roll of steamed bread”. In Japan, they also have “馒头”,so Inoue translated “馒头” into “饅頭”. But it should be noted that “饅頭” are a little different from “馒头”. Both Yang and Inoue adopted foreignizing method. （5）小路上又来了一个女人,也是半百头发，褴褛的衣裙；提一个破旧的朱漆圆篮，外挂一串纸锭，三步一歇的走。 Yang:Another woman came down the path, grey-haired and in rags. Carrying an old, round, red-lacquered basket with a string of paper money hanging from it, she walked haltingly. Inoue :の上にまた一人、女が来た。これもの頭での著物の下に襤褸のをつけ、壊れかかったの丸籠を提げて、外へ銀紙のお宝を吊し、とぼとぼと力なく歩いて来た。 “纸锭” are made of tin foil paste silver ingot-like ghost money. Superstition holds that incineration is given to the dead so that they can be used as money. Both Yang and Inoue adopted the way of literal translation.

3.3 Social Culture Culture-loaded Words （1）老栓候他平静下去，才低低的叫道，“小栓……你不要起来。……店么？你娘会安排的。 Yang:Old Chuan called softly: "Son! . . Don't you get up! . . . Your mother will see to the shop." Inoue :老栓はそののおさまるのを待って、静かに口をひらいた。「お前は起きないでいい。店はお母さんがいいにする」 Chinese people are used to calling older people “小~”younger people “小~”. Yang adopted domesticating transliteration strategy translating “老栓” as “Old Chuan”. , Inoue adopted foreignizing method using“老栓”directly. （2）老栓倒觉爽快，仿佛一旦变了少年，得了神通，有给人生命的本领似的，跨步格外高远。而且路也愈走愈分明，天也愈走愈亮了。 Yang:It was much colder than indoors, yet Old Chuan's spirits rose, as if he had grown suddenly younger and possessed some miraculous life-giving power. He lengthened his stride. And the road became increasingly clear, the sky increasingly bright. Inoue :天気は室内よりもよほど冷やかで老栓は爽快に感じた。何だか今日は子供の昔に還って、神通を得て人の命の本体を掴みにゆくような気がして、歩いているうちにも馬鹿に気高くなってしまった。行けば行くほど路がハッキリして来た。行けば行くほど空が亮るくなって来た。 The meaning of “神通”is getting magical powers.Yang adopted domesticating translation strategy,while Inoue adopted foreignizing method using“神通”directly. （3）仿佛抱着一个十世单传的婴儿。 Yang:as if it were the sole heir to an ancient house. Inoue :さながらの十世単伝の一人子を抱いているようなものであった。 The author refers to the preciousness of "human blood steamed bread" through the "十世单传". Yang adopted free translation strategy,while Inoue adopted literal translation strategy.However, both Yang and Inoue did not attach too much importance to the status of the only child, so readers cannot perceive the author's metaphorical meaning through this source area. （4）“谁的？不就是夏四奶奶的儿子么？ Yang:"Who? Son of Widow Hsia, of course! Young rascal! Inoue :「誰って、きまってまさ。夏四奶奶の子さ。あの餓鬼め」 Neither English nor Japanese can convey the meaning of the original text well. Yang Widow translated “夏四奶奶”into “Son of Widow Hsia”by free translation. Inoue adopted transliteration using“夏四奶奶”directly that will make people misunderstanding about the original text. （5）康大叔见众人都耸起耳朵听他，便格外高兴。 Yang:Seeing how they all hung on his words, Mr. Kang's spirits rose even higher. Inoue :康おじさんはみんながを引立てているのを見て、に得意になって瘤のがハチ切れそうな声を出した。 "叔" is the title of the father's younger brother. Now "叔" also refers to an older adult man, or a man more than 20 years older than oneself. In English, "uncle" does not mean blood relationship. "Mr. Kang" does not show the relationship between people.Both Yang and Inoue used domesticating method. （6）第一要算我们栓叔运气；第二是夏三爷赏了二十五两雪白的银子，独子落腰包，一文不花。 Yang:Our Old Chuan was luckiest, and after him Third Uncle Hsia. He pocketed the whole reward—twenty-five taels of bright silver—and didn't have to spend a cent!" Inoue :「第一は栓じいさんの運気を取逃がさねえためだ。第二は夏三爺から出る二十五両のの銀をそっくりのの中に納めて一文もつかわねえ算段だ」 Yang Widow translated “夏三爷”into “Third Uncle Hsia”by free translation. Inoue adopted transliteration using“夏三爺”directly. （7）夏三爷真是乖角儿，要是他不先告官，连他满门抄斩。 Yang:Third Uncle Hsia is really smart. If he hadn't informed, even his family would have been executed, and their property confiscated. Inoue :夏三爺はすばしッこいね。もし前に訴え出がなければ今頃はどんな風になるのだろう。一家一門は皆殺されているぜ。 “乖角儿” in Chinese means a clever and intelligent person. “满门抄斩” is an ancient Chinese punishment, which means to confiscate property and kill the whole family. Both Yang and Inoue used domesticating method. （8）“义哥是一手好拳棒，这两下，一定够他受用了。” Yang:Red-eye is a good boxer. Those slaps must have hurt!" Inoue :義哥は棒使いの名人だ。二つも食ったら参っちまうぜ It was difficult to understand the local dialect.Both Yang and Inoue used domesticating method. （9）他这贱骨头打不怕，还要说可怜可怜哩。 Yang:"The rotter was not afraid of being beaten. He even said how sorry he was." Inoue :「ところがあの馬の骨め、打たれても平気で、そうだ。そうだ、と抜かしやがるんだ」 "贱骨头" is a common saying often used by Chinese people to scold people. It was difficult for translators to translate it. So both Yang and Inoue used domesticating method and free translation. （10）这一年的清明，分外寒冷。 Yang:The Ching Ming Festival that year was unusually cold. Inoue :今年の清明節は殊の外寒く “清明” is a traditional Chinese festival. It is also one of the most important sacrificial festivals. It is also the day for ancestor worship and tomb sweeping. Influenced by Chinese culture, in Japan,they also have “清明”. so it can be directly translated as Japan’s “清明節” .Because the western countries do not have this holiday, so Yang translated it as “The Ching Ming Festival”by foreignizing method.

3.4 Linguistic Culture-loaded Words （1）只有小栓坐在里牌的桌前吃饭，大粒的汗，从额上滚下，夹袄也贴住了脊心，两块肩胛骨高高凸出印成一个阳文的”八”字。 Yang:Only his son sat eating at a table by the wall. Beads of sweat stood out on his forehead, his lined jacket clung to his spine, and his shoulder blades stuck out so sharply, an inverted V seemed stamped there. Inoue :見ると額の上から大粒の汗がころげ落ち、左右の肩骨が近頃めっきり高くなって、背中にピタリとついている夾襖の上に、八字の皺が浮紋のように飛び出していた。 “阳文”is the pattern printed on some utensils. It describes the bony appearance of Xiao Shuan. Lu Xun used the character "eight" to tell readers that Xiao Shuan is thin and weak, which is very vivid and clear to us. However, it is difficult for foreign language readers to understand. The inverted English letter "V" is very similar to the Chinese letter "八".so Yang translated it to "V". And since Japan also has the word "八", so Inoue used it directly. （2）还要老虎头上搔痒，便给他两个嘴巴！ Yang:and then the young fool would 'scratch the tiger's head,' so he gave him a couple of slaps." Inoue :あいつが虎の頭を掻いたから堪らない。たちまちポカポカと二つほど頂戴したぜ "老虎头上搔痒" is a allegory of boldness, recklessness and overreach. It can also be extended to mean "seeking death" or "not afraid of death". both Yang and Inoue adopted literal translation.

===Conclusion===
Culture-loaded words are closely related to culture and have rich cultural meanings. These words are closely related to cultural relations, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication and communication. On the other hand, people living in different social contexts may have different cognitive concepts, emotional colors and subjective judgments. Because of this, some words are endowed with special meanings, which are rooted in the culture of a country or a nation. Deeply reflects the cultural characteristics.The biggest difficulty in translation is not the language itself, but the cultural implications that language carries.Medicine, as a national literary work, contains a large number of culture-loaded words. the culture-loaded words in Medicine are classified On the basis of classification, we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. Due to the great differences between eastern and Western cultures, it is difficult to find a complete equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method and free translation. Since Japan and China have had a lot of communication since ancient times and were greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation and transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have similar culture and both use Chinese characters. foreignizing translation and domestication translation, literal translation, free translation, transliteration are not in isolation, Sometimes they need to be combined to play a better role in the translation of culture-loaded words. the translation of culture-loaded word involves all aspects of culture, is a complex and worthy of further discussion. Only by fully understanding the culture of the original text and accurately interpreting the author's intention, can we better convey the cultural information of culture-loaded words to readers.

Culture-loaded words are closely related to culture and have rich cultural conceptions. These words are closely related to cultural relations, both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics. The biggest difficulty in translation is not the language itself, but the cultural conceptions that language carries. Medicine, as one national literary work, contains a large number of culture-loaded words. The culture-loaded words in Medicine are classified on the basis of classification, and we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. The great differences between eastern and Western cultures make it difficult to achieve a perfect equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method or free translation. While China and Japan have had a long communication history since ancient times and Japanese culture has been greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation or transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have some similar culture and also use Chinese characters. In addition, foreignizing translation, domestication translation, literal translation, free translation, and transliteration are not isolated from each other, sometimes they need to be combined to play a better role in the translation of culture-loaded words. The translation of culture-loaded word involves all aspects of culture and is a complex process needing further discussion. Only by fully understanding the cultural concepts of the source text and accurately interpreting the author's intention, can the translation better convey the cultural information of culture-loaded words to readers.--Fu Shiyu (talk) 09:39, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:38, 15 December 2021 (UTC)

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Cult Load Words EN 8

2021-12-29T12:56:46Z

Zhou Xiaoxue: /* 1.1 Definition of Culture Loaded Words */

=Chapter 8:The Translation of Culture Loaded Words in English and Japanese Versions of Medicine=

'''《药》英日译本中文化负载词的翻译对比研究'''

周小雪 Zhou Xiaoxue, Hunan Normal University, China

===Abstract===
Language is an indispensable carrier of culture and closely related to culture. The translation of culture-loaded words has been one of the difficult problems for translators. Rich cultural connotations carried by culture-loaded words make it hard for the translator to find words in the target language that are equivalent to the original text in the source language. The same culture-loaded word may have different translation methods according to different target languages. This paper takes the novel Medicine as the research object, exploring the differences between English and Japanese translation text of the same culture-loaded words in it.

===Key words===
Culture-loaded Words; Medicine; English and Japanese Translation

=== 题目 ===
《药》英日译本中文化负载词的翻译对比研究
=== 摘要 ===
文化负载词的翻译一直是译者面临的一个难题。文化负载词背后的文化因素使得译者很难找到与之对应的词句。对于同一文化负载词，不同的语言有不同的翻译方法。本文以鲁迅的小说《药》为例，探讨同一文本中文化负载词的英、日翻译对比。

=== 关键词 ===
文化负载词；《药》；英日翻译对比
===Introduction===
Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only follow some principles and strategies to translate in the ways of faithfulness, expressiveness and elegance, but also consider the cultural concepts behind each word in the source text. Culture-loaded words have always been a difficult problem in translation. Due to cross-cultural differences, it is difficult for the translator to find equivalent words in the target language. In the translating process, the translation work done in a comparatively mechanical manner would make it hard for us to understand the true meaning of the source text. Therefore, the translation of culture-loaded words plays a very important role in the translation work.

===1. Culture-Loaded Words===

===1.1 Definition of Culture Loaded Words===
Language is an indispensable carrier of culture and closely related to culture. With the development of cross-cultural communication, more and more scholars begin to study with the translation of culture-loaded words. Different people have different definitions about culture-loaded words. Mona Baker put forward the the concept of “culture-specific” that one word in the source language is always different in the target language, which makes readers from the target language culture confused. There are not only abstract culture-loaded words involving religious beliefs or cultural customs, but also specific ones. Spanish translator Javier Franco Aixela put forward the definition of "cultural-specific item”. It holds that “there are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no equvalent item in the cultural system of the target language.In China, Jin Huikang thought “culture-loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent word. "(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of lexical gaps, meaning that the cultural information carried by one word in the source language has no counterpart in the target language. (Bao Huinan, 2004:10) He thinks that “every language is the product in the cultural development of one country and nation, and has its long historical background and rich cultural connotations. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, different language has its own specific vocabulary, idioms and allusions and culture-loaded words reflect such concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are "Words, phrases and idioms marking the unique things in its culture. These words reflect the unique activity mode gradually accumulated by one nation in the long historical process, which is different from other nations."(Liao Qiyi 2000:230) Language reflects different living conditions and religious beliefs, which lead to different thinking modes, moral values, and aesthetic standards. (Wang Chuanmei, 2008:5) Culture-loaded words are closely related to culture and have rich cultural significance. These words are closely related to cultural both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics.(Wu Xiaodan, 2015:19)

===1.2 Classification of Culture-loaded Words===
Nida believes that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is very challenging. Nida divided culture-loaded words into the following five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refer to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words the main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as buildings, food, clothing and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior. The words that reflect the characteristics of these fields are called social cultural loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Russian versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs.Therefore, in order to better understand the culture of a nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious belief and cultural tradition of a nation or nation. The difference of religious culture between countries is a big obstacle for readers to understand the words embodied in the religious culture

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words. Its visual effect and linguistic effect are the biggest characteristics of this kind of words.

In the development history of a nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, including a certain cultural background and other characteristics are language culture-loaded words. There are a lot of culture-loaded words in the novel medicine.

Nida points out that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is a challenging question for study or discussion. Nida divided culture-loaded words intoß five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refers to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words The main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as costume, architecture, cuisine and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries.

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior patterns. The words reflecting the characteristics of these fields are called social cultural-loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Japanese versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs. Therefore, in order to have a better understand of the culture of one nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious beliefs and cultural tradition of one nation or people. The difference of religious culture between countries makes it hard for readers to understand the words embodied in the religious culture.

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words, whose visual and linguistic effects are the biggest characteristics of this kind of words.

In the development history of one nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, and a certain cultural background or other characteristics are linguistic culture-loaded words. There are a lot of culture-loaded words in the novel Medicine.--Fu Shiyu (talk) 09:15, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:40, 15 December 2021 (UTC)

===2.Introduction of Medicine===
Lu Xun was a great writer and thinker in modern China. His articles reflected the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, these cultural loaded words truly reflect the national culture of the times in the novel. At this point, the thesis chooses the masterpiece, Medicine as the typical representative of LuXun, the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.

Lu Xun was a great writer and thinker in modern China. His articles reflect the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, truly reflecting the national culture of that time in the novel. At this point, this thesis chooses the masterpiece Medicine as the research object, witch is the typical representative of LuXun and the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.--Fu Shiyu (talk) 09:19, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:39, 15 December 2021 (UTC)

===3.The Comparison of Culture-loaded words'Translation between English and Japanese of Medicine===
Lu Xun's novel Medicine contains a great deal of cultural load Words, and rich connotation.The research uses the English translation of Yang Hsien-yi in 1960 and the Japanese translation done by Inoue Kōbai in 1931 as the examples discussing the different translation strategies of culture-loaded words in English and Japanese version.

3.1 Ecological Culture-loaded Words （1）茶馆的两间屋子里，便弥漫了青白的光。 Yang:which shed a ghostly light over the two rooms of the tea-house. Inoue :青白い光は茶館の中のに満ちた。 “茶馆”means a place for drinking tea and is an important place in the novel. Chinese has the habit of drinking tea, so teahouse is a unique place in China, which is translated into English as tea-house, translated Japanese as “茶館”. （2）西关外靠着城根的地面，本是一块官地。　 Yang:Originally, the land adjacent to the city wall outside the West Gate had been public land. Inoue :西関外の城の根元にる地面はもとからの官有地で Both Yang and Inoue used free translation to translate “官地”,which are simple and easy for readers to understand. （3）老栓正在专心走路，忽然吃了一惊，远远里看见一条丁字街，明明白白横着。 Yang:Old Chuan was startled when he saw distinctly the cross-road ahead of him. Inoue :老栓はひたすら歩みを続けているうちにたちまち物に驚かされた。そこは一条の丁字街がありありと眼前に横たわっていたのだ。 Yang adopted the domesticating method, translating“丁字街” as “cross-road”,Inoue adopted the foreignizing method, translating“丁字街” as “丁字街”. The translation of Yang makes it easier for readers to understand what “丁字街”is,while the translation of Inoue will give readers a sense of freshnes.

3.2 Material Culture-loaded Words （1）衣服前后一个大白圆圈，远地里也看的清楚。走过面前的，并且看出号衣上暗红色的镶边。 Yang:The large white circles on their uniforms, both in front and behind, were clear even at a distance; and as they drew nearer, he saw the dark red border too. Inoue :近寄って来ると、その白い円いものはの上の染め抜きで、のふちぬいの中にあることを知った。 The meaning of “号衣”is the marked garment worn by soldiers, officers, etc. in old times and marked with the words "soldier" or "brave". Yang translated it as a “uniform”, while Wang translates it as “のふちぬい”.Both adopted domesticating method. （2）便点上灯笼，吹媳灯盏，走向里屋去了。 Yang:then lighting a paper lantern and blowing out the lamp went into the inner room. Inoue :そこで彼はに火を移し、燈盞を吹き消して裏部屋の方へ行った。 Yang translated “灯笼” as“paper lantern” , while Inoue used Chinese words directly. （3）华大妈在枕头底下掏了半天，掏出一包洋钱，交给老栓。 Yang:After some fumbling under the pillow his wife produced a packet of silver dollars which she handed over. Old Chuan pocketed it nervously, patted his pocket twice Inoue :華大媽は枕の下をさぐって一包みの銀貨を取出し、老栓に手渡す。 The foreign currency used in China at that time was called “洋钱”.Yang adopted the domesticating method, translating“洋钱” as “silver dollars”.Because the meaning of “銀貨” in Japanese is similar to the meaning of “洋钱”in Chinese,so Inoue adopted translated“洋钱” as “銀貨”.But neither Yang nor Wang translated the meaning of foreign coins （4）那人一只大手，向他摊着；一只手却撮着一个鲜红的馒头，那红的还是一点一点的往下滴。 Yang:This man thrust one huge extended hand towards him, while in the other he held a roll of steamed bread, from which crimson drops were dripping to the ground. Inoue :その人は老栓の方に大きな手をひろげ、片ッぽの手に赤いをんでいたが、赤い汁は饅頭の上からぼたぼた落ちていた。 Because of bread is more common in the West, so Yang translated “馒头” into “a roll of steamed bread”. In Japan, they also have “馒头”,so Inoue translated “馒头” into “饅頭”. But it should be noted that “饅頭” are a little different from “馒头”. Both Yang and Inoue adopted foreignizing method. （5）小路上又来了一个女人,也是半百头发，褴褛的衣裙；提一个破旧的朱漆圆篮，外挂一串纸锭，三步一歇的走。 Yang:Another woman came down the path, grey-haired and in rags. Carrying an old, round, red-lacquered basket with a string of paper money hanging from it, she walked haltingly. Inoue :の上にまた一人、女が来た。これもの頭での著物の下に襤褸のをつけ、壊れかかったの丸籠を提げて、外へ銀紙のお宝を吊し、とぼとぼと力なく歩いて来た。 “纸锭” are made of tin foil paste silver ingot-like ghost money. Superstition holds that incineration is given to the dead so that they can be used as money. Both Yang and Inoue adopted the way of literal translation.

3.3 Social Culture Culture-loaded Words （1）老栓候他平静下去，才低低的叫道，“小栓……你不要起来。……店么？你娘会安排的。 Yang:Old Chuan called softly: "Son! . . Don't you get up! . . . Your mother will see to the shop." Inoue :老栓はそののおさまるのを待って、静かに口をひらいた。「お前は起きないでいい。店はお母さんがいいにする」 Chinese people are used to calling older people “小~”younger people “小~”. Yang adopted domesticating transliteration strategy translating “老栓” as “Old Chuan”. , Inoue adopted foreignizing method using“老栓”directly. （2）老栓倒觉爽快，仿佛一旦变了少年，得了神通，有给人生命的本领似的，跨步格外高远。而且路也愈走愈分明，天也愈走愈亮了。 Yang:It was much colder than indoors, yet Old Chuan's spirits rose, as if he had grown suddenly younger and possessed some miraculous life-giving power. He lengthened his stride. And the road became increasingly clear, the sky increasingly bright. Inoue :天気は室内よりもよほど冷やかで老栓は爽快に感じた。何だか今日は子供の昔に還って、神通を得て人の命の本体を掴みにゆくような気がして、歩いているうちにも馬鹿に気高くなってしまった。行けば行くほど路がハッキリして来た。行けば行くほど空が亮るくなって来た。 The meaning of “神通”is getting magical powers.Yang adopted domesticating translation strategy,while Inoue adopted foreignizing method using“神通”directly. （3）仿佛抱着一个十世单传的婴儿。 Yang:as if it were the sole heir to an ancient house. Inoue :さながらの十世単伝の一人子を抱いているようなものであった。 The author refers to the preciousness of "human blood steamed bread" through the "十世单传". Yang adopted free translation strategy,while Inoue adopted literal translation strategy.However, both Yang and Inoue did not attach too much importance to the status of the only child, so readers cannot perceive the author's metaphorical meaning through this source area. （4）“谁的？不就是夏四奶奶的儿子么？ Yang:"Who? Son of Widow Hsia, of course! Young rascal! Inoue :「誰って、きまってまさ。夏四奶奶の子さ。あの餓鬼め」 Neither English nor Japanese can convey the meaning of the original text well. Yang Widow translated “夏四奶奶”into “Son of Widow Hsia”by free translation. Inoue adopted transliteration using“夏四奶奶”directly that will make people misunderstanding about the original text. （5）康大叔见众人都耸起耳朵听他，便格外高兴。 Yang:Seeing how they all hung on his words, Mr. Kang's spirits rose even higher. Inoue :康おじさんはみんながを引立てているのを見て、に得意になって瘤のがハチ切れそうな声を出した。 "叔" is the title of the father's younger brother. Now "叔" also refers to an older adult man, or a man more than 20 years older than oneself. In English, "uncle" does not mean blood relationship. "Mr. Kang" does not show the relationship between people.Both Yang and Inoue used domesticating method. （6）第一要算我们栓叔运气；第二是夏三爷赏了二十五两雪白的银子，独子落腰包，一文不花。 Yang:Our Old Chuan was luckiest, and after him Third Uncle Hsia. He pocketed the whole reward—twenty-five taels of bright silver—and didn't have to spend a cent!" Inoue :「第一は栓じいさんの運気を取逃がさねえためだ。第二は夏三爺から出る二十五両のの銀をそっくりのの中に納めて一文もつかわねえ算段だ」 Yang Widow translated “夏三爷”into “Third Uncle Hsia”by free translation. Inoue adopted transliteration using“夏三爺”directly. （7）夏三爷真是乖角儿，要是他不先告官，连他满门抄斩。 Yang:Third Uncle Hsia is really smart. If he hadn't informed, even his family would have been executed, and their property confiscated. Inoue :夏三爺はすばしッこいね。もし前に訴え出がなければ今頃はどんな風になるのだろう。一家一門は皆殺されているぜ。 “乖角儿” in Chinese means a clever and intelligent person. “满门抄斩” is an ancient Chinese punishment, which means to confiscate property and kill the whole family. Both Yang and Inoue used domesticating method. （8）“义哥是一手好拳棒，这两下，一定够他受用了。” Yang:Red-eye is a good boxer. Those slaps must have hurt!" Inoue :義哥は棒使いの名人だ。二つも食ったら参っちまうぜ It was difficult to understand the local dialect.Both Yang and Inoue used domesticating method. （9）他这贱骨头打不怕，还要说可怜可怜哩。 Yang:"The rotter was not afraid of being beaten. He even said how sorry he was." Inoue :「ところがあの馬の骨め、打たれても平気で、そうだ。そうだ、と抜かしやがるんだ」 "贱骨头" is a common saying often used by Chinese people to scold people. It was difficult for translators to translate it. So both Yang and Inoue used domesticating method and free translation. （10）这一年的清明，分外寒冷。 Yang:The Ching Ming Festival that year was unusually cold. Inoue :今年の清明節は殊の外寒く “清明” is a traditional Chinese festival. It is also one of the most important sacrificial festivals. It is also the day for ancestor worship and tomb sweeping. Influenced by Chinese culture, in Japan,they also have “清明”. so it can be directly translated as Japan’s “清明節” .Because the western countries do not have this holiday, so Yang translated it as “The Ching Ming Festival”by foreignizing method.

3.4 Linguistic Culture-loaded Words （1）只有小栓坐在里牌的桌前吃饭，大粒的汗，从额上滚下，夹袄也贴住了脊心，两块肩胛骨高高凸出印成一个阳文的”八”字。 Yang:Only his son sat eating at a table by the wall. Beads of sweat stood out on his forehead, his lined jacket clung to his spine, and his shoulder blades stuck out so sharply, an inverted V seemed stamped there. Inoue :見ると額の上から大粒の汗がころげ落ち、左右の肩骨が近頃めっきり高くなって、背中にピタリとついている夾襖の上に、八字の皺が浮紋のように飛び出していた。 “阳文”is the pattern printed on some utensils. It describes the bony appearance of Xiao Shuan. Lu Xun used the character "eight" to tell readers that Xiao Shuan is thin and weak, which is very vivid and clear to us. However, it is difficult for foreign language readers to understand. The inverted English letter "V" is very similar to the Chinese letter "八".so Yang translated it to "V". And since Japan also has the word "八", so Inoue used it directly. （2）还要老虎头上搔痒，便给他两个嘴巴！ Yang:and then the young fool would 'scratch the tiger's head,' so he gave him a couple of slaps." Inoue :あいつが虎の頭を掻いたから堪らない。たちまちポカポカと二つほど頂戴したぜ "老虎头上搔痒" is a allegory of boldness, recklessness and overreach. It can also be extended to mean "seeking death" or "not afraid of death". both Yang and Inoue adopted literal translation.

===Conclusion===
Culture-loaded words are closely related to culture and have rich cultural meanings. These words are closely related to cultural relations, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication and communication. On the other hand, people living in different social contexts may have different cognitive concepts, emotional colors and subjective judgments. Because of this, some words are endowed with special meanings, which are rooted in the culture of a country or a nation. Deeply reflects the cultural characteristics.The biggest difficulty in translation is not the language itself, but the cultural implications that language carries.Medicine, as a national literary work, contains a large number of culture-loaded words. the culture-loaded words in Medicine are classified On the basis of classification, we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. Due to the great differences between eastern and Western cultures, it is difficult to find a complete equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method and free translation. Since Japan and China have had a lot of communication since ancient times and were greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation and transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have similar culture and both use Chinese characters. foreignizing translation and domestication translation, literal translation, free translation, transliteration are not in isolation, Sometimes they need to be combined to play a better role in the translation of culture-loaded words. the translation of culture-loaded word involves all aspects of culture, is a complex and worthy of further discussion. Only by fully understanding the culture of the original text and accurately interpreting the author's intention, can we better convey the cultural information of culture-loaded words to readers.

Culture-loaded words are closely related to culture and have rich cultural conceptions. These words are closely related to cultural relations, both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics. The biggest difficulty in translation is not the language itself, but the cultural conceptions that language carries. Medicine, as one national literary work, contains a large number of culture-loaded words. The culture-loaded words in Medicine are classified on the basis of classification, and we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. The great differences between eastern and Western cultures make it difficult to achieve a perfect equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method or free translation. While China and Japan have had a long communication history since ancient times and Japanese culture has been greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation or transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have some similar culture and also use Chinese characters. In addition, foreignizing translation, domestication translation, literal translation, free translation, and transliteration are not isolated from each other, sometimes they need to be combined to play a better role in the translation of culture-loaded words. The translation of culture-loaded word involves all aspects of culture and is a complex process needing further discussion. Only by fully understanding the cultural concepts of the source text and accurately interpreting the author's intention, can the translation better convey the cultural information of culture-loaded words to readers.--Fu Shiyu (talk) 09:39, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:38, 15 December 2021 (UTC)

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Cult Load Words EN 8

2021-12-29T12:55:30Z

Zhou Xiaoxue: /* Introduction */

=Chapter 8:The Translation of Culture Loaded Words in English and Japanese Versions of Medicine=

'''《药》英日译本中文化负载词的翻译对比研究'''

周小雪 Zhou Xiaoxue, Hunan Normal University, China

===Abstract===
Language is an indispensable carrier of culture and closely related to culture. The translation of culture-loaded words has been one of the difficult problems for translators. Rich cultural connotations carried by culture-loaded words make it hard for the translator to find words in the target language that are equivalent to the original text in the source language. The same culture-loaded word may have different translation methods according to different target languages. This paper takes the novel Medicine as the research object, exploring the differences between English and Japanese translation text of the same culture-loaded words in it.

===Key words===
Culture-loaded Words; Medicine; English and Japanese Translation

=== 题目 ===
《药》英日译本中文化负载词的翻译对比研究
=== 摘要 ===
文化负载词的翻译一直是译者面临的一个难题。文化负载词背后的文化因素使得译者很难找到与之对应的词句。对于同一文化负载词，不同的语言有不同的翻译方法。本文以鲁迅的小说《药》为例，探讨同一文本中文化负载词的英、日翻译对比。

=== 关键词 ===
文化负载词；《药》；英日翻译对比
===Introduction===
Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only follow some principles and strategies to translate in the ways of faithfulness, expressiveness and elegance, but also consider the cultural concepts behind each word in the source text. Culture-loaded words have always been a difficult problem in translation. Due to cross-cultural differences, it is difficult for the translator to find equivalent words in the target language. In the translating process, the translation work done in a comparatively mechanical manner would make it hard for us to understand the true meaning of the source text. Therefore, the translation of culture-loaded words plays a very important role in the translation work.

===1. Culture-Loaded Words===

===1.1 Definition of Culture Loaded Words===
Language is the carrier of culture and closely related to culture. With the development of cultural communication, more and more scholars begin to study the translation of culture-loaded words. Different people have different definitions of culture-loaded words. Mona Baker put forward the the concept of “culture-specific” .A word in the original language is often different in the target language, which often makes readers from the target language culture at a loss end. Sometimes culture-loaded words are abstract, involving religious beliefs or cultural customs, and sometimes they are specific.Spanish translator Javier Franco Aixela put forward the definition of "cultural-specific item”. It tells us that "There are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no coherent item in the cultural system of the target language.In China, Jin Huikang thought "Culture loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent. "(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of vocabulary vacancy,means that the cultural information carried by the source language vocabulary has no counterpart in the target language. (Bao Huinan, 2004:10) He think that"Every language is the product of the cultural development of a country and nation, and has its long historical background and rich cultural connotation. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, each language has its own specific vocabulary, idioms and allusions Culture loaded words reflect these concepts and things. (Bao Huinan, 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are "Words, phrases and idioms that mark the unique things in a culture.These words reflect the unique activity mode gradually accumulated by a specific nation in the long historical process, which is different from other nations."(Liao Qiyi 2000:230)Language reflects different living conditions and religious differences, which lead to different modes of thinking, values, aesthetic standards and moral differences. (Wang Chuanmei, 2008:5) Culture-bearing words are closely related to culture and have rich cultural significance. These words are closely related to cultural, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotion and subjective judgments. so some words are endowed with special meanings, which are rooted in the culture of a country or a nation and reflects the cultural characteristics.(Wu Xiaodan, 2015:19)

Language is an indispensable carrier of culture and closely related to culture. With the development of cross-cultural communication, more and more scholars begin to study with the translation of culture-loaded words. Different people have different definitions about culture-loaded words. Mona Baker put forward the the concept of “culture-specific” that one word in the source language is always different in the target language, which makes readers from the target language culture confused. There are not only abstract culture-loaded words involving religious beliefs or cultural customs, but also specific ones. Spanish translator Javier Franco Aixela put forward the definition of "cultural-specific item”. It holds that “there are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no equvalent item in the cultural system of the target language.In China, Jin Huikang thought “culture-loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent word. "(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of lexical gaps, meaning that the cultural information carried by one word in the source language has no counterpart in the target language. (Bao Huinan, 2004:10) He thinks that “every language is the product in the cultural development of one country and nation, and has its long historical background and rich cultural connotations. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, different language has its own specific vocabulary, idioms and allusions and culture-loaded words reflect such concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are "Words, phrases and idioms marking the unique things in its culture. These words reflect the unique activity mode gradually accumulated by one nation in the long historical process, which is different from other nations."(Liao Qiyi 2000:230) Language reflects different living conditions and religious beliefs, which lead to different thinking modes, moral values, and aesthetic standards. (Wang Chuanmei, 2008:5) Culture-loaded words are closely related to culture and have rich cultural significance. These words are closely related to cultural both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics.(Wu Xiaodan, 2015:19)--Fu Shiyu (talk) 09:14, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:41, 15 December 2021 (UTC)

===1.2 Classification of Culture-loaded Words===
Nida believes that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is very challenging. Nida divided culture-loaded words into the following five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refer to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words the main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as buildings, food, clothing and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior. The words that reflect the characteristics of these fields are called social cultural loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Russian versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs.Therefore, in order to better understand the culture of a nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious belief and cultural tradition of a nation or nation. The difference of religious culture between countries is a big obstacle for readers to understand the words embodied in the religious culture

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words. Its visual effect and linguistic effect are the biggest characteristics of this kind of words.

In the development history of a nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, including a certain cultural background and other characteristics are language culture-loaded words. There are a lot of culture-loaded words in the novel medicine.

Nida points out that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is a challenging question for study or discussion. Nida divided culture-loaded words intoß five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refers to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words The main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as costume, architecture, cuisine and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries.

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior patterns. The words reflecting the characteristics of these fields are called social cultural-loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Japanese versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs. Therefore, in order to have a better understand of the culture of one nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious beliefs and cultural tradition of one nation or people. The difference of religious culture between countries makes it hard for readers to understand the words embodied in the religious culture.

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words, whose visual and linguistic effects are the biggest characteristics of this kind of words.

In the development history of one nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, and a certain cultural background or other characteristics are linguistic culture-loaded words. There are a lot of culture-loaded words in the novel Medicine.--Fu Shiyu (talk) 09:15, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:40, 15 December 2021 (UTC)

===2.Introduction of Medicine===
Lu Xun was a great writer and thinker in modern China. His articles reflected the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, these cultural loaded words truly reflect the national culture of the times in the novel. At this point, the thesis chooses the masterpiece, Medicine as the typical representative of LuXun, the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.

Lu Xun was a great writer and thinker in modern China. His articles reflect the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, truly reflecting the national culture of that time in the novel. At this point, this thesis chooses the masterpiece Medicine as the research object, witch is the typical representative of LuXun and the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.--Fu Shiyu (talk) 09:19, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:39, 15 December 2021 (UTC)

===3.The Comparison of Culture-loaded words'Translation between English and Japanese of Medicine===
Lu Xun's novel Medicine contains a great deal of cultural load Words, and rich connotation.The research uses the English translation of Yang Hsien-yi in 1960 and the Japanese translation done by Inoue Kōbai in 1931 as the examples discussing the different translation strategies of culture-loaded words in English and Japanese version.

3.1 Ecological Culture-loaded Words （1）茶馆的两间屋子里，便弥漫了青白的光。 Yang:which shed a ghostly light over the two rooms of the tea-house. Inoue :青白い光は茶館の中のに満ちた。 “茶馆”means a place for drinking tea and is an important place in the novel. Chinese has the habit of drinking tea, so teahouse is a unique place in China, which is translated into English as tea-house, translated Japanese as “茶館”. （2）西关外靠着城根的地面，本是一块官地。　 Yang:Originally, the land adjacent to the city wall outside the West Gate had been public land. Inoue :西関外の城の根元にる地面はもとからの官有地で Both Yang and Inoue used free translation to translate “官地”,which are simple and easy for readers to understand. （3）老栓正在专心走路，忽然吃了一惊，远远里看见一条丁字街，明明白白横着。 Yang:Old Chuan was startled when he saw distinctly the cross-road ahead of him. Inoue :老栓はひたすら歩みを続けているうちにたちまち物に驚かされた。そこは一条の丁字街がありありと眼前に横たわっていたのだ。 Yang adopted the domesticating method, translating“丁字街” as “cross-road”,Inoue adopted the foreignizing method, translating“丁字街” as “丁字街”. The translation of Yang makes it easier for readers to understand what “丁字街”is,while the translation of Inoue will give readers a sense of freshnes.

3.2 Material Culture-loaded Words （1）衣服前后一个大白圆圈，远地里也看的清楚。走过面前的，并且看出号衣上暗红色的镶边。 Yang:The large white circles on their uniforms, both in front and behind, were clear even at a distance; and as they drew nearer, he saw the dark red border too. Inoue :近寄って来ると、その白い円いものはの上の染め抜きで、のふちぬいの中にあることを知った。 The meaning of “号衣”is the marked garment worn by soldiers, officers, etc. in old times and marked with the words "soldier" or "brave". Yang translated it as a “uniform”, while Wang translates it as “のふちぬい”.Both adopted domesticating method. （2）便点上灯笼，吹媳灯盏，走向里屋去了。 Yang:then lighting a paper lantern and blowing out the lamp went into the inner room. Inoue :そこで彼はに火を移し、燈盞を吹き消して裏部屋の方へ行った。 Yang translated “灯笼” as“paper lantern” , while Inoue used Chinese words directly. （3）华大妈在枕头底下掏了半天，掏出一包洋钱，交给老栓。 Yang:After some fumbling under the pillow his wife produced a packet of silver dollars which she handed over. Old Chuan pocketed it nervously, patted his pocket twice Inoue :華大媽は枕の下をさぐって一包みの銀貨を取出し、老栓に手渡す。 The foreign currency used in China at that time was called “洋钱”.Yang adopted the domesticating method, translating“洋钱” as “silver dollars”.Because the meaning of “銀貨” in Japanese is similar to the meaning of “洋钱”in Chinese,so Inoue adopted translated“洋钱” as “銀貨”.But neither Yang nor Wang translated the meaning of foreign coins （4）那人一只大手，向他摊着；一只手却撮着一个鲜红的馒头，那红的还是一点一点的往下滴。 Yang:This man thrust one huge extended hand towards him, while in the other he held a roll of steamed bread, from which crimson drops were dripping to the ground. Inoue :その人は老栓の方に大きな手をひろげ、片ッぽの手に赤いをんでいたが、赤い汁は饅頭の上からぼたぼた落ちていた。 Because of bread is more common in the West, so Yang translated “馒头” into “a roll of steamed bread”. In Japan, they also have “馒头”,so Inoue translated “馒头” into “饅頭”. But it should be noted that “饅頭” are a little different from “馒头”. Both Yang and Inoue adopted foreignizing method. （5）小路上又来了一个女人,也是半百头发，褴褛的衣裙；提一个破旧的朱漆圆篮，外挂一串纸锭，三步一歇的走。 Yang:Another woman came down the path, grey-haired and in rags. Carrying an old, round, red-lacquered basket with a string of paper money hanging from it, she walked haltingly. Inoue :の上にまた一人、女が来た。これもの頭での著物の下に襤褸のをつけ、壊れかかったの丸籠を提げて、外へ銀紙のお宝を吊し、とぼとぼと力なく歩いて来た。 “纸锭” are made of tin foil paste silver ingot-like ghost money. Superstition holds that incineration is given to the dead so that they can be used as money. Both Yang and Inoue adopted the way of literal translation.

3.3 Social Culture Culture-loaded Words （1）老栓候他平静下去，才低低的叫道，“小栓……你不要起来。……店么？你娘会安排的。 Yang:Old Chuan called softly: "Son! . . Don't you get up! . . . Your mother will see to the shop." Inoue :老栓はそののおさまるのを待って、静かに口をひらいた。「お前は起きないでいい。店はお母さんがいいにする」 Chinese people are used to calling older people “小~”younger people “小~”. Yang adopted domesticating transliteration strategy translating “老栓” as “Old Chuan”. , Inoue adopted foreignizing method using“老栓”directly. （2）老栓倒觉爽快，仿佛一旦变了少年，得了神通，有给人生命的本领似的，跨步格外高远。而且路也愈走愈分明，天也愈走愈亮了。 Yang:It was much colder than indoors, yet Old Chuan's spirits rose, as if he had grown suddenly younger and possessed some miraculous life-giving power. He lengthened his stride. And the road became increasingly clear, the sky increasingly bright. Inoue :天気は室内よりもよほど冷やかで老栓は爽快に感じた。何だか今日は子供の昔に還って、神通を得て人の命の本体を掴みにゆくような気がして、歩いているうちにも馬鹿に気高くなってしまった。行けば行くほど路がハッキリして来た。行けば行くほど空が亮るくなって来た。 The meaning of “神通”is getting magical powers.Yang adopted domesticating translation strategy,while Inoue adopted foreignizing method using“神通”directly. （3）仿佛抱着一个十世单传的婴儿。 Yang:as if it were the sole heir to an ancient house. Inoue :さながらの十世単伝の一人子を抱いているようなものであった。 The author refers to the preciousness of "human blood steamed bread" through the "十世单传". Yang adopted free translation strategy,while Inoue adopted literal translation strategy.However, both Yang and Inoue did not attach too much importance to the status of the only child, so readers cannot perceive the author's metaphorical meaning through this source area. （4）“谁的？不就是夏四奶奶的儿子么？ Yang:"Who? Son of Widow Hsia, of course! Young rascal! Inoue :「誰って、きまってまさ。夏四奶奶の子さ。あの餓鬼め」 Neither English nor Japanese can convey the meaning of the original text well. Yang Widow translated “夏四奶奶”into “Son of Widow Hsia”by free translation. Inoue adopted transliteration using“夏四奶奶”directly that will make people misunderstanding about the original text. （5）康大叔见众人都耸起耳朵听他，便格外高兴。 Yang:Seeing how they all hung on his words, Mr. Kang's spirits rose even higher. Inoue :康おじさんはみんながを引立てているのを見て、に得意になって瘤のがハチ切れそうな声を出した。 "叔" is the title of the father's younger brother. Now "叔" also refers to an older adult man, or a man more than 20 years older than oneself. In English, "uncle" does not mean blood relationship. "Mr. Kang" does not show the relationship between people.Both Yang and Inoue used domesticating method. （6）第一要算我们栓叔运气；第二是夏三爷赏了二十五两雪白的银子，独子落腰包，一文不花。 Yang:Our Old Chuan was luckiest, and after him Third Uncle Hsia. He pocketed the whole reward—twenty-five taels of bright silver—and didn't have to spend a cent!" Inoue :「第一は栓じいさんの運気を取逃がさねえためだ。第二は夏三爺から出る二十五両のの銀をそっくりのの中に納めて一文もつかわねえ算段だ」 Yang Widow translated “夏三爷”into “Third Uncle Hsia”by free translation. Inoue adopted transliteration using“夏三爺”directly. （7）夏三爷真是乖角儿，要是他不先告官，连他满门抄斩。 Yang:Third Uncle Hsia is really smart. If he hadn't informed, even his family would have been executed, and their property confiscated. Inoue :夏三爺はすばしッこいね。もし前に訴え出がなければ今頃はどんな風になるのだろう。一家一門は皆殺されているぜ。 “乖角儿” in Chinese means a clever and intelligent person. “满门抄斩” is an ancient Chinese punishment, which means to confiscate property and kill the whole family. Both Yang and Inoue used domesticating method. （8）“义哥是一手好拳棒，这两下，一定够他受用了。” Yang:Red-eye is a good boxer. Those slaps must have hurt!" Inoue :義哥は棒使いの名人だ。二つも食ったら参っちまうぜ It was difficult to understand the local dialect.Both Yang and Inoue used domesticating method. （9）他这贱骨头打不怕，还要说可怜可怜哩。 Yang:"The rotter was not afraid of being beaten. He even said how sorry he was." Inoue :「ところがあの馬の骨め、打たれても平気で、そうだ。そうだ、と抜かしやがるんだ」 "贱骨头" is a common saying often used by Chinese people to scold people. It was difficult for translators to translate it. So both Yang and Inoue used domesticating method and free translation. （10）这一年的清明，分外寒冷。 Yang:The Ching Ming Festival that year was unusually cold. Inoue :今年の清明節は殊の外寒く “清明” is a traditional Chinese festival. It is also one of the most important sacrificial festivals. It is also the day for ancestor worship and tomb sweeping. Influenced by Chinese culture, in Japan,they also have “清明”. so it can be directly translated as Japan’s “清明節” .Because the western countries do not have this holiday, so Yang translated it as “The Ching Ming Festival”by foreignizing method.

3.4 Linguistic Culture-loaded Words （1）只有小栓坐在里牌的桌前吃饭，大粒的汗，从额上滚下，夹袄也贴住了脊心，两块肩胛骨高高凸出印成一个阳文的”八”字。 Yang:Only his son sat eating at a table by the wall. Beads of sweat stood out on his forehead, his lined jacket clung to his spine, and his shoulder blades stuck out so sharply, an inverted V seemed stamped there. Inoue :見ると額の上から大粒の汗がころげ落ち、左右の肩骨が近頃めっきり高くなって、背中にピタリとついている夾襖の上に、八字の皺が浮紋のように飛び出していた。 “阳文”is the pattern printed on some utensils. It describes the bony appearance of Xiao Shuan. Lu Xun used the character "eight" to tell readers that Xiao Shuan is thin and weak, which is very vivid and clear to us. However, it is difficult for foreign language readers to understand. The inverted English letter "V" is very similar to the Chinese letter "八".so Yang translated it to "V". And since Japan also has the word "八", so Inoue used it directly. （2）还要老虎头上搔痒，便给他两个嘴巴！ Yang:and then the young fool would 'scratch the tiger's head,' so he gave him a couple of slaps." Inoue :あいつが虎の頭を掻いたから堪らない。たちまちポカポカと二つほど頂戴したぜ "老虎头上搔痒" is a allegory of boldness, recklessness and overreach. It can also be extended to mean "seeking death" or "not afraid of death". both Yang and Inoue adopted literal translation.

===Conclusion===
Culture-loaded words are closely related to culture and have rich cultural meanings. These words are closely related to cultural relations, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication and communication. On the other hand, people living in different social contexts may have different cognitive concepts, emotional colors and subjective judgments. Because of this, some words are endowed with special meanings, which are rooted in the culture of a country or a nation. Deeply reflects the cultural characteristics.The biggest difficulty in translation is not the language itself, but the cultural implications that language carries.Medicine, as a national literary work, contains a large number of culture-loaded words. the culture-loaded words in Medicine are classified On the basis of classification, we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. Due to the great differences between eastern and Western cultures, it is difficult to find a complete equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method and free translation. Since Japan and China have had a lot of communication since ancient times and were greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation and transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have similar culture and both use Chinese characters. foreignizing translation and domestication translation, literal translation, free translation, transliteration are not in isolation, Sometimes they need to be combined to play a better role in the translation of culture-loaded words. the translation of culture-loaded word involves all aspects of culture, is a complex and worthy of further discussion. Only by fully understanding the culture of the original text and accurately interpreting the author's intention, can we better convey the cultural information of culture-loaded words to readers.

Culture-loaded words are closely related to culture and have rich cultural conceptions. These words are closely related to cultural relations, both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics. The biggest difficulty in translation is not the language itself, but the cultural conceptions that language carries. Medicine, as one national literary work, contains a large number of culture-loaded words. The culture-loaded words in Medicine are classified on the basis of classification, and we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. The great differences between eastern and Western cultures make it difficult to achieve a perfect equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method or free translation. While China and Japan have had a long communication history since ancient times and Japanese culture has been greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation or transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have some similar culture and also use Chinese characters. In addition, foreignizing translation, domestication translation, literal translation, free translation, and transliteration are not isolated from each other, sometimes they need to be combined to play a better role in the translation of culture-loaded words. The translation of culture-loaded word involves all aspects of culture and is a complex process needing further discussion. Only by fully understanding the cultural concepts of the source text and accurately interpreting the author's intention, can the translation better convey the cultural information of culture-loaded words to readers.--Fu Shiyu (talk) 09:39, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:38, 15 December 2021 (UTC)

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Bao Huinan包惠南(2001),《文化语境与语言翻译》[Cultural context and language translation]。北京：中国对外翻译岀版公司 Beijing: China International Translation & Publication Company.

Guo Shuai郭帅(2019).《边城》英俄译本文化负载词翻译策略研究 The Translation of Culture-Loaded Words in English and Russian Versions of ''Border Town''[D].北京外国语大学 Beijing Foreign Studies University.

Gao Zhaohui,Li Guihua高照慧,李桂华(2019). 《红高粱》中文化负载词的日译研究——基于翻译转换理论[Japanese Translation of Cultural-Load Words in ''Red Sorghum'': Based on the Theory of Translation Shift][J]. 兰州教育学院学报 Jouenal of Lanzhou Institute of Education,148-150.

Jin Huikang金惠康(2003),跨文化交际翻译 Cross-cultural communication translation［Ｍ］.中国对外翻译出版公司 China International Translation and Publishing Corporation.

Li Ying(2017). Chinese-English Translation of Culture-loaded Words from the Perspective of Interpretation Theory: A Case Study of Simultaneous Interpretation of Important Chinese Leaders'Conference. Journal of Liaoning University of Engineering and Technology (Social Science Edition),19 (04): 419-424.

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LuXun鲁迅(2015)，呐喊[Outcry]［Ｍ］.南京：江苏人民出版社 Nanjing:Jiangsu People's Publishing House.

Ni Xiaopeng倪晓鹏(2014). 《阿Q正传》中的文化负载词日译研究 Japanese Translation of Cultural Load Words In Ah Q Zhengzhuan [D].广东外语外贸大学 Guangdong University of Foreign Studies.

Wang Chuanmei王传梅(2008),鲁迅小说中文化负载词的翻译 Translation of cultural-loaded words in Lu Xun's novels［Ｄ］.中国海洋大学 Ocean University of China.

Wu Xiaodan吴晓丹（2015）.从目的论看《药》文化负载词英译研究 A Study on the Cultural-Load Words in ''Medicine'': From the Perspective of Skopostheorie[D].福建师范大学 Fujian normal university.

Xiang Chunyan(2016).On Translation Strategies of Chinese Culture-Loaded Words Canadian Social Science.Canadian Academy of Oriental and Occidental Culture.Vol.12,No.6, 2016, pp.69-74

Xie Wenjie谢雯洁(2019). 认知隐喻视角下小说中文化负载词的英译研究—以鲁迅小说《狂人日记》和《药》为例 Research on the English Translation of Cultural-Load Words in Novels from Cognitive Metaphor [J]. 怀化学院学报,38(06):116-119.

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Cult Load Words EN 8

2021-12-29T12:54:13Z

Zhou Xiaoxue: /* Abstract */

=Chapter 8:The Translation of Culture Loaded Words in English and Japanese Versions of Medicine=

'''《药》英日译本中文化负载词的翻译对比研究'''

周小雪 Zhou Xiaoxue, Hunan Normal University, China

===Abstract===
Language is an indispensable carrier of culture and closely related to culture. The translation of culture-loaded words has been one of the difficult problems for translators. Rich cultural connotations carried by culture-loaded words make it hard for the translator to find words in the target language that are equivalent to the original text in the source language. The same culture-loaded word may have different translation methods according to different target languages. This paper takes the novel Medicine as the research object, exploring the differences between English and Japanese translation text of the same culture-loaded words in it.

===Key words===
Culture-loaded Words; Medicine; English and Japanese Translation

=== 题目 ===
《药》英日译本中文化负载词的翻译对比研究
=== 摘要 ===
文化负载词的翻译一直是译者面临的一个难题。文化负载词背后的文化因素使得译者很难找到与之对应的词句。对于同一文化负载词，不同的语言有不同的翻译方法。本文以鲁迅的小说《药》为例，探讨同一文本中文化负载词的英、日翻译对比。

=== 关键词 ===
文化负载词；《药》；英日翻译对比
===Introduction===
Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only get faithfulness, expressiveness and elegance, but also understand the culture concepts behind each word in the original text. Culture-loaded words have always been a difficult problem in translation. Due to cultural differences, it is difficult for translators to find words that are coherent to the original text. In the process of translation, if the translation work in a comparatively mechanical manner, it is hard for us to understand the true meaning of the original text. Therefore, it is very important to do a good job in translating culture loaded words.

Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only follow some principles and strategies to translate in the ways of faithfulness, expressiveness and elegance, but also consider the cultural concepts behind each word in the source text. Culture-loaded words have always been a difficult problem in translation. Due to cross-cultural differences, it is difficult for the translator to find equivalent words in the target language. In the translating process, the translation work done in a comparatively mechanical manner would make it hard for us to understand the true meaning of the source text. Therefore, the translation of culture-loaded words plays a very important role in the translation work.--Fu Shiyu (talk) 09:13, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:41, 15 December 2021 (UTC)

===1. Culture-Loaded Words===

===1.1 Definition of Culture Loaded Words===
Language is the carrier of culture and closely related to culture. With the development of cultural communication, more and more scholars begin to study the translation of culture-loaded words. Different people have different definitions of culture-loaded words. Mona Baker put forward the the concept of “culture-specific” .A word in the original language is often different in the target language, which often makes readers from the target language culture at a loss end. Sometimes culture-loaded words are abstract, involving religious beliefs or cultural customs, and sometimes they are specific.Spanish translator Javier Franco Aixela put forward the definition of "cultural-specific item”. It tells us that "There are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no coherent item in the cultural system of the target language.In China, Jin Huikang thought "Culture loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent. "(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of vocabulary vacancy,means that the cultural information carried by the source language vocabulary has no counterpart in the target language. (Bao Huinan, 2004:10) He think that"Every language is the product of the cultural development of a country and nation, and has its long historical background and rich cultural connotation. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, each language has its own specific vocabulary, idioms and allusions Culture loaded words reflect these concepts and things. (Bao Huinan, 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are "Words, phrases and idioms that mark the unique things in a culture.These words reflect the unique activity mode gradually accumulated by a specific nation in the long historical process, which is different from other nations."(Liao Qiyi 2000:230)Language reflects different living conditions and religious differences, which lead to different modes of thinking, values, aesthetic standards and moral differences. (Wang Chuanmei, 2008:5) Culture-bearing words are closely related to culture and have rich cultural significance. These words are closely related to cultural, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotion and subjective judgments. so some words are endowed with special meanings, which are rooted in the culture of a country or a nation and reflects the cultural characteristics.(Wu Xiaodan, 2015:19)

Language is an indispensable carrier of culture and closely related to culture. With the development of cross-cultural communication, more and more scholars begin to study with the translation of culture-loaded words. Different people have different definitions about culture-loaded words. Mona Baker put forward the the concept of “culture-specific” that one word in the source language is always different in the target language, which makes readers from the target language culture confused. There are not only abstract culture-loaded words involving religious beliefs or cultural customs, but also specific ones. Spanish translator Javier Franco Aixela put forward the definition of "cultural-specific item”. It holds that “there are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no equvalent item in the cultural system of the target language.In China, Jin Huikang thought “culture-loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent word. "(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of lexical gaps, meaning that the cultural information carried by one word in the source language has no counterpart in the target language. (Bao Huinan, 2004:10) He thinks that “every language is the product in the cultural development of one country and nation, and has its long historical background and rich cultural connotations. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, different language has its own specific vocabulary, idioms and allusions and culture-loaded words reflect such concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are "Words, phrases and idioms marking the unique things in its culture. These words reflect the unique activity mode gradually accumulated by one nation in the long historical process, which is different from other nations."(Liao Qiyi 2000:230) Language reflects different living conditions and religious beliefs, which lead to different thinking modes, moral values, and aesthetic standards. (Wang Chuanmei, 2008:5) Culture-loaded words are closely related to culture and have rich cultural significance. These words are closely related to cultural both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics.(Wu Xiaodan, 2015:19)--Fu Shiyu (talk) 09:14, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:41, 15 December 2021 (UTC)

===1.2 Classification of Culture-loaded Words===
Nida believes that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is very challenging. Nida divided culture-loaded words into the following five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refer to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words the main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as buildings, food, clothing and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior. The words that reflect the characteristics of these fields are called social cultural loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Russian versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs.Therefore, in order to better understand the culture of a nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious belief and cultural tradition of a nation or nation. The difference of religious culture between countries is a big obstacle for readers to understand the words embodied in the religious culture

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words. Its visual effect and linguistic effect are the biggest characteristics of this kind of words.

In the development history of a nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, including a certain cultural background and other characteristics are language culture-loaded words. There are a lot of culture-loaded words in the novel medicine.

Nida points out that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is a challenging question for study or discussion. Nida divided culture-loaded words intoß five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refers to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words The main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as costume, architecture, cuisine and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries.

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior patterns. The words reflecting the characteristics of these fields are called social cultural-loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Japanese versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs. Therefore, in order to have a better understand of the culture of one nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious beliefs and cultural tradition of one nation or people. The difference of religious culture between countries makes it hard for readers to understand the words embodied in the religious culture.

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words, whose visual and linguistic effects are the biggest characteristics of this kind of words.

In the development history of one nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, and a certain cultural background or other characteristics are linguistic culture-loaded words. There are a lot of culture-loaded words in the novel Medicine.--Fu Shiyu (talk) 09:15, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:40, 15 December 2021 (UTC)

===2.Introduction of Medicine===
Lu Xun was a great writer and thinker in modern China. His articles reflected the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, these cultural loaded words truly reflect the national culture of the times in the novel. At this point, the thesis chooses the masterpiece, Medicine as the typical representative of LuXun, the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.

Lu Xun was a great writer and thinker in modern China. His articles reflect the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, truly reflecting the national culture of that time in the novel. At this point, this thesis chooses the masterpiece Medicine as the research object, witch is the typical representative of LuXun and the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.--Fu Shiyu (talk) 09:19, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:39, 15 December 2021 (UTC)

===3.The Comparison of Culture-loaded words'Translation between English and Japanese of Medicine===
Lu Xun's novel Medicine contains a great deal of cultural load Words, and rich connotation.The research uses the English translation of Yang Hsien-yi in 1960 and the Japanese translation done by Inoue Kōbai in 1931 as the examples discussing the different translation strategies of culture-loaded words in English and Japanese version.

3.1 Ecological Culture-loaded Words （1）茶馆的两间屋子里，便弥漫了青白的光。 Yang:which shed a ghostly light over the two rooms of the tea-house. Inoue :青白い光は茶館の中のに満ちた。 “茶馆”means a place for drinking tea and is an important place in the novel. Chinese has the habit of drinking tea, so teahouse is a unique place in China, which is translated into English as tea-house, translated Japanese as “茶館”. （2）西关外靠着城根的地面，本是一块官地。　 Yang:Originally, the land adjacent to the city wall outside the West Gate had been public land. Inoue :西関外の城の根元にる地面はもとからの官有地で Both Yang and Inoue used free translation to translate “官地”,which are simple and easy for readers to understand. （3）老栓正在专心走路，忽然吃了一惊，远远里看见一条丁字街，明明白白横着。 Yang:Old Chuan was startled when he saw distinctly the cross-road ahead of him. Inoue :老栓はひたすら歩みを続けているうちにたちまち物に驚かされた。そこは一条の丁字街がありありと眼前に横たわっていたのだ。 Yang adopted the domesticating method, translating“丁字街” as “cross-road”,Inoue adopted the foreignizing method, translating“丁字街” as “丁字街”. The translation of Yang makes it easier for readers to understand what “丁字街”is,while the translation of Inoue will give readers a sense of freshnes.

3.2 Material Culture-loaded Words （1）衣服前后一个大白圆圈，远地里也看的清楚。走过面前的，并且看出号衣上暗红色的镶边。 Yang:The large white circles on their uniforms, both in front and behind, were clear even at a distance; and as they drew nearer, he saw the dark red border too. Inoue :近寄って来ると、その白い円いものはの上の染め抜きで、のふちぬいの中にあることを知った。 The meaning of “号衣”is the marked garment worn by soldiers, officers, etc. in old times and marked with the words "soldier" or "brave". Yang translated it as a “uniform”, while Wang translates it as “のふちぬい”.Both adopted domesticating method. （2）便点上灯笼，吹媳灯盏，走向里屋去了。 Yang:then lighting a paper lantern and blowing out the lamp went into the inner room. Inoue :そこで彼はに火を移し、燈盞を吹き消して裏部屋の方へ行った。 Yang translated “灯笼” as“paper lantern” , while Inoue used Chinese words directly. （3）华大妈在枕头底下掏了半天，掏出一包洋钱，交给老栓。 Yang:After some fumbling under the pillow his wife produced a packet of silver dollars which she handed over. Old Chuan pocketed it nervously, patted his pocket twice Inoue :華大媽は枕の下をさぐって一包みの銀貨を取出し、老栓に手渡す。 The foreign currency used in China at that time was called “洋钱”.Yang adopted the domesticating method, translating“洋钱” as “silver dollars”.Because the meaning of “銀貨” in Japanese is similar to the meaning of “洋钱”in Chinese,so Inoue adopted translated“洋钱” as “銀貨”.But neither Yang nor Wang translated the meaning of foreign coins （4）那人一只大手，向他摊着；一只手却撮着一个鲜红的馒头，那红的还是一点一点的往下滴。 Yang:This man thrust one huge extended hand towards him, while in the other he held a roll of steamed bread, from which crimson drops were dripping to the ground. Inoue :その人は老栓の方に大きな手をひろげ、片ッぽの手に赤いをんでいたが、赤い汁は饅頭の上からぼたぼた落ちていた。 Because of bread is more common in the West, so Yang translated “馒头” into “a roll of steamed bread”. In Japan, they also have “馒头”,so Inoue translated “馒头” into “饅頭”. But it should be noted that “饅頭” are a little different from “馒头”. Both Yang and Inoue adopted foreignizing method. （5）小路上又来了一个女人,也是半百头发，褴褛的衣裙；提一个破旧的朱漆圆篮，外挂一串纸锭，三步一歇的走。 Yang:Another woman came down the path, grey-haired and in rags. Carrying an old, round, red-lacquered basket with a string of paper money hanging from it, she walked haltingly. Inoue :の上にまた一人、女が来た。これもの頭での著物の下に襤褸のをつけ、壊れかかったの丸籠を提げて、外へ銀紙のお宝を吊し、とぼとぼと力なく歩いて来た。 “纸锭” are made of tin foil paste silver ingot-like ghost money. Superstition holds that incineration is given to the dead so that they can be used as money. Both Yang and Inoue adopted the way of literal translation.

3.3 Social Culture Culture-loaded Words （1）老栓候他平静下去，才低低的叫道，“小栓……你不要起来。……店么？你娘会安排的。 Yang:Old Chuan called softly: "Son! . . Don't you get up! . . . Your mother will see to the shop." Inoue :老栓はそののおさまるのを待って、静かに口をひらいた。「お前は起きないでいい。店はお母さんがいいにする」 Chinese people are used to calling older people “小~”younger people “小~”. Yang adopted domesticating transliteration strategy translating “老栓” as “Old Chuan”. , Inoue adopted foreignizing method using“老栓”directly. （2）老栓倒觉爽快，仿佛一旦变了少年，得了神通，有给人生命的本领似的，跨步格外高远。而且路也愈走愈分明，天也愈走愈亮了。 Yang:It was much colder than indoors, yet Old Chuan's spirits rose, as if he had grown suddenly younger and possessed some miraculous life-giving power. He lengthened his stride. And the road became increasingly clear, the sky increasingly bright. Inoue :天気は室内よりもよほど冷やかで老栓は爽快に感じた。何だか今日は子供の昔に還って、神通を得て人の命の本体を掴みにゆくような気がして、歩いているうちにも馬鹿に気高くなってしまった。行けば行くほど路がハッキリして来た。行けば行くほど空が亮るくなって来た。 The meaning of “神通”is getting magical powers.Yang adopted domesticating translation strategy,while Inoue adopted foreignizing method using“神通”directly. （3）仿佛抱着一个十世单传的婴儿。 Yang:as if it were the sole heir to an ancient house. Inoue :さながらの十世単伝の一人子を抱いているようなものであった。 The author refers to the preciousness of "human blood steamed bread" through the "十世单传". Yang adopted free translation strategy,while Inoue adopted literal translation strategy.However, both Yang and Inoue did not attach too much importance to the status of the only child, so readers cannot perceive the author's metaphorical meaning through this source area. （4）“谁的？不就是夏四奶奶的儿子么？ Yang:"Who? Son of Widow Hsia, of course! Young rascal! Inoue :「誰って、きまってまさ。夏四奶奶の子さ。あの餓鬼め」 Neither English nor Japanese can convey the meaning of the original text well. Yang Widow translated “夏四奶奶”into “Son of Widow Hsia”by free translation. Inoue adopted transliteration using“夏四奶奶”directly that will make people misunderstanding about the original text. （5）康大叔见众人都耸起耳朵听他，便格外高兴。 Yang:Seeing how they all hung on his words, Mr. Kang's spirits rose even higher. Inoue :康おじさんはみんながを引立てているのを見て、に得意になって瘤のがハチ切れそうな声を出した。 "叔" is the title of the father's younger brother. Now "叔" also refers to an older adult man, or a man more than 20 years older than oneself. In English, "uncle" does not mean blood relationship. "Mr. Kang" does not show the relationship between people.Both Yang and Inoue used domesticating method. （6）第一要算我们栓叔运气；第二是夏三爷赏了二十五两雪白的银子，独子落腰包，一文不花。 Yang:Our Old Chuan was luckiest, and after him Third Uncle Hsia. He pocketed the whole reward—twenty-five taels of bright silver—and didn't have to spend a cent!" Inoue :「第一は栓じいさんの運気を取逃がさねえためだ。第二は夏三爺から出る二十五両のの銀をそっくりのの中に納めて一文もつかわねえ算段だ」 Yang Widow translated “夏三爷”into “Third Uncle Hsia”by free translation. Inoue adopted transliteration using“夏三爺”directly. （7）夏三爷真是乖角儿，要是他不先告官，连他满门抄斩。 Yang:Third Uncle Hsia is really smart. If he hadn't informed, even his family would have been executed, and their property confiscated. Inoue :夏三爺はすばしッこいね。もし前に訴え出がなければ今頃はどんな風になるのだろう。一家一門は皆殺されているぜ。 “乖角儿” in Chinese means a clever and intelligent person. “满门抄斩” is an ancient Chinese punishment, which means to confiscate property and kill the whole family. Both Yang and Inoue used domesticating method. （8）“义哥是一手好拳棒，这两下，一定够他受用了。” Yang:Red-eye is a good boxer. Those slaps must have hurt!" Inoue :義哥は棒使いの名人だ。二つも食ったら参っちまうぜ It was difficult to understand the local dialect.Both Yang and Inoue used domesticating method. （9）他这贱骨头打不怕，还要说可怜可怜哩。 Yang:"The rotter was not afraid of being beaten. He even said how sorry he was." Inoue :「ところがあの馬の骨め、打たれても平気で、そうだ。そうだ、と抜かしやがるんだ」 "贱骨头" is a common saying often used by Chinese people to scold people. It was difficult for translators to translate it. So both Yang and Inoue used domesticating method and free translation. （10）这一年的清明，分外寒冷。 Yang:The Ching Ming Festival that year was unusually cold. Inoue :今年の清明節は殊の外寒く “清明” is a traditional Chinese festival. It is also one of the most important sacrificial festivals. It is also the day for ancestor worship and tomb sweeping. Influenced by Chinese culture, in Japan,they also have “清明”. so it can be directly translated as Japan’s “清明節” .Because the western countries do not have this holiday, so Yang translated it as “The Ching Ming Festival”by foreignizing method.

3.4 Linguistic Culture-loaded Words （1）只有小栓坐在里牌的桌前吃饭，大粒的汗，从额上滚下，夹袄也贴住了脊心，两块肩胛骨高高凸出印成一个阳文的”八”字。 Yang:Only his son sat eating at a table by the wall. Beads of sweat stood out on his forehead, his lined jacket clung to his spine, and his shoulder blades stuck out so sharply, an inverted V seemed stamped there. Inoue :見ると額の上から大粒の汗がころげ落ち、左右の肩骨が近頃めっきり高くなって、背中にピタリとついている夾襖の上に、八字の皺が浮紋のように飛び出していた。 “阳文”is the pattern printed on some utensils. It describes the bony appearance of Xiao Shuan. Lu Xun used the character "eight" to tell readers that Xiao Shuan is thin and weak, which is very vivid and clear to us. However, it is difficult for foreign language readers to understand. The inverted English letter "V" is very similar to the Chinese letter "八".so Yang translated it to "V". And since Japan also has the word "八", so Inoue used it directly. （2）还要老虎头上搔痒，便给他两个嘴巴！ Yang:and then the young fool would 'scratch the tiger's head,' so he gave him a couple of slaps." Inoue :あいつが虎の頭を掻いたから堪らない。たちまちポカポカと二つほど頂戴したぜ "老虎头上搔痒" is a allegory of boldness, recklessness and overreach. It can also be extended to mean "seeking death" or "not afraid of death". both Yang and Inoue adopted literal translation.

===Conclusion===
Culture-loaded words are closely related to culture and have rich cultural meanings. These words are closely related to cultural relations, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication and communication. On the other hand, people living in different social contexts may have different cognitive concepts, emotional colors and subjective judgments. Because of this, some words are endowed with special meanings, which are rooted in the culture of a country or a nation. Deeply reflects the cultural characteristics.The biggest difficulty in translation is not the language itself, but the cultural implications that language carries.Medicine, as a national literary work, contains a large number of culture-loaded words. the culture-loaded words in Medicine are classified On the basis of classification, we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. Due to the great differences between eastern and Western cultures, it is difficult to find a complete equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method and free translation. Since Japan and China have had a lot of communication since ancient times and were greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation and transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have similar culture and both use Chinese characters. foreignizing translation and domestication translation, literal translation, free translation, transliteration are not in isolation, Sometimes they need to be combined to play a better role in the translation of culture-loaded words. the translation of culture-loaded word involves all aspects of culture, is a complex and worthy of further discussion. Only by fully understanding the culture of the original text and accurately interpreting the author's intention, can we better convey the cultural information of culture-loaded words to readers.

Culture-loaded words are closely related to culture and have rich cultural conceptions. These words are closely related to cultural relations, both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics. The biggest difficulty in translation is not the language itself, but the cultural conceptions that language carries. Medicine, as one national literary work, contains a large number of culture-loaded words. The culture-loaded words in Medicine are classified on the basis of classification, and we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. The great differences between eastern and Western cultures make it difficult to achieve a perfect equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method or free translation. While China and Japan have had a long communication history since ancient times and Japanese culture has been greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation or transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have some similar culture and also use Chinese characters. In addition, foreignizing translation, domestication translation, literal translation, free translation, and transliteration are not isolated from each other, sometimes they need to be combined to play a better role in the translation of culture-loaded words. The translation of culture-loaded word involves all aspects of culture and is a complex process needing further discussion. Only by fully understanding the cultural concepts of the source text and accurately interpreting the author's intention, can the translation better convey the cultural information of culture-loaded words to readers.--Fu Shiyu (talk) 09:39, 12 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:38, 15 December 2021 (UTC)

===References===
Bao Huinan包惠南、&Baoang包昂(2004),《中国文化与汉英翻译》Chinese Culture and Chinese-English Translation。北京：外文出版社 Beijing Foreign Languages Press。

Bao Huinan包惠南(2001),《文化语境与语言翻译》[Cultural context and language translation]。北京：中国对外翻译岀版公司 Beijing: China International Translation & Publication Company.

Guo Shuai郭帅(2019).《边城》英俄译本文化负载词翻译策略研究 The Translation of Culture-Loaded Words in English and Russian Versions of ''Border Town''[D].北京外国语大学 Beijing Foreign Studies University.

Gao Zhaohui,Li Guihua高照慧,李桂华(2019). 《红高粱》中文化负载词的日译研究——基于翻译转换理论[Japanese Translation of Cultural-Load Words in ''Red Sorghum'': Based on the Theory of Translation Shift][J]. 兰州教育学院学报 Jouenal of Lanzhou Institute of Education,148-150.

Jin Huikang金惠康(2003),跨文化交际翻译 Cross-cultural communication translation［Ｍ］.中国对外翻译出版公司 China International Translation and Publishing Corporation.

Li Ying(2017). Chinese-English Translation of Culture-loaded Words from the Perspective of Interpretation Theory: A Case Study of Simultaneous Interpretation of Important Chinese Leaders'Conference. Journal of Liaoning University of Engineering and Technology (Social Science Edition),19 (04): 419-424.

Liao Qiyi廖七一(2000).当代西方翻译理论探索 Exploration of Contemporary Western Translation Theory][M].南京译林出版社 Nanjing Yilin Publishing House.

LuXun鲁迅(2015)，呐喊[Outcry]［Ｍ］.南京：江苏人民出版社 Nanjing:Jiangsu People's Publishing House.

Ni Xiaopeng倪晓鹏(2014). 《阿Q正传》中的文化负载词日译研究 Japanese Translation of Cultural Load Words In Ah Q Zhengzhuan [D].广东外语外贸大学 Guangdong University of Foreign Studies.

Wang Chuanmei王传梅(2008),鲁迅小说中文化负载词的翻译 Translation of cultural-loaded words in Lu Xun's novels［Ｄ］.中国海洋大学 Ocean University of China.

Wu Xiaodan吴晓丹（2015）.从目的论看《药》文化负载词英译研究 A Study on the Cultural-Load Words in ''Medicine'': From the Perspective of Skopostheorie[D].福建师范大学 Fujian normal university.

Xiang Chunyan(2016).On Translation Strategies of Chinese Culture-Loaded Words Canadian Social Science.Canadian Academy of Oriental and Occidental Culture.Vol.12,No.6, 2016, pp.69-74

Xie Wenjie谢雯洁(2019). 认知隐喻视角下小说中文化负载词的英译研究—以鲁迅小说《狂人日记》和《药》为例 Research on the English Translation of Cultural-Load Words in Novels from Cognitive Metaphor [J]. 怀化学院学报,38(06):116-119.

Yang Hsienyi and Yang Gladys(1971)(trans.)Selected Stories of Lu Hsun.Peking:Foreign Languages Press.

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==陈静 Chén Jìng 国别女 202020080595==

康、雍、乾三朝时期的汉书翻译及其文化统制意涵*
摘要：清代的汉书翻译是统治者了解、学习和接纳汉文化的重要途径。与清初文化政策的其它单元一样，如官修史书、国语骑射、思想控制等，汉书的翻译、刊刻与颁行也是清代中、前期诸帝治术的独特构成。
On the Translation of ''the Book of Han'' and its Connotation of Cultural Controlling During the Kang-Yong-Qian Period of the Qing Dynasty(683——1796)
Abstract: The translation of ''the Book of Han'' is the important approach for the governor to understand, study and accept the Culture of Han. Like other units of cultural policy in the early Qing Dynasty(Official History Books Policy, Manchu National Language and Ride Policy, Thought Control Policy, etc.), the translation, publication, and promulgation of ''the Book of Han'' were also unique components of the emperors' tactics in the middle and early Qing dynasties. --[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 10:51, 12 October 2021 (UTC)
The translation of Han books in the Kang Xi,Yong Zheng and Qian Long dynasties and its implication of cultural control * Abstract: The translation of Han books in the Qing Dynasty is an important way for rulers to understand, learn and accept Han culture. Like other units of cultural policy in the early Qing Dynasty, such as official history books, national language,riding and shooting, ideological control, etc.the translation, publication and promulgation of Han books are also the unique composition of the governance of emperors in the middle and early Qing Dynasty.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 02:23, 13 October 2021 (UTC)

==蔡珠凤 Cài Zhūfèng 日语语言文学女 202120081477==

康、乾、雍三朝期间，汉书翻译规模不断扩大，主题日益丰富，目的更加明确，为满洲统治者走出“我族”意识，实现满、汉之间的文化接轨与观念沟通，建构并巩固满洲政权的治统与道统等，做出了重要贡献。汉书翻译的开展与推进源于特定的历史语境，与三朝统治者长期以来耽于汉籍，力主道德教化关系甚巨。自起始之日起，汉书翻译便被赋予德治与教化功能，其目的不是为了“以夷变夏”，或者“以夏变夷”，而是为了在满、汉之间进行交流、沟通与互鉴，政治意义与文化意涵并存。
During the three dynasties of Kang Zheng ,Qian Long and Yong Zheng,the scale of Chinese translation continued to expand, the theme became richer and the purpose became more clear, which made important contributions to the Manchu rulers to get out of the consciousness of "my family", achieve the cultural integration and conceptual communication between Manchu and Han, and construct and consolidate the governance and Taoism of Manchu regime. The development and promotion of Chinese translation originates from the specific historical context. It has a compact relationship with the rulers of the three dynasties who have been big on Chinese books and advocated moral education for a long time. Since its inception, the translation of Chinese books has been endowed with the function of rule of virtue and education. Its purpose is not to "change Foreign into Xia " or "change Xia into Foreign ", but to communicate and learn from each other between Manchu and Han. Its political significance and cultural meaning coexist.--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 05:17, 12 October 2021 (UTC)

During the three dynasties of Kang Zheng ,Qian Long and Yong Zheng,the scale of Chinese translation continued to expand, the theme became richer and the purpose became more clear, which made important contributions to the Manchu rulers to get out of the consciousness of "Isolated national consciousness", achieve the cultural integration and conceptual communication between Manchu and Han, and construct and consolidate the governance and Confucianism of Manchu regime. The development and promotion of Chinese translation originates from the specific historical context. It has a compact relationship with the rulers of the three dynasties who have been indulge in Chinese books and advocated moral education for a long time. Since its inception, the translation of Chinese books has been endowed with the function of rule of virtue and education. Its purpose is not to influence the Chinese nation by other nationalities, or assimilate other nationalities by the Chinese nation which based on the theory of “guarding against the barbarians or the foreigners”,but to communicate and learn from each other between Manchu and Han. Its political significance and cultural meaning coexist.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:26, 13 October 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

关键词：汉书翻译；文化沟通；治术；治统；道统
导论：清初翻译汉书，实有不得已的情由。满洲以少数族群统摄中原，虽然历代君主强调“敬天”、“法祖”，遵循历史经验，然而满洲文化除了“国语骑射”之外，整体简陋贫乏，因此欲从自身民族历史、文化中寻求借镜，必会遭遇不敷应用的困境。

KEY WORDS：Han Classic’s translation; Culture Comunication; Governmentality; Governance Tradition; Confucianism

Introduction: In the early period of Qing Dynasty, Han Classic’s translation is actually a compelling need. Manchu once governed the Central Plains of China by Ethnic minorities. Although China’s Successive monarchs emphasised concepts of “respecting the God” , “learning from ancestor”, and “following history rules”, but, in addition to the "Manchu language, horse-riding and archery", Manchu culture in general appeared poor. As a result, if they want to learn from their own national history and culture, they will encounter the dilemma of insufficient application.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:07, 13 October 2021 (UTC)

Key Word：Han Classic’s translation; Culture Comunication; Governmentality; Governance Tradition; Confucianism

Introduction: In the early period of Qing Dynasty, Han Classic’s translation was actually a compelling need. Manchu once governed the Central Plains of China by Ethnic minorities. Although China’s successive monarchs emphasised concepts of “respecting the God” , “learning from ancestor”, and “following history rules”, however. in addition to the "Manchu language, horse-riding and archery", Manchu culture in general appeared poor. As a result, if they want to learn from their own national history and culture, they will encounter the dilemma of insufficient application.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 10:35, 20 October 2021 (UTC)Chen Huini

==陈惠妮 Chén Huìnī 英语语言文学（英美文学）女 202120081479==

为了在征服和统治过程中有效运用历史经验，并将其正当化与合法化，汉文化的撷取成为不二选择，而汉籍的翻译便是实现这一目的的重要手段。例如建元初年，太祖努尔哈赤称汗之后，即命大臣翻译汉籍，进讲汉文经史，以便了解汉族历史。继位的太宗皇帝更是性嗜典籍，披览弗倦，有着丰富的汉族历史知识，不仅深明《金史》与《三国志传（通俗演义）》等，认为二者使其耳目明快，而且接纳汉官建议，效法太祖命人翻译汉籍，并通过翻译吸收历史知识，将其运用至现实政治实践中，巩固并扩展政权的统治基础。
In order to effectively use historical experience in the process of conquering and governing and to justify and legitimize it, the extraction of Han Culture is the only means and the translation of Han Classics is an important way to achieve this goal. For exemple, in the early years of the Founding Yuan Dynasty, the offspring of Taizu Nurhaci asked the ministers to translate Han Classics and talk about the history of Chinese books to gain more acquaitance of the history of Han people. Emperor Taizong who succeeded to the throne was even more addicted to classics. He had a wealth of historical knowledge of the Han nationality. He not only had a deep understanding of ''Jin Shi'' and ''Three Kingdoms'' , etc., but also he believed that they both made his ears and eyes bright and clear so that he can accept the suggestions of Han officials, follow the example of Taizu's orders to translate Chinese Classics, absorb historical knowledge through translation, and apply it to practical political practice to consolidate and expand the ruling foundation of the regime.

In order to effectively use historical experience in the process of conquering and governing and to justify and legitimize it, the extraction of Han Culture is the only means and the translation of Han Classics is an important way to achieve this goal. For exemple, in the early years of the Founding Yuan Dynasty, Emporer Taizu Nurhaci asked the ministers to translate Han Classics and talk about the history of Chinese books to gain more acquaitance of the history of Han people. His son Emperor Taizong who succeeded to the throne was even more addicted to classics. He not only had a wealth of historical knowledge of the Han nationality and a deep understanding of ''Jin Shi'' and ''Three Kingdoms'' , etc., in believing that they both made his ears and eyes bright and clear,but also he accepted the suggestions of Han officials to follow the example of Taizu's orders to translate Chinese Classics. And through absorbing historical knowledge,he applied it to practical political practice to consolidate and expand the ruling foundation of the regime.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:29, 12 October 2021 (UTC)

==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学女 202120081480==

太宗对于汉书的翻译屡有训示，要求“读史致用”，翻译的书籍要么属于“勤于求治而国祚昌隆”者，要么则属于“所行悖道而统绪废坠”者，总之必须关乎朝政之要务。[1]9 ([1](清)鄂尔泰等.清实录·太宗文皇帝实录[Z].北京：中华书局，1985.）太宗之后，冲幼即位的顺治帝同样“嗜观史书”，并采纳大学士希福建议，效仿太宗“鉴古之心”，颁赐《辽》、《金》、《元》三史译本，以明政治之得失，民生之休戚，国家之治乱。[2]15-16

The Taizong Emporer had his requirement to the translation of Han books that only books written by Emporer of keen intelligence and excellent judgment, or by Emporer who lost his country because of disobedience. All of them need to be related to affairs of state.[1]9 ([1](Qing)Eertai.Records of Qing Dynasty·Records of the Emperor Taizong[Z].Beijing：Zhonghua Publishing House，1985.）After Taizong，Shunzhi Emporer, who was given the position when was a child, intended to read history books and accepted grand secretary Xifu's advice to follow the example of Taizong Emporer . He recommended the translations of ''Liao'', ''Jin'', ''Yuan'', for the purpose that these books can demonstrate political gains and losses, people's livelihood and the state's effort to combat confusion.

Emperor Taizong of Qing Dynasty had his requirements to the translation of Han books. He required “reading history for use”. The books to be translated either belonged to those who were “diligent in seeking governance and then resulted in the fortune of a nation” or those who were “contrary to the way they put into practice and then governance fallen into depression ”. But in any case, they had to be related to affairs of state.[1]9 ([1] (Qing Dynasty) Eertai et al. Chronicles of Qing Dynasty •Chronicles of Chongde Emperor [Z].Beijing: Chinese Publishing House, 1985.）After Chongde Emperor, Shunzhi Emporer, who inherited the throne when he was a child, intended to read history books as well, and accepted grand secretary Xifu's advice to follow the example of Chongde Emperor’s heart of appreciation of the past. He recommended the translations of Liao, Jin, Yuan, for the purpose that these books can demonstrate political gains and losses, people's livelihood and the state's effort to combat confusion. [2]15-16--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 10:36, 13 October 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

（[2]（清）鄂尔泰等.清实录·世祖章皇帝实录[Z].北京：中华书局，1985.）尤其是《资治通鉴》一书，顺治帝对其更是情有独钟，认为它有“考百代之是非”的成效。[2]1清初三帝之后，满汉交流日渐频繁，民族融合逐步加强，满洲文化长足发展，嗣后诸帝的汉文化态度随之变化。
([2](Qing Dynasty) Eertai et al. Chronicles of Qing Dynasty •Chronicles of Shunzhi Emperor [Z].Beijing: Chinese Publishing House, 1985.) Particularly Comprehensive Mirror for Aid in Government, this book, Shunzhi Emperor showed special preference to it. He thought it has the effect of “examining the rights and wrongs of hundreds generations.
[2]1 After the three emperors of the early Qing Dynasty, the exchanges between Manchu and Han became increasingly frequent, the national fusion was gradually strengthened, and the culture of Manchu developed rapidly. Henceforth the attitude of emperors changed accordingly. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 08:49, 12 October 2021 (UTC)
([2](Qing Dynasty) Eertai et al. Chronicles of Qing Dynasty •Chronicles of Shunzhi Emperor [Z].Beijing: Chinese Publishing House, 1985.) Particularly Comprehensive Mirror for Aid in Government, this book, Shunzhi Emperor showed special preference to it. He thought it has the effect of “examining the rights and wrongs of hundreds dynasties. [2]1 After three emperors of the Early Qing Dynasty, the exchanges between Manchu and Han became increasingly frequent, the national fusion was gradually strengthened, and the culture of Manchu developed by leaps and bounds. Henceforth the attitude of emperors changed accordingly.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 10:47, 13 October 2021 (UTC)

==程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482==

但无论是何种变化，汉书翻译的事业却从未间断，通过翻译汉籍求明道致用的功心也从未革损。如康熙帝“性眈问学”，于听政之暇常取《六经》和《资治通鉴》等书译本，发而读之，以探求圣人之心、治道之切。雍正帝也通过阅读汉籍，论及传统正统论，尤其是其中的“承统之正”与“得国之正”的观点，以此为满洲政权建构统治的理论基础。乾隆帝即位之后，凭借其对于汉籍的熟读与精研，继续推行尊孔崇儒的政策，宣传汉族文化，通过道德学术实现传国久远的理想抱负。
However, no matter what kind of change, the cause of books’ translation of Han Dynasty has never been interrupted. The merit of “Ming Dao Zhi Yong”, that is, to be reasonable to hit the key points and apply to reality, has never been damaged through the translation of Han Dynasty books. Such as Kangxi’s (emperor of Qing Dynasty) "concerns of study". In his leisure time after handling issues of politics, he often takes the "Six Classics" and "Comprehensive Mirror for Aid in Government" and other translations, opens and then reads them, in order to explore the ideas of saints and the urgency of the policy of governing the country. By reading the books of Han Dynasty and discussing the traditional orthodoxy, especially the view of "the rightness of the succession" and "the rightness of the country", which is regarded as the theoretical basis for the construction and rule of the Manchuria regime. After Emperor Qianlong inherited the throne, he continued to carry out the policy of respecting the Confucianism, publicize the Han culture, and realize the long-standing ideal ambition of the country through moral scholarship.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 01:50, 13 October 2021 (UTC)

However, no matter what kind of change, the cause of books’ translation of Han Dynasty has never been interrupted. The utilitarian pursuing for “Ming Dao Zhi Yong”, that is, to be reasonable to hit the key points and apply to reality, has never been damaged through the translation of Han Dynasty books. Taking Kangxi’s (the forth emperor of Qing Dynasty) "concerns of study" for example, in his leisure time after handling issues of politics, he often took the "Six Classics" and "Comprehensive Mirror for Aid in Government" and other translations, opened and then read them, in order to explore the ideas of saints and the urgency of the policy of governing the country. By reading the books of Han Dynasty and discussing the traditional orthodoxy theory, especially the view of "the rightness of the succession" and "the rightness of the country", which is regarded as the theoretical basis for constructing the rule of Manchuria regime. After Emperor Qianlong inherited the throne, by virtue of his delicate reading and deep research in Han Books, he continued to carry out the policy of respecting the Confucianism, publicized the Han culture, and realized the long-standing ambition since the first emperor of Qing dynasty through moral scholarship.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 10:41, 13 October 2021 (UTC)

==丁旋 Dīng Xuán 英语语言文学（英美文学）女 202120081483==

可以认为，清代的汉书翻译既是一种笼络的手段，也是一种治术的形式，其根本目的乃是建构、巩固并维护满洲政权的正当性。一、清初汉书翻译述要鉴于文献所限，清初翻译汉书的准确数字，难以查考。特别是太祖、太宗两朝时期，汉书翻译的具体情况尤难统计。

It can be considered that the translation of Han books is one means of unifying as well as the form of governing, whose fundamental purpose is to construct, consolidate and maintain the legitimacy of Manchurian regime. 一. Han books translation in the early Qing dynasty was confined to the literature and it is hard to examine the accurate figures of it. In particular, during the two dynasties of Taizu and Taizong, the specific conditions of Han books translation is critically difficult to reckon.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 05:34, 12 October 2021 (UTC)

It can be considered that the translation of Chinese books is a means of unifying as well as a form of governing, whose fundamental purpose is to construct, consolidate and maintain the legitimacy of Manchurian regime. Firstly, The Overview of Translation of Chinese Books in the Early Qing Dynasty. In the limit of literature, it is hard to examine the accurate figure. In particular, during the two dynasties of Taizu and Taizong, the specific conditions of the translation are critically difficult to reckon.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:11, 13 October 2021 (UTC)

==杜莉娜 Dù Lìnà 英语语言文学（语言学）女 202120081484==

但从《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》和《清代内府刻书目录解题》等文献记载情况看，顺、康、雍、乾四朝官方刊刻的汉书满文译本共计五十三种。其中，除去既有满文本，又有满汉合璧本的《三国志（通俗演义）》和《大学衍义》，以及刊刻次数在两次及以上的满文本《诗经》、满汉合璧本《孝经（御制翻译孝经）》，以及满汉合璧本《潘氏（通鉴）总论》等，汉籍满文译书实为四十七种。以朝代统计，则分别是：顺治朝九种：《辽史》、《金史》、《元史》、《洪武要训》、《三国志（通俗演义）》、《诗经》、《表忠录》、《孝经》（阿什坦译）和《六韬三略》；

However, from the record of literature such as ''The General Catalogue of Rare and Ancient Books in The National Palace Museum'', ''The World Bibliography of Manchu Literature'', ''The National Union Catalogue of Books and Reference Materials of Manchu'' and ''The Bibliography for the Interpretation of Titles of the Engraving Books of the Imperial Storehouse in Qing Dynasty'', translation of Chinese books by Manchu that officially engraved by the four dynasties of Emperor Shunzhi, Emperor Kangxi, Emperor Yongzheng and Emperor Qianlong add up to fifty-three. Among these books, besides Manchu or the Chinese-Manchu bilingual ''The Romance of the Three Kingdoms'' and ''Interpretation of The Great Learning'', the Manchu script ''The Book of Songs'' that was printed more than twice, the bilingual ''The Book of Filial Piety''(made by the emperor order) , the bilingual ''The General Instruction From Pan Rong'' and so on, translation of Chinese books by Manchu actually add up to forty-seven.According to statistics of dynasties, they include nine books in the reign of Shunzhi: ''History of the Liao Dynasty'', ''History of the Jin Dynasty'' , ''History of the Yuan Dynasty'', ''The Sermon of the Hongwu Period'', ''The Romance of the Three Kingdoms'', ''The Book of Songs'',''Book for Loyalty'', ''The Book of Filial Piety''(translated by Asitan) and ''Books on the Art of War''.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 19:23, 12 October 2021 (UTC)

==付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485==

康熙朝十二种：《纲鉴汇纂》、《大学衍义》、《日讲四书解义》、《日讲书经解义》、《日讲易经解义》、《御选古文渊鉴》、《资治通鉴纲目》、《黄石公素书》、《醒世要言》、《潘氏（通鉴）总论》、《菜根谭》和《薛文清先生要语》；雍正朝五种：《孝经集注》、《小学合解》、《小学》及《四体翻译心经》；④ 乾隆朝二十二种：《日讲春秋解义》、《御制翻译四书》（鄂尔泰等奉敕译，满文本，乾隆六年）、《御制翻译四书》（乾隆皇帝敕译，满汉合璧本，乾隆二十年）、《御制翻译书经集传》、《御制翻译周易》、《御制翻译诗经》、《御制翻译名义集》、《御制大悲心忏法仪轨经》、《大藏经全咒》、《御制楞严经》、《御制翻译礼记》、《御制翻译春秋》、《心经》、《大藏经》、《御制翻译孝经》、《翻译潘氏（通鉴）总论》、《般若波罗蜜多心经》、《御译大云轮请雨经》、《吉祥偈》、《佛说四十二章经》、《金刚般若波罗密多经》及《沐浴经》。
There are 12 Manchu versions of the Chinese classics during the Emperor Kangxi in Qing Dynasty. They are Gangjian Compilation, a historical book of general history; Ta-hsueh yen-I, Interpretation of Four Books of the Day, Interpretation of Books of History, Interpretation of the Books of Changes, Authorized Selection of Ancient Literature, Comprehensive Mirror for Aid in Government, Master Huang’s Plain Book, Awaking to People, Pan General, Caigen Tan and Quotation from Master Xue Wenqing. There are five versions during the Emperor Yongzheng. They are The Book of Filial piety, Xiaoxue Hejie, a kind of dictionary, Xiaoxue,and Heart Sutra of Four Bodies translation. There are 22 versions during the Emperor Qianlong, including A teaching record of Chunqiu (a confucian classics), Authorized Translations of Sishu(Eertai were demander to translate to Manchu version in the sixth years during Qianlong), Authorized Translation of Sishu(it was on the demand of Emperor Qianlong and a combination of Chinese and Manchu in the twelfth year, Authorized Translation Translation of Shujing, Authorized Translation of Zhouyi, Authorized Translatio of Book of Songs, Authorized Translation of Mingyiji, The Whole curse of Finance, a Buddhist book, Authorized Lengyan Scriptures, Authorized Translation of Chunqiu, Heart Sutra, Tripitake, Authorized Translation of the book of Filial Piety, Pan’s General Theory of Translation, Prajna Paramita Sutra, Authorized Translation of Dayun Wheel Asking for Rain Sutra, Auspicious Verse, Buddhist Forty-two Chapters, Vajra Prajna Paramita Sutra and Bath Meridian
There are 12 Manchu versions of the Chinese classics during the period of Emperor Kangxi in Qing Dynasty. They are ''Gangjian Compilation, a historical book of general history; Ta-hsüeh yen-I, Interpretation of ‘the Four Books’, Interpretation of ‘the Book of History’, Interpretation of ‘Book of Changes’, Authorized Selection of Ancient Literature, Comprehensive Mirror for Aid in Government, Master Huang’s Plain Book, Awaking to People, Pan General, Caigen Tan and Quotation from Master Xue Wenqing''. There are five versions during the period of Emperor Yongzheng. They are ''The Book of ‘The Classic of Filial Piety’ variorum , Xiaoxue Hejie, a kind of dictionary, Xiaoxue,and Heart Sutra of Four Bodies translation.'' ④There are 22 versions during the period of Emperor Qianlong, including ''Interpretation of ‘The Spring and Autumn Annals’ (a confucian classics), Authorized Translations of ‘the Four Books’ (Eertai were demander to translate to Manchu version in the sixth years during Qianlong), Authorized Translation of ‘the Four Books’(it was on the demand of Emperor Qianlong and a combination of Chinese and Manchu in the twelfth year, Authorized Translation Translation of ‘the Book of History’, Authorized Translation of ‘the Book of Changes’, Authorized Translation of ‘Book of Songs’, Authorized Translation of formula names, The Whole curse of Finance, a Buddhist book, Authorized Lengyan Scriptures, Authorized Translation of ‘The Spring and Autumn Annals’, Heart Sutra, Tripitake, Authorized Translation of ‘the Classic of Filial Piety’, Pan’s General Theory of Translation, Prajna Paramita Sutra, Authorized Translation of Dayun Wheel Asking for Rain Sutra, Auspicious Verse, Buddhist Forty-two Chapters, Vajra Prajna Paramita Sutra and Bath Meridian.''--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 23:17, 15 October 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

上述译本中，虽然《三国志（通俗演义）》和《大学衍义》分别于顺治七年、康熙十一年刊印两次，但各自的底本相同，区别只在于一次为满文本，另一次则为满汉合璧本。此外，《孝经》曾于顺治、康熙、雍正朝各刊刻一次，但底本各不相同，其中顺治年间的刊行本为阿什坦译本、康熙年间的刊行本为和素译校本，雍正时期的版本则译者未明，只是注明“雍正皇帝敕译”。值得注意的是，虽然世祖顺治帝笃信佛教，论佛谈法，但从现有文献看，未见有顺治朝翻译的汉文经书，反倒是禁教严厉的高宗时期，翻译汉文经书多达九部，其中缘由，值得深思。
In above-mentioned translations, although ''The Romance of the Three Kingdoms'' and ''Interpretation of The Great Learning'' were published twice in the seventh year of Shunzhi and the eleventh year of Kangxi respectively, their original versions were the same. The only difference was that one was completely in Manchu and the other was a combination of Chinese and Manchu. In addition, ''The Classic of Filial piety'' was once published in the period of Shunzhi, Kangxi and Yongzheng respectively, but the original versions were varied. And the published version in Shunzhi period was translated by Ashton, the version in Kangxi period was translated and revised by Hesu, and the version in Yongzheng period whose translator was unknown was marked with ‘imperial translation of Yongzheng emperor’. It is worth nothing that although the emperor Shunzhi believed in and advocated Buddhism ,there were no scriptures translated into Chinese in the Shunzhi period according to the existing literature. On the contrary, in the Gaozong period when religions were strictly forbidden, there were as many as nine scriptures translated into Chinese. And the reasons of this are worth considering. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 15:25, 11 October 2021 (UTC)

In the above-mentioned translations, although ''Records of the Three Kingdoms'' and ''Daxue yanyi'' were published twice in the seventh year of Shunzhi and in the eleventh year of Kangxi respectively, their original versions were the same. The only difference was that one was completely in Manchu and the other was a combination of Chinese and Manchu. In addition, ''The Classic of Filial Piety'' was once published in the period of Shunzhi, Kangxi and Yongzheng respectively, but the original versions were varied. And the published version in Shunzhi period was translated by Ashton, the version in Kangxi period was translated and revised by Hesu, and the version in Yongzheng period whose translator was unknown was marked with ‘imperial translation of Yongzheng emperor’. It is worth noting that although the emperor Shunzhi believed in and advocated Buddhism, there were no scriptures translated into Chinese in the Shunzhi period according to the existing literature. On the contrary, in the Gaozong period when Buddhism was strictly forbidden, there were as many as nine scriptures translated into Chinese. And the reasons for this are worth pondering.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:07, 12 October 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

尤其值得关注的是《诗经》与《孝经》的满文译本。以《诗经》为例，该书翻译成书后，顺治帝曾为其亲制序文，赞誉该部作品意旨深厚，能使人明性意，崇礼义，“其言之深者，可用于庙堂；言之浅者，可用于身家。以之事君，必忠；以之事父，必孝。更可以敦厚人伦，端正教化。”[3]72-73（[3]叶高树.清朝前期的文化政策[M].台北：稻乡出版社，2002.）

The Chinese-Manchu translations of ''The Book of Songs'' and T''he Classic of Filial Piety'' call for special attention. Take ''The Book of Songs'' as an example. When the book had been translated, Shunzhi Emperor personally wrote a preface to it, in which he praised the work for its deep meaning that enabled people to understand human nature and respect etiquettes, quote, “Some of its profound words can be used at the imperial court; some of its shallow words can be used for oneself and one’s family. Under the guidance of it, one will be faithful to the emperor and filial to his or her father. What’s more, it can improve human relations and correct moral cultivation.” [3]72-73（[3]Ye Gaoshu. Cultural policies in early Qing dynasty [M].Taipei：Dao Xiang press，2002.）--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 13:57, 12 October 2021 (UTC)

The Chinese-Manchu translation of ''The Book of Songs'' and T''he Classic of Filial Piety'' calls for special attention. Take ''The Book of Songs'' as an example. When the book had been translated, Shunzhi Emperor personally wrote a preface to it, in which he praised the work for its deep meaning that enabled people to understand human nature and respect etiquettes, quote, “Some of its profound words can be used at the imperial court; some of its shallow words can be used for oneself and one’s family. Under the guidance of it, one will be faithful to the emperor and filial to his or her father. What’s more, it can improve honest and sincere, human relations of people and correct moral cultivation.”--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:35, 13 October 2021 (UTC)

==宫博雅 Gōng Bóyǎ 俄语语言文学女 202120081488==

从教化的角度思考《诗经》的翻译，既是顺治帝本人的自觉认识，也是以他为首的统治者在面对稗（bài）官小说盛行，而满洲人竞相翻译时所做的一种被动调整。正如顺治九年进士、刑科给事中阿什坦担心的那样：学者立志，宜以圣贤为期，读书务以经史为中。

Thinking about the translation of The Book of Songs from the perspective of enlightenment is not only Shunzhi Emperor's self-conscious awareness, but also a passive adjustment made by the rulers headed by Shunzhi when they were faced with the popularity of tares officer novels and the manchurian people competing in translation. Just as Ashtan-Jinshi in the Shunzhi period of nine years in the Criminal Section for things was worried: scholars resolve, should take sages as their example of study, and take classics and history as main aspect.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 01:53, 13 October 2021 (UTC)

In terms of educational function of translating ''The Book of Songs'', it is on one hand Emperor Shunzhi’s spontaneous awareness and on the other a passive adjustment by Shunzhi and his counterparts to the situation where Manchuria translators competed to translate the prevailing novels of unofficial histories. As Ashton, a scholar in the ninth year of Shunzhi’s reign and official in the department of justice, stated that scholars should resolve to make sages as their goal and focus on reading history and classics.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:50, 13 October 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

此外杂书无益之言，必概废之而不睹。则庶乎学业日隆，而邪慝（tè）之心无由而入。近见满洲译书内，多有小说秽言，非惟无益，恐流行渐染，则人心易致于邪慝。

, while the other kinds of books which are of no benefit should be discarded. In this way, scholars might achieve positive results in academy and get rid of evil thoughts. I have noticed much falsifying and obscenity among the books translated into Manchu language. I am afraid that those books of no good can be prevailing and contagious, eroding people’s thinking.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:12, 12 October 2021 (UTC)

Besides, other kinds of books with profitless words all should be discarded. Hence scholars can almost do increasingly better in their scholastic attainment, and evil thoughts disappear. Recently, I have noticed that among translated books in Manchu, there are many novels with bestial words, not only useless, but also easily imputing negative thoughts if they prevail.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 00:44, 13 October 2021 (UTC)

==胡舒情 Hú Shūqíng 英语语言文学（语言学）女 202120081490==

况圣贤古训，日详究之，犹恐不及，何暇费日时于无用之地？[4]5339（[4](清)鄂尔泰等修，李洵等点校.八旗通志·初集[Z].长春：东北师范大学出版社，1989.）阿什坦认为，读书必以经史为要，摒弃杂书，尤其是污言秽语之书。

Moreover, the old maxims of sages are studied in detail everyday, but people still fear that they can’t approach that height. Why should we employ our time in useless places? ([4](Qing Dynasty) Modification of Eertai et al. Punctuation and Collation of Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.) Ashitan thinks we should choose classics and history to read rather other books, especially those with bestial words.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:09, 12 October 2021 (UTC)

As for the maxims from ancient sages, people studied them everyday in detail but still worried they couldn’t comprehend, so why should they do worthless work? ([4](Qing Dynasty) Modification of Eertai et al. Punctuation and Collation of Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.) Ashitan thought people would read classical books and get rid of informal books especially those with bestial words.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 12:17, 12 October 2021 (UTC)

==黄锦云 Huáng Jǐnyún 英语语言文学（语言学）女 202120081491==

因此，他奏请皇上对旗人读书严加限制，要求嗣后翻译书籍只应针对“关圣贤义理，古今治乱之书”，对于“此外杂书秽言”，则“概为禁饬，不许翻译”。[4]5339（[4](清)鄂尔泰等修，李洵等点校.八旗通志·初集[Z].长春：东北师范大学出版社，1989.）正是缘于这样的认识，《大学》、《中庸》、《孝经》、《潘氏（通鉴）总论》和《太公家教》等被陆续译成。

Therefore, he presented a proposal to the dominator that a restriction on Qi people’s education should be made. He also claimed that people could only translate those books about men’s virtue and dominator’s pacification, while those informal books with bestial words should be banned. [4] (Qing dynasty) Modified by Eertai et al. Proofread by Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.) Due to that kind of comprehension, the Great Learning, the Middle Way, the Classic of Filial Piety, Pan’s General View and the Family Motto of Taigong were successively translated.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:00, 12 October 2021 (UTC)

Therefore, he presented a proposal to the emperor that a strict restriction on Qi people’s education should be made which allowed people to translate books about men’s virtue and dominator’s pacification and prohibited translations of informal books with foul language. [4] (Qing dynasty) Modified by Eertai et al. Proofread by Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.) Due to that kind of awareness, the Great Learning, the Doctrine of the Mean, the Classic of Filial Piety, Pan’s General View and the Family Motto of Taigong were successively translated.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 11:44, 12 October 2021 (UTC)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==

顺治帝对于《孝经》的翻译亦甚重视，曾亲自撰写《御注孝经》，令儒臣博采群书，加以论断，编纂《孝经衍义》。顺治帝指出，自古治平天下，莫大于孝，而《孝经》立意正大，“孝”更是“五常百行之原”，如不能取古人言行，将其推广，则不足以彰显其义，同时也与其本人“以孝治天下”的愿景相悖。[2]1-2;[5]140-141（[2]（清）鄂尔泰等.清实录·世祖章皇帝实录[Z].北京：中华书局，1985.）

Emperor Shunzhi also attached great importance to the translation of The Classic of Filial Piety for which he once wrote the notes himself. Moreover, he ordered the Confucian officials to evaluated this book and compiled The Extended Explanation of The Classic of Filial Piety according to a variety of books. Emperor Shunzhi pointed out that nothing was more important than filial piety to govern the country. And he believed that The Classic of Filial Piety embodied this quality well. As the origin of the five essential moral qualities(kindness, righteousness, propriety, wisdom and trust) and good deeds, filial piety should be promoted otherwise its meaning can't be manifested completely. Meanwhile it would be contrary to the Emperor's vision to govern the country with filial piety. [2]1-2;[5]140-141([2](Qing Dynasty)Eertai et al.Records of Qing Dynasty •Records of the Emperor Shizhi[Z].Beijing: Zhonghua Publishing House, 1985.)--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:06, 11 October 2021 (UTC)

Emperor Shunzhi also attached great importance to the translation of ''The Classic of Filial Piety'' for which he once wrote the notes himself. Moreover, he ordered the officials who are faithfully converted to Confucianism to evaluated this book and compiled ''The Extended Explanation'' of ''The Classic of Filial Piety'' according to a variety of books. Emperor Shunzhi pointed out that nothing was more important than filial piety to govern the country. And he believed that ''The Classic of Filial Piety'' embodied this quality well. As the origin of the five essential moral qualities(kindness, righteousness, propriety, wisdom and trust) and good deeds, filial piety should be promoted otherwise its meaning can't be manifested completely. Meanwhile it would be contrary to the Emperor's vision to govern the country with filial piety. [2]1-2;[5]140-141([2](Qing Dynasty)Eertai et al.''Records of Qing Dynasty •Records of the Emperor Shizhi''[Z].Beijing: Zhonghua Publishing House, 1985.)--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:26, 20 October 2021 (UTC)Huang Zhuliang

==null==

（[5]宋德宣.满族哲学思想研究[M].沈阳：辽宁大学出版社，1994.）顺治年间翻译的其它汉文典籍，如《洪武宝训》、《表忠录》、《诗经》与《孝经》等，也各具代表性。以《洪武宝训》为例，该书系明朝皇权政治的象征，反映了明太祖朱元璋治国理政的理念和方针。顺治三年三月，《洪武宝训》完成满文翻译，成为清朝入关后的首部汉籍译作，顺治帝对此极为重视，不仅赏赐了刚林、宁完我、范文程等译者，而且由摄政王钦命汉官代笔，以世祖名义制作序文，颁行全国。

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

世祖认为，历代贤君莫如洪武，希望通过翻译此书，学习中原汉族王朝正统，巩固满清统治，所谓“彝宪格言，深裨治理”，即是此书翻译目的之体现。[2]1（[2]（清）鄂尔泰等.清实录·世祖章皇帝实录[Z].北京：中华书局，1985.）二、康熙朝的汉书翻译。康熙朝的汉籍翻译可分为两部分：一部分为整理、刊行前朝译本；另一部分则着手翻译其它各类汉文书籍As far as Emperor Shitzu of Qing Dynasty concerned, Each emperor in Chinese history is not so sagacious as Taitzu(Emperor ''Hongwu'') of Great Ming Empire, so, he hopes that by translating ''Hongwu Baojian'', the orthodox tradition and customs of all dynasties created by the Han ethnic groups in the Middle part of China can be studied and acquired, the goal, which is to consolidate of the newly born dynasty, can be achieved. The purpose of translating ''Hongwu Baojian'' is that Emperor Shunzhi thinks that it can "refresh the country and make great contributions to his ruling."
[2]1([2](Qing) E Ertai et al., ''the Imperial Archives of Emperor Shitzu(1638-1661, posthumously titled Zhang Huang Di) of the Qing Dynasty'', Peking, Zhonghua Book Company, 1985.)
II. The Translation of Books Created by Han Ethnic Group in the Period of Kangxi(1661-1722) The translation of Books created by Han ethnic group in the Period of Kangxi(1661-1722) can be divided into two parts: the first is neaten, print and publish the former translated version; the second is setting about translating other books written by Han Character.
--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:14, 13 October 2021 (UTC)Huang Zhuliang

As far as Emperor Shizu of Qing Dynasty concerned, there is no sagacious emperor in Chinese history than Taitzu(Emperor Hongwu) of Great Ming Dynasty, so he hopes that by translating Hongwu Baojian, the orthodox tradition and customs of all dynasties created by the Han ethnic in the Central Plains of China can be studied and acquired, the goal, which is to consolidate the newly born dynasty, can be achieved. The purpose of translating Hongwu Baojian is that Emperor Shizu thinks that it can "refresh the country and make great contributions to his ruling." [2]1([2](Qing) E Ertai et al., the Imperial Archives of Emperor Shizu(1638-1661, posthumously titled Zhang Huang Di) of the Qing Dynasty, Peking, Zhonghua Book Company, 1985.)
II. The Translation of Books Created in Kangxi Dynasty.(1661-1722) The translation of Books created in Kangxi Dynasty(1661-1722) can be divided into two parts: the first is to neaten, print and publish the former translated version; the second consist in translating other books written by Han Character. --[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:25, 13 October 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

其中，前者如《纲鉴汇纂》（康熙三年）、《黄石公素书》（康熙四十三年）和《潘氏（通鉴）总论》（康熙四十六年）等，后者则如《大学衍义》等，数目更多。康熙十一年，翰林院掌院学士兼礼部侍郎傅达礼翻译《大学衍义》成书，次年进呈皇帝，获太皇太后和圣祖嘉奖。孝庄太皇太后在亲览傅礼达《大学衍义》译本后，大赞此书“法戒毕陈，诚为且要”，并对康熙帝钦命儒臣翻译、刊刻、颁赐此书给诸臣，予以充分肯定。[6]82
Among them, the former, such as ''Gang Jian Hui Zuan''(a book of historical records in the third year of emperor Kang Xi), ''Su Shu of Huang Shigong''(a book about Taoisme in the 43th year of emperor Kang Xi) and ''the General treatise of the Pan family''(Tong Jian:a history book)(in 46th year of emperor Kang Xi),etc…the latter, such as ''Da Xue Yan Yi''(the Deduction meaning of great learning),are more numerous. In the 11th year of emperor Kang Xi,Bo Dali, the master bachelor of national academy and assistant minister，translated ''Da Xue Yan Yi'' which was submitted to the emperor the next year，with the great prize by grandma-empress and ancestor.After personally reading Bo Dali's version of ''Da Xue Yan Yi'', grandma-empress Xiao Zhuang lavished praise that laws by chen is so genuine on it, satisfying with the translations, prints and awards which were given to ministers by emperor Kang Xi.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:24, 12 October 2021 (UTC)

Among them, the former, such as ''Gang Jian Hui Zuan''(a book of historical records in the third year of the Emperor Kang Xi), ''Su Shu of Huang Shigong''(a book about Taoism in the 43th year of the Emperor Kang Xi) and ''the General treatise of the Pan family''(Tong Jian:a history book)(in 46th year of the Emperor Kang Xi),etc…the latter, such as ''Da Xue Yan Yi''(the Deduction meaning of great learning),are more numerous. In the 11th year of the Emperor Kang Xi,Bo Dali, the master bachelor of national academy and assistant minister，translated ''Da Xue Yan Yi'' which was submitted to the emperor the next year，with the great prize by grandma-empress and ancestor.After personally reading Bo Dali's version of ''Da Xue Yan Yi'', grandma-empress Xiao Zhuang lavished praise that laws by chen is so genuine on it, satisfying with the translations, prints and awards which were given to ministers by emperor Kang Xi.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:09, 13 October 2021 (UTC)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

（[6]中国第一历史档案馆.康熙起居注[Z].北京：中华书局，1984.）《大学衍义》译毕后，康熙帝又在康熙十六年、十九年、二十二年，分别命人将《四书》、《五经》等的经筵讲义加以刊印，先后集成《日讲四书解义》、《日讲书经讲义》和《日讲易经讲义》。这些讲义虽不是直接译自清代以前的汉文典籍，然而作为阐释经典的作品，也经历了由汉文翻译成满文的过程，且书中又将原典逐字逐句译出，故仍然属于汉籍翻译的范畴，对高宗年间的儒家经典重译也产生了重要、深刻的影响。

([6]The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company, 1984.)After the translation of ''Spreading Meaning of The Great Learning'' was finished, the Emperor Kangxi gave an order to publish the doctrine of ''The Four books'' and ''The Five Classics'' respectively in 16th, 19th, and 22th year of Kanxi, which were successively integrated into ''Lecture on the Four Books'', ''Lecture on the Book of History'', ''Lecture on the Book of Changes''.These doctrines are not directly transalted from those Chinese classics since the dynasty of Qing, however as the works of interpreting classics, also going through the process of the translating from Chinese to Manchu language.Moreover, the sentences of original classics were translated literally, so the translation also belongs to Chinese classics translation, which exerted important and profound influence on the re-translation of Confucian Classics in the period of emperor Tang Gaozong.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 02:53, 13 October 2021 (UTC)

([6] The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company, 1984.) After the translation of Spreading Meaning of The Great Learning was finished, the Emperor Kangxi gave an order to publish the doctrine of ''The Four books'' and ''The Five Classics'' respectively in 16th, 19th, and 22th year in the period of Emperor Kangxi, which were successively integrated into ''Lecture on the Four Books'', ''Lecture on the Book of History'', ''Lecture on the Book of Changes''. Although, these doctrines are not directly translated from those Chinese classics since the dynasty of Qing, as the works of interpreting classics, it also went through the process of the translating from Chinese to Manchu language. Moreover, the sentences of original classics were translated literally, so the translation also belongs to Chinese classics translation, which exerted important and profound influence on the re-translation of Confucian Classics in the period of emperor Tang Gaozong--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:41, 13 October 2021 (UTC)

==李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496==

与此同时，康熙帝即位后，也缵述世祖遗绪，命儒臣编纂《孝经衍义》，只是由于该书达一百卷之多，篇帙繁复，读者未必领会周全，因而康熙帝钦命专译其经文，以利读者习诵。康熙帝对汉书翻译的重视也体现在《通鉴纲目》的翻译上。据《康熙起居注》中载，康熙帝耽于《资治通鉴》，自二十四年起便对《资治通鉴》、《资治通鉴纲目》（又名《通鉴纲目》）、《纲目大全》三书“以硃笔亲加点定”，不但将书中错误悉数改正，而且对缺失者也加以增补。[6]1339-1340
At the same time, after Emperor Kangxi ascended the throne, he also inherited and reported the meritorious deeds of Emperor Qing Shi Zu and ordered Scholar-Officials to compile the ''Classic of Filial Piety''. However, the readers may not understand it well because there are as many as 100 heavy and complicated volumes. Therefore, Emperor Kangxi ordered experts to translate the scriptures for the benefit of the readers. Emperor Kangxi's attention to the translation of Chinese books is also reflected in the translation of the ''Compendium of History as a Mirror''. According to the ''Records of Emperor Kangxi’s Daily Activities'', Emperor Kangxi devoted himself to ''History as a Mirror''. Since the 24th year in the period of Emperor Kangxi, Emperor Kangxi “had used the Chinese brush with cinnabar ink to revise” the three books, the ''History as a Mirror'', the ''Compendium of History as a Mirror'', and the ''Compendium'', not only corrected all the errors in the book, but also supplemented the missing ones. [6]1339-1340--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 15:06, 12 October 2021 (UTC)

At the same time, after Emperor Kangxi accepted the imperial succession, he also inherited and edited the meritorious works of Shizu, Qing Emperor and commanded the Scholar-Officials to compile ''The Meaning Supplement of Filial Piety''. However, the readers may not understand it so well because this book consisted of more than 100 volumes, with complicated sections and chapters. Therefore, Emperor Kangxi ordered experts to translate the classical works for the benefit of the readers. Emperor Kangxi attached importance of Han classics to the translation of ''Compendium of History as a Mirror''. According to ''Record on Emperor Kangxi's Daily Life'', he was so fond of ''History as a Mirror''. Since the 24th year after reign, Emperor Kangxi has used the Chinese brush with cinnabar ink to revise ''History as a Mirror'', ''Compendium of History as a Mirror'', and ''Compendium'', not only correct all the mistakes in the book, but also supplement the missing ones. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 03:03, 13 October 2021 (UTC)

==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学）女 202120081497==

（[6]中国第一历史档案馆.康熙起居注[Z].北京：中华书局，1984.）而康熙帝对于《通鉴纲目》的关注尤甚，达到了“循环披览，手未释卷”的程度。[7]2-3（[7]（清）玄烨.康熙帝御制文集[M].台北：台湾学生书局，1966.）

([6]The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company,1984) And Emperor Kangxi was so concerned about ''The Compendium of History as a Mirror'' that he read it over and over again, unwilling to put it aside. [7]2-3 ([7]Qing Dynasty)Aisin Gioro Xuanye, ''Collected Works of Emperor Kangxi''[M].Taipei: Taiwan Student Book Company, 1966.）--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 06:22, 12 October 2021 (UTC)

([6]The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company,1984) And Emperor Kangxi was so fond of ''The Compendium of History as a Mirror'' that he read it over and over again, unwilling to put it aside. [7]2-3 ([7]Qing Dynasty)Aisin Gioro Xuanye, ''Collected Works of Emperor Kangxi''[M].Taipei: Taiwan Student Book Company, 1966.）--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 01:22, 13 October 2021 (UTC)

==李姗 Lǐ Shān 英语语言文学（英美文学）女 202120081498==

故此，康熙三十年，圣祖命阿什坦之子，翻书房总裁和素将《通鉴纲目》译文满文，由武英殿内府刊刻，该译本现存于中国民族图书馆，共三十册（三函），虽然内容上并不完整，但仍然包含了《资治通鉴纲目》（朱熹）、《订正通鉴纲目前编》（南轩），以及《续资治通鉴》（商辂）等三部作品的基本内容。难得的是，该部汉籍的满文译本曾入选第四批《国家古籍珍贵名录》（编号：11326），可见其在翻译史、满语史乃至中国史上的重要地位。康熙年间，除翻译汉文经、史外，也编译汉书，如《御选古文渊鉴》的编译等，即属此类。

Therefore, in the 30th year of Kangxi's reign period(1691), the emperor asked the son of A'shitan, the chief executive of translation department named HeSu to translate ''TongJian of Materia Medica'' into the language of the Manchus and ordered the Martial Valor to print it. The translated version, which consists of 30 vomumes, is now kept in the Library of Chinese Nationalities.Though not covering all contents, it does contain the basic contents of ''History as a Mirror''(by Zhu Xi), ''Revised Prequel of TongJian of Materia Medica'' (by Nan Xuan) and ''The Sequel of History as a Mirror''(by Shang Lu). What's worth noting is that, this translated script was once selected into the fourth batch of ''National Rare Catalogue of Ancient Books''(SE:11326). Thus, we can see that it plays an important role in the history of translation, the history of the Manchus language and even the history of Chinese history. During the period of Kangxi's reign, besides the translation of ancient Chinese classics and histories, the translation and edition of Chinese books also prevailed, such as ''Imperial Selection of Ancient Chinese Proses'' and the like.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 01:16, 13 October 2021 (UTC)

Therefore, in the 30th year of Kangxi's reign period(1691), the emperor asked the son of A'shitan, the chief executive of translation department named HeSu to translate ''General Compendium'' into the language of the Manchus and ordered the Martial Valor to print it. The translated version, which consists of 30 volumes, is now kept in the Library of Chinese Nationalities.Though not covering all contents, it does contain the basic contents of ''Outline of Comprehensive Mirror for Aid in Government''(by Zhu Xi), ''Revised Prequel of Comprehensive Mirror for Aid in Government'' (by Nan Xuan) and ''The Sequel of Comprehensive Mirror for Aid in Government''(by Shang Lu). What's worth is that, this translated script was once selected into the fourth batch of ''List of National Rare Ancient Books''(SE:11326). Thus, we can see that it plays an important role in the history of translation, the history of the Manchus language and even the Chinese history. During the period of Kangxi's reign, besides the translation of ancient Chinese classics and histories, the translation and edition of Chinese books also prevailed, such as ''Imperial Selection of Ancient Chinese Proses'' and the like.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 10:50, 13 October 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

《御选古文渊鉴》由康熙九年进士徐乾学编注，全书共六十四卷选文，收录时间自春秋至宋末，偏重于先秦、两汉古文，以及唐宋八大家散文。关于《御选古文渊鉴》的缘起，《康熙帝御制文集》中有详细记载，概言之便是康熙帝常思“文以载道”，认为文章之事源远流长，所谓“今古错综，盛衰或通于千载，损益无关于一朝”，因而命儒臣选辑“辞义精纯，可以鼓吹《六经》者，汇为正集”，“间有瑰丽之篇，……则列之别集”，而“旁采诸子，录其要论，以为外集。”[7]17-18（[7]（清）玄烨.康熙帝御制文集[M].台北：台湾学生书局，1966.）

''The Appreciation of Ancient Writings Selected by Emperor Kangxi'' was compiled and annotated by Xu Qianxue who succeeded in the highest imperial examinations in Kangxi’s ninth year in the throne. The book contains 64 volumes of articles from the Spring and Autumn period to the end of Song Dynasty, including especially those of Pre-Qin period and Han Dynasty as well as proses of eight great prose masters of the Tang and Song. In regard to its origin, it was recorded in detail in ''The Collected Works of Emperor Kangxi''. In short, the reason is that Kangxi thought that articles were made to explain the truth, which had such a long history that it underwent all the ebb and flow from ancient times to present and that we couldn’t attribute gains and losses to one dynasty. Kangxi therefore commanded officials to select those with excellent contents and forms which advocate ''Six Classics'' for the principle set, euphuistical articles for another set and records of litterateurs’ writings for the complementary set. [7]17-18([7] (Qing Dynasty)Xuanye, ''The Collected Works of Emperor Kangxi''[M]. Taipei: Taiwan Student Book Bureau, 1966.)--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 13 October 2021 (UTC)

The Appreciation of Ancient Writings Selected by Emperor Kangxi was compiled and annotated by Xu Qianxue who succeeded in the highest imperial examinations in 1670. The book contains 64 volumes of articles from the Spring and Autumn period to the end of Song Dynasty, including especially those of Pre-Qin period and Han Dynasty as well as proses of the eight great prose masters in Tang and Song. In regard to its origin, it was recorded in detail in The Collected Works of Emperor Kangxi. In short, the reason is that Kangxi thought that articles were made to explain the truth, which had such a long history that it underwent all the ebb and flow from ancient times to present and that we couldn’t attribute gains and losses to one dynasty. Kangxi, therefore, commanded civil officials to select those with excellent contents and forms which advocate Six Classics for the principle set, euphuistical articles for another set and records of litterateurs’ writings for the complementary set. [7]17-18([7] (Qing Dynasty)Xuanye, The Collected Works of Emperor Kangxi[M]. Taipei: Taiwan Student Book Bureau, 1966.)--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:53, 13 October 2021 (UTC)

==李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500==

按照康熙帝自己的设想，该书的编纂着眼于“文治”，使帝王之道“大化以成”，而圣贤之业“性功以备”，既强调“质文互用”，又强调“博约并施”。[7]18（[7]（清）玄烨.康熙帝御制文集[M].台北：台湾学生书局，1966.）康熙二十四年，该书先以汉文刊印，两年后又以满文翻译成书，由内府刊刻。

According to the Emperor Kangxi in Qing dynasty, the book was compiled with a focus of governing the country through civil affairs. In this way, the whole ability of the emperor can be approved, while saints’ career should both be composed of nature and virtue. Not only did it emphasize the mutual application of polite behavior and inner goodness, but also it stressed both strict and loose control. [7]18 ([7] (Qing Dynasty). Xuanye. ''The Special Made Collected Works of the Emperor Kangxi'' [M]. Taibei: the student book office in Taiwan Province, China, 1966.) In 1695, the book firstly printed in Chinese. Two years later, it was translated into Manchu script and compiled.

According to the Emperor Kangxi in Qing dynasty, the book was compiled with a focus on governing the country by “civil affairs”. In this way, the comprehensive ability of the emperor can be improved, while saints’ career should be composed of nature and virtue. Not only did it emphasize the mutual application of polite behavior and inner goodness, but also it stressed both strict and loose control. [7]18 ([7] (Qing Dynasty). Xuanye. ''The Special Made Collected Works of the Emperor Kangxi'' [M]. Taibei: the student book office in Taiwan Province, China, 1966.) In 1695, the book firstly printed in Chinese. Two years later, it was translated into Manchu script and compiled. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 07:38, 12 --[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:42, 12 October 2021 (UTC)October 2021 (UTC)

==李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501==

《御选古文渊鉴》的编译对于康熙朝的汉籍翻译影响甚大。以此书为界，康熙朝的汉籍翻译在前后两个阶段中，对于对象的选取有着明显不同的诉求。其中，前一阶段的翻译文本多与《四书》、《五经》及宋代以前的作品有关，仅有《纲鉴汇纂》（达海等译）一部涉及前明，而康熙中、后期之后，由明代儒士作品翻译的情况明显增多，如吕坤的《醒世要言》、洪应明的《菜根谭》，以及薛瑄的《薛文清先生要语》等。
The compilation of The Selection of Ancient Classics had a great influence on the translation of books in the Kangxi Dynasty. Taking it as a boundary, the translation in the Kangxi Dynasty had obviously different demands on the selection of objects in the two stages. For example, the translation before the compilation of The Selection of Ancient Classics was related to works before Song Dynasty,like The Four Books and the Five Classics .Only Gang Jian Hui Zuan ( translated by Daihai,etc) talked about the former Ming Dynasty. However, in the middle and late Kangxi Dynasty, works translated by talents of Ming Dynasty increased greatly, such as Xing Shi Yao Yán translated by Lv Kun,Cai Gen Tan translated by Hong Yingming and The Words of Xue Wenqing translated by Xue Xuan.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:38, 12 October 2021 (UTC)

The compilation of the "Royal Selection of ancient texts" had a great influence on the Chinese translation of Kangxi Dynasty. With this book as the boundary, Kangxi Dynasty's Chinese translation in the two stages before and after, for the selection of objects have obviously different demands. Among them, the translation text of the previous stage is mostly related to the "Four Books", "Five Book" and previous works of the Song Dynasty, only "GangQi" (Dahai et al.) a related to the pre-Ming, and Kangxi middle and later, by the Ming Dynasty Confucian works translated by the situation significantly increased, such as Lu Kun's "Wake up the World", Hong Yingming's "CookIng Tan", and Xue Wei's "Mr. Xue Wenqing".--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 09:45, 13 October 2021 (UTC)[[File:Example.jpg]]

==李新星 Lǐ Xīnxīng 亚非语言文学女 202120081503==

虽然如此，但康熙一朝的翻译目的并无明显改变，仍以劝善除恶、裨益治道者为先。
三、雍正朝的汉书翻译。雍正年间，汉籍翻译与出版仍在发展，但种类与数量和康熙朝比稍嫌单调、稀少。之所以如此，与雍正年间的政治形势不无关联。雍正二年，朝廷颁布《朋党论》和《雍正上谕》，暴露出统治集团内部的激烈斗争。

Nevertheless, the translation purpose of Kangxi Dynasty has not changed significantly, and it is still to persuade the good to get rid of evil and to benefit the people who govern. Third, the translation of Han books from the Zheng Dynasty. During the Yu Zheng years, Han translation and publishing are still developing, but the type and quantity and Kangxi Dynasty than slightly monotonous, rare. The reason for this is not unrelated to the political situation in the Yu Zheng dynasty. In the second year of Yongzheng, the imperial court issued The Treatise on Cliques and the Encyclical of Yongzheng, which revealed the fierce struggle within the ruling cliques.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 11:00, 12 October 2021 (UTC)

Nevertheless, the translation purpose of Kangxi Dynasty has not changed significantly, and it is still to persuade the good to get rid of evil and to benefit the people who govern.
Third, the translation of ''Han History'' from the Yongzheng Dynasty. During the Yongzheng years, translation and publication of books in the Han Dynasty are still developing, but compared with Kangxi dynasty, the types and quantity of books in Han Dynasty were monotonous and rare.The reason for this is not unrelated to the political situation in the Yongzheng dynasty. In the second year of Yongzheng, the imperial court issued ''The Treatise on Cliques'' and ''the Encyclical of Yongzheng'', which revealed the fierce struggle within the ruling cliques.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 10:53, 13 October 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

同年，世宗又对圣祖“上谕十六条”进行演绎和注解，并与后者一道合成《圣谕广训》，由武英殿刊刻，颁行天下，以加强伦理道德教育。不久之后，朝廷遵圣谕又相继颁布《上谕八旗》和《上谕旗务议复》，表明雍正帝急欲加强皇权统治，削弱王公旗主权势。正是这样的政治环境，给汉籍的翻译施加了限制。
In the same year, King Sejong also interpreted and annotated the 16th Encyclical of Sage Patriarch, and together with the latter, compiled the Encyclical Instruction, which was printed in the Hall of Martial Valor and presented to the world to strengthen moral education. Soon after, the imperial court in compliance with the encyclical and issued the ''"Encyclical Eight Banners'' and ''Encyclical Banner Affairs Review'' , indicating that Emperor Yongzheng was anxious to strengthen the imperial rule, weaken the sovereign potential of the royal banner. It is this political environment that imposes restrictions on the translation of Chinese books.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 11:07, 12 October 2021 (UTC)

In the same year, Shizong emperor also interpreted and annotated the ''Sixteen Encyclicals'' of emperor Taizu. Then they compiled the ''Encyclical Instructions'' together, which was printed in the Hall of Wuying and presented to the country to strengthen moral education. Soon after, the imperial court in compliance with the command of emperor issued the ''Encyclical of Eight Banners'' and ''Encyclical Review on Banner Affairs'', indicating Emperor Yongzheng's anxiety to strengthen the imperial rule and weaken the power of the royal banners. It is this political environment that imposes restrictions on the translation of Chinese classics.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:20, 12 October 2021 (UTC)

==刘沛婷 Liú Pèitíng 英语语言文学（英美文学）女 202120081505==

雍正朝汉书翻译的单调与稀少还有另外一个原因，那就是翻译人才的相对紧缺。众所周知，清初之际，政府对于翻译的重视不只是体现在语言学习和公文的处理上，也体现在官修书籍的翻译与编纂上。例如，自雍正五年开始修纂，乾隆三十七年成书的《八旗通志》，作为研究满洲贵族特权和司法特权，以及旗地旗产制度的重要文献，便被翻译成蒙语。
There was another reason for the monotony and scarcity of translation in Yongzheng dynasty, that is, the relative shortage of translation talents. As we all know, in the early Qing dynasty, the government attached great importance to translation not only in language learning and official documents processing, but also in the translation and compilation of official books. For example, the ''General Annals of Eight Banners'' compiled in the fifth year of Yongzheng's reign and completed in the 37th year of Qianlong's reign, was translated into Mongolian as an important document for the study of manchurian aristocratics and judicial privileges, as well as the system of banner land and banner property.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:59, 12 October 2021 (UTC)

During Yongzheng Period, another causation for the monotony and scarcity of translation of Han classics is the relative shortage of translation talents. As is known to all, in the early Qing dynasty, the government attached great importance to translation not only in language learning and official documents processing, but also in the translation and compilation of official books. For instance, ''The General Annals of Eight Banners'' started to be compiled in the fifth year of Yongzheng's reign and completed in the 37th year of Qianlong's reign, and it was then translated into Mongolian as an important document for the study of manchurian aristocratics and judicial privileges as well as the system of banner land and banner property.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:40, 13 October 2021 (UTC)

==刘胜楠 Liú Shèngnán 翻译学女 202120081506==

另一部记录蒙古、回部等部落如何归附清朝，并跟随努尔哈赤及其继承者建国立业的《蒙古回部王公表传》，也被译成满文。这些书籍的翻译先由理藩院或内阁实录馆奏呈皇帝，获准后再从理藩院各司中抽调“笔帖式”，或从其它内阁机构中征调翻译人员，按相关规定与程序加以完成。然而，尽管清朝建国以来，朝廷对于翻译人员的数量要求有所增加，但直到顺治和康熙年间，兼通满、蒙两种语言的八旗族人尚能满足朝廷需求，可雍正在位期间，情形随之变化，出现了译员不足的局面。雍正帝曾说：
Another book, ''The Biography of Emperor of the Mongolian and Uighur Tribes '', was also translated into the Manchu script. This book recorded how Mongol, Uyghur and other tribes attached to the Qing Dynasty, and followed Nuerhachi as well as his successors to establish a state. The translation of these books was first presented to the emperor by Court of Colonial Affairs or Cabinet Record Hall. After approval, the “bithesi” transferred from each department of the Court of Colonial Affairs, or translators recruited from other cabinet institutions completed them in accordance with relevant regulations and procedures. However, although the imperial court’s demand for the number of translators had increased since the founding of the Qing Dynasty, people among the Eight Banners who had a good command of Manchu and Mongolian couldn’t meet the needs of the court until the Emperor Shunzhi and Emperor Kangxi Period. But, during the reign of Emperor Yongzheng, the situation changed and there was a shortage of translators. Emperor Yongzheng once said:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:06, 13 October 2021 (UTC)

An another book,''The Biography of Emperor of the Mongolian and the Hui tribes'', which records how the Mongolian and Hui tribes submitted the Qing dynasty and followed Nurhachi and his successors to establish the state, was also translated into Manchu.The translation of these books was first presented to the emperor by the Court of Colonial Affairs or the Cabinet Record Hall. After approval, the “bithesi”(A name for an official of the Qing Dynasty. It refers to people who were engaged in translating Manchu and Han memorials and characters in the Qing Dynasty) was transferred from each department of the Court of Colonial Affairs, or Recruiting translators from other cabinet agencies to complete them in accordance with relevant regulations and procedures.However, since the founding of the Qing Dynasty, the court's requirements for the number of translators had increased,but the talents of The Eight Banners who are proficient in Manchu and Mongolian could not meet the needs of the imperial court until the reign of the Emperor Shunzhi and Kangxi Period,During the reign of the Emperor Yongzheng Period, the situation changed and there were a shortage of interpreters.the Emperor Yongzheng once said: --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:34, 16 October 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

近见蒙古旗分能蒙古语言翻译者甚少, 沿习日久则蒙古语言文字必渐至废弃。应照考试清文翻译例考试蒙古翻译, 取生员、举人、进士以备理藩院之用。 ……如此则蒙古旗分之人益加鼓励勤学, 蒙古语言文字不至废弃, 而理藩院亦收得人之效矣。[8]203

Recently, there are few people who can translate Mongolian in Mongolia,Along with it for a long time, the Mongolian will gradually be obsoleted. The Mongolian translation should be tested refering to the Qingwen translation examination,and students(who is studying in Imperial College and other places in the feudal imperial)、Juren(successful candidates in the imperial examinations at the provincial level) and Jinshi(successful candidates in the highest imperial examinations) should be selected to the court of Colonial Affairs. ……In this way, the Mongols will be encouraged to study harder, the Mongolian language and characters will not be abandoned, and the court of Colonial Affairs will also recuit talents. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:42, 11 October 2021 (UTC)Liu Wei

Recently, few Mongols could do Mongolian-Chinese translation, as a result of which the Mongolian would gradually be obsoleted in a time. The Mongolian-Chinese translation should be tested just as the Manchu-Chinese translation to admit xiucai, juren and jinshi, those who have passed the exam at the county, provincial and the highest level respectively, into the Lifan Court, the highest authority on affairs of national minorities. ……Thus, the Mongols would be encouraged to learn more, the Mongolian not abandoned, and the Lifan Court recruiting talents. [8]203--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 07:38, 12 October 2021 (UTC)

==刘晓 Liú Xiǎo 英语语言文学（英美文学）女 202120081508==

（[8]中国第一历史档案馆.雍正朝汉文谕旨汇编[Z].桂林：广西师范大学出版社，2008.）为解决此困局，雍正帝即位之初即敕令朝廷各部院衙门分别采取措施，在八旗蒙古人中培养翻译人才。如1723年，即雍正元年，皇帝诏谕八旗蒙古各部建立官学，并命理藩院与吏部考录通晓蒙语者，允许其“考试笔帖式补用”。[9]243

([8] The First Historical Archives of China. ''Complication of Emperor Yongzgheng's Edicts''[Z]. Guilin: Guangxi Normal University Press, 2008.) To solve this dilemma, at the beginning of his reign, the emperor Yongzheng commanded the feudal government offices to take measures respectively to cultivate translation talents among Mongols of Eight Banners. In 1723, the first year under the reign of Yongzheng, the emperor ordered Mongols of Eight Banners to establish official schools, and the Lifan Court, the highest authority on affairs of national minorities, and the Ministry of Civil Affairs to admit people who mastered the Mongolian to work as alternatives of bithesis, officials who were engaged in copying and translating Mongolian and Chinese. [9], 243--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 11:12, 20 October 2021 (UTC)

([8] The First Historical Archives of China. ''Complication of Emperor Yongzgheng's Edicts''[Z]. Guilin: Guangxi Normal University Press, 2008.) To solve this dilemma, at the beginning of his reign, the emperor Yongzheng commanded the feudal government offices to take measures respectively to cultivate translation talents among Mongols of Eight Banners. In 1723, Emperor Yongzheng reign, he ordered Mongols of Eight Banners to establish official schools, and the Lifan Court, the highest authority on affairs of national minorities, and the Ministry of Civil Affairs to admit people who mastered the Mongolian to work as alternatives of bithesis, officials who were engaged in copying and translating Mongolian and Chinese. [9], 243--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:22, 13 October 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

雍正六年，吏部经过议复，同意了理藩院尚书特古忒的意见，认为今后理藩院中专门负责蒙古事物的官员，必须懂得蒙古文。同时，吏部将会同理藩院，在蒙古各部官学中选拔通晓满、蒙语言的学生和监生，充任翻译工作，“以各部院蒙古笔帖式，换次补用”。[9]290以上诸种虽就蒙古语译员而言，但满、汉之间的翻译亦与此同，由此造成了汉籍满译的相对颓势。
The 6th year Yongzheng ruling period（1728）,after the discussion， the Ministry of Personnel agreed with the opinion of Tegute, the minister of court of Colonial Affairs， that the officials in charge of Mongolia affairs in the court of Colonial Affairs must know Mongolian language in the future. At the same time, the Ministry of Personnel will work with the court of Colonial Affairs to select students and supervisors who are familiar with Manchu and Mongolian languages from various Mongolian ministries and schools to serve as translators. [9]290 Although the above types of Mongolian translators are concerned, the translation between Manchu and Chinese is the same, resulting in the relative decline of Chinese manchu translation.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:19, 13 October 2021 (UTC)

In the sixth year of Yongzheng Emperor’s reign, the Ministry of Personnel rediscussed and approved the proposal of Tegute, the minister of the Court of Colonial Affairs, that from now on the officials in charge of Mongolia affairs in the Court of Colonial Affairs must know Mongolian. At the same time, the Ministry of Personnel would work with the Court of Colonial Affairs to select students and supervisors who are proficient in Manchu language and Mongolian from various Mongolian ministries and schools to serve as translators. “Admitting the waitlisted Mongolian bithesi to replace the incompetent.” [9]290 Although the measures mentioned above are concerned with Mongolian translator, the translation between Manchu language and Han is the same, resulting in the relative decline of Han-Manchu language translation.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 03:54, 13 October 2021 (UTC)

==刘运心 Liú Yùnxīn 英语语言文学（英美文学）女 202120081510==

四、乾隆朝的汉书翻译。乾隆朝期间，汉字书籍的翻译与顺、康、雍三朝多有类似，所译作品大体分为两类：一类为儒家经典，另一类为佛教典籍。乾隆帝认为，经义之教可以启迪人心，其翻（重）译虽然废时耗工，但仍属必要。

Fourth, the translation of Han books during the reign of Qianlong Emperor. During his administration, the translations of Han books share great similarities with those produced when Shunzhi Emperor, Kangxi Emperor and Yongzheng Emperor were in control. The translations comprise two categories: one is the Confucian classics and the other is sutras. Qianlong Emperor believed that despite the considerable time and effort required in the process, translation (retranslation) is necessary for the teachings of classics could enlighten the people.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:10, 12 October 2021 (UTC)

4. The translation of Han books during the reign of Qianlong Emperor.
During Emperor Qianlong' s administration, translations of Han books shared great similarities with those produced in the reign of Shunzhi Emperor, Kangxi Emperor and Yongzheng Emperor. The translations included two categories: the Confucian classics and Buddhist sutras. Qianlong Emperor believed that despite a great deal of time and effort was required in the process, translation (retranslation) of classics is still necessary, for which could enlighten people.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 01:21, 13 October 2021 (UTC)

==罗安怡 Luó Ānyí 英语语言文学（英美文学）女 202120081511==

以《御制翻译四书》为例，该书由大学士鄂尔泰奉敕在厘定满文本《日讲四书解义》的基础上纂成，于乾隆六年由武英殿首次刊刻，后又于乾隆二十年刊刻满、汉合璧本。关于该书翻译的动机，《御制翻译四书·序》中有着明确的记载：朕于御极之初，命大学士鄂尔泰重加厘定，凡其文义之异同，意旨之深浅，语气之轻重，稍有未协者，皆令更正之。然抑扬虚实之间，其别甚微，苟不能按节揣称，求合于毫芒，而尽祛其疑似，于人心终有未慊然者。

Let' s take the example of ''Royal Translation of the Four Books''. By Ortai the grand secretary on emperor' s demand, This version was compiled based on the reorganizatoin of ''Daily Interpretation of the Four Books'' in Manchu. It was printed and published by Wuying Hall in the sixth year of Emperor Qianlong (1741), and reprinted in Manchu-Chinese in 1761.
The motivation of translating this book was clearly recorded in its iintroduction: After acceded to the throne, I ordered Ortai the grand secretary to review the translation. Consulted the source text and the formal translation, there should be some corrections for the reorganized one to divergences in meaning, differences in implication and changes in tone. However, the actual situation could be suboptimal. The differences were too subtle to translate. And it‘ s hard to convey detailedly the cleverness of the source, though the translators contrived to eliminate the uncertains. Nonetheless, the dissatisfied always exsist.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 00:53, 13 October 2021 (UTC)

For instance,the book of ''Royal Translation of the Four Books'',which was compiled on the basic of the reorganizatoin of ''Daily Interpretation of the Four Books'' in Manchu by Ortai the grand secretary on emperor' s demand.It was printed and published by Wuying Hall in the sixth year of Emperor Qianlong (1741), and reprinted in Manchu-Chinese in 1761.
As for the motivation of the translation of the book,which was recorded clearly in "the preface of Royal Translation of the Four Books":shortly after my inauguration,I ordered Ortai to review the translation to find the digression from the source text about the meaning,theme,and tone and correct them. However, the actual situation could be suboptimal. The differences were too subtle to translate. And it‘ s hard to convey detailedly the cleverness of the source, though the translators contrived to eliminate the uncertains. Nonetheless, the dissatisfied always exsist.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:45, 13 October 2021 (UTC)（Luo Xi 罗曦）

==罗曦 Luó Xī 英语语言文学（英美文学）女 202120081512==

几暇玩索，覆检旧编，则文义、意旨、语气之未能吻合者，仍不免焉。乃亲指授翻译诸臣，参考寻绎（yì），单词只字，昭晰周到，无毫发遗憾而后已。[10]（[10]清高宗敕译.御制翻译四书·序[M].清乾隆二十年武英殿满汉合璧本，无页码.台北：国立故宫博物院藏.）

After being thought over and checked by my retrieving some old references，those versions which were incongruous in meaning、theme and tone still need further improvement.Thus，I ordered and instructed official translators in person，searching many references and considering words over and over again，not getting it done until every word being perfect.【10】（10）translated by Gao Zongchi in Qing dynasty.Made by emperor and drawed from four translation books·the first version【M】.The complied version from the palace of Wu Ying in the twentieth year of Qian Long，blank page number. Tai Bei：National imperial Palace.）--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:47, 13 October 2021 (UTC)（Luo Xi罗曦）

Even after being thought for several times and checked through retrieving some old references, those versions still needed further improvement that didn't match original ones in terms of textuality, intention and tone. Thus, I commanded and gave instruction to all translators in person, searching many old references and exploring every word to make sure the clarity and accuracy of translation, no getting it done until there are no regrets left. [10] ([10] Translated by Emperor Gaozong of the Qing Dynasty. The Translation of the Four Books by Imperial Order. Preface[M]. The complied version published in the Hall of Martial Valor in 1755, the 20th year under the reign of Qianlong, blank page number. Taipei: National Palace Museum.)--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:51, 13 October 2021 (UTC)

==马新 Mǎ Xīn 外国语言学及应用语言学女 202120081513==

由此可见，鄂尔泰奉敕进行厘定，目的是为了确保译文准确，使译文和原文在“文义”、“意旨”和“语气”上保持一致。乾隆三十三年，高宗敕译《诗经》，共八卷四册，亦由武英殿刊刻。然而，与《御制翻译四书》追求译文精准不同，《御制翻译诗经》则别有目的。

It can be seen that the reason why Eertai was ordered by the Emperor to adjust the translation was to make it and the original text consistent in terms of "textuality", "intention" and "tone". In the 33th year of Qianlong's reign, Emperor Gaozong had commanded to translate ''The Book of Songs'' consisted of eight volumes and four books, which was also published and engraved by Hall of Martial Valor. ''The Translation of The Book of Songs by Imperial Order'', however, had a different purpose compared with ''The Translation of The Four Books by Imperial Order'' which pursued the accuracy of translation.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 06:40, 12 October 2021 (UTC)

Another version:
It can be seen that Ertai, the famous minister in Qing Dynasty, was ordered by the Emperor to collate and stipulate translation criteria, with the aim of ensuring the accurate translation, so as to keep it consistent with the original text in terms of “textuality”, “intention” and “tone”. In 1768, the 33rd year under the reign of Qianlong, the Emperor Gaozong gave the command to translate ''The Books of Songs'' into 8 volumes and 4 books, which were printed and published in the Hall of Martial Valor. ''The Translation of The Books of Songs by Imperial Order'', however, had different purposes, compared with ''The Translation of The Four Books by Imperial Order'' whose emphasis was put on the precision of translation. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:45, 12 October 2021 (UTC)

==毛雅文 Máo Yǎwén 英语语言文学（英美文学）女 202120081514==

《御制翻译诗经·序》中说：是经于世祖章皇帝顺治十一年译定初本，体裁已备。阅时兹久，凡《清文鉴》所未赅（gāi）皙者，参采新定国语，侔（móu）揣务极精详。因命分册籖（qiān）题，几馀复为折衷是正。[11]

It is said in ''The Translation of The Books of Songs by Imperial Order · Preface'' that the original translation of ''The Books of Songs'' whose genres were comprehensive was finished in 1654, the eleventh year under the reign of Emperor Shunzhi. Having been used for a long time, ''The Manchurian Dictionary in Qing Dynasty'' contains some unintelligible expressions with incomplete meanings which should adopt the new national language, so as to render it detailed and precise. As ministers in Literature Institute were ordered by the Emperor to draft titles of the books by volume, after several revisions, a favorable compromise was obtained.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:05, 12 October 2021 (UTC)

It is said in ''The Translation of The Books of Songs by Imperial Order · Preface'' that ''The Books of Songs'' was first translated in the eleventh year of the reign of Emperor Shunzhi. Having been used for a long time, ''The Manchurian Dictionary in Qing Dynasty'' contains some unintelligible expressions with incomplete meanings which should adopt the new national language, so as to render it detailed and precise. As ministers in Literature Institute were ordered by the Emperor to draft titles of the books by volume, after several revisions, a favorable compromise was obtained.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:10, 16 October 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

（[11]清高宗敕译.御制翻译诗经·序[M].清乾隆三十三年武英殿满汉合璧本，无页码.台北：国立故宫博物院藏.）上文中提及“是经”（即《诗经》）的初次翻译，即顺治十一年的顺治帝敕译本，该译本共二十卷二十册，由内府刊刻。然而，自顺治至康熙，满文的字词和语法等已经发生一定变化，用以规范满、汉文互用的辞书相继问世，这一点既给满语学习注入了活力，也给汉书翻译及其重新厘定提出了要求与条件。

([11] Translated by Emperor Gaozong of the Qing Dynasty. The imperial translation of The Book of songs - preface [M]. The Manchu-Chinese version of the Wu Ying Hall in the 33rd year of the Qing dynasty, without pagination. (Taipei: National Palace Museum Collection.) The first translation of the Shi Jing (i.e., the Book of Songs) mentioned above was the imperial translation by the Shunzhi emperor in the eleventh year of the reign of Shunzhi, which consisted of twenty volumes and twenty books and was published by the imperial government. However, since the Shunzhi to Kangxi, the words and grammar of Manchu has undergone certain changes to regulate the use of Manchu and Chinese dictionaries came out one after another, this point both to the Manchu language learning injected vitality, but also to the Chinese translation and its re-definition of the requirements and conditions.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 07:21, 12 October 2021 (UTC)

([11] Translated by Emperor Gaozong of the Qing Dynasty. The imperial translation of The Book of songs - preface [M]. The Manchu-Chinese version of the Wu Ying Hall in the 33rd year of the Qing dynasty, without pagination. (Taipei: National Palace Museum Collection.) The first translation of the Shi Jing (i.e., the Book of Songs) mentioned above was the imperial translation by the Shunzhi emperor in the eleventh year of the reign of Shunzhi, which consisted of twenty volumes and twenty books and was published by the imperial government. However, from Shunzhi to Kangxi, the words and grammar of Manchu had undergone certain changes. To regulate the mutual-use of Manchu and Chinese dictionaries came out one after another, which not only invigorated Manchu language learning, but also put forward requirements and conditions for the Chinese literature translation and its re-definition. --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:15, 13 October 2021 (UTC)

==牟一心 Móu Yīxīn 英语语言文学（英美文学）女 202120081516==

如康熙九年，正黄旗教习廖纶玑翻译（明）张自烈所撰《正字通》。康熙二十二年，沈启亮修成《大清全书》（实际是满汉词典），该书的修纂加深了人们对于满字的认识，也使学者更易明辨翻译之理。康熙四十五年，正白旗人桑格翻译《满汉同文分类全书》。

For instance, Liao Lunji, a tutor of Pure Yellow Banner, translated Zheng Zi Tong written by Zhang Zilie (Ming Dynasty). In the twenty-second year of Kangxi reign period, Shen Qiliang accomplished The Great Qing Encyclopedia( actually, The Dictionary of Chinese and Manchu Language), which had deepened people’s understanding of Manchu characters and helped scholars to distinguish the theories and methods of translation. In the forty-five year of Kangxi period, Sanger from Pure White Banner translated A Classification Book of Manchu and Chinese Identical Texts.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 October 2021 (UTC)

For instance, in the ninth year of Kangxi reign, Liao Lunji, a tutor of Pure Yellow Banner, translated ''Zheng Zi Tong'' written by Zhang Zilie (Ming Dynasty). In the twenty-second year of Kangxi reign, Shen Qiliang accomplished ''The Great Qing Encyclopedia''( actually, a dictionary of Chinese and Manchu ), which had deepened people’s understanding of Manchu characters and helped scholars to discern the theories and methods of translation. In the forty-fifth year of Kangxi period, Sanger from Pure White Banner translated the ''Manchu-Chinese Bilingual Classification Dictionary''.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 01:51, 13 October 2021 (UTC)

==彭瑞雪 Péng Ruìxuě 法语语言文学女 202120081517==

上述三种之外，康熙朝期间另有多种其它满语词典，如康熙二十八年的《清书十二字头》（听松楼刻本）、二十九年的《满汉同文全书》（秘书阁刻本）、三十二年的《同文广汇全书》（天绘阁刻本）、三十八年的《清书全集》（听松楼重刻本）、三十九年的《满汉类书》以及四十年的《满汉类书全集》，等等。康熙四十六年，《御制清文鉴》成书，全书共四函二十二卷，卷首有清圣祖玄烨御制序言，书末有编译者跋两篇。作为有清一代唯一一部由皇帝主持编纂的满文词典，《御制清文鉴》体例精湛，编排合理，在满语的发展史上具有划时代的历史意义。

In addition to the above three, there are a variety of other Manchu dictionaries in the Kangxi reign of the Qing dynasty, such as the ''Twelve Syllabic Characters of Manchu'' (Ting Song Lou carved book) in the 28th year of Kangxi Reign, the ''Manchu-Chinese Bilingual Dictionary'' (Mi Shu Ge carved book) in the 29th year, the ''Manchu-Chinese Classification Dictionary'' (Tian Hui Ge carved book) in the 32th year, the ''Complete Manchu-Chinese Dictionary'' (Ting Song Lou re-carved book) in the 38th year, the ''Manchu-Chinese Encyclopedia'' in the 39th year and the ''Complete Manchu-Chinese Encyclopedia'' in the 40th, etc. In the 46th year of the Kangxi reign, the ''Imperial Dictionary of Manchu'' was accomplished in four letters and twenty-two volumes, with an imperial preface by the Kangxi Emperor Aisin Gioro Xuanye, whose temple name is “Shengzu” (Sagacious Progenitor) of the Qing, and two postscripts by the compiler at the end of the book. As the only Manchu dictionary compiled by the emperor in the Qing dynasty, the ''Imperial Manchu Dictionary'' is superb in style and reasonable in arrangement, and has epoch-making historical significance in the history of the development of the Manchu language.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 01:52, 13 October 2021 (UTC)

Except the above mentioned three, there are other Manchu dictionaries in the Kangxi reign of the Qing dynasty, such as the ''Twelve Syllabic Characters of Manchu'' (Ting Song Lou carved book) in the 28th year of Kangxi Reign, the ''Manchu-Chinese Bilingual Dictionary'' (Mi Shu Ge carved book) in the 29th year, the ''Manchu-Chinese Classification Dictionary'' (Tian Hui Ge carved book) in the 32th year, the ''Complete Manchu-Chinese Dictionary'' (Ting Song Lou re-carved book) in the 38th year, the ''Manchu-Chinese Encyclopedia'' in the 39th year and the ''Complete Manchu-Chinese Encyclopedia'' in the 40th, etc. In the 46th year of the Kangxi’s reign, the ''Imperial Dictionary of Manchu'' was accomplished in four letters and twenty-two volumes, with an imperial preface by the Kangxi Emperor Aisin Gioro Xuanye, whose temple name is “Shengzu” (Sagacious Progenitor) of the Qing, and two postscripts by the compiler at the end of the book. As the only Manchu dictionary compiled by the emperor in the Qing dynasty, the ''Imperial Manchu Dictionary'' is superb in style and reasonable in arrangement which has epoch-making historical significance in the history of the development of the Manchu language.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 10:11, 13 October 2021 (UTC)

==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==

关于康熙帝敕谕傅达礼编译此书的目的，《清实录》（卷四二）和《清史列传》（第375页）中皆有记载，但不及《康熙起居注》中详实。据《康熙起居注》中所载，康熙十二年四月十二日：上谓侍臣曰：“此时满洲，朕不虑其不知满语，但恐后生子弟渐习汉语，竟忘满语，亦未可知。且满汉文义照字翻译，可通用者甚多。

The purposes of Emperor Kangxi which were he empowered Fu Dali to edit and translate this book were recorded in ''Factual Record of Qing Dynasty'' of Volume IV and II and in ''the Biographies in the Qing Dynasty'' of page 375. But they were more circumstantial in ''Record on Kangxi’s Daily Life''. According to 'Record on Kangxi’s Daily Life'', the emperor said to chancellors on April 12,1673: I’m not afraid the contemporary Manchuria's ignorance towards Manchu language, but I’m not sure about whether the following generations will be accustomed to the Chinese by degrees and forget the Manchu language. And also the Manchu language is verbatim translated into Chinese, such translation can be used by many people.

The purposes of Emperor Kangxi commanding Fu Dali to compile this book were recorded in ''Factual Record of Qing Dynasty'' （volume 42）and ''Biographies of the Qing Dynasty''(page 375) but the purposes logged in the ''Record of Emperor Kangxi’s Daily Office''were more detailed and real. According to this book, the emperor said to those courtiers on April 12,1673: "what I'm worried about is not the contemporary Manchurians’ ignorance of the Manchu language, but rather about whether the following generations will forget the Manchu language or not if they are gradually accustomed to Chinese. In addition, there are plenty of characters which can be in common use when translation is done word by word.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 16:25, 12 October 2021 (UTC)

==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==

今之翻译者尚知辞意，酌而用之，后生子弟未必知此，不特差失大意，抑且言语欠当，关系不小。”因顾谓翰林院学士傅达礼曰：“尔任翰苑之职，可体朕此意，将满语照汉文字汇发明，某字应如何用，某字当某处用，集成一书，使有易于后学。”傅达礼奏曰：“皇上此旨，诚立教善后之盛心也。

Today's translators still know the meaning of those words and use them after deliberating, but for children of the future, they may not understand. Not only will they differ greatly from the original meaning, but also they will use them in an inappropriate way. And it will matter a lot.” So the emperor said to Fu Lida, the academician of Imperial Academy: “ Since you occupy the office in the Imperial Academy, you should be able to read between my lines. Manchu language needs to be further developed according to Chinese characters. By doing this, it will be much easier for our posterity to learn the Manchu language if there are detailed instructions compiled in a book on how and where to use a character.” Fu Dali replied reverently to the emperor: “The will of Your Majesty that improving the education for the convenient learning of later generations really shows your generosity.”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 14:47, 12 October 2021 (UTC)

"Nowadays, translators still know the meaning of those words and use them after careful consideration, while for the youth, they may not understand. Not only will they use those words inappropriately, but also the meanings of those words will be quite different from the original one. And it will matter a lot.” So the emperor said to Fu Lida, who was the academician of Imperial Academy at that time, “ Since you occupy the office in the Imperial Academy, you are able to understand my intention. Manchu language needs to be further developed according to Chinese characters. By doing this, it will be much easier for our posterity to learn the Manchu language if there are detailed instructions compiled in a book on how and where to use a character.” Fu Dali replied reverently to the emperor, “The will of Your Majesty that improving the education for the convenient learning of later generations really shows your generosity.”--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 11:15, 13 October 2021 (UTC)

==饶金盈 Ráo Jīnyíng 英语语言文学（语言学）女 202120081520==

臣等虽不才，当祗尊俞旨，编辑成书，敬呈御览。”上谕曰：“此书不必太急，宜详慎为之，务致永远可传，方为善也。”[6]93-94由于当时的满文尚处在发展阶段，康熙帝担心随着满人逐渐汉化，满语使用的氛围也将逐渐消失，久而久之必致满语废止，这一点与康熙帝以清语为本的立场背道而驰。

"Although we courtiers have limited ability, we will compile them into a book according to the your intention, and submit it to you for previewing".The emperor indicated that, "this work should not be advanced too quickly but completed in detail and carefully，so that the book can be handed down forever, then the work is said to be finished well." As the Manchu language was still in the development stage at that time, Emperor Kangxi worried that with the gradual sinicization of Manchu people, the atmosphere of using Manchu language would disappear in the process of time, which would inevitably lead to the abolition of Manchu language over time. And this situation ran counter to Emperor Kangxi's position based on Qing language.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 06:16, 12 October 2021 (UTC)

"Although we courtiers are not talented, we will compile them into a book in accordance with your mandate, and submit it for your previewing".The emperor indicated that, "this work should not be advanced too quickly but completed detailedly and carefully，so that the book can be handed down forever, then the work is said to be finished well." [6] 93-94 As the Manchu language was still in the development stage at that time, Emperor Kangxi worried that with the gradual sinicization of Manchu people, the atmosphere of using Manchu language would disappear in the process of time, which would inevitably lead to the abolition of Manchu language over time. And this situation ran counter to Emperor Kangxi's position based on Qing language.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 06:35, 12 October 2021 (UTC)

==石丽青 Shí Lìqīng 英语语言文学（英美文学）女 202120081521==

为了确保本书编译的严谨，康熙帝要求“解诂之疑,似者必晰同异于毫芒；引据之阙，遗者必援经史以互证。”[12]1（[12]清圣祖御制.御制清文鉴[M].康熙四十七年武英殿刻本.北京：中国民族图书馆藏.）需要指出，上文中所引“是经”即《御制翻译诗经》，该译本成书于乾隆三十三年。
In order to ensure the rigor of the compilation of this book, Emperor Kangxi required: “ To interpret the doubts of exegesis, the similarities must be clear and the differences puny; if there is a lack of quotations, successors must cite the ancient classics to verify them.” [12]1 ( [12] Emperor Shengzu of Qing Dynasty. Imperial Qing Literature [M]. The engraving of Wuying Palace in the forty-seventh year of Kangxi. Beijing: Collection of National Library of China.) It should be pointed out that the “Shi Jing” quoted above is the “Royal Translation Book of Songs”, which was translated into a book in the thirty-third year of Qianlong.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:43, 12 October 2021 (UTC)

In order to ensure the preciseness of the compilation of this book, Emperor Kangxi required: “ To interpret the doubts of exegesis, the similarities must be clear and the differences puny; if there is a lack of quotations, successors must cite the ancient classics to verify them.” [12]1 ( [12] Emperor Shengzu of Qing Dynasty. Imperial Qing Literature [M]. The engraving of Wuying Palace in the forty-seventh year of Kangxi. Beijing: Collection of National Library of China.) It should be pointed out that the “Shi Jing” quoted above is the “Royal Translation Book of Songs”, which was translated into a book in the thirty-third year of Qianlong.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 10:47, 13 October 2021 (UTC)

==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学女 202120081522==

此时，虽然《御制四体清文鉴》和《御制五体清文鉴》的编译尚未启动，但经乾隆帝御制，已在康熙朝《御制清文鉴》和《清文合蒙古鉴》等早期词典的基础上，完成编纂《御制增订清文鉴》，进一步规范了满文的使用。且，顺治至乾隆的百余年间，满语发展的确出现了若干变化，原有汉书译本中的不少词汇和语法此时已不符合通行要求，因而“参采新定国语”，对旧译本重加厘定，使其“折衷为正”，乃时势所趋。而上述辞书的相继出现，说明满文已经发展到一个新的高度，为旧籍的重译与改译营造了条件。

At this time, although the compilation of the ''Four Institutions of the Imperial Dynasty'' and the ''Five Dynasties'' has not yet started, the compilation of the ''Complement of the Qing Dynasty's Dictionary'' was completed based on the early dictionaries of the Qing Dynasty and the Kangxi Dynasty with the help of Qianlong emperor, which further standardizes the use of Manchu literature.Moreover, during the more than 100 years from Shunzhi to Qianlong, several changes in the development of Manchu indeed appeared. Many vocabulary and grammar in the original Han translation did not meet the prevailing requirements at that time. Therefore, it was the trend to "participate in the new language" and determine the old translation, so that it was "positive".The emergence of the above dictionaries shows that Manchu has developed to a new height, creating conditions for the retranslation and translation of the old nationality.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:52, 12 October 2021 (UTC)

At this time, although the compilation of the ''Four Institutions of the Imperial Dynasty'' and the ''Five Dynasties'' has not yet started, the compilation of the ''Imperial Revised Qing Dynasty's Dictionary'' was completed based on the early dictionaries such as ''Imperial Qing Dynasty’s Dictionary'' in the Kangxi Dynasty, which further standardizes the use of Manchu. Moreover, during the more than 100 years from Shunzhi to Qianlong, several changes in the development of Manchu indeed appeared. Many vocabularies and grammar in the original Chinese translation did not meet the common requirements at this time. Therefore, it was the trend to "adopt the new national language" and redefined the old translation to make it “compromise to right”. The emergence of the above dictionaries shows that Manchu has developed to a new level, creating conditions for the retranslation and translation of old books.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 16:04, 12 October 2021 (UTC)

==王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523==

乾隆三十七年，高宗敕令于“禁中”设立“清字经馆”，以满、汉文佛经译本有失本真为由，令重译佛经为满文。据高文德所考，这些佛经典籍初被译为蒙古，后经蒙文转译成满文，前后历时十余载，使满、蒙、汉、藏四体经文始备。[13]2110（[13]高文德.中国少数民族史大辞典[Z].长春：吉林教育出版社，1995.）

In the thirty-seventh year of Qianlong, Emperor Gaozong decreed to set up a “Manchu sutra hall” in the palace he lived, and ordered the retranslation of Buddhist sutras into Manchu on the grounds that the previous Manchu and Chinese versions were deviated from the true meaning. According to Gao Wende, these Buddhist classics were first translated into Mongolian, through which the Manchu version was then translated. It took more than ten years to prepare the editions in four languages: Manchu, Mongolia, Chinese and Tibet. [13]2110（[13]Gao Wende.Dictionary of Chinese Minority History[Z].Changchun: Jilin Education Press, 1995.）--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:08, 12 October 2021 (UTC)
--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 07:48, 13 October 2021 (UTC)
Annotation:
First:In the 37th of Emperor Qianlong’ s reign,…
Second:According to Gao Wende, these Buddhist scriptures were first translated into Mongolian and then into Manchu, which lasted for more than ten years, and the manchu, Mongolian, Han and Tibetan scriptures began to be prepared. [13] Gao Wende. A Dictionary of Chinese Minority History [Z]. Changchun: Jilin Education Press, 1995.)

==王逸凡 Wáng Yìfán 亚非语言文学女 202120081524==

众所周知，佛教经典原以梵文书写，但清朝前期用作翻译的底本，多为汉文译本。从此意义上讲，佛经的翻译与先秦、两汉时期汉文经、史的翻译一样，也属汉书翻译之列。康熙年间，圣祖即令翻译《心经》，但雍正年间《四体翻译心经》译本方才成书，刊刻。
--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 07:22, 13 October 2021 (UTC)
As we all know, Buddhist classics were originally written in Sanskrit, but they were mostly translated into Chinese in the early Qing Dynasty. In this sense, the translation of Buddhist scriptures, like the translation of Chinese scriptures and history in the pre-Qin and Han dynasties, also belongs to the translation of Han Books. During the reign of Emperor Kangxi, Emperor Shengzu ordered the translation of The Heart Sutra, but during the reign of Emperor Yongzheng, the four-body Translation of the Heart Sutra was just completed and printed.

As we all know,Buddhist classics were originally written in Sanskrit,but most of texts that used to translate in the early Qing Dynasty were Chinese translation versions. In this sense,the translation of Buddhist scriptures,just like the translation of Chinese scriptures and history in the Pre-Qin and Han Dynasties, also belongs to the translation of Chinese books. During the reign of Kangxi, Emperor Shengzu ordered the translation of the Heart Sutra, but the translation of the four body translation of the Heart Sutra was only published and engraved during the reign of Yongzheng. edited by Wang Zhenlong

==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学）男 202120081525==

所谓“四体”即满、蒙、汉、藏四种文字，佛经翻译之所以要采用四种语言，是因为四大族群皆普遍信仰佛教，因而四体合璧的译本便于信众诵读。乾隆在位六十年，对于佛经翻译甚为热衷，御制翻译经书十种，为顺、康、雍、乾四朝之最。《翻译四体楞严经序》中，乾隆帝曾自称“朕于几政之暇，每爱以国语翻译经书，如《易》、《书》、《诗》及《四子书》，无不蒇（chǎn）事”，希望循康、雍之例，推动佛经翻译，并在敕译《诗经》的同时，完成第一部佛经作品的翻译，即《御制翻译名义集》。[14]15

The so-called "four styles" are Manchu, Mongolian, Chinese and Tibetan. The reason why Buddhist scriptures are translated in four languages is that the four ethnic groups generally believe in Buddhism, so the translation of four styles is convenient for believers to read. During the reign of Emperor Qianlong for 60 years, he was very keen on the translation of Buddhist scriptures and translated ten kinds of scriptures, which is the most among the four dynasties of Shun, Kang, Yong and Qian. In ''the preface to translating the four body Shurangama Sutra'', Emperor Qianlong once claimed that "in my spare time, I love to translate scriptures in Manchu, such as Yi, Shu, Shi and Si Zi Shu ,which are all well finished. I hope to follow the example of Kang and Yong to promote the translation of Buddhist scriptures, and complete the translation of the first Buddhist scriptures, namely the collection of imperial translation while the Book of Songs is translated. -- translated by Wang Zhenlong

The so-called "four styles" are Manchu, Mongolian, Chinese and Tibetan. The reason why Buddhist scriptures are translated in four languages is that the four ethnic groups generally believe in Buddhism, so the translation of the combination of four styles is convenient for believers to read. During the reign of Emperor Qianlong for 60 years, he had strong passion on the translation of Buddhist scriptures. He translated ten kinds of scriptures totally, which is the most among the four emperors of Shun, Kang, Yong and Qian. In the preface to ''Translating Four Style Shurangama Sutra'', Emperor Qianlong once claimed that "in my spare time, I love to translate scriptures in Manchu, such as ''Yi'', ''Shu'', ''Shi'' and ''Si Zi Shu'' , which are all well finished. I hope to follow the example of Kang and Yong to promote the translation of Buddhist scriptures, and complete the translation of the first Buddhist scriptures, namely ''The Collection of Translation of Sanskrit Names by Imperial Order'' while ''the Book of Songs'' is translated.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:41, 13 October 2021 (UTC)

==卫怡雯 Wèi Yíwén 英语语言文学（英美文学）女 202120081526==

（[14]清高宗御制.清高宗（乾隆）御制诗文全集[M].北京：中国人民大学出版社，1993.）所谓《翻译名义集》系南宋高僧法云于绍兴十三年（即1143年）编订的佛学翻译工具书，其中收录汉译梵文佛学名词千余条。雍正年间，世宗曾命人对此书的内容进行过节选，但未能成书。

([14] ''The Collective Works of Poetry and Essays written by Imperial Order of Qing Gao Zong, Qianlong Empire''[M]. Beijing: Renmin University of China Press, 1933.) The so-called ''The Collection of Translation of Sanskrit Names'' is a Buddhist translation reference book compiled by an eminent monk in Southern Song Dynasty in Shaoxing thirteenth year (1143 year), in which collected thousands of Chinese translation of Sanskrit Buddhist terms. During Yongzheng years, Shizong once ordered ministers to choose the excerpt from the book, but finally cannot compile into a book.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 15:51, 12 October 2021 (UTC)

([14] ''The Collective Works of Poetry and Essays by Imperial Order of Qinggaozong, Qianlong Emperor''[M]. Beijing: Renmin University of China Press, 1933.) The so-called ''The Collection of Translation of Sanskrit Names'' is a reference book of Buddhist translation compiled by an eminent monk in Southern Song Dynasty in Shaoxing thirteenth year (1143 year), which collected thousands of Chinese translation of Sanskrit Buddhist terms. During Yongzheng years, Shizong once ordered the ministers to choose the excerpts from the book to compile a book but failed.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 11:00, 13 October 2021 (UTC)

==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527==

至乾隆三十三年，高宗再次敕译此书，最终译成四体《御制翻译名义集》共二十卷，此书现藏于北京大学图书馆，并收入至《清代内府刻书目录解题》。与此同时，乾隆帝有感于“所译之汉经，藏地无不有，而独无《楞严》”，遂在章嘉国师的议请下，命允禄和章嘉国师等将该经“由汉而译清，由清而译蒙古，由蒙古而译土伯忒。”[14]15章嘉国师原名章嘉·若贝多杰，四岁被认定为转世灵童，八岁奉雍正帝圣谕赴京，十五岁给雍正帝灌顶，十八岁授封“灌顶普惠广慈大国师”。

In the 33th year of the dynasty of Qianlong, the emperor ordered to translate the book again. Finally, the book ''The collection of Translation of Sanskrit Names by Imperial Order'' was translated into Manchu, Mongolian, Chinese and Tibetan in altogether twenty volumes. The book now is collected in Peking University Library and included in ''Solving Problems in the Catalogue of Engraved Books in Qing Dynasty''. At the same time, after Qianlong emperor knew that there were all translations of Chinese scriptures except ''Lengyan'' in Tibet, under the advice of the Grand Maester Zhangjia he ordered Yunlu and the Grand Maester to translate the Chinese scripture into Manchu, then translate the Manchu to Mongolian, finally translate the Mongolian to Tibetan. The original name of the Grand Maester Zhangjia is Zhangjia•Ruobeduoje. When he was four years old, he was regarded as a holy reincarnation. At his eight years old he went to the capital because of the order of Yongzheng emperor. When he was fifteen years old, he did Abhisheka for Yongzheng emperor. At his eighteen years old the title of Grand Maester of Abhisheka, Generosity and Benevolence was conferred to him.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 15:16, 12 October 2021 (UTC)

During the 33th year of Qianlong, Gaozong ordered to translate this book again. At last, the book ''The Collection of Translation of Sanskrit Made by the Emperor Order'' was translated into Manchu, Mongolian, Chinese and Tibetan, including twenty volumes. This book now is collected in Peking University Library and recorded in ''Solving Problems in the Catalogue of Engraved Books in Qing Dynasty''. Meanwhile, Emperor Qianlong was inspired by "All the Chinese sutras translated are available in Tibet, except the Surangama Sutra." As a result, the emperor ordered Yunlu and the Grand Maester Zhangjia to translate this sutra from Chinese into Qing, from Qing into Mongol, then from Mongol under the advice of the Master Zhangjia. The primitive name of Maester Zhangjia was Zhangjia•Ruobeiduoje. He was regarded as a reincarnated soul boy at four years old. At eight years old, he went to the capital city because of the order of Yongzheng emperor. When he was fifteen years old, he did Abhisheka for Yongzheng emperor. At his eighteen years old, he was canonized as "The Enlightened, Inclusive and Philanthropic Grand Master."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:29, 13 October 2021 (UTC)

==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528==

章嘉国师博览群书，通晓汉、藏、满、蒙文字，著述颇丰，既撰写佛经作品逾二百部，又翻译佛经若干，如乾隆五年将大藏经《丹珠尔》译成蒙文，并编纂佛经翻译工具书《智慧之源》。章嘉国师发现《楞严经》后，于乾隆十七年奉旨协助庄亲王将该书译为满蒙、藏三种文字，并于乾隆三十八年译成四体合璧本。乾隆帝敕译此书的目的，也是出于政治方面的考虑，简单来说便是为了向藏族宣告其统治的正当性。

Master Zhangjia was well-read, thoroughly understanding Chinese, Tibetan, Manchu and Mongolian. He has written a prodigious number of famous works, including not only more than two hundred Buddhist works, but also numerous Buddhist texts. For instance, he translated the ''Tanjur'' into Mongolian during the fifth year of Qian Long and compiled ''The Source of Wisdom'', a Buddhist translation reference book. After Master Zhangjia found ''Surangama Sutra'', he assisted Prince Zhuang in translating this book into Manchu, Mongolian and Tibetan during the seventieth year of Qianlong under the order of Qian Long. Besides, he accomplished an overall translation of it which contained all Chinese, Tibetan, Manchu and Mongolian versions during the thirty-eighth year of Qian Long. The emperor Qian Long ordered the translation of this book was for the political reasons. To put it simply, he aimed to declare the legitimacy of his rule to the Tibetans.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:37, 12 October 2021 (UTC)

Master Zhang Jiaguo was familiar in Han, Tibetan, Manchu and Mongolian writings. He wrote more than 200 works of Buddhist scriptures, and at the same time also translated several Buddhist scriptures. For example, in the fifth year of Qianlong translated the Tibetan Sutra into Mongolian, and compiled the translation tool book The Source of Wisdom. After Master Zhang Jiaguo discovered the Leng Yan Sutra, in the seventeenth year of Qianlong, he assisted the translation of Mongolia and Tibet, and into the combination of the four bodies in the 38-th year of Qianlong. The purpose of Emperor Qianlong's translation of this book was also for political considerations, but simply to declare the legitimacy of his rule to the Tibetan people. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 07:50, 12 October 2021 (UTC)

==吴婧悦 Wú Jìngyuè 俄语语言文学女 202120081529==

这一点与《大藏经》的翻译有所不同，后者除了政治目的之外，另有文化建设方面的考虑，乾隆帝甚至将其视为与《四库全书》一样的重大文化建设工程。如《清文翻译全藏经序》中所说：若订《四库全书》及以国语译《汉全藏经》二事，胥举于癸巳年六旬之后，既而悔之，恐难观其成。越十余载，而《全书》成；兹未逮二十载，而所译《汉全藏经》又毕蒇。

This point is different from the translation of the ''Tibetan Tripitaka'' ''Italic text'' --[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC), which had political purposes in addition to cultural construction. Emperor Qianlong even regarded as a major cultural construction project as the ''Four Libraries''--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC). As said in the preface of the ''Complete Tibetan Sutra of the Qing Dynasty''--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC), if the Four liberals book ''Complete Collection of Four Treasuries''--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC) and the Complete Han Tibetan Sutra were translated in Chinese after the 60s of Guisi, it may not be difficult to see it. More than ten years, and the book, which was not caught twenty years, and the translation of the <Han Sutra> had been finished.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 15:18, 11 October 2021 (UTC)

==吴映红 Wú Yìnghóng 日语语言文学女 202120081530==

夫耳顺、古希已为人生所艰致，而况八旬哉？兹以六旬后所创为之典，逮八旬而得观国语《大藏》之全成，非昊乾嘉庇，其孰能与于斯？[14]8-9《四库全书》之“四库”系指该书分经、史、子、集四部，故名“四库”。
At the age of 60 or 70, life has reached a difficult stage. What's more, at the age of 80? I was preparing to propose to create this classic in my 60s, so I could see the complete Manchu version of Da Zang in my 80s. If there was no heaven's protection during the Qianlong and Jiaqing dynasties, how could it be so far? “Si Ku" in Si Ku Quan Shu means that the book is divided into four parts: classics, history, Zi and Ji, so it is called "Si Ku".

For those who are in their 60s or 70s, life has reached a difficult stage, let alone 80s. However, now Emperor Qianlong successfully created this classic in his 60s, and witnessed the completion of the Manchu version of ''Tibetan Tripitaka'' in his 80s. If without heaven's protection and endowment, who could have achieved so far? The “four branches” in the ''Complete Library in the Four Branches of Literature'' refers to its four parts: classics, history, philosophy and belles-lettres, thus given the name.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 02:40, 13 October 2021 (UTC)

==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学）女 202120081531==

作为古代中国最大的文化工程，《四库全书》是中华传统文化最丰富、最完备的集成之作，最能体现乾隆帝的文治武功。而上文中，乾隆帝意欲将《大藏经》（即《汉全藏经》）的翻译与《四库全书》相比，可见此事关系之重大。由上可知，《大藏经》的翻译始于乾隆“癸巳年”，即乾隆三十八年（1773年），至全书译成，“未逮二十载”，而此时高宗已近八旬，早已步入人生艰困之期。

As the largest cultural project of the ancient China, the ''Complete Library of the four Branches of Literature'' is the richest and most comprehensive collection of Chinese traditional culture, which best represents the great achievement of Emperor Qianlong's civil administration. As mentioned before, Emperor Qianlong wanted to compare the translation of ''Tibetan Tripitaka'' to that of the ''Complete Library of the four Branches of Literature'', which reflects the significance of this translation project. From above, it can be seen that this project started from 1773, the 38th year of Qianlong's reign and took less than 20 years to be fully completed, when Emperor Qianlong was nearly in his 80s, and had already entered a difficult time of his life.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:51, 13 October 2021 (UTC)

As the largest cultural project of the ancient China, the ''Complete Library of the Four Branches of Literature'' is the richest and most completed collection of Chinese traditional culture, which best represents the political and military achievements of Emperor Qianlong's civil administration. As mentioned above, Qianlong wanted to compare the translation of ''Tibetan Tripitaka'' to that of the ''Complete Library of the Four Branches of Literature'', which reflects the significance of this translation project. From above, it can be seen that this project started from 1773（the 38th year of Qianlong's reign） and took less than 20 years to be fully completed, while Qianlong was nearly in his 80s, and had already entered a difficult time of his life.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 04:01, 13 October 2021 (UTC)

==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学）女 202120081532==

关于乾隆帝敕译《大藏经》一事，《啸亭杂录·续录》中也有记载，不过在翻译的起始时间，以及全书翻译的耗时上，与上文所述有所不同。其中写道：乾隆壬辰，上以《大藏佛经》有天竺番字、汉文、蒙古诸翻译，然其禅悟深邃，故汉经中咒偈，为代以翻切，并未译得其秘指，清文句意明畅，反可得其三味，故设清字经馆于西华门内，命章嘉国师经理其事，达天、连筏诸僧人助之，考取满謄录、纂修若干员翻译经卷。先后凡十余年，《大藏》告蒇，然后四体经自始备焉。[15]385

As for Qianlong's order to translate Tripitaka, it is also recorded in the The continuation of Xiaoting Miscellany. However, the starting and ending time of the translation and the time of the whole book's translation consumed, which are quite different from those mentioned above. It is written that Qianlong thought Tripitaka had Hindi, Chinese and Mongolian versions, but the teachings in Sutra are profound.Therefore, the translation of Buddhist Chants in Han Sutra didn't seek the profound meaning. So Qianlong set up Manchu Lection Department in Xihua gate because of the clearness of Manchu to understand the meaning of the Buddhist Sutra, ordering Zhangjia to charge this translation work with assistance of monks such as Datian, Lianfa and selecting some Manchu to transcribe compile scriptures. For more than ten years, the translation work of Tripitaka was completed，and since then the four scriptures are complete.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 02:55, 13 October 2021 (UTC)

As for Qianlong's order to translate Tripitaka, it is also recorded in the The continuation of Xiaoting Miscellany. However, the starting and ending time of the translation and the time of the whole book's translation consumed, which are quite different from those mentioned above. It is written that Qianlong thought Tripitaka had Hindi, Chinese and Mongolian versions, but the teachings in Sutra are profound.Therefore, the translation of Buddhist Chants in Han Sutra didn't seek the profound meaning. So Qianlong set up Manchu Lection Department in Xihua gate because of the clearness of Manchu to understand the meaning of the Buddhist Sutra, ordering Zhangjia to charge this translation work with assistance of monks such as Datian, Lianfa and selecting some Manchu to transcribe compile scriptures. For more than ten years, the translation work of Tripitaka was completed，and since then the four scriptures are completed.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 03:11, 13 October 2021 (UTC)

==谢庆琳 Xiè Qìnglín 俄语语言文学女 202120081533==

（[15]（清）昭梿.啸亭杂录·续录[M].上海：上海古籍出版社，2012.）将《清文翻译全藏经序》和《啸亭杂录·续录》两相对比后可发现，二者关于《大藏经》翻译的起始时间不同，其中前者记载的时间是乾隆“癸巳年”，即乾隆三十八年，而后者则明确是“乾隆壬辰”，即乾隆三十七年，孰是孰非，有待考证。另外，关于《大藏经》翻译的实践跨度，二者的出入较大，前者的用词是“未逮二十载”，后者则说“先后凡十余年”，综合其它文献可知，前一种说法更为准确。

([15] (Qing) Zhaofan. Miscellaneous Records - Sequel [M]. (Shanghai: Shanghai Ancient Books Publishing House, 2012.) After comparing the "Preface to the Qing Translation of the Complete Tibetan Sutra" with the "Xiao Ting Miscellaneous Records - Continuing Records", we can find that the start time of the translation of the Dazang Sutra in this two books is differant, of which the former is recorded in the Qianlong "kaisi year", that is, the thirty-eighth year of the Qianlong era, while the latter is clearly "Qianlong renchen", i.e., the thirty-seventh year of the Qianlong reign, which is correct or incorrect, remains to be verified. In addition, there is a large discrepancy between the two regarding the practical span of the translation of the Dazangjing, with the former using the phrase 'before it had been twenty years' and the latter saying 'for more than ten years in succession', which, when combined with other documents, is more accurate.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 14:08, 11 October 2021 (UTC)

([15] (Qing) Zhaofan. Miscellaneous Records - Sequel [M]. (Shanghai: Shanghai Ancient Books Press, 2012.) After comparing the "Preface to Tripitaka in Manchu" with the "Xiao Ting Miscellaneous Records - Sequel",we can find that the starting time of the translation of the Dazang Sutra in these two books is differant, of which the former is recorded in the Qianlong "kaisi year", that is, the thirty-eighth year of the Qianlong reign, while the latter is specifically "Qianlong renchen", i.e., the thirty-seventh year of the Qianlong reign, which is correct or incorrect remains to be verified. In addition, there is a large discrepancy between the two regarding the practical span of the translation of the Dazangjing, with the former using the phrase 'before it had been twenty years' and the latter saying 'for more than ten years in succession', which, when combined with other documents, is more accurate.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 02:04, 13 October 2021 (UTC)

==熊敏 Xióng Mǐn 英语语言文学（英美文学）女 202120081534==

乾隆五十五年，满文本《大藏经》译成，初定名《清文全藏经》，其中“全藏”二字即“大藏之全”的意思。《清文全藏经》共计二千五百三十五卷、一百零八函，收入佛教典籍六百九十九部。为了翻译此书，乾隆帝不仅钦派章嘉国师主持，而且派皇子、大臣，以及通晓满、汉、蒙、藏文者共百余人参与其中，其中绝大多数为翻译人员。

During the 40th year of the Qianlong Emperor,the translation of "Tripitaka" first called "Tripitaka in Manchu" was completed, among which "quan zang" means "all-sided masterpiece". The translation had 2535 volumes and 108 han, including 699 Buddhist classics.In order to translate the work, Qianlong Emperor not only assigned Zhang Jiaguoshi to be in charge and asked his sons, ministers and hundreds of people who were proficient in Manchu, Chinese and Tibetan to be involved. And most of them were translator.

During the 40th year of the Qianlong Emperor, the translation of "Da Zang Jing" first called "Qing Wen Quan Zang Jing" was completed, among which "Quan Zang" means "all-sided masterpiece". The translation had 2535 volumes and 108 letters, including 699 Buddhist classics. In order to translate the work, Qianlong Emperor not only assigned Zhang Jia, the imperial monk, but also assigned more than 100 people, most of whom were translators, to participate in the translation, including the emperor's sons, ministers, and people who were proficient with Manchu, Chinese, Mongolian and Tibetan.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 02:15, 13 October 2021 (UTC)

==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究男 202120081535==

乾隆五十五年十二月，因清字经馆遭遇火灾，《清文全藏经》的部分经版和已经刊刻的经文译文被毁，后经重新雕版印刷，于乾隆五十九年全部完成，并交内府刊刻。据考，《清文全藏经》共计印刷十二部，目前存世仅两部，其中一部存于西藏布达拉宫（缺一册），另一部则由北京、台北两地故宫博物院共同收藏，其中北京收藏七十六函，台北收藏三十二函。如前所述，乾隆帝敕译此经，有着明确的文化建设的用意，希望通过翻译佛经推广佛教文化，并同时推广作为国语的满文，实现宣扬教化的目的。

In December of the 55th year during the period of Emperor Qianlong, due to a fire in the Qing Zi Classics library, some base plate of "Qing Wen Quan Zang Jing" and translated texts already printed were destroyed. After re-engraving and printing, it was completed in the 59th year of the reign of Emperor Qianlong and handed over to the imperial Palace for printing. According to a research, there are a total of twelve copies of the "Qing Wen Quan Zang Jing" printed, of which only two are in existence. One is stored in the Potala Palace in Tibet (one volume is missing), and the other is jointly collected by the Palace Museums in Beijing and Taipei, of which 76 letters are in Beijing and 32 letters are in Taipei. As mentioned above, Emperor Qianlong translated the Sutra with a clear intention of cultural construction, He hoped to promote Buddhist culture through the translation of Buddhist scriptures, and at the same time promote Manchu as the national language, so as to achieve the purpose of propagating and enlightening.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 01:23, 13 October 2021 (UTC)

In December of the 55th year during the period of Emperor Qianlong, due to a fire in the Manchu Langugage Classics Library, some base plates of ''the Manchu Language Translation of Tripitaka'' and translated texts that already printed were destroyed. After re-engraving and printing, it was completed in the 59th year of the reign of Emperor Qianlong and handed over to the Imperial Palace for printing. According to a research, there are a total of twelve copies of the ''the Manchu Language Translation of Tripitaka'' printed, of which only two are in existence. One is stored in the Potala Palace in Tibet (one volume is missing), and the other is jointly collected by the Palace Museums in Beijing and Taipei, of which 76 letters are in Beijing and 32 letters are in Taipei. As mentioned above, Emperor Qianlong issued the edict to translate the ''Tripitaka'' with a clear intention of cultural construction. He hoped to promote Buddhist culture through the translation of Buddhist scriptures, and at the same time to promote Manchu language as the national language, so as to achieve the purpose of propagating and enlightening.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 05:38, 13 October 2021 (UTC)

==颜静 Yán Jìng 语言智能与跨文化传播研究女 202120081536==

正如乾隆帝在《清文翻译全藏经序》中指出的那样：以国语译《大藏》，恐人以为惑于祸福之说，则不可不明示其意。夫以祸福趋避教人，非佛之第一义谛也。第一义谛，佛且本无，而况乎祸福乎？
As Emperor Qianlong pointed out in ''the Preface to the Manchu Language Translation of the Whole Tripitaka'' : if we translate ''Tripitaka'' in Manchu language, I am afraid of that people misunderstand us for being confused by misfortunes and blessings. So we must express our intension clearly. It is not the absolute truth of Buddha to teach people with avoiding misfortunes and chasing after blessings. The absolute truth is that there is no Buddha, let alone misfortunes and blessings?--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 01:00, 13 October 2021 (UTC)

if we translate ''Tripitaka'' in Manchu language, I am afraid that people misunderstand us for being confused by misfortunes and blessings.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 00:55, 13 October 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

我们不可以因为第一义训的原因，用因缘祸福作为引导逐渐深入。我的目的并不在此，梵经首先是被翻译成外语，再翻译成汉语，最后才翻译成蒙古语，而我们清朝统治中国一百多年，他们三方长期以来都归我们管，如果唯独缺满语的《大藏经》可以吗？

We can't use reason, misfortune and blessing as a guide to gradually deepen because of the first righteous precept. My purpose is not here. The ''Sanskrit'' scriptures were first translated into a foreign language, then translated into Chinese, and finally translated into Mongolian. And our Qing Dynasty ruled China for more than 100 years. They have been under our control for a long time. Is the ''Tripitaka'' without Manchu language okay?
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 00:48, 13 October 2021 (UTC)

If only the ''Dazangjing'', which lacks Manchu language, is okay?--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 02:52, 13 October 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

以汉译国语，俾中外胥习国语，既不解佛之第一义谛，而皆知尊君亲上、去恶从善，不亦可乎？是则朕以国语译《大藏》之本意，在此不在彼也。[14]9;[16]28（[16]庄吉发.国立故宫博物院典藏《大藏经》满文译本研究[A].庄吉发.清史论集（三）[C].台北：文史哲出版社，1998：27-96.）

They translated the book from Chinese into Manchu Language, Let everyone learn Manchu Laguage, Even if they don’t understand the First Substance of the Buddhist scriptures, will still know that the emperor himself on the linem，To remove the bad parts and follow the good parts，Isn't it a good thing? That’s why I wanted to translate the ''Tripitaka'' in Manchu Language. [14]9;[16]28（[16] Chuang Chi-fa. A Study of the Manchu Language Version of ''Tripitaka'' from the Collection of the Palace Museum [A]. Chuang Chi-fa. Collection of Qing History (III)[C].Taipei：Literature ,History and philosophy Press，1998：pp 27-96.)--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 02:43, 13 October 2021 (UTC)

Translate the Tripitaka from Mandarin into Manchu so that everyone can learn Manchu. Although they do not understand the true meaning of Buddhist scripts, they all know that they should respect the monarch and do good. Isn't that also useful?Therefore, the original intention of my order to translate the Tibetan Tripitaka into Manchu is for this goal.[14]9;[16]28 ([16] Zhuang Jifa. A Study of the Manchu Language Version of ''the Tibetan Tripitaka''from the Collection of thePalace Museum [A]. Zhuang Jifa. Collection of Qing History (III)[C].Taipei：Literature ,History and philosophy Press，1998：pp 27-96.)--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:35, 13 October 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

上文中，清楚地表明了乾隆帝谕令翻译此经的用意，总结起来无外乎三点：其一，《大藏经》已有汉、藏、蒙语三种译本，独缺满文本，这一点与满洲为天下主的社会现实格格不入；其二，满语既为国语，则必须维持，并强化其学习，翻译《大藏经》这样的佛教经典乃是达成此目的的重要途径；其三，《大藏经》的翻译虽不能使人东西佛之第一义谛，但通过研习其中教义，也能使人尊君亲上，去恶扬善，培养人伦纲常观念。固然，《大藏经》的翻译并非乾隆朝佛经翻译的全部，但却是其中关系最切，最具代表性者，它所蕴含的政治、文化目的贯穿于所有佛教经典的翻译之中。

The above clearly shows the intention of Emperor Qianlong's order to translate this sutra. To sum up, there are no more than three points:First, there are three versions of the Tibetan Tripitaka in Chinese, Tibetan and Mongolian, but there is a lack of full texts, which is incompatible with the social reality that Manchuria is the master of the world.Second, since Manchu has been the national language, it is necessary to maintain and strengthen its learning, and the translation of Buddhist scriptures such as the Tibetan Tripitaka is an important way to achieve this goal.Third, although the translation of the Tibetan Tripitaka can not make people understand the true meaning of Buddha, through the study of its teachings, it can also make people respect the monarch and relatives, eliminate evil and promote good, and cultivate the concept of human relations.Of course, the translation of the Tripitaka is not the whole translation of Buddhist sutras in Emperor Qianlong Period, but it is the most relevant and representative one, and its political and cultural purpose runs through all the translation of Buddhist scriptures.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 06:42, 13 October 2021 (UTC)

The above clearly expresses Emperor Qianlong's intentions to tranlate Tripitaka.To sum up, there are no more than three points. Firstly, Tripitaka was already translated in Chinese, Tibetan and Mongolian. But it was never translated in Manchu, which was incompatible with the fact that Manchu was the master of China. Secondly, as Manchu was the offical language, it was nessary to maintain its position and promote its leanring by others. Translating the Buddhist calssic work "Tripitaka" was an important way to achieve this goal. Thirdlly, translating Tripitaka could not enable people to understand its true meaning, but it push people to respect the emperor and parents, promote goodnes and get rid of bad behaviors, and cultivate ethical codes. However, Tripitaka, not the only Buddhist classic work translated in the period of Emperor Qianlong,is the closest translation work and the most representative one. Its political and cultural purpose behind translation runs through all the translations of Buddhist classics.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 10:21, 17 October 2021 (UTC)

==杨爱江 Yáng Àijiāng 英语语言文学（语言学）女 202120081541==

五、汉书翻译的文化统制意涵。清初统治者对待汉文化的整体态度不尽相同，这一点毋庸置疑。日本学者安部健夫曾将清代中、前期的文化政策分为三个阶段，分别是“偶然华化期”、“积极华化期”和“消极华化期”。其中，太祖、太宗时期的文化政策属于第一个阶段，顺治、康熙二朝属于第二个阶段，雍、乾、嘉、道四朝则属于第三个阶段。[17]5-11

Five: The culture dominates the meaning in the process of translating Chinese classics. It is generally admitted that the rulers of the Qing Dynasty have slightly different attitudes toward Han Culture. The cultural policies of the early and middle Qing Dynasty once were divided into three stages by Japanese scholar Anbu Jianfu. They are "Accidental Chinese Transformation", "Active Chinese Transformation" and "Passive Chinese Transforamtion". Thereinto, the cultural policy of Qing Taizu and Qing Taizong belongs to the first stage, Shunzhi and Kangxi's the second stage and Yongzheng, Qianlong, Jiaqing and Daoguang's the third stage. {17}5-11 --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 15:53, 15 October 2021 (UTC)

Five: The culture dominates the meaning in the process of translating Chinese classics. There is no doubt that the overall attitude of the rulers in the early Qing Dynasty towards Han Culture was different. Japanese scholar Abe Takeo has divided the cultural policies of the Middle and Early Qing Dynasties into three stages, namely, "Accidental Chinese Transformation", "Positive Chinese Transformation" and "Passive Chinese Transforamtion". Among them, the cultural policy of Taizu and Taizong in Qing Dynasty belongs to the first stage, Shunzhi and Kangxi's the second stage and Yongzheng, Qianlong, Jiaqing and Daoguang's the third stage.{17}5-11--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 13:27, 17 October 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

（[17]安部健夫.清朝史の構造とその動因[A].安倍健夫.清代史の研究[C].東京：創文社，1981：5-11.）然而，统治者态度由积极转向消极，并不意味着满、汉文化接触的广度与深度由高走低，而只能说明统治者面对满、汉文化地位的此消彼长，所产生的民族文化意识的觉醒。虽然满洲统治者为了维护满洲文化于不坠，提倡“清语骑射”的基本国策，但又不得不进行文化整合，选择以汉文化作为国家的主流价值。

（[17]Abe Takeo.The structure of Qing Dynasty history and its causes[A].Abe Takeo.Research on the History of Qing Dynasty[C].Tokyo:Creation Society，1981：5-11.）However, the change of the ruler's attitude from positive to negative does not mean that the breadth and depth of cultural contact between Manchuria and Han has changed from high to low, but only indicates the awakening of the ruler's national cultural consciousness when facing the change of manchuria and Han's cultural status.Although manchurian rulers advocated the basic state policy of ''Chinese riding and shooting'' in order to maintain Manchurian culture, they had to carry out cultural integration and chose Han culture as the mainstream value of the country.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 01:57, 13 October 2021 (UTC)

（[17] Anbu Jianfu. The Structure and Formative Agent of Qing Dynasty History[A].Anbu Jianfu. The Research of the History of Qing Dynasty[C].Tokyo：Chuangwen Club,1981：5-11.） However,governor's attitude changing from positive to negative didn't mean that the contact between Manchu culture and Han culture decreased in breadth and depth, but only showed that governor's ethical cultural consciousness awakened in the face of the changing culrural status of Manchu and Han. Although Manchu governor advocated "Manchu language and equestrian archery" as the basic state polic in order to protect Manchu culture from decling, they had to carry on cultural integration in which Han culture was choosed as the mainstream value of the country.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 02:06, 13 October 2021 (UTC)

==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学）女 202120081543==

正是在这样一种看似矛盾，而又颇显自然的文化态度中，以文化“统制”和文化建设为目的的汉书翻译事业得以进行。事实上，早在太宗时期，由于满人尚居关外，不识汉字，又罔知政体，汉书的翻译可用于“临政规范”，以及国家的治理模式。[4]5325顺治年间，阿什坦译成《大学》、《中庸》等书后，世祖以它们作为倡导礼义教化的工具。

It is in such a seemingly contradictionary but quite natural cultural attitude that the translation of Han Shu could be proceeded aiming at cultural "harmonization and regualtion" and cultural development. Actually, as early as Taizong Period, transalation of Han Shu could be used for the "standard form of handling affairs" and also the governance model of the country, because Manchu didn't know Chinses characters or regime as they lived outside of Shanhai Pass. [4]5325 During the reign of Shunzhi, Emporer regarded ''The Great Learning'' and ''The Doctrine of the Mean''translated by A Shitan as the tool to advocate moral tool.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 14:37, 11 October 2021 (UTC)

It is exactly in such a seemingly contradictory but also natural attitude towards culture can the translation of Han Book with the purpose of cultural "unification" and cultural construction proceed. In fact, at the period of Taizong, the transalation of Han Book could be used for the "standard form of handling affairs" and also the governance model of the country, because Manchu didn't know Chinses characters or regime as they lived outside of Shanhai Pass. [4]5325 During the Shunzhi period, Emperor regarded ''The Great Learning'' and ''The Doctrine of the Mean'' translated by A'Shitan as the tool to advocate morality.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 10:36, 20 October 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

总之，汉文经、史的译印有助于端正满洲的人心风俗，使满、汉文化互通有无。就连《诗经》中提到的各种花草树木、鸟兽虫鱼等，也对拓展满人见闻，增进满、汉交流颇有助益。[18]222-223（[18]叶高树.《诗经》满文译本比较研究——以《周南》、《召南》为例[J].国立台湾师范大学历史学报，1992（20）：219-234.）

In short, the translation and prints of Chinese classics and history can help correct Manchurian's morality and custom, and furthermore strengthen the mutual understanding between Manchu and Han culture. Even the flowers,trees,birds,beasts,insects,fish etc mentioned in the ''Book of Songs'' somewhat have helped expand Manchurian's knowledge and enhance the intercommunication between Manchu and Han.[18]p.222-223. (Ye,Gaoshu. ''The Comparative Study of the Manchu Translation On The Book of Songs---Cases Study of Zhounan and Zhaonan.'', Bulletin of Historical Research of National Taiwan Normal University, No.20(1992):p.219-234.)--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 02:38, 13 October 2021 (UTC)

In short, the translation and prints of Han classical and historical works can help correct Manchurian’s morality and custom, and furthermore strengthen the mutual understanding between Manchu and Han culture. Even various kinds of flowers, trees, birds, beasts, insects, fish mentioned in the “Book of Songs” somewhat have helped expand Manchurian’s knowledge and enhance the inter communication between Manchu and Han.[18]222-223([18]Ye Gaoshu. “The Comparative Study of the Manchu Translations of Book of Songs—Case Study of Zhounan and Zhaonan.”Journal of the History of National Taiwan Normal University No.20(1992):p.219-234.)--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:58, 13 October 2021 (UTC)Yi Yangfan

==易扬帆 Yì Yángfān 英语语言文学（英美文学）女 202120081545==

诚然，有清一代，并非只有官方组织翻译汉书，私人译书也很盛行。据《世界满文文献目录》可知，清代的私人译书历时悠久，范围广泛，于经、史、子、集皆有涉猎，且翻译成书之后，往往有不同刻本、抄本。仅以小说、戏曲为例，二者的满文译本便多达四十六种。[19]47-53

To be sure, it was not only official organizations that translated Chinese books, but private person also liked to do that during Qing Dynasty. According to the Catalogue of Manchu Documents in the World, the private translation of books in the Qing Dynasty has a long history and a wide range, covering a subset of Classic historical. And after being translated into books, they often had different engraved books and copies. Taking novels and operas as examples, there were as many as forty six Manchu versions of them.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 15:29, 12 October 2021 (UTC)Yi Yangfan

To be sure, it was not only official organizations that translated Han Shu, but private person also liked to do that during Qing Dynasty. According to the Catalogue of Manchu Documents in the World, the private translation of books in the Qing Dynasty has a long history and a wide range, covering classical works, historical works, philosophical works, and prose and poetry, the four categories of a traditional Chinese library. And after being translated into books, they often had different engraved books and transcripts. Taking novels and operas as examples, there were as many as forty six Manchu versions of them.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 01:49, 13 October 2021 (UTC)

==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学）女 202120081546==

（[19]富力.世界满文文献目录[Z].北京：中国民族古文字研究会，1983.）但官方翻译汉书与私人译书不同，无论在译书的取材上，还是在译书的组织管理上，又或在译书的颁行上，都有其不同于私人译书的特殊考量。即便是《三国志（通俗演义）》这样的通俗文学作品，译成满文后也被赋予了兵法与战略意义。
（[19] Fuli. The Catalogue of Manchu Documents in the World [Z]. Beijing: Chinese Association for Ancient Scripts of National Minorities, 1983.)
However, official translation of Han Shu was different from private translation. There were special considerations different from private translation, whether in the selection of materials, the organization of translation, or the promulgation of translation. Even popular literary works such as the Three Kingdoms (Popular Romance) had been given military and strategic significance after being translated into Manchu.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 15:13, 12 October 2021 (UTC)

Fuli. The Catalogue of Manchu Documents in the World [Z]. Beijing: Chinese Association for Ancient Scripts of National Minorities, 1983.)
However,different from private translations of Han Shu,the official one was special in the selection of materials, the organization or the promulgation of translation. Even such popular literary works as the ''Three Kingdoms'' (Popular Romance) had been given military and strategic significance after being translated into Manchu scipt.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 02:52, 13 October 2021 (UTC)

==殷美达 Yīn Měidá 英语语言文学（语言学）女 202120081547==

显然，以满文遍译汉书，尤其是经、史、子、集等，并不是为了显示满语语文系统的优越性，所谓“精微巧妙，实小学家所未有”，而是为了“表章经学，天下从风”，通过翻译“研究微言，讲求古义”，进行文化沟通。[3]91藉由汉文典籍的翻译，满洲统治者不仅了解了汉族文化，而且在接触与学习中获得了“统制”汉民的重要经验，使满洲政权在性质上逐渐向“中原政权”转化，最终实现治统与道统的合一。而乾隆朝时期，尤其是乾、嘉二朝年间，统治者对于汉籍翻译的成效，也的确颇感自豪。

Obviously, the purpose of translating Han Shu into Manchu scripts,especially the confucian classics,historical books,works of pre-Qin period as well as poetry collections ,was not to show the superiority of the Manchu language system,but to"make the study of Confucian classics known and followed by the world",as was said" other schools can never be as profound and subtle as the Confucianism", to enable cultural communication by means of"studying the profound and subtle language in search of reasons and moral principles"
With the help of translation, Manchu rulers could not only understood the Han culture, but also gained important experience in "governing and controlling" the Han people in the process of contact and learning, which gradually transformed the nature of the Manchurian regime into"the regime of the central plains" and realized the unity of governance and Taoism. During the reign of emperor Qianlong, the rulers were indeed proud of the achievement in the translation of Han books.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 13:44, 13 October 2021 (UTC)

Obviously, the purpose of translating the books of Han into Manchu scripts,especially the confucian classics, historical books, works of pre-Qin period as well as poetry collections ,was not to show the superiority of the Manchu language system, but to"make the study of Confucian classics known and followed by the world",as was said" other schools can never be as profound and subtle as the Confucianism", to enable cultural communication by translating"studying the profound and subtle language in search of reasons and moral principles"
With the help of translation, Manchu rulers could not only understood the Han culture, but also gained important experience in "governing and controlling" Han people in the process of contacting and learning, which gradually transformed the nature of the Manchurian regime into"the regime of the central plains" and realized the unity of governance of ruling and Taoism. During the reign of Emperor Qianlong, the rulers were indeed proud of the achievement in the translation of Han books.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 14:57, 13 October 2021 (UTC)

==尹媛 Yǐn Yuán 英语语言文学（英美文学）女 202120081548==

《钦定八旗通志》中说：列圣以来，表章经学，天下从风，莫不研究微言，讲求古义，尤非前代之所及。故先译《四书》，示初学之津梁。至于《五经》、《易》则略象数之跡，示其吉凶；《书》则疏佶屈之词，归于显易；《诗》则曲摹其咏叹，而句外之寄讬可思；《春秋》则细核其异同，而一字之劝惩毕见；《礼记》则名物度数考订必详，精理名言推求必当，尤足破讲家之聚讼。
Imperially Commisioned "Genealogies of Eight Banners" said: "Since the previous dynasties, ''Six meridians''highly praised, the whole society were indulged and made a study of it. Never before has there been such a study of ancient meanings in any dynasty." Therefore, The Four Books was translated first as the bridge for the beginners. As for ''The Five Classics'' and ''The Book of Changes'', they slightly speculated about changes in the universe or human life to indicate the good luck and bad luck; ''The Book of History''explained the hard and difficult words and turned them into intelligible content; ''The Book of Songs''imitates the aria but worth thinking about the implications between the lines; while ''Spring and Autumn Annals'' examines its similarities and differences so the advice and punishment can be seen; In ''Book of Rites'', everything's name and information must be detailed and principles and sayings must be appropriate, especially various and different opinion.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 02:49, 13 October 2021 (UTC)

Imperially Commisioned "Genealogies of Eight Banners" said: "Since the previous dynasties, “Six meridians”highly praised, the whole society were indulged and studied it. Never before has there been such a study of ancient meanings in any dynasty." Therefore, The Four Books was translated first as the bridge for the beginners. As for “The Five Classics”and “The Book of Changes”, they slightly speculated about changes in the universe or human life to indicate the fate; “The Book of History”explained the hard and difficult words in an intelligible way; “The Book of Songs”imitates the aria but worth thinking about the implications between the lines; while ''Spring and Autumn Annals'' examines its similarities and differences so the advice and punishment can totally be seen; In “Book of Rites”, everything's name and other information must be detailed.Besides,principles and sayings must be appropriate, especially various and different opinions.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 05:46, 13 October 2021 (UTC)

==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学）女 202120081549==

盖先儒之诂经，多株守其文，故拘泥而鲜通；此篇之诂经，则疏通其意，故明白而无误。不立笺（jiān）传之名，不用注疏之体，而唇吻轻重之间，自然契删述之微旨，厥有由矣。……其有裨于文教，均为至大。虽尧帝之文章，尼山之删定，又何以加于兹哉。[20]5-6

It was said that most of previous confucionists'classical texts stuck to the original words, so the texts were not clear and coherent enough to make it understood:And this classical text was written clearly to convey the meaning which can make readers understand the meaning accurately. The text was not in the name of notes, not in the style of notes, but in a detailed and appropriate way to explain the connotation and theme of the text.So when readers opened their mouth and read it, they can automatically understand the profound meaning which was omitted.It all made sense ......It was of great benefit to culture and education which were the most important aspect in society. Although Emperor Yao wrote the article and Ni Shan revised it, but how can it surpass this article?--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 05:49, 13 October 2021 (UTC)

mostly abide by its text, so it is rigid and fresh--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 07:16, 13 October 2021 (UTC)

==张秋怡 Zhāng Qiūyí 亚非语言文学女 202120081550==

（[20]（清）铁保等.钦定八旗通志[Z].景印清嘉庆四年刻本.台北：台湾学生书局，1968.）上文提到的《四书》等汉文典籍多为乾隆朝所译，其中《四书》译成于乾隆二十年，《易》（即《周易》）、《诗》（即《诗经》）、《礼记》和《春秋》等分别译成于乾隆三十年、三十三年、四十八年和四十九年。官方在翻译上述书籍的过程中，将经典的章句训诂含扩于译文之内，目的就是为了化解时人对于经义的歧见，统一学术，帮助统治者实现文化“统制”。[3]87

（[20]（Qing）Tie Bao et al. Imperial Eight Banners Tongzhi [Z]. Jing Yin Qing Jiaqing four years engraved edition. Taipei: Taiwan students publishing company, 1968.) Above the "four books" and so on Chinese classics translation in the qianlong dynasty, the "Four books" into in qianlong 20 years, "Yi" (i.e. I Ching), "Poem" （i.e. The book of songs), "The rites" and "The spring and autumn" and so on are translated in qianlong 30 years, 33 years, 48 and 49 years. In the process of the translation of the above-mentioned books, the official included the classic chapters and sentences into the translation, in order to resolve the differences of people's opinions on the classics, unify the academic, and help the rulers to realize the cultural "control".--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 00:53, 13 October 2021 (UTC)

（[20]（Qing）Tie Bao et al. Imperial Eight Banners Tongzhi [Z]. Jing Yin Qing Jiaqing the fourth year engraved edition. Taipei: Taiwan students publishing company, 1968.) Above the "four books" and so on Chinese classics were mostly translated in Qianlong period, in which the "Four books" were translated in the 20th year ruled by Qianlong, "Yi" (i.e. I Ching), "Poem" （i.e. The book of songs), "The rites" and "The spring and autumn" and so on are respectively translated in the year 30, 33, 48 and 49 under the reign of Qianlong. In the process of the translation of the above-mentioned books, the official included the classic chapters and sentences into the translation in order to resolve the differences of people's opinions on the classics, unify the academic, and help the rulers to realize the cultural "reign".[3]87--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 01:57, 13 October 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

如康熙四十七年，《清文鉴》编成，此举使满文的“大经大法，咸有依据；一话一言，式循典制。”[7]13康熙五十六年，为整理并规范蒙古语文，圣祖敕令以蒙文翻译《清文鉴》，纂成《清文合蒙古鉴》。然而，逮乾隆三十八年，高宗以“语言文字之传，不能不随方随时，代为变易”为由，纂成《御制增订清文鉴》。
For example, in the forty-seventh year under the reign of Kangxi during Qing dynasty, the book ''Qing Wen Jian'' was composed, which made "every article and code in Man has its basis, and each sentence and word in Man in accordance with a typical system."[7]13 In the fifty-sixth year ruled by Kangxi, in order to organize and standardize Mongolian language, the emperor ordered to translate ''Qing Wen Jian'' with Mongolian so that ''Qing Wen Jian With Mongolian'' was composed. However, in the year thirty-eight reined by Qianlong, Gaozong the emperor wrote ''Qing Wen Jian the Official and Revised Edition'' on the excuse that "the transmitting way of language and characters has to be kept changing as time goes by and places change".
--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 01:48, 13 October 2021 (UTC)
For example, in the forty-seventh year under the reign of Kangxi emperor during Qing dynasty, the book ''Qing Wen Jian'' was composed, which made "every article and code in Manchu has its basis, and each sentence and word in Manchu in accordance with a typical system."[7]13 In the fifty-sixth year ruled by Kangxi emperor, in order to organize and standardize Mongolian language, the emperor ordered to translate ''Qing Wen Jian'' with Mongolian so that ''Qing Wen Jian With Mongolian'' was composed. However, in the year thirty-eight reined by Qianlong, Gaozong the emperor wrote ''Qing Wen Jian the Official and Revised Edition'' on the excuse that "the transmitting way of language and characters has to be kept changing as time goes by and places change".--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 02:20, 13 October 2021 (UTC)

==张怡然 Zhāng Yírán 俄语语言文学女 202120081552==

该书以词目分类，以满汉合璧形式呈现，所谓“国书之左，译以汉音”，而“汉书之右，译以国书”，以便“读者因汉文可以通国书，因国书可以通汉文”，使人人共晓，并“昭示来兹，为万万世同文之准”。[21]1-2（[21]（清）傅恒等.御制增订清文鉴[M].台北：台湾商务印书馆，1986.）《御制增订清文鉴》成书后，乾隆帝又以“前书只载国语、汉语，而未及蒙古”为由，仿前例敕撰《满洲蒙古汉字三合切音清文鉴》，并于嗣后相继编成《御制四体清文鉴》和《御制五体清文鉴》。
The book is categorised by words and presented in a combined Manchu-Chinese format, so that "in this book on the left side of the Manchu language, there is a column with Chinese pronunciation to comment", and "on the right side of the Chinese language, there is a column translated into Manchu",so that "readers can see the Chinese to understand the Manchu language, see the Manchu language can understand the Chinese language", so that all people can understand the two languages, and "to future generations of the world to show that such a writing becomes the table of reference for all ages". [21]1-2 ([21] (Qing) Fu Heng et al. Yuzhi zengding Qingwen jian [M]. (Taipei: Taiwan Commercial Press, 1986.) After the completion of the ''Yuzhi zengding Qingwen jian'' , Emperor Qianlong, on the grounds that "The first book only recorded Manchu and Chinese, but not Mongolian", hereby compiled ''Manzhou Menggu Hanzi sanhe qieyin Qingwen jian'', which was subsequently compiled into ''Manchu Polyglot Dictionary''and ''Pentaglot Dictionary''.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 16:03, 12 October 2021 (UTC)

The book is classified by words and presented in a combined Manchu-Chinese form，so that "in this book on the left side of the Manchu language, there is a column with Chinese pronunciation to comment", and "on the right side of the Chinese language, there is a column translated into Manchu",so that "readers can see the Chinese characters to understand the Manchu language, see the Manchu language can understand the Chinese language likewise", so all people can understand the two languages, and "to future generations of the world to show such a writing becomes the table of reference for all ages". [21]1-2 ([21] (Qing) Fu Heng et al. Yuzhi zengding Qingwen jian [M]. (Taipei: Taiwan Commercial Press, 1986.) After the completion of the ''Yuzhi zengding Qingwen jian'' , Emperor Qianlong, on the grounds that "The first book only recorded Manchu and Chinese, but not Mongolian", hereby compiled ''Manzhou Menggu Hanzi sanhe qieyin Qingwen jian'', which was subsequently compiled into ''Manchu Polyglot Dictionary''and ''Pentaglot Dictionary''.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 01:02, 13 October 2021 (UTC)

==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学）女 202120081553==

在上述书籍的翻译与编纂过程中，乾隆帝不断赋予其“同文”和“大同”的文化意涵，从不同民族文字皆具备“载道”能力的理念出发，借由翻译和比对的方式，在不同民族文化之间，实现沟通观念，强化统治的目的。结语。满清开国以来，历代君主皆勤于学习汉族历史与文化，以汲取统治经验。
In the process of translating and compiling the above books, Emperor Qianlong constantly endowed them with the cultural meaning of "Tongwen" and "Datong". Starting from the idea that different national languages have the ability to "carry Tao", he realized the purpose of communicating ideas and strengthening rule between different national cultures by means of translation and comparison. Conclusion：Since the founding of the Manchu and Qing Dynasties, monarchs of all dynasties have been diligent in learning the history and culture of the Han nationality in order to learn from the ruling experience.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:43, 12 October 2021 (UTC)

In the process of translating and compiling the above books, Emperor Qianlong constantly endowed them with the cultural connotation of "Tongwen" and "Datong". Starting from the idea that different national languages have the ability to "carry Tao", he realized the purpose of communicating ideas and strengthening ruling within different national cultures by means of translation and comparison. Conclusion：Since the founding of the Manchu and Qing Dynasties, all previous emperors have been diligent in learning the history and culture of the Han nationality in order to learn the ruling experience from them.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:18, 13 October 2021 (UTC)

==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学）女 202120081554==

汉书翻译基于特定的历史情境，和国家的长治久安，将重点放在经、史、子、集等汉族文化精粹及典章制度之上，为统治者探求、调整统治策略与统治理论提供了契机。特别是康、雍、乾三朝年间，民族交往日益频密，民族关系逐渐缓和，民族融合渐趋提高，汉书的翻译与进讲更为诸帝所重。由于统治者皆以德教学术为治国之本，力崇道德教化、为国修政、忠于人君，汉书翻译遂被赋予德治与教化功能。

The translation of History of the Han Dynasty, which was based on specific historical circumstance and the lasting political stability of the country, emphasized the decrees and regulations as well as the essence of Han culture such as the history, philosophy and literature of Confucian classics, etc. The translation of History of the Han Dynasty also provided an opportunity for the rulers to explore and adjust governing strategies and theories. Especially during the reign of Emperor Kangxi, Yongzheng and Qianlong, ethnic exchanges became increasingly frequent, ethnic relations gradually eased and ethnic integration much improved. Therefore, the emperors paid more attention to the translation and interpretation of History of the Han Dynasty. The rulers all regarded the moral education as the foundation of governing the country, which highly recommended political improvement of the country and loyalty to the monarch. For this reason, the translation of History of the Han Dynasty was endowed with the function of cultivation and ruling by the morality.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:03, 13 October 2021 (UTC)

The translation of History of the Han Dynasty, which was based on specific historical circumstance and the lasting political stability of the country, emphasized the decrees and regulations as well as the essence of Han culture such as the history, philosophy and literature of Confucian classics, etc. The translation of History of the Han Dynasty also provided an opportunities for the rulers to explore and adjust governing strategies and theories. Especially during the reign of Emperor Kangxi, Yongzheng and Qianlong, ethnic exchanges became increasingly frequent; ethnic relations gradually eased; ethnic integration much improved. Therefore, the emperors paid more attention to the translation and interpretation of History of the Han Dynasty. The rulers all regarded the moral education as the foundation of governing the country, which highly recommended political improvement of the country and loyalty to the monarch. For this reason, the translation of History of the Han Dynasty was endowed with the function of cultivation and ruling by the morality.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 10:20, 13 October 2021 (UTC)

==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==

总之，清初的汉书翻译既非简单的“以夏变夷”，也非简单的“以夷变夏”，而是在翻译中着眼于满、汉之间的交流、沟通与互鉴，政治意涵与文化意涵并存。*基金项目：① 教育部人文社科基金项目“清代中前期翻译政策研究”②湖南省社会科学基金项目“清代中前期翻译政策的具体形态与变化轨迹研究”，项目批准号：20YBA131；③ 湖南省教育厅重点项目“清代中前期翻译政策研究”，项目批准号：20A222。

In summary, the translation of The History of the Han Dynasty is neither simply to use the Central Plains Culture to influence the culture of the tribes outside it, nor to change it by cultures of other tribes. The translation highlights the communication and mutual learning between Man minority and Han nationality. It also emphasizes the coexistence of political implications and culture implications. Fundation Projects:① Foundation Projects of the Ministry of Education of China, Humanities and Social Sciences " The Research on Translation Policy During Early and Middle Qing Dynasty" ② Research Foundation of Social Sciences of Hunan Province, China" The Translation Policy's Specific Form and Trajectory of Change During Early and Middle Qing Dynasty" , Grant No. 20YBA131; ③Research Foundation of Education Bureau of Human Province, China", Grant No.20A222.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:29, 13 October 2021 (UTC)

In summary, the translation of Han History is neither simply to use the Central Plains Culture to influence the culture of the tribes outside it, nor to change it by cultures of other tribes. It highlights the communication and the mutual learning between Man minority and Han nationality and emphasizes the coexistence of political implications and culture implications in its translation. Fundation Projects:① Foundation Projects of the Ministry of Education of China, Humanities and Social Sciences " The Research on Translation Policy During Early and Middle Qing Dynasty" ② Research Foundation of Social Sciences of Hunan Province, China" The Translation Policy's Specific Form and Trajectory of Change During Early and Middle Qing Dynasty" , Grant No. 20YBA131; ③Research Foundation of Education Bureau of Human Province, China", Grant No.20A222.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:53, 13 October 2021 (UTC)

==周俊辉 Zhōu Jùnhuī 法语语言文学女 202120081556==

清初的旗学教育与翻译人才培养：教材、课业与考课
——基于绥远城官学的考察*
摘要：旗学之兴系清初统治者重教政策的延续与发展。太祖和太宗年间，虽然旗学尚未创设，但文教与翻译之风渐行，以讲解汉籍译本作为教育旗人的手段由来已久，为嗣后设立旗学，开展旗学教育创造了条件。
The Education of Banner studies and the training of translation talents in the early Qing Dynasty: textbooks, courses and examinations-based on the investigation of Suiyuan authority.
Abstract: The prosperity of Banner studies reflects the continuation and development of the educational policy that the rulers attached importance to in the early Qing dynasty.
During the reign of Emperor Taegu and Emperor Taejon, although the Banner studies had not yet been established, the cultural education and translation became popular. It has been a long time that the translation of Chinese books was used as a means to educate flag-bearers, which created conditions for the establishment of Banner studies’ education.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 13 October 2021 (UTC)

The Banner Education and the Cultivation of Translation Specialist in the Early Qing Dynasty: Teaching Materials, Homework and Examination -- Based on the Investigation of suiyuan City Official Schools
Abstract: The rise of the banner schools was the continuation and development of the policy of emphasizing education of rulers in the early Qing Dynasty. During the reign of Emperor Taizu and Emperor Taizong, although the banner school was not yet established, culture, education and translation gradually spread, and interpreting the translation of Chinese books as a means of teaching the banner people had a long history, which created conditions for the establishment of banner school and the development of banner education.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:46, 13 October 2021 (UTC)

==周巧 Zhōu Qiǎo 英语语言文学（语言学）女 202120081557==

自顺治朝设立国子监八旗官学，至康熙朝增设专门教育机构，雍正朝普及八旗教育，以及乾隆朝以后八旗教育由盛转衰，清初的旗学教育不仅提高了旗人的文化素质和官员处理政务的能力，而且提升了旗人的语言能力，培养了大量翻译专才。从一开始，旗学教育便明确地指向了翻译，不仅严格要求翻译教习的选拔与任用，而且也对翻译教材的使用、翻译课业的形式、翻译考课的等次，以及教习与学生的期满考核等，制定了具体章程。

From the establishment of the Eight Banners official school of the Imperial Academy in the reign of Shunzhi to the establishment of special educational institutions in the reign of Kangxi, the popularization of the Eight Banners Education in the reign of Yongzheng, and the decline of the Eight Banners Education after the the reign of Qianlong, in the early Qing Dynasty, the Banners' education not only improved the cultural quality of the Banner people and the ability of officials to deal with government affairs, but also enhanced the language ability of the Banner people and cultivated a large number of translation specialists. From the very beginning, the purpose of the Banners' education is for translation, which not only strictly requires the selection and appointment of translation teachers, but also formulates specific regulations on the use of translation teaching textbooks, the form of translation homework, the order of translation examination, as well as the expiration assessment of teachers and students.
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 15:13, 16 October 2021 (UTC)
From the Shunzhi Dynasty to the establishment of the Eight Banners official school to the establishment of special educational institutions of the Kangxi dynasty, the popularization of the Eight Banners education in the Yongzheng dynasty to the decline of the Baqi education after the Qianlong dynasty, the ability of government affairs has also improved the language ability of people, and cultivated a large number of translation professionals. From the very beginning, The education of "banners" studies has clearly pointed to translation. It not only strictly requires the selection and appointment of translation teaching, but also the use of translation materials, the form of translation tasks, the order of translation exams, and the duration of teaching and students. Full assessment, formulated specific regulations.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 12:58, 16 October 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

总之，旗学教育既维护了满洲特色，又增进了民族交流，为解决国家治理对于翻译人才的需求做出了重要贡献。
关键词：旗学翻译教育教材课业与考课绥远城官学

清代的旗学教育始于顺治朝，但追根溯源与太祖朝以来的语言创制与教育密不可分。后金政权建立之前，女真族没有自己的文字，民间交往和官方往来只能通过蒙古语及其翻译进行。

In short, the education of "qi" studies not only maintains Manchurian characteristics, but also enhances national exchanges, and has made important contributions to solve the needs of national governance for translators.
Key words: "qi" Studies, Translation Education, Textbooks, Assignments and Tests, Suiyuan City Official School
The education of "qi" studies in the Qing Dynasty began in the Shunzhi Dynasty, but the tracing of its roots is inseparable from the language creation and education since the Taizu Dynasty. Before the establishment of the Houjin regime, the Jurchens did not have their own scripts, and non-governmental and official exchanges could only be carried out through Mongolian language and its translation.

In a word, the Banners education not only maintains the characteristics of Manchuria, but also promotes the cultural exchanges between nations, making important contributions to solving the needs of national governance for translation talents.
Key words: the Banner education, translation educational, textbook,coursework and examination,Suiyuan City official School
The education of the Banners education in Qing Dynasty began in shunzhi Dynasty, but its origin is closely related to language creation and education since Nurhachi period. Before the establishment of the post-Jin regime, the Nuzhen people did not have their own script, and the folk and official communication could only be carried out through the Mongolian language and its translation.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 10:39, 16 October 2021 (UTC)

==周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559==

太祖创建后金政权伊始，便授意“巴克什”额尔德尼、噶盖等创建“无圈点满文”（老满文）。老满文的创建既方便了部民交流和公文书写，也使得政事记载和汉书翻译变得容易。在翻译的汉文典籍帮助下，如《论语》、《孟子》、《史记》和《资治通鉴》等，太祖得以学习汉族的思想精粹和政治观念。
After the first emperor of the Qing Dynasty founded the jin regime, he instructed Baksi(a title for scholars in the Qing Dynasty) Erdeni, Gaide and others to create the Manchu without circle and point (old Manchu). The establishment of old Manchu not only facilitated the communication between tribe men and the writing of official documents, but also made it easy to record political affairs and translate Han books. In the process of translating Chinese classics, such as ''The Analects of Confucius'', ''Mencius'', ''Records of the Historia''n and ''History as a Mirror'', he was able to learn the ideological essence and political ideas of the Han people.
--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 14:29, 12 October 2021 (UTC)

After the first emperor of the Qing Dynasty founded the Post-Jin regime, he instructed Baksi(a title for scholars in the Qing Dynasty) Erdeni, Gaide and others to create the Manchu without circle and point (old Manchu). The establishment of old Manchu not only facilitated the communication between tribe men and the writing of official documents, but also made it easy to record political affairs and translate Han Shu. With the help of translating Chinese classics, such as ''The Analects of Confucius'', ''The Works of Mencius'', ''Historical records'',and ''History as a Mirror'', he was able to learn the ideological essence and political ideas of the Han nationality.

--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 08:48, 13 October 2021 (UTC)

==朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561==

与此同时，太祖又令“颁经书以宏文教”，“尚骑射翻译以重国文”，通过“国文”、“骑射”巩固所谓民族之“本”，并通过“文教”、“翻译”提升旗人素质。[ 张廷玉等奉敕撰：《皇朝文献通考》，上海：鸿宝书局，1902年，第5435页。]语言创制的完成不仅使得旗人教育成为现实，也使得统治者试图在翻译中汲取汉族经验成为可能。

At the same time, Taizu ordered to "publish scriptures to carry forward cultural education", "advocate riding and shooting translation to attach importance to national language", consolidate the so-called "foundation" of the nation through "national language" and "riding and shooting"and improve the quality of Manchurian through "cultural education" and "translation". [Written by Zhang Tingyu and others who received the orders of the emperor: a general examination of imperial documents, Shanghai: Hongbao publishing house, 1902, P. 5435.] the completion of language creation not only made the education of the Manchurian a reality, but also made it possible for the rulers to learn from the Han nationality in translation.

At the same time, Taizu ordered to "publish scriptures to carry forward cultural education", "advocate riding and shooting translation to attach importance to national literature", consolidate the so-called "foundation" of the nation through "national
literature＂ and "riding and shooting", and improve the quality of Manchurian through "cultural education" and "translation". [Written by Zhang Tingyu and others who received the orders of the emperor: a general examination of imperial documents, Shanghai: Hongbao publishing house, 1902, P. 5435.] the completion of language creation not only made the education of the Manchurian a reality, but also made it possible for the rulers to learn from the Han nationality in translation.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 15:14, 16 October 2021 (UTC)--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 15:15, 16 October 2021 (UTC)

==邹岳丽 Zōu Yuèlí 日语语言文学女 202120081562==

《满文老档》中说，太祖曾命博布黑、萨哈廉等八人为八旗师傅，赐其“巴克什”称号，令其精心教习八旗子弟，要求“教之通晓者赏之”，而“弟子不勤学不通晓书文者罪之”，开启旗人教育之先例。[ 中国第一历史档案馆译注：《满文老档》，北京：中华书局，1990年，第1196-1197页。]太宗期间，旗人的学习和教育亦受重视。

According to the 《Manchu script》, the emperor Taizu once appointed eight people, including Bo buhei and sahalian, as masters of the eight banners, and gave them the title of "Baksh", so that they could carefully teach the children of the eight banners, and asked that""If teach the disciples to understand, they will be rewarded", while "If the disciples don't study hard and don't understand calligraphy, they will be punished" which opening a precedent for Manchu's education. [translated note of China's first historical archives: old 《Manchu script》, Beijing: Zhonghua Book Company, 1990, pp. 1196-1197.] during the reign of Emperor Taizong, the study and education of Manchu were also valued.

According to Manchu Script, the Emperor Taizu( the first emperor of the Qing Dynasty) once appointed 8 person as teachers of the Eight Banners and rewarded them with the title of Baksh, including Bobuhei, Sahalian. The teachers were required to teach the offspring of the eight-banners. If they can understand, they will be rewarded while if not, they will be punished, which stands a precedent for Manchu's education.[Quoted from China's first historical archives:《Manchu script》, Beijing: Zhonghua Book Company, 1990, pp. 1196-1197.] During the reign of Emperor Taizong, the study and education of Manchu were also valued.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:33, 13 October 2021 (UTC)

20211229 homework

2021-12-29T07:28:00Z

Zhou Xiaoxue: /* 周清 Zhōu Qīng 法语语言文学女 202120081558 */

20211229 homework

2021-12-29T07:19:02Z

Zhou Xiaoxue: /* 周清 Zhōu Qīng 法语语言文学女 202120081558 */

20211229 homework

2021-12-27T06:44:57Z

Zhou Xiaoxue: /* 周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559 */

20211222 homework

2021-12-24T05:13:11Z

Zhou Xiaoxue: /* 周清 Zhōu Qīng 法语语言文学女 202120081558 */

20211222 homework

2021-12-20T05:55:33Z

Zhou Xiaoxue: /* 周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559 */

Culture loaded words

2021-12-14T06:03:47Z

Zhou Xiaoxue: /* Conclusion */

'''Culture Loaded Words'''

[[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]

30 Chapters（0/30)

[[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...

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=1 羊叶 The Analysis of Culture-loaded Words of English Subtitle Translation in Chinese Movies-Taking Farewell to My Concubine as an Example =
[[Cult_Load_Words_EN_1]]

电影中英译字幕文化负载词的翻译分析——以《霸王别姬》为例
=== Abstract ===
Nowadays, popular films are increasingly active on the Internet. Confronting such a mass need for film translation, subtitle translation is winning more favor compared with traditional dubbing translation. This paper, taking Farewell My Concubine as an example, analyzes the strategies and methods of translating culture-loaded words. The conclusions are as follows: In terms of translator, translator needs to be super proficient in Chinese and English. In terms of translation strategies, domestication and foreignization are unity of opposites and complement each other, so there is no absolute and pure domestication and foreignization. In terms of translation methods, when translating the culture-loaded words, Linda Jaivin mainly adopted literal translation, free translation, specification, generalization and omission to nearly successfully preserve and convey the essence in Beijing dialect and Beijing Opera in China.

=== Key Words ===
Subtitle Translation; Farewell My Concubine; foreignizing method; domesticating method
=== 摘要 ===
如今，电影在互联网上越来越受欢迎。比起传统的配音翻译，字幕翻译更受青睐，电影对字幕翻译的需求巨大。本文以电影霸王别姬为例，分析翻译文化负载词时所用的翻译策略和翻译方法。结论如下：就译者而言，翻译者需精通中文和英文两种语言；就翻译策略而言，归化与异化两者对立且相互统一，没有绝对的归化、异化之说；就翻译方法而言，在翻译文化负载词时，贾佩琳主要采用了意译、直译、具体化、一般化、省略等翻译方法，成功地保留和传达了北京方言和京剧的国粹部分。
=== 关键词 ===
字幕翻译；霸王别姬；异化；归化
=== Introduction ===
1.1Research Background

Innovation of information technology brings energy for the advancement of broadcasting ways of film and television programs. More and more foreign popular films are increasingly active on the Internet; more and more local films with Chinese elements are also introduced abroad. Researchers on subtitling translation are becoming more and more important.
China's Opening-up and Reform facilitates the cultural communication between China and the outer world. In the introduction of foreign films and TV plays, language understanding becomes an obvious barrier for audiences. Two major solutions to solve such a barrier are dubbing and subtitle translation. "Subtitles sometimes referred to as captions are transcriptions of film or TV dialogue presented simultaneously on the screen." Relatively, the latter one is more favorable than the traditional dubbing way because of its cost-effectiveness, short producing cycle and audience-acceptability. With higher educational background and foreign language level, many Chinese audiences expect that films can be displayed with “a natural and original flavor” nowadays.
Under such circumstances, subtitle translation seems to be more acceptable to get access to foreign audience. Among so many elements involved in the subtitle translation process, the translator plays the most significant part, thus becoming a key and central element in the subtitle translation system. Therefore, a good subtitle translation with “a natural and original flavor” sets high and strict requirements for the translator.（Liao, 2000: 231）

1.2 Brief Introduction to Farewell My Concubine

Farewell My Concubine, the film version adopted in this thesis is the 1993 one whose heroes and heroines are Duan Xiaolou (acted by Zhang Fengyi), Cheng Dieyi (acted by Zhang Guorong) and Ju Xian (acted by Gong Li) respectively. In the film, Xiaolou and Dieyi are fellow apprentices learning Beijing opera performance together from childhood. Later on, their cooperation in the opera Farewell My Concubine makes them famous overnight throughout Beijing city. Thereafter, they make a promise to each other that they will perform Farewell My Concubine together as long as they are alive. However, their different understandings of the relationship between the opera and life finally lead to their different choices: Until mid-age, Xiaolou deeply knows that the opera isn't his whole life, so he gets married with a famous whore called Juxian; Dieyi, however, becomes totally immersed in the complicated plots and role relationships of the operas, especially Farewell my Concubine. Around such a classic and famous opera, the love and betrayal among them become escalating with the changes of times and eventually develops into a tragedy.
It is the first film that won the Golden Palm Prize in mainland China. It has been keeping the highest-grossing record of Chinese melodrama movies in America which also marks the climax of Chinese films in America. Meanwhile, it also got great box-office successes in such countries as Japan, Germany, Korean, France and so on. It should be concluded that Farewell My Concubine has achieved great success both in the art and business.
In Farewell My Concubine, Beijing Opera art is the central cultural element. It is a typical representative of classical Chinese literature art. Taking it as a case study, general and concrete subtitle translation strategies can be concluded to improve translation quality of similar subtitle translation works.

1.3 Brief Introduction to translator Linda Javin

Linda Javin, the subtitle translator of Farewell My Concubine, is a suitable and qualified person for both the director and the audiences. Since 1976, Linda has been playing an important and active role in broadcasting, studying and exploring Chinese culture. As an internationally renowned sinologist, translator and writer, Linda Javin has made great efforts in learning, feeling and appreciating Chinese culture. It is really a tough time full of difficulties and hardships under the specific social conditions then. After years of efforts to learn Chinese language, history, literature and many visits to China, Linda has begun to embark on her Chinese literary writing career recently. All these can prove that she is really a competent and qualified subtitle translator of Farewell My Concubine. Her wonderful bi-lingual and bi-cultural competence does give her favorable advantages in translating.

=== Analysis the Translation of Culture-loaded Words ===

2.1 Introduction to Culture-loaded Words

Gonzalez Davies and Scott-Tennent (2008, p.783) put forward a definition of cultural references in detail, which is "expressions (audiovisual, verbal, textual,
non-verbal) that are concerned with ecological, material, religious, social, emotional, and linguistic manifestation. In addition, these expressions are specific to a particular community, and they are recognized as a particular feature of that community. Such expressions, however, may lead to difficulties in comprehending these words or translating these words." And in China, a scholar defines it as "the words, phrases and idioms that mark the unique things in a culture." These words reflect the unique way of activities gradually accumulated by a specific nation in the long historical process, which is different from other nations.（Liao, 2000: 232）

It is more diverse to classify Culture-loaded words because China is an ancient national with a history of more than 5,000 years. In this course, many Culture-loaded words have accumulated continuously. Among all the materials, some scholars divide Culture-loaded words based on specific elements such as language and culture. Since different scholars hold different views on the classification of Culture-loaded words, and hence the fist can go on and on. Here is a well-accepted way by Nida. Nida (1945, p.196) divided language and cultural characteristics into five categories:(1)Ecological culture; (2)Material culture; (3)Social Culture; (4)Religious Culture; (5)Linguistic Culture.

2.2 The Features of Subtitles in Farewell My Concubine

Through comparison and analysis, the main language features of the Chinese lines of Farewell My Concubine are concluded as below: concise but emotional dialogue; strong Beijing Opera and Beijing dialect flavor; sharp but implicative expressions; rich of slang and idioms. All the features are drawn from the corresponding lines in the film and all these analysis in the language following features will be illustrated combining with the specific case interpretation. Thus, different translation strategies at different levels can be generalized and concluded to cater for the different language features.

The film takes place in Beijing and is thus featured with rich local color. The most obvious feature is the use of Beijing dialect. Beijing dialect is the basis of standard Mandarin, but there are some differences that make it easy for Chinese people to recognize which is which. Most prominent difference in phonology is the proliferation of rhotic vowels which results from the non suffix “儿” in vocabulary, Beijing dialect has a lot of words that are considered slangy and therefore occur much less or not at all in standard Mandarin. Some non-Beijing natives find it hard to understand what most of them mean, let alone foreigners. A dialect tells about the user's social class, status, profession, and many more. That is why so many translators are taking pains.

Beijing Opera is exactly a colorful part of the film has depicted. Beijing Opera was formed during the period of Daoguang(1821-1850). At the beginning, actors from Chu Opera such as Wang Honggui and Li Liu came to Beijing to perform in the Drama of Hui School. Later, combined with Erhuang melodies and Xipi melodies, in the same time, actors also absorbed the advantages of Kun, Beijing and Qin tunes from their respective schools. Beijing dialects were adapted to adapt to Beijing customs. Thus, it took shape initially. Gradually Beijing Opera developed into the most influential opera in the country. The characters in the whole film have a strong Beijing accent, and many opera excerpts in the film such as Farewell My Concubine, Peony Pavilion and Drunken Imperial Concubine are presented for many times. So it is inevitable to translate many professional terms.

2.3 Cases for Analysis

2.3.1 Brief Introduction to Translation Strategies

Before the specific analysis, let's have a understanding of two basic concepts of domestication and foreignization, which are important strategies in translating culture-loaded words.

The translation theory of domestication and foreignization was first put forward by Schleier Macher, a famous German translation theorist. In his book published in 1813, he put forward that there are only two ways of Translation: one is to guide the readers to get to know the author as much as possible; the other is to guide the author to get to know the readers as much as possible. In 1995, Lawrence Venuti, an American Italian translator, wrote in his important work The Translator's Invisibility, the first method described by Schleier Macher is called "foreignizing method" and the second method is called "domesticating method". That is to say, domestication is oriented by target language, while foreignization is oriented by source language.

As for Linda Javin, she once mentioned in an interview that in the face of the cultural essences in the lines, she adhered to the strategy of domestication in her translation and did not deliberately maintain the oriental flavor contained in the dialogue. Frankly speaking, she doesn't appreciate the way of retaining Pinyin combinations and then adding a lot of notes to make foreigners understood. If Chinese is pleasant to the ear, don't let the expression heard awkwardly in English. So the simplicity and directness are put above everything else to make it easy for the audience to understand.

2.3.2 Cases of Translation Methods

2.3.2.1 Literal Translation

As one of the common methods of translating culture loaded words, literal translation is to translate the source text according to the literal order or meaning, which can retain the original characteristics of Chinese language and culture.

E.g.1世卿世受国恩

岂敢昧法？

更不敢当众违背天理良心。

The government has always been good to me,

I wouldn't dare deceive the court.

Nor would I betray the laws of Heaven or my own conscience.

“天理”“良心” are terms that are quite commonly-used words in China. From literal works to daily talks, from traditional plays to modern films, such kind of expressions are useful guidelines to arouse Chinese People's self-reflection. They are invisible ethical rules guiding people's behaviors. Since they are so local and traditional, it's not surprising that it is a little complicated for foreign audiences to figure them out. Based on the "literal translation" principle, Linda brings "Heaven" into her translation. In Christian culture, "Heaven" serves as the source of various moral concepts and systems. "Heaven" and "God" are existed to guide and restrict people's behaviors. Linda's translation has wonderfully adapted to the target eco-environment and is really worthy of referencing of the subtitling workers and learners.

E.g.2磨剪子来，镪菜刀

Bring your knives for sharpening? Sharpen your knives.

Sharpening knives is a traditional craftsmanship that is disappearing in China. Their dreich yo-heave-ho can evoke many people's memories of childhood. Such lively lines full of traditional Chinese cultural elements, on the one hand, are not so easy to translate; on the other hand, deserve more efforts for the foreign audiences to figure out. Considering all these factors, Linda pays attention to the retaining of its central meaning. Actually, a more literal translation method "Sharpen your scissors, sharpen your knives" may achieve more active functions here. It's the easiest to understand, and it can save viewing and thinking time as well. As for some complicated cultural terms, the best way, the easiest as well, maybe literal translation, which can avoid misunderstanding and superfluous deducing. Finally, they benefit a lot to saving viewing time.

E.g.3什么时候洞房花烛夜啊？

What’s the time of Candle-lit-night in the Bridal Chamber?

“洞房花烛夜” is a typical expression in ancient times of China, which means the golden night of the new husband and new wife on the day they get married. The night usually is beautiful and memorable and it is the first night the new couple. As for this line, Linda did not specifically explain what is the “洞房花烛夜” , instead she use the literal meaning to depict a picture of the special night, translating “花烛夜” to “Candle-lit-night”, which is so warm and beautiful.

E.g.4横扫一切牛鬼蛇神！

Sweep away all Cow Demons and Snake Spirits!

There is an article titled “Sweep away all Cow Demons and Snake Spirits!” published on the People's Daily on June 1, 1966, which marked the climax of the Proletarian Cultural Revolution. The "Cow Demons and Snake Spirits" represents the old ideas, cultures, customs and habits that have poisoned Chinese people for thousands of years. Under the call of the Party Central Committee and Chairman Mao Zedong, hundreds of millions of workers, peasants and soldiers, revolutionary cadres and intellectuals, swept away a large number old things entrenched in the ideological and cultural position. Its momentum is like a storm, with extraordinary rapidity, breaking the spiritual shackles imposed on them by the exploiting class. Using “Cow Demons” to express “牛鬼”, “Snake Spirits” to express “蛇神” is direct, clear and distinct.

2.3.2.2 Free Translation

Free translation is the translation by meanings. That is to say, the translation is done according to the real meanings of a sentence or even a paragraph, instead of completely word to word.

E.g.1他祖师爷不肯赏饭吃，谁也没辙。

But I have no place for him. What can I do?

“祖师爷” is similar to "forefathers" to some extent in China's history. Without knowledge of the specific historical period, foreign audiences won't understand its exact meaning. Perhaps we can understand it as "destiny" "fate" or "god" of western culture, there are still cultural differences between them. From the plots in the film, we know that Mater does not want to accept Little Bean as his disciple, so he explains that Little Bean is not destined to be an actor. From this perspective, "destiny" is the most ideal choice to express the original meaning. Considering all these factors, Linda uses the strategy of "free translation" to put it as "I have no place for him" to refuse Little Bean's mother. Thus, she makes the lines easier to understand, and meanwhile, to avoid leading to a cultural misunderstanding.

E.g.2今儿个是破题儿，文章还在后头哪！

This is just the beginning. Wait till you see what's in store.

“破题” once appeared in "Romance of the Western Chamber” by Wang Shipu, a playwright of Yuan Dynasty. Since then, it has been widely used in various circumstances to refer to "the first time". From the translated version, it's clear that the translation of “破题” as "beginning" exhibits that the subtitle translator, Linda Javin, is quite familiar with the usage of the old Chinese words.

E.g.3真他妈想当太太奶奶啦你！

做你娘的玻璃梦去吧。

你当出了这门，把脸一抹擦，你还真成了良人了？

So you want to become a rich man's wife!

Go live out this goddamn fantasy' then

Don't think that when you walk out this door, you'll become a lady of virtue.

“太太奶奶” has different meanings in China in different social contexts. Without thinking or checking it, it's easy to translate it as "grandmother" "lady" or something like these. Besides, “良” means "good, kind", but here, “良人” doesn't mean "a good, kind or nice-hearted person", instead, it refers to the woman who has abandoned prostitution and become a traditional honest and good woman. Linda's translation of "a lady of virtue" is quite authentic and loyal to the original text.

E.g.4那么日后踏雪访梅，再谈不迟。

Ah, then we shall exchange poetic thoughts some other day.

“踏雪访梅” extracted from Night Vessel, written by Zhang Dai of Ming Dynasty. Originally, it's used to refer to describe the enjoyment with the beautiful scenery and the pursuit for wonderful poems of the ancient poets. In Farewell My Concubine, Mr Yuan invites Xiaolou and Dieyi to his house to have some wine and chat about certain details of the opera. The latter example is also full of cultural terms, which is said by Nakun when he tries to encourage Dieyi to talk with Xiaolou hurriedly and actively. In both examples, Linda deals with the cultural elements skillfully and flexibly.

E.g.4这武二郎碰上西门庆，不打，不打能成吗？

You know the old story about Pan Jinlian's husband meeting the man who screwed her? Did he have any choice but to fight?

It's an old story about Pan Jinlian and his husband in ancient China. When performing translation, a translator needs to place the specific written text under some relative social and cultural backgrounds. This is useful and meaningful for a better and comprehensive expression of the original meaning. The story of “武二郎”“西门庆” is typically traditional Chinese cultural element, the translated text can't be formed without relative culture knowledge. For some literary allusion, stating its general meaning to offer a general idea is very helpful for the audience to grasp the central meaning.

E.g.5这妞够厉害的呀！

What a dragon lady!

Different cultures have different cultural prototypes. Dragon is a propitious symbol in China. As a Chinese totem, all Chinese people see themselves as the grandsons of the dragons. It's a positive and lucky symbol for Chinese people. However, because of the cultural differences, the "dragon" in Western countries means more evil than good. Its fierceness and grisly outlooks make people feel uncomfortable. Thus, "a dragon lady" here, on the one hand, can show Ju Xian's courage for true love; on the other hand, the image of "dragon" can clearly show to the foreign audiences that Ju Xian is at the bottom of the society and she is despised by the social group. Linda's choice of "dragon" clearly shows her comprehensive consideration for the complicated circumstance then.

E.g.6关师父：各位爷，多捧场了啊!

Master Guan: Ladies and gentlemen, enjoy the show!

“各位爷” is a conventional Chinese way to address the male spectators with respect. However, in English, there is no such a counterpart. Therefore, the translator substitutes it with "Ladies and gentlemen", a conventional way to address the audience of a performance in English. “多捧场了啊” is also conventional in indicating the beginning of a show and literally means "support our show". However, the English convention has it as "enjoy the show." The translator thus conforms to target conventions to avoid deviation from audience's "expectancy norms" which are established by the native text in the receiver target of the translation, by their expectations of what a target language should be like.

E.g.7小石头：嗬，够横的你。

Shitou: You are really something.

“横” in Beijing dialect means harsh and unreasonable, "Be (quite or really) something" is an informal expression referring to a person or a thing is of consequence. In the above example, the replacement of “横” by "be really something" shows that Shitou is impressed by Douzi's arrogance and reveals Shitou's generous nature. Although his kindness to offer a sleep place to Douzi is unappreciated, Shitou does not say something harsh. If it is translated into "You're unreasonable", it would be too straightforward.

2.3.2.3 Generalization

Generalization is defined as the type of modulation in which the dissimilarity between source text and target text transemes is characterized by a shift towards greater generality in target text; as such it contrasts with the opposite phenomenon of specification. Generalization is acceptable if target text has no suitable alternative, or if the omited detail may be gleaned from the target text context or is just not important.

E.g.1不罚，不罚你永远是下三滥。

还想成角？做梦。

And if I don't punish you, you'll always be third-rate.

You want to be a great actor? Dream on!

“下三滥” is a traditional Chinese expression that describes some impuissant and footling people in the lower class status in China. To avoid misunderstanding of it, Linda just translates it as "the third rate", simply and concisely. As for “角”, it's a technical term specially used in dramatic performance referring to leading roles in dramas. But “成角” here means becoming a famous actor or actress. Linda's translation retains the most important and essential meaning.

E.g.2依我看，只要是唱西皮二黄，它就是京戏。

I say if it uses the traditional forms, then it’s the Beijing Opera.

"Xipi Erhuang" is a professional term in drama. "Xipi" and "Erhuang" refer to two different vocal cavities respectively. Xipi originated from Qin opera. Its singing is lively and high pitched, generally being used to express cheerful and excited feelings. Erhuang comes from Anhui. The tone of Erhuang is more stable and serious. In the development of drama, Xipi and Erhuang went through a process of slow integration. If the translator transliterates the tones of "Xipi" and "Erhuang" respectively in the subtitles, on the one hand, the audience without the knowledge of Peking Opera can not understand it completely; on the other hand, the subtitles have space limitations, and the letter translation should not be too long. Here, Linda generally translates it as "the traditional forms" to give the audience an abstract understanding.

E.g.3反正这两杯子也沾上了四旧了

Anyway, jade cups were part of the old society

With abundant political background, on August 8th, 1966, as the film mentioned “in the era of Communist revolution, the on-going Great Proletarian Cultural Revolution will be a revolution that reconstructs people’s mind”. "四旧" as a derogatory word, refers to the collective name and general designation of old ideas, including old culture, old customs and old habits. For a time, streets, factories, communes, time-honored stores and schools were changed into revolutionary names such as "Anti-road Construction", "Dongfeng Store" and "Red Guard War School" , destroying the authority of "bourgeois reactionary academic authorities" such as scholars, writers, artists and scientists. Violence became commonly seen in the streets. Instead of illustrating what is “四旧”, Linda chose “old society” to generally express the real social situation at that time, almost everything should be put out the label of “old, bad” to be accused and criticized.

E.g.4尘世中，男子阳污，女子阴秽

There is foulness in both men and women.

This sentence comes from the mouth of Mr Yuan, a drama addict. The word "尘世" is unique to Chinese. It is used by Buddhists or Taoists to refer to the world, with a deep religious color. However, the main religious belief in western countries is Christianity, and "尘世" has no corresponding word in English. In this sentence, Linda translated the sentence into existential sentence, which is a good way to generalize the meaning of the word. In fact, this sentence means that in the eyes of people who believe in Buddhism or Taoism, men and women on earth are all dirty. If the translator rigidly corresponds "阳污" to "man" and "阴秽" to "woman", the translation will only overlap meaning, resulting the translation not authentic.

E.g.5来给师哥勾勾脸

Will you give me a hand with my make up?

The facial makeup in Peking Opera is a special makeup method. The traditional facial makeup mainly refers to clean facial painting. "勾脸" is one of its painting techniques. In order to let the audience clearly understand the meaning of dialogue, it is literally and generally translated as "make up".

2.3.2.4 Specification

Specification is distinguished from the other type, generalization, in that here the shift which occurs between source text and target text in the direction of a higher level of explicitness. In other words, a shift towards greater specification will produce a transeme the meaning of which is made more precisely, by either the addition of extra words or the use of words with a less general meaning.

E.g.1别介，都是下九流谁嫌弃谁啊

Don’t be foolish. Prostitutes and actors are equally despised by society.

The mother (prostitute) of the little boy (Cheng Dieyi) took him to the troupe and hoped that the master would accept him. After seeing the little boy's sixth finger, the master said he had no gift to sing. So the mother knelt down (sexually) and hinted that the master would benefit as long as he accepted the disciple. So the master said this sentence. There is a saying of "三教九流" in ancient China. The three religions here refer to Confucianism, Taoism and Buddhism. The nine religions are divided into upper, middle and lower levels. The translator does not directly translate the "inferior" but translates the contents of the reference, which not only makes the meaning more thorough, but also does not increase the viewing obstacles of the audience.

E.g.2小爷我今儿练的是九转金炉的火丹功。

I have been practicing Kungfu to keep myself warm.

When dealing with those terms with strong cultural meanings, it's proper and wise to conclude some specific tiny terms into a general broader concept. As a result, the translator can save efforts; the audiences can get the general meaning without being entangled in those unimportant tiny details. Kungfu in the translated text, though fails to express the original Taoist cultural meanings, it really saves much screen space and viewing time, thus, it's easier for foreign audiences to understand.

2.3.2.5 Omission

Being opposed to "addition", omission means that some words in the original text do not need to be translated, because although there are no specific words in the translation, potential meaning has been shown. In other words, omission is to delete some unnecessary words, or words that are cumbersome or contrary to the language habits of the translation. But omission does not delete any ideological content of the original text.

E.g.1各位爷都站好甭动。真钱买真货。我小石头今儿个玩儿真的,让爷儿们都开开眼。

I'll give you something to look at.

This scene describes Little Stone and his partners was performing in the street to earn money, but no one gives a reward. In order to attract the audience, Little Stone decided to perform a wonderful show. He decided to hit his head with a brick, so he said the above lines. Because the morpheme of the actor is fast, the picture switches to that he hits his head with a brick as soon as the voice falls, so the translator uses a short sentence to express it. This not only does not affect the audience's viewing of the wonderful picture, but also completely expresses the semantics.

E.g.2他这一亮相,那台底下听戏的人不都吓跑了。

He would scare off the audience

This line is what Master Guan said to Little Bean's mother when he found an extra finger on Little Bean's right hand. While speaking this line, Master Guan stretched out his right hand and made an appearance of being on the stage. Therefore, if the translation of "his appearance" is omitted, this meaningless information vocabulary can be deleted naturally, which does not affect the audience's understanding of the plot at that time, also does not deviate from the meaning of the original lines, and will not cause the audience's confusion. It is a good way to accurately convey the information and let the audience understand the content of the film.

E.g.3陈:唉，袁四爷今儿个来看戏

段:没见我盖着唢呐唱吗？把血都挣出来了

Chen: So, Master Yuan has come to see us tonight.

Duan: I know. I sang so loudly I drowned out the horns.

“今儿个” is a typical time indicator in Beijing dialect. It usually refers to "today". In view of the context, it can also be translated as "tonight". In translating Duan's response, the translator tries to relay its meaning than to represent its form. She omits “把血都挣出来了”，also a typical dialectal expression, which literally means "drive the blood out" and "do very hard" in the real sense. "I sang so loudly" is added to facilitate understanding. The translator also makes efforts to find the most understandable way from the target culture.

===Conclusion ===
3.1 The Conclusion

In terms of translator, translator needs to be super proficient in Chinese and English. In terms of translation strategies, domestication and foreignization are unity of opposites and complement each other, so there is no absolute and pure domestication and foreignization. The translator, the recreator of dialogues in the process of translation, should choose the most appropriate translation strategy to reconstruct the meaning of the original text. In terms of translation methods, when translating the culture-loaded words, Linda Jaivin mainly adopted literal translation, free translation, specification, generalization and omission to nearly successfully preserve and convey the essence in Beijing dialect and Beijing Opera in China.

3.2 Advice

Due to the cultural differences behind translation, some films cannot achieve the same effect abroad as at home. It is true that the two important purposes of subtitle translation are to provide the audience with plot information and to convey the cultural connotation contained in the film. Plot information is the premise of cultural connotation. If the audience of target language cannot understand the plot, it is difficult to achieve cultural communication. Therefore, in the face of handling with culture-loaded words in subtitles, the translator should focus on the purpose of information, put letting the audience understand the film content above everything else, and then give consideration to the cultural purpose.

The subtitle translation in Farewell my concubine mainly adopts the domestication strategy rather than foreignization. Truly speaking, foreignization can retain the cultural characteristics of the original language in translation, making the readers of the target language feel the exotic customs and the unique charm of the source culture. Foreignization could be taken as a means of resistance to the cultural colonial policy of the strong culture, break its "domestication" and strive for winning a place for the weak culture in the forest of global culture. Therefore, there is still a long way for Chinese translators to spread Chinese culture to the countries abroad.

===References ===
Xiao Xiang. The Transmission of Peking Opera Culture in the English Subtitle Translation of Farewell, My Concubine[J]. Frontiers in Educational Research, 2020, 3.0(13.0)

Nan Wan. Subtitling and its Acceptability in the Film Farewell, My Concubine: A Multimodal Approach[J]. Advances in Language and Literary Studies, 2019, 10(6) : 94.

Zhang Kaijuan张凯娟. 电影字幕翻译中的语域对等研究[D].西南大学,2019.

[4]徐敏. 电影《霸王别姬》的汉英影视字幕翻译评析[D].浙江工商大学,2014.

[5]金海娜.从《霸王别姬》到《一代宗师》———电影译者Linda Jaivin访谈录［J］.中国翻译，2013，34（04）.

[6]杜阿晴.目的论视角下电影字幕中文化负载词的翻译——以电影《霸王别姬》《风月》为例[J].福建教育学院学报,2013,14(04):94-97.

=2 谢庆琳 The Analysis of the Chinese Translation of Culture-loaded Words in Russian =
[[Cult_Load_Words_EN_2]]

谢庆琳 Xie Qinglin, Hunan Normal University, China

=== Abstract ===

Language is a product of culture, an integral part of it and a condition of its existence, and an important factor in the formation of cultural codes. Since the 21st century, linguistics has actively studied a direction that sees language as a code for understanding the culture of a nation, not just as a tool for communication and cognition. As we all know, there are certain cultural differences among various ethnic groups influenced by factors such as geographical environment, political system, religious beliefs, living habits, moral values and aesthetic interests. These factors together contribute to the creation of culture-loaded words. The translation of culture-loaded words requires the translator to accurately and appropriately understand the beliefs, customs, aesthetics and values of the foreign culture while faithfully conveying the essence and soul of the translated culture to the readers of the translated language to truly communicate with different cultures. The translation of culture-loaded words directly affects the understanding of readers of the translated work, and also influences the readability and literary quality of the work. The study of Chinese translation of Russian culture-loaded words from the perspective of cultural load words not only promotes the communication between Chinese and Russian languages, but also deepens the cultural understanding between Chinese and Russian people.

=== Key Words ===
Russian Culture-loaded Words; Translation Principles; Translation Strategies

=== 题目分析俄语文化负载词的中文翻译 ===

=== 摘要 ===

语言是文化的产物，是文化的组成部分和存在条件，也是文化密码形成的一个重要因素。 21世纪以来，语言学积极研究一个方向，即把语言看作是了解一个民族文化的密码，而不仅仅是一个交流和认知的工具。众所周知，各民族受地理环境、政治制度、宗教信仰、生活习惯、道德价值、审美情趣等因素影响，其间存在一定的文化差异。这些因素共同促使了文化负载词的产生。文化负载词的翻译要求译者准确恰当地理解异国文化中的信仰、习俗、审美及价值观等的同时，忠实地将译语文化的精髓与灵魂传递到译语读者面前，真正做到不同文化的交流。对文化负载词的翻译会直接影响译文读者对作品的理解，也影响着作品的可读性及文学性。从文化负载词的角度来研究俄语文化负载词的中译不仅推动中俄两国语言的沟通，同时对加深中俄人民之间的文化理解也具有重要意义。

=== 关键词 ===
俄语文化负载词；翻译原则；翻译策略

=== Introduction ===

After the 1970s, cultural factors were gradually incorporated into the scope of linguists' studies, and cultural studies became a topic of common concern for linguists and translators. Susan Bassnett (1990), the core representative of the cultural translation concept, believes that translation is an exchange between cultures, and the reciprocity of translation should not only realize the reciprocity of language forms, but also pursue the reciprocity of cultural functions between the original text and the translated text. Therefore, translation is not only an act of purely linguistic conversion, but also a reflection of the cultural meaning of language. Language is a means of communication of human thoughts and feelings, and it is both a carrier and an important part of culture. In the process of historical development, countries around the world have formed large or small cultural differences due to different geographical environments, political rule, religious beliefs, traditional customs, lifestyles, value orientations and aesthetic interests. These factors have together contributed to the creation of a large number of cultural-loaded words. Each language has its own cultural vocabulary with cultural color and connotation, and these words reflect the cultural values of each nation. Because they are loaded with special national cultural connotations, cultural-loaded words often constitute the focus and difficulty of translation as an act of intercultural communication, and even become a barrier to the transmission of information.

Guided by American translator and translation theorist Eugene Nida's theory of functional equivalence, this paper takes the Russian as an example to explore the cultural information carried by the cultural-loaded words in its subtitles and summarize its translation method. The translation of cultural-loaded words requires the translator to accurately and appropriately understand the beliefs, customs, aesthetics and values of the foreign culture, while faithfully transmitting the essence and soul of the translated culture to the readers of the translated language, so as to truly communicate with different cultures. The study of Chinese subtitles of Russian TV series from the perspective of cultural-load words not only promotes the communication between Chinese and Russian languages, but also has great significance in deepening the cultural understanding between Chinese and Russian people.

The paper consists of an introduction, three chapters and concluding remarks. The introductory part firstly describes the feasibility, theoretical significance and practical significance of this research, and then clarifies the novelty of this research. The first chapter briefly outlines the concept of cultural-loaded words, and classifies cultural-loaded words according to Eugene Nida's functional equivalence theory, laying the foundation for the translation study of cultural-loaded words later on. Chapter 2 analyzes in detail the cultural-loaded words appearing in “Intern”, and discusses the translation principles and translation strategies of cultural-loaded words. The third chapter analyzes the causes of mistranslation and difficult-to-understand cultural-loaded words in “Intern”. The concluding remarks summarize the content of the whole text.

=== Culture-loaded Words ===

==== Definition of Culture-loaded Words ====

Culture-loaded words are also called culturally connotative words. In the language system, culture-loaded words are the vocabulary which can best embody the cultural information that a language carries and they also reflect the social life.

Behind each vocabulary are deeply imprinted the cultural, geographical and historical characteristics of a society. Vocabulary is the basic element of language,and the formation of each vocabulary is inseparable from culture. It carries a largeamount of "national cultural accumulation", that is, cultural connotation. This article is an analysis of Russian cultural-loaded words, reflecting mostly about the Russian national culture.

Language is the carrier of culture, so cultural differences must also be reflected in language. Translation means the spread of culture, and words that carry culture are words that express culture. Therefore, the translator focuses on the cultural-loaded words that appear in the source text, and on this basis. The words containing language and culture reflect the development, progress and change of the language of a country's dynasties, as well as the accumulation of various activities that are completely different from other countries (Liao, 2002). Translating social cultural terms and ecological cultural terms can truly understand the living conditions and social conditions of a country in a specific period.

==== Classification of Culture-loaded Words ====

According to Naida's classification of cultural factors, cultural load words are divided into five categories: the first category is ecological cultural load words, which usually refer to words related to plants, animals, climate, etc. of a specific region, for example, a small twisting path is not used in the Russian language environment, such as “羊肠小径”. The second category is material cultural load words. For example, “轿子” refers to a human-powered means of transportation in feudal China, which does not exist in Western countries. The third category is the social cultural load words, which usually involve words of social etiquette, social identity and leisure, such as kneel three times and kowtow nine, the dragon boat festiva, which are unique to Chinese culture and tradition. The fourth category is religious cultural load words, which are generally words reflecting the cultural beliefs of a certain nationality, such as “八字”(horoscopes), “算命先生”(fortune-teller), and so on. The fifth category is language-based cultural load words, which reflect the different ways of speaking and habits of different ethnic groups in terms of phonetics, vocabulary, syntax and so on. For example, the name of a person, the use of idioms, and so on.

=== Translation Principles and Strategies of Russian Culture-loaded Words ===

==== Translation Principles of Russian Culture-loaded Words ====

===== The Principle of Faithfulness to the Original Text =====

Fidelity to the original text is one of the most basic principles and standards of translation. When translating cultural-loaded words, two points should be clear: on the one hand, we can not add some cultural meanings in the translation process based on our own conjecture. On the one hand, it is not possible to attach some cultural meanings to the translation process that are not intended by the author of the original text. For example, the Russian word for rabbit (заяц) has a negative cultural symbolism and is considered to be a symbol of evil and cowardice, while
In the passage of «Судьба Человека»: "… а я уже на ничьей земле между воронками петляю не хуже зайца" (李世俊，张永全等: 1999), a soldier tells how he bravely and wisely crossed the German lines. The rabbit is used here only to borrow the positive image of its quick and dexterous movements, not the cultural symbolism described above.
If we do not take into account the author's real intention and turn it into "no less than a timid rabbit", we are not being faithful to the original text, but rather making a faux pas. Therefore, this sentence
should be translated as "I have reached the middle of the field, and I am not less dexterous than a rabbit in going around in the middle of the crater."

On the other hand, it is important to translate the cultural meaning of the culturally loaded words that are crucial or important to the understanding of the text, as it is easy to misunderstand if only the surface meaning is translated. For example, “сушить сухарь” literally means toast a thousand, but in fact it means to prepare dry food for exile on the road, and now it often refers to eating lawsuits. If there is a scene in Chinese literature where the crane is used to celebrate a long life, it must be translated into Russian with the meaning of longevity in Chinese culture, otherwise the Russians will find it inexplicable.

===== Contextual Principal =====

The meaning of words is often multi-layered and multi-faceted, and translators should judge the meaning of specific words according to the context. Therefore, context is the key to determining the true meaning of a word in a specific context and to help the translator correctly translate the original text.

The following are three situations to determine the specific meaning: (1) Words that often have cultural meaning and represent cultural images may not have culturally loaded meaning in a certain context. (2) The same culturally loaded word may have a different cultural meaning in a specific context. For example, the Russian word “ медведь” sometimes means "powerful" and sometimes means "heavy". Sometimes it refers to the strength of the bear, sometimes it refers to the stupidity of the bear, and sometimes it also refers to the maidenhead. Therefore, it is more important to determine the exact meaning according to the context when translating. (3) Common words may become cultural-loaded in specific contexts. (3) Common words may become cultural-loaded words in specific contexts.

===== Principle of Appropriateness of Explicit and Implicit =====

The cultural-loaded word serves the text with its cultural meaning, so the translation should be either explicit or implicit according to the needs of the text, to keep the text simple and fluent. For example, due to the limitation of space or style
For example, in Russian,“кричать во всю Ивановскую” literally means "shouting at Ivan Square" because in the Tsarist era, decrees and orders were issued on Ivan Square, and people often had to shout to hear them. Therefore, it is not necessary to turn out the meaning of the cultural load when translating into foreign languages, and it can be directly translated as shouting. However, if the translator intends to introduce this historical and cultural phenomenon, it is a different story. In short, the translation of cultural-loaded words should serve the whole text, and be consistent with the context and the author's style, and the translator's purpose.

==== Translation Strategies of Russian Culture-loaded Words ====

Translation principles are macro requirements for the translation process, while in the actual translation process, in order to achieve good translation, in addition to following these principles, we must also adopt necessary translation strategies according to the specific characteristics of the vocabulary. The complexity and specificity of cultural factors determine the variability of the meaning and form of culturally loaded terms, as well as the flexibility and adaptability of their translation means. Generally speaking, in order to achieve good translation effect, translators often use such translation strategies as "direct translation (phonetic translation) plus annotation", "direct translation with free translation" and "free translation" for cultural-loaded words and so on.

====== Direct Translation (Phonetic Translation) plus Annotation ======

The direct translation mainly refers to the translation that retains the original language form completely, so that it is similar to the original text. The method of translation is similar to the original text and has the same structure. Since this method mainly focuses on the linguistic form of the original text, sometimes the translation cannot fully and accurately express the original text.Sometimes the translation cannot fully express the original language accurately, then the translator can adopt the method of adding. In this case, the translator can adopt the method of adding notes to offset the loss of meaning brought by this translation strategy. Cultural-loaded words contain a large number of national-specific words, such as various proper nouns, historical allusions and these words have no direct counterparts in the translated language. Therefore, it is often necessary to translate them by the strategy of phonetic translation with annotation. For example, many literary works use phonetic translation of the Russian national costume “сарафан”, which is translated as "Sarah
A" with a note stating that the sarafan is a traditional Russian folk dress without sleeves.

====== Direct Translation with Free Translation ======

Direct translation with paraphrase is a translation method that combines direct translation and translation with meaning, which not only translates the surface meaning of the original text word by word, but also translates the potential meaning beyond the surface meaning of the original text. The direct translation is a method of translating not only the surface meaning of the original text word by word, but also the potential meaning beyond the surface meaning. For the translation of cultural-loaded words, the combination of direct translation and literal translation can better reveal their true meanings in terms of both form and content. The Russian word "колосс на глиняных ногах" from the «Old Testament»It is about the dream of Nebuchadnezzar, the king of Babylon, who saw a giant statue of a terrible shape, whose feet were half clay and half iron, and the whole statue collapsed due to a stone that happened to hit his feet from the mountain. This dream symbolized the doomed kingdom of Nebuchadnezzar. Thus, the cultural meaning of "giant with feet of clay" refers to a country that is outwardly strong but actually weak and destined to perish. Thus, Lenin said in his speech on November 7, 1919, at the conference commemorating the second anniversary of the October Revolution: "Мы видим, что империализм, который казался таким непреодолимым колосом, казался на глазах у всех колоссом на глиняных ногах." (刘永红：2002) The whole sentence should be translated as "We see that imperialism, which looks like a giant that cannot be served, is actually a giant in the mud with a strong exterior in the eyes of everyone.

===== Free Translation =====

The free translation strategy emphasizes the meaning conveyed to the original language words in specific contexts. The first thing is to translate the meaning of the original, not necessarily to preserve the original form, not to achieve the same literal and structural translation as the original. The translation is suitable for the translation of the cultural load words whose cultural meaning does not play a major role in the original text, or the cultural load words whose cultural image is too remote, sometimes also subject to the limitations of the manuscript and style and use this method, a cultural load words, such as culturally significant sayings, proverbs, because for a long time Ba Jing has a conventional translation of foreign, so in the translation can also be used when the original translation method. For example, "китайская грамота" literally means "Chinese word", "Chinese character", but because of the big difference between Russian and Chinese, it is very difficult for Russians to understand Chinese characters, so here it is translated as "heavenly book, incomprehensible, inexplicable thing". “Для него это китайская грамота” translates as "He doesn't know anything about it".

=== The Translation Difficulties of Russian Culture-loaded Words ===

==== Translatability of Culture-loaded Words in Russian ====

Language is the most important tool for human communication and one of the important carriers of information. The cultural characteristics of a nation's way of thinking, concepts, and systems are bound to leave their mark on language. Vocabulary is one of the most active dimensions of language. Changes in social life, the development of national culture and other changes can be recorded through vocabulary. Culture-loaded words are those words, phrases and idioms that mark things specific to a certain culture, and these words reflect the unique way of activity of a particular people that has gradually accumulated over a long historical process and is distinct from other peoples. Although translation is a transformation of symbols in its manifestation, in its essence it is a cultural exchange activity. The difficulty of translation is not the language itself, but how to convey the cultural content of the original language. The Russian cultural load is an important external expression of Russian culture, which is difficult to find in other national languages, but this does not mean that the cultural load is untranslatable. Firstly, although the differences between languages of different nationalities are determined by their respective nationalities, the similarity of human living conditions and physiological structure determines the similarity of human thinking patterns, therefore, different nationalities have similarities in understanding and understanding things; secondly, translation activities have a long history, and there are numerous cases of translators overcoming cultural gaps and achieving successful translations in the rich translation practice, therefore, the translatability of culture- loaded words is proven by a large number of translation practices. Thus, translators can still use their dynamism in a limited space to preserve and convey the cultural elements contained in the culture-loaded words in Russian.

==== Factors Affecting the Translation of Culture-loaded Words in Russian ====

The first is the internal factor, i.e., the internal factor of language. In his book «Language and Translation», Balhudarov divides the translation unit into six levels: phonemic level, grapheme level, word level, phrase level, sentence level, and discourse level, in an effort to make the original text and the translated text equivalent. After the 1980s, translation research has taken a new direction - the cultural theory of translation, and Susan Basnett, as one of the representatives of this school, believes that translation should take culture as the basic unit of translation, instead of resting on the previous parts of speech. The original text is the most real and objective existence in translation, and the characteristics of the translation object itself will also affect the translation, and the culture-loaded words have the characteristics of ethnicity, implication and unaccustomedness. When translating culture-loaded words, translators often encounter two bottlenecks: first, the lack of corresponding vocabulary; second, the lack of equivalent cultural meaning, that is, the same word in different cultural contexts expresses different connotations. In ancient Chinese philosophy, it is important to "look at things and take images", and under the influence of traditional Chinese thinking, Chinese tends to use concrete words to express imaginary concepts. The abstract content is expressed by the concrete image. Take the word "jianghu" as an example. "Jianghu" is another new word with changed connotation and extension, which is composed of the concepts of "river" and "lake". The word "jianghu" lacks its semantic and formal equivalents in Russian, so translators need to adopt a flexible translation approach to interpret the semantic and cultural connotations of the word "jianghu".

Second, external factors, including the translator's own body and the purpose of translation, etc. The translator is the most active factor in the translation activity, and is the doer of the whole translation activity, which must be completed by the translator. There is no shortage of excellent translators in China, most of them are concentrated in the field of English studies. Unlike the English translations of Chinese literary and artistic works, the translators of both film and television dramas and Chinese literary and theoretical works are mostly Russians. Unlike the Chinese translators' approach to Chinese culture, foreign translators, when translating, unlike the Chinese translators' approach to Chinese culture, foreign translators may have less sense of mission and enthusiasm for spreading Chinese culture when they translate from Chinese to foreign languages, and they pay more attention to the reading norms and market acceptance of contemporary readers, so they tend to adopt translation strategies such as paraphrasing and naturalizing to facilitate the understanding of readers of the translated language.

=== Conclusion ===

There is a growing awareness that language is just an international communication tool
and is not restricted to a particular country or nation but as a neutral information medium. This paper analyzed the definition and claasification of culture-loaded words. Then we disscussed the translation principles and strategies of Russian culture-loaded words. Last it discussed the difficulties in the translation of these words, and makes a conclusion that we should use the combination of literal translation and free translation in the translation according to different circumstances.

Translation is a language communicative activity; there are a lot of words with Russian cultural features, so we cannot find the equivalent words to express the same cultural information in the target language. When translating these cultural-loaded words, it needs the help of alienation principles, achieving the conversion between language and cultural information. However, after all, the reader's understanding of Russian culture is limited, so the translator must follow the rules of Russian language and expression, taking the text type, translation factors such as purpose and audience into consideration to acquire the best translation.

To sum up, language, culture and translation are inseparable. Language is also a cultural phenomenon, while culture shapes language. Translation is a tool for exchanging different cultures and human civilizations, and therefore they are closely related. In the process of intercultural communication and translation, culturally loaded words are the main obstacle, but they reveal the cultural characteristics and social customs of a people. Accurate and faithful translation of culture-loaded words plays a crucial role in facilitating cultural exchange. Direct translation and paraphrasing are effective translation strategies to solve the problem of culture-loaded words. Direct translation can help the target language readers understand the translation more easily. It aims to make the target language readers and the source language readers empathize. However, free translation is intended to preserve the cultural style of the source language for the readers. These two approaches may seem to be opposing, but they actually complement each other. It is impossible for a translator to use one translation strategy to complete the translation task, so in translation practice as a translator, he or she should try to make a comprehensive use of the two translation methods to make the translation more relevant and evocative.

=== References ===

Barkhudarov L. S. Language and translation. (1975) Questions of the general and private theory of translation[M]. Moscow: International relations.

Kozhin A. N. (1982) Functional types of Russian speech. [M]. Moscow: Vysshaya shkola.

Rosenthal D.E. (1987) Practical stylistics of Russian language. [M]. Moscow: Vyssnaya shkola.

Fedorov A. V. (2002) Fundamentals of the general theory of translation. [M]. Moscow: High School.

Yuriev A. N. (2005) Types and styles of speech. [M]. Moscow: Almaty.

Chen Guoting 陈国亭 (2012). 俄汉语通用最简翻译指南 [M]. A general minimalist translation guide for Russian and Chinese. 哈尔滨：哈尔滨工业大学出版社 Harbin: Harbin Institute of Technology Press.

Cai Yi et al 蔡毅等 (2006). 俄译汉教程增修本[M]. Russian to Chinese Translation Course Supplement. 北京:外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.

Huang Ying 黄颖 (2008). 新编俄语语法 [M]. New Russian Grammar. 北京:外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Publishing House.

=3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =

功能主义目的论视角下加里斯奈德对寒山诗的英译研究

罗曦 Luo Xi, Hunan Normal University, China

[[Cult_Load_Words_EN_3]]

=4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong 《九章》许渊冲译本文化负载词的翻译=
[[Cult_Load_Words_EN_4]]

=5 孙雅诗 Study on the translation of culture loaded words under the ecological translation theory——Take the English translation of Dou E Yuan as an example 生态翻译学视域下文化负载词翻译研究——以《窦娥冤》英译本为例 =
[[Cult_Load_Words_EN_5]]

=6 杜莉娜 On the English Translation of Culture-loaded Words in Chinese Tourism Texts from the Perspective of Intercultural Communication—Exemplified by Zhangjiajie=

'''跨文化交际视角下旅游文本中文化负载词的英译研究--以张家界为例'''

杜莉娜 Du Lina, Hunan Normal University, China

[[Cult_Load_Words_EN_6]]

=7 宫博雅 An analysis of the Chinese translation of culture-loaded words in Russian Idioms =
[[Cult_Load_Words_EN_7]]

===Abstract===
Language is the carrier of culture, and the characteristics of language also reflect the characteristics of culture. Culture is closely related to language. In-depth understanding and exploration of culture is conducive to language learning and better use of language for communication. Idiom as a fixed structure in language expression, with profound cultural connotation, is an important part of a national culture. Russian idioms are the concentration of the essence of Russian national culture, including Russian history, religion, national thinking, cultural customs, local customs and other unique national characteristics. In the process of language development, each nation has accumulated its own unique culture-loaded words. These words are loaded with the unique cultural connotation of this nation and express the rich cultural color of this nation. Due to different cultural backgrounds and historical development tracks, Russian contains many words, phrases and idioms that represent unique things in Russian culture. From the perspective of Nida's cultural classification, this paper analyzes the Chinese translation of culture-loaded words in Russian idioms, which is helpful to promote the study of Russian language and deepen the understanding of Russian traditional culture and Russian national psychology.
===Key words===
Culture-loaded Words; Russian idioms; Russian culture
=== 题目 ===
俄语成语中文化负载词的中文翻译分析
=== 摘要 ===
语言是文化的载体，语言的特性同时也体现了文化的特性，文化与语言紧密相关。对文化的深入了解和探究有助于语言的学习和更好的运用语言进行交际。成语作为固定的结构存在于语言表达中，具有深刻的文化内涵，是一个民族文化的重要表现部分。俄语成语是俄罗斯民族文化精华的浓缩，其中包含俄罗斯历史、宗教、民族思维、文化习俗、风土人情等特有的民族特点。语言发展的进程中，每个民族都积累了本民族特有的文化负载词。这些词语负载着本民族独特的文化内涵，表现本民族丰富的文化色彩。由于不同的文化背景和历史发展轨迹，俄语中包含许多代表俄罗斯文化中特有事物的词、词组和习语。本文以奈达的文化分类为视角，分析俄罗斯成语中文化负载词的中文翻译，有助于促进对俄罗斯语言的学习，进一步加深对俄罗斯传统文化及俄罗斯民族心理的了解。
=== 关键词 ===
文化负载词；俄语成语；俄罗斯文化
===Introduction===
Nowadays, with the sound development of relations between China and Russia and the deepening of exchanges in all aspects, a better understanding of Russian culture can further strengthen bilateral exchanges and cooperation. Culture-loaded words are words, phrases and idioms that mark the unique things in a certain culture. They directly reflect the unique activities of a particular nation that have been gradually accumulated in the long historical process and are different from other nations. At the lexical level, cultural differences between the two countries are reflected in culture-loaded words. Idioms, as the essence of language, contain rich cultural connotations, reflect national character and reflect social changes. The analysis of the Chinese translation of culture-loaded words in Russian idioms can help us trace the origin of Russian culture, go deep into the core of Russian culture, and explore the significance of Russian culture. According to Nida's classification of language and cultural characteristics, this paper tries to have a deep understanding of Russian culture and make tiny contributions to cross-cultural communication and translation through the analysis of Chinese translation of culture-loaded words.

===1.The meaning of culture-loaded words===
Culture-loaded words are the cultural labels of a nation, which have distinct cultural characteristics and play an important role in the development and dissemination of culture. Liao Qiyi said, "Culture-loaded words refer to words, phrases and idioms that mark things unique to a certain culture. These words reflect the unique activities of a particular ethnic group that have gradually accumulated in the long course of history and are different from other ethnic groups."When some foreign words are translated into Chinese, they cannot find their exact corresponding or equivalent words, thus forming culture-loaded words. Culture-loaded words are also called culture-unique words and culture-connotation words. They are deeply marked by the region and times of a certain language society, and are words (phrases) expressing the things and concepts peculiar to a certain culture. Such words not only carry rich cultural connotations, but also "exist only in one culture and are blank in another culture". Just because I have characteristics that you do not have, they are often obstacles to cross-cultural communication and translation.

===2. Classification of culture-loaded words===
According to Nida's classification of cultural factors, culture-loaded words can be divided into five categories. The first category is ecological culture-loaded words, which usually refer to the plants and animals, geographical environment, climate change and other related words in a specific region. The second category is material culture-loaded words, which refer to the specific material products in different cultures. Generally, they refer to words including food, clothing, housing and transportation. The third category is the social culture-loaded words, which usually involve the words of social etiquette, social identity, leisure and entertainment, such as local conditions and practices, traditions, social rules, religious moral standards, historical background, ideology and so on. For example, different cultures have different festivals and celebration customs, and people give different meanings to color words. The fourth category is religious culture-loaded words, which generally reflect the cultural beliefs of a certain nation. The fifth category is language culture-loaded words. Different nations have different speaking ways and habits, which are reflected in pronunciation, vocabulary, syntax and other aspects.

===3. Translation methods of culture-loaded words===
1. Substitution
Substitution method is a translation method that converts the cultural images in the source language into the cultural images familiar to the target readers. When the cultural images of the source language words are quite different from those familiar to the target readers, it is difficult for the target readers to understand, so the alternative translation method can be adopted.
2. Interpretation
Interpretation is a method of interpretative translation of words. Some words exist in both Chinese and Japanese languages, but due to the change of national culture, such words have different connotations in the two nations and are easily confused by translators and readers. At this point, the real meaning of the source words is supplemented by interpretation.
3. Annotation
Annotation is a translation method that is faithful to the source language. When the cultural information contained in a word is relatively simple, the translation method of in-text annotation can be adopted. When the cultural information contained in the vocabulary is long, the method of footnote can be adopted.

===4. Culture-loaded words in Russian idioms===
No matter in Chinese or Russian, there are many words with rich cultural characteristics, especially in many idioms, speech, slang and dialects, with rich cultural connotations. Russian idiom is a language unit composed of two or more stress components with fixed structure and integral meaning. Generalized Russian idioms include proverbs, sayings, idioms, fixed phrases of parole or called idiomatic phrases; In the narrow sense, Russian idioms only include idioms and idiomatic fixed phrases. This paper analyzes the Chinese translation of culture-loaded words in Russian idioms from a broad perspective. Russian can reflect the culture and way of thinking of a nation, with rich cultural connotation and distinctive national characteristics. As the essence of Russian traditional culture, Russian idioms can fully reflect the vivid and vivid Russian national culture, fully reflect the Russian nation's daily life behavior habits, value orientation and traditional customs. As the concentration and essence of Russian national language, Russian idioms are of great significance to the study of Russian and Russian national culture. It can reflect the lifestyle of the Russian nation, the character of the Russian people and cultural connotation. The research on the characteristics and translation methods of Russian idioms can help us understand Russian language and culture in a deeper level. It also gives us a unique glimpse of the world's brilliant culture.

General translation methods of Russian idioms
(1) Translation of equivalent idioms
There are some idioms that are basically the same in terms of literal meaning, inner meaning, word image, and implied philosophy in Russian and Chinese. We can use the corresponding translation method to translate these idioms, that is, the formal word-by-word translation. When translating these counterparts, the context can be ignored, as long as the translator keeps in mind the corresponding equivalents. This type of idioms can be translated using literal translation, that is, a translation method that maintains the content of the original idiom without changing the rhetorical characteristics. E.g:
　　1.Беда не приходит одна-祸不单行. Among them, "беда", "не", and "приходит одна" respectively have the same literal meaning and image of words as "祸", "不" and "单行" in Chinese, and their philosophical meanings are also the same.
　　2. Куй железо, пока горячо-趁热打铁. Among them, "куй", "железо", and "пока горячо" correspond to the Chinese words "打", "铁", and "趁热" respectively.
　　3. Лучше один раз увидеть, чем сто раз услышать — 百闻不如一见.
　　4. Век живи, век учись — 活到老，学到老.
(2) Translation of similar idioms
approximate idioms are also called semi-equivalence idioms, which refer to the same literal meaning, inner meaning, and philosophical meaning of the Russian and Chinese idioms, but the image of the words is partly the same, and partly different. Free translation is usually used when dealing with the translation of such idioms. The so-called free translation method is to convert the image of an idiom in one language into another language as much as possible without losing its meaning. For example: Правда глаза колет-忠言逆耳. "Правда" and "колет" in Russian are the same as "忠言" and "刺痛" in Chinese; however, "глаза" (眼睛) in Russian is not the same as "耳朵" in Chinese. The image needs to be changed when translating. Similar idioms are: как грибы после дождя-如雨后春笋. When грибы (蘑菇) is translated into Chinese, it becomes "春笋".
(3)Translation of non-equivalent idioms
Non-equivalent idiom refers to the national culture contained in the Russian idiom that is unique to the Russian nation and is unfamiliar to the Han nation. This kind of idioms are usually translated using creative methods, that is, without changing the meaning of one language idiom, using the most appropriate interpretation of another language for translation. There are generally two ways of creativity: literal translation + free translation, such as мало каши ел (喝很少的粥)-经验不足, use "каша" to refer to experience; выжимать соки (挤果汁)-榨取血汗, use "сок" refers to blood and sweat, labor; literal translation + comment, such as червонный валет (红桃 "J")-花花公子, using playing cards to refer to the macaroni（纨绔子弟）; мелкая сошка (小木犁)-无名小卒, using small things to refer to Little people. The paraphrase and annotations here are equivalent. ездят в тулу со своим самоваром (带着茶炊去图拉)-没有必要，多此一举, it involves the cultural and national conditions, Tula is a place rich in teapots, so it is unnecessary to take a samovar to Tula.
====4.1 Ecological culture-loaded words in Russian idioms====
As we all know, Russia is a vast country with vast resources. The unique vast land area has created a unique geographical environment in Russia, while breeding a variety of animals and plants on the Russian land.

As we all know, Russia has a vast territory,rich in natural resources. The unique vast land area has created a unique geographical environment in Russia, while breeding a variety of animals and plants on the Russian land.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:49, 14 December 2021 (UTC)

Crows have a bad connotation in the eyes of the Russian people and are often seen as a bad omen. "белая ворона -白乌鸦" refers to a person who is out of place(特立独行的人), and this idiom is used in Russian with a sense of disapproval. Crows are usually black, but white crows are very strange. "ворон считать - 数乌鸦" means eating the bread of idleness(游手好闲). Usually people with nothing to do have time to count crows. "ворона в павлиньих перьях - 伪装成孔雀的乌鸦" is a person who adorn oneself with borrowed plumes(装腔作势的人). Sparrows are also common in Russian idioms. Sparrow action speed is very fast, in "слово не воробей, вылетит - не поймаешь - 话语如麻雀，出口追不回"as a metaphor of a gentleman's word can't be chased(君子一言驷马难追). There are also "стреляный воробей" refer in particular to sophisticated man (老于世故的人，老油条). Similar words for " старого воробья на мякине не проведёшь посл -秕糠捉不住老鸟"are refers to the sophisticated people are not easily deceived(久经世故之人不易受骗).

In Chinese and Russian idioms, different animals and plants are often used to describe the same phenomenon due to different historical and cultural backgrounds. In Russian, the word "Брать быка за рога (抓住牛角)" has a similar meaning with the Chinese word "抓住牛鼻子", which means destroying the leader and the gang will collapse(擒贼先擒王). "Метать бисер перед свиньями(猪前撒珠)" is like "对牛弹琴". It means speaking truth to unreasonable people and speaking elegance to those who do not understand beauty.

Crocodile tears - "крокодиловы слёзы" refers to false compassion假慈悲. According to ancient Western legends, crocodiles are both ferocious and cruel as well as cunning and crafty. When it peeps into people, livestock, animal fish and other prey objects, often will first shed tears, like mercy, so that you were paralyzed by the illusion of its sudden attack to lose vigilance, in a state of no defense by it fiercely swallowed. Another said, is the crocodile will be captured after the prey, greedily swallowed at the same time, will shed crocodile tears. In short, it's a metaphor for false tears, fake sympathy. Later, it is conventionally extended to satirize those insidious and crafty people who harm others while pretending to be compassionate and kind.

====4.2 Material culture-loaded words in Russian idioms====
Russia has its own unique cultural material products, these cultural characteristics reflected in all aspects of clothing, food, housing and transportation.

"первый блин всегда комом - 第一张薄饼是一团" means all things are difficult before they are easy(万事开头难). "блин - 薄饼" is a kind of unique Russian food. It is round in shape, symbolizing the bright sun and heralding the coming of spring and the lengthening days. "блин - 薄饼" is also a staple in the traditional Slavic festival - Maslenitsa. To "ездят в тулу со своим самоваром - 带着茶炊去图拉" is to make a waste of time(多此一举). Tula is a place name in Russia, where the samovar is abundant, so it is unnecessary to take the samovar to Tula."за семь вёрст киселя хлебать - 跑七里路去喝一口羹(没有必要)" and "седьмая вода на киселе - 羹里的第七滴水(八竿子打不着的亲戚)". Among them "кисель(甜羹)" is also native food to the Russian nation. It can be made from almost any kind of fruit and berries, fresh and dried, fruit and pulp juices, syrups, jams, and milk with potato starch or corn starch. There are also non-sweet-tasting ones made from vegetables like peas. "по ерёме колпак кафтан - 捉襟见肘" and "тришкин кафтан - 什么样的人就戴什么样的帽子(恰如其分)". "кафтан(男长衣)" in this idiom is a kind of long coat with belted waist and floor-length sleeves worn by Russian men in the old days, which was very popular in Russia before the 20th century. "садиться не в свои сани - 坐在别人的雪橇上(不称职、对职务不能胜任)", the word "сани(雪橇)" in this idiom is one of the most common means of transport for Russians in winter.

====4.3 Religious culture-loaded words in Russian idioms====
Most people in Russia are religious, but most of the Idioms in Russian with religious cultural overtones are derived from Western Christianity.

"Дорого яичко к Христову дню - 送红鸡蛋要赶复活节" refers to do not send umbrellas after rain, refers to do good deeds must be timely(不要雨后送伞、做好事必须及时), Easter is a very important traditional Festival in Russia, is to commemorate the resurrection of Jesus after the death. Easter eggs to prepare cooked eggs (Easter eggs), boiled eggs coated with red, yellow, blue, coffee, green, purple and other colors, when the guests come, the host gives an egg, to symbolize the prosperity of life.

"не все коту масленица - 不是全年都是谢肉节" means that the good times will not last long and the feast will not come again(好景不长、盛宴难再). This idiom comes from the Maslenitsa culture of Russian national religion. The festival of Maslenitsa originated in the Eastern Orthodox Church. Meat and entertainment are forbidden during the 40-day Maslenitsa period. Thus, in the week before the start of Ramadan, people indulge in orgies and families eat meat to make up for the ascetic lifestyle of fasting. Hence the name of the Festival.

"козёл отпущения" refers to a scapegoat(替罪羊). At that time, the ancient Jews had such a ritual in life. When the day of confession came, the highest priest would put his hands on the head of the live goat, which indicated that the sin of all mankind would be transferred to the goat, and the goat would be banished to the desert. In Russian national and religious culture, this idiom is usually used to mean that people take the blame for others.

The Influence of Christianity on Russian idioms is very profound. Pushkin, the great Russian writer and poet, pointed out that the birth of Christianity was the greatest spiritual and political turning point on our earth, and the world died and was born in this sacred environment. It can be said that Christianity has played an extremely important role in human history, especially in western social life and cultural development. Since 988, when The Archduke of Kievan Rus established Christianity as the state religion, most Of the Russian people believe in Christianity, and there are about 200 idioms and fixed words from the Bible. A large number of Idioms in Russian derive from the Bible. The Bible is a Christian classic, including the Old Testament and the New Testament in 66 volumes. With the development of history and the evolution of language, idioms derived from the myths and legends of the Bible and the teachings and precepts of the Gospels have entered the Russian standard language and acquired new meanings. Now, through the study of Russian idioms from the Bible, analysis of their source text interpretation, use characteristics, we can see the influence of the Bible on Russian from the side.

"в поте лица - 汗流满面" From "Old Testament·Genesis" (Chapter 3, Section 19), God says to Adam, the father of mankind, when he sinned and drove him out of the Garden of Eden for eating from the tree of good and evil: "В поле лица твоего будешь есть хлеб, доколе не возвратишься в землю, из которой ты взят, ибо прах ты и в прах возвратишься.” - 你必须汗流满面才有饭吃，直到你归于尘土，因为你是由土而来的；你即是灰土，还要归于灰土." "Волк в овечьей шкуре 或 волк (напялил) на себя овечью шкуру - 披着羊皮的狼" from "New Testament Gospel of Matthew" (Chapter 7, Section 15), "Берегитесь лжепророков, которые приходят к вам в овечьей одежде, а внутри суть волки хищные - 你们要提防假先知! 他们来到你们跟前,外披羊皮,内心却是凶残的豺狼." "Кто не работает, тот не ест - 不劳动者不得食" originally derived from "The New Testament·2 Thessalonians": "Ибо когда мы были у вас, то завещевали вам сие: если кто не хочет трудиться, тот не ест. - 当我们在你们那里的时候，早已吩咐过你们：谁若不愿意工作就不应当吃饭." "продать (предать) за тридцать сребреников(кого) - 为三十块银币而出卖某人" from "the New Testament Gospel of Matthew". The story tells that judas, one of The twelve disciples of Jesus, got thirty pieces of silver from the priest and sold Jesus to the Jewish authority. Then he took the opportunity to bring many people with knives and clubs to the house of Jesus and his disciples and arrested Jesus. As a result, Jesus was crucified. According to the statistics of the Dictionary of Russian Idiom etymology, there are more than 1400 Russian idioms in the book, among which 161 are derived from the Bible or related to them, accounting for 11.5%. It can be seen that the Bible has a deep influence on Russian.

====4.4 CultureSocial culture-loaded words in Russian idioms====
Russia has a long history and diverse social customs. Many unique Russian cultural phenomena are reflected in Russian idioms.

During the Soviet Union, some words and languages produced under the background of The Times had unique meanings and connotations of the society at that time. The "Красный уголок
(红角)" was a place for cultural and educational activities in the Soviet Union. Russian idioms also reflect their national cultural characteristics through their lexical composition. Some words in these idioms are not equivalent words. "Фертом стоять (смотреть, ходить, глядеть, выглядеть. . . ) - 趾高气扬、威武自负、洋洋自得的样子" The word is an ancient name of the Russian letter "ф", which resembles a man standing erect with his hands akimbo, so the meaning of the whole idiom is to place his hands between the waist in a confident, aggressive posture. Other similar Russian idioms include "На ять - 顶呱呱，呱呱叫" and "Лезть на рожон - 铤而走险". The idiom "Чувство локтя - 站队时保持一肘距离的习惯" is used in the spirit of supporting friendly troops and helping each other(支持友军的精神，互助精神). The word "Белый - 白色的" in idioms sometimes conveys a negative meaning. The idiom "Показать белое перо - 展示白羽毛" comes from a cockfight. In fights between roosters of different colors, red, red, and black roosters were found to be more aggressive, biting off the tail feathers of timid white roosters. So this idiom means to be defeated and laughed at(被打败，被嘲笑). "Белый - 白色的" in this idiom means "cowardice, cowardice, and submission."

===Conclusion===
Culture-loaded words, as their name implies, carry the culture of a particular nation or country, which are closely related to the culture they carry. This sets up difficulties for translators when translating such expressions. If the translation only stays on the surface and ignores the cultural connotation of the words, it will lead to the loss of culture. In addition, another point worth the translator's attention is that the conceptual meaning and connotative meaning of culture-loaded words are often inconsistent. This requires us to flexibly choose appropriate translation strategies in translation to convey the connotation and meaning of culture-loaded words as far as possible, so as to ensure the readability of the translated text and retain the flavor of the original text to facilitate cultural exchange and communication.

Differences in cultural systems and language systems, and difficulties in translation, lead to misunderstandings in the translation of culturally loaded words, and it is difficult to deeply grasp the core of culture and make it fully presented in front of us.
There are several situations in the translation and translation effect of culturally loaded words:
1) Omission-complete lack of cultural connotation;
2) Simple transliteration-whether the cultural connotation is transmitted or not depends on the degree of communication of the word and the cultural level of the target language reader;
3) Transliteration plus annotations-cultural information is conveyed, but it is likely to damage the readability of the story or cause the translation to be cumbersome;
4) Replacement imagery and even complete domestication-the cultural connotation of the original word disappears, but it is easy for readers of the target language to understand.
It can be seen that several translation strategies are not superior in the absolute sense. For the translation of culturally loaded words, the translator must not only have a deep language foundation, but also an encyclopedia-like knowledge structure, and must be careful and patient in the translation process. Culture-loaded words belong to micro-culture, and their distinctive and strong cultural color is an indispensable part of Russian culture. Although they will inevitably "make a facelift" in the process of translation, resulting in the loss of some information, translators should still work hard to understand the cultural connotations of the original language and the target language in order to build a bridge for communication and understanding between the two sides.

Culture is a complex social phenomenon, which is the sum total of a nation's knowledge, experience, value, rank, religion and concept of time and space. It has distinct national and regional characteristics and is used in all areas of a certain society. Language is only a part of culture, any language is a reflection of a certain culture, language is the carrier of culture, language and culture are inseparable. Russian and Chinese are both languages with a long history, yet each belongs to a completely different language family. Their differences are not only reflected in the form of language (pronunciation, grammar), but also show the rich cultural characteristics of words. Because the objectivity of language, social and cultural are casting together, language is a nation created in the long-term productive labor and social practice and service for them, so their words are bound to the social reality of the nation, the native living habits and way of thinking, language, psychology, behavior norms, moral values, political ideas and cultural traditions, and deeply stamped with this nation, this region and this era. Therefore, Russian and Chinese words are bound to carry their own specific cultural connotations. To understand the culture of a nation, in addition to observing its actual behavior, what is more important is that we can study their language, especially through the study of language vocabulary to understand their cultural traditions and connotation in the culture. Because vocabulary contains abundant cultural information, it is an important content for better cross-cultural communication.

Culture is a complex social phenomenon, which is the sum of a nation's knowledge, experience, value, rank, religion and concept of time and space. It has distinct national and regional characteristics and is widely applied to every fields in modern society. --[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:56, 14 December 2021 (UTC)

To sum up, Russian idioms are an important part of Russian national culture, which fully reflect the Russian nation's daily lifestyle, beliefs, customs and psychological characteristics. Russian idioms content is rich and colorful characteristics, by strengthening the study of Russian idiom learning, can help us deeply understand the master to the traditional customs of ethnic russians, and correct use of Russian language, add more glory for language expression, and to avoid in the process of Russian social expression appeared a slip of the tongue, affect each other on both sides of the normal communication smoothly.

To sum up, Russian idioms are an important part of Russian national culture, which fully reflect the Russian nation's daily lifestyle, beliefs, customs and psychological characteristics. Russian idiomswith profound connotation are abundant resources for us.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:03, 14 December 2021 (UTC)

===Reference===
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[3]袁顺芝.俄汉翻译中的语言文化现象及其处理方法[J].中国俄语教学,2014,33(04):40-44.
[4]司道权.浅析俄语成语的特点及翻译方法[J].品牌,2015(03):113.
[5]裴晓明.俄语成语翻译中的几个问题[J].科技信息,2012(30):212.
[6]王金凤.俄语成语的意义及其翻译[J].中国翻译,2008,29(05):72-74.
[7]张莹.俄语成语翻译中的文化伴随意义[J].佳木斯大学社会科学学报,2006(02):157-158.\
[8]鞠海娜.俄汉成语蕴含的民族文化比较研究[J].黑河学院学报,2021,12(04):174-175.
[9]廖七一 .当代西方翻译理论探索 [M]. 南京 :译林出版社 , 2000
[10]王淑杰.不同宗教信仰影响下的俄汉成语[J].科技信息,2009(07):531+553.
[11]张家丰.俄语成语颜色词的象征意义[J].黑河学院学报,2021,12(02):169-171.
[12]王青.中国文化负载词的英译研究[J].校园英语,2020(24):243-244.

=8周小雪 The Translation of Culture Loaded Words in English and Japanese Versions of Medicine =
[[Cult_Load_Words_EN_8]]

=9 付诗雨 On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum =
[[Cult_Load_Words_EN_9]]

=10 丁旋 Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =

[[Cult_Load_Words_EN_10]]

=11 高蜜On the Translation of Culture-loaded Words in ''Lao Can You Ji'' from the Perspective of Cultural Schema Theory 从文化图式理论看《老残游记》中文化负载词的英译=
[[Cult_Load_Words_EN_11]]

=12 殷慧珍 A study on the English Translation of Culture-loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies =

殷慧珍 Yin Huizhen, Hunan Normal University, China

[[Cult_Load_Words_EN_12]]

===Abstract===
Culture-loaded words refer to words with unique cultural connotations, which are powerful tools to promote cultural communication. Due to the great differences between eastern and western cultural backgrounds, the translation of culture-loaded words is a difficult task. Therefore, this essay studies the English translation of Chinese culture-loaded words in ''The Spring Festival'', which is a prose written by Chinese Writer and translator Fang Huawen, introducing many Chinese customs and activities containing Chinese culture-loaded words. According to the Nida’s classification of culture, this essay classifies culture-loaded words into ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. Based on the domestication and foreignization translation strategies proposed by Venuti, this essay analyzes the translation strategies of culture-loaded words in Fang Huawen’s prose ''The Spring Festival'' and its translation, and summarizes the translation of culture-loaded words based on domestication and foreignization strategies.

===Key Words===
Culture-loaded Words, ''The Spring Festival'', Domestication and Foreignization Strategies, Fang Huawen

===题目===
归化异化策略下方华文《春节》中文化负载词的英译研究

===摘要===
文化负载词是指具有独特文化内涵的词语，是促进文化交流的强有力工具。由于东西方文化背景的巨大差异，文化负载词的翻译是一项艰巨的任务。因此，本文以方华文散文《春节》中的中国文化负载词的英译为研究对象，介绍了许多词汇关于中国习俗活动里蕴含的中国文化负载词。根据奈达的文化分类，本文将文化负载词分为生态文化负载词、物质文化负载词、社会文化负载词、宗教文化负载词和语言文化负载词。本文以韦努蒂提出的归化和异化翻译策略为基础，分析方华文的散文《春节》中文化负载词的翻译策略，总结出基于归化和异化策略的文化负载词翻译方法。

===关键词===
文化负载词《春节》归化与异化翻译策略方华文

===Introduction===
Since the development of China’s reform and opening up, China's economy has improved rapidly. Culture, as a manifestation of the soft power of national development, playing an increasing role in the country. And Chinese culture is becoming more and more popular among foreign readers. As a carrier of culture, book is a powerful tool for cultural communication. Meanwhile, translation is a bridge connected different languages and different cultures and the main task of translation is to translate the content of the source language into the target language. Therefore, in China, more and more books, such as poetry collections, novels, essays and so on, are translated into foreign languages and then widely spread all over the world. However, due to the huge differences in economic system, language structure and cultural customs between China and the West, many culture-loaded words with unique characteristics of the Chinese nation, such as some idioms, sayings and idiomatic expressions, are difficult to translate. Those who do not understand the Chinese cultural background cannot fully understand the meaning of these culture-loaded words. Therefore, the translation of culture-loaded words is key to the whole translation which is well worthy of doing research. ''The Spring Festival'' is a prose written by Fang Huawen, a famous Chinese literary translator. It talks about the Spring Festival, the most important traditional Chinese festival, and gives a detailed description of the activities during this traditional festival. Many culture-loaded words appeared in the prose represent Chinese culture, people can understand the profound Chinese culture through the authentic translation. Based on the translation strategies of domestication and foreignization, this essay explores the translation strategies of culture-loaded words in Fang Huawen’s ''The Spring Festival''.

===Fang Huawen and ''The Spring Festival''===
Fang Huawen was born in 1955, who is a famous Chinese literary translator and translation theorist. He plays an important role in literary translation in China and he was elected as a representative in the field of literary translation in China. He has translated many literary works such as ''Oliver Twist'' and ''David Copperfield'' written by Charles Dickens, ''Tess of the d'Urbervilles'' and ''Jude the Obscure'' written by Thomas Hardy, ''Jane Eyre'' and ''Pride and Prejudice'' written by Jane Austen and so on. Also, he wrote books of Chinese Culture of Editions Series such as ''Chinese Garden'', ''Chinese Folk Customs'', ''Famous Historical Cities in China'' and so on, which introduce Chinese culture in all areas. His representative translated work is ''History of Chinese Translation in the 20th Century'', which elaborately introduces the Chinsese Translation theories and translators, covering more than ten million words. His translated works have made great contributions to the spread of Chinese culture, and his translation views are well known both at home and abroad. He was named "the most productive literary translator in contemporary China” by the UNESCO International Federation of Translators and his translation theories were publish in ''Babel'', the academic journal of the International Federation of Translators, which enabled the world to know the general situation of Translation in China and the characteristics of translation.

In this essay, ''The Spring Festival'' is selected as the text of analysis, which is one of the prose collected in the book ''Translation and Appreciation of Chinese and Foreign Selected Famous Proses and Poems'', whose author is also Fang Huawen, selecting and translating famous Chinese and foreign proses and poetry. ''The Spring Festival'' is written by Fang Huawen and he selcets his own translation version in the book. The prose introduces the Spring Festival, the most important traditional festival of the China. The prose introduces the customs and activities of the Spring Festival in detail, which have been passed down from the ancient time. With the changes of the time, the words and customs have their own distinctiveness. Taking the traditional activity “post picture” as an example in the essay, Chinese people posted pictures of Shen Shu and Yu Lu with the wish of getting good luck and happiness in Nan Dynasty. While in Tang Dynasty, they posted the photos of Qin Shubao and Yuchi Jingde. If you don't know the cultural background of Chinese culture, you can hardly know the connotaion of the words. For example, the names of firecrackers are of various kinds, like "Rockets", "Rolling Mines", "Fairy Scattering Flowers", "Knights in Red" and so on. The author elaborately introduces all kinds of customs and activities from the first day of the first lunar month to the 15th day of the first lunar month, among which culture-loaded words are unique to Chinese culture, and the translation of these culture-loaded words will greatly promote the spread of Chinese culture.

===Culture and Culture-loaded Words===

====The Brief Introduction of Culture====
Compared with the economic and political field, culture refers to the spiritual activities of human beings and the products they produce. Culture is a set of customs, traditions and values formed by people living in a specific community over a long period of time, such as the culture of a nation or country. There are various cultures in the world, and each culture has its own characteristics, including its own ethnic values, such as religious belief, world outlook, etc. It also includes spiritual products produced by specific ethnic groups, such as some artistic and scientific spiritual products. Besides, the manners and behaviors of a nation such as folk customs, spirits and so on.

Chinese contemporary writer and scholar Yu Qiuyu gave a detailed interpretation of culture. He gave a definition of culture with a concise and simple sentence in ''What is Culture'', that is, culture is a kind of spiritual value and life style called habit, and its final result is collective personality. (Yu qiuyu 2012:3) The first key word is spiritual value, which means that culture is not only a cultural phenomenon, but also has cultural value. Therefore, it can be explained that culture is a spiritual symbol of human beings compared with the primitive state. The second key word is lifestyle. This is the concrete realization of spiritual value. In most cases, culture, it should be concrete and acessible. The third key word is collective personality. This shows that culture not only affects people, but also concentrates on personality precipitation to maintain some stability.
That is to say, the unique spiritual value and way of life developed by a particular nation is the culture of this nation, such as Confucianism, ancestral hall culture in Chinese culture and so on.

Specifically, Culture covers nearly all kinds of fields in social life. There are many classifications of culture from different perspectives. For example, from the geographical aspect, there are local culture and foreign culture, urban culture and rural culture, Eastern culture and Western culture and so on. Also, from the perspective of time, there are primitive culture, slavery culture, feudal culture, capitalist culture, socialist culture and so on. According to Nida, he divided culture into five categories in his book Language, Cultural and Translation:(1) ecological culture, (2) material culture, (3) social culture, (4) religious culture, (5) language culture. (Nida 1993: 91)

====The Brief Introduction of Culture-loaded Words====
Culture-loaded words refer to the words or phrases carrying the unique cultural connotations of a certain nation, which are different from other nations. Chinese scholar Hu Wenzhong defined culture-loaded words as follows: "Culture-loaded words are words within the scope of a specific culture, and are the direct and indirect reflection of national culture in the language vocabulary" (Hu Wenzhong 1999:64). When these culture-loaded words are translated into the target language, it is not easy to find corresponding words in the target language. Therefore, the wide use of culture-loaded words can transmit national cultural values and promote national communication.

Based on the classification of culture of Nida, culture-loaded words also can be divided into five catergories accordingly. The first is ecological culture-loaded words, which refer to the words that reflect the unique local ecology, such as climate, lgeomorphology, natural environment, mountains, rivers, vegetation and so on. Different geographical environments breed different cultures, such as the Chinese idiom “稳如泰山”, which translates into English as stable as Mount Tai, meaning as firm as a rock, "Mount Tai" is a unique ecological environment in China. Mount Tai is very majestic in the hearts of the Chinese people, and it is worshipped by the people and enjoys a high status. Therefore, people use this idiom to praise people as stable and unshakable as Mount Tai. For English phrase, "a big fish" is literally translated into Chinese “一条大鱼”, but in English culture, it means "Great man", because Britain is an island country surrounded by the sea, which reflects the influence of the sea on British culture.

The second is material culture-loaded words, which refer to words produced in daily life to meet the development of people's material life, that is, words with cultural connotations such as clothing, food and household goods that people need in daily life. In different cultures, people have different associations with different objects. For example, in Chinese culture, since the ancient time, people have divided the universe into five kinds of things, namely are Wood (木), Fire (火), Earth (土), Metal (金), and Water (水), and called them "Wu Xing(五行)"also known as the Five Elements or Five Phases. The system of five phases was used for describing interactions and relationships between phenomena.

The third social culture-loaded words refer to words that reflect various aspects of the society according to different social backgrounds, such as unique festivals, customs, local conditions and practices, as well as the way of address and greeting. For example, "aunt" in English refers to different people in Chinese, that is, maternal aunt, paternal aunt, wife of mother's brother, wife of father's brother.

The fourth religious culture-loaded words refer to some words related to religious beliefs and concepts, reflecting the influence of religion o.n people's lives. For example, Chinese culture is deeply influenced by Buddhism. Some common sayings contain the influence of Buddhism on people's life, such as the Chinese proverb "菩萨心肠"，which refers to the people with a great kind heart. Cram at the eleventh hour. "菩萨"is Bodhisattvas, who embrace qualities like self-sacrifice and morality. The Image of bodhisattva in Buddhism is different from that of Jesus in Christianity.

The last one language culture-loaded words are the reflection of different languages characteristics in speech, lexical, syntax and other linguistic aspects, usually found in dialogue, ancient poetry and colloquialisms, idioms, and so on. Chinese sentences attach importance to the connection of meaning, and clauses are often connected by meaning, while English sentences are connected by connectives. For example, the famous Chinese proverb,"经得广，知得多"，the whole sentence is very concise, only with six words, and there is no conjunction to connect the sentence. However, the English translation cannot completely translate the format, but need to use a conjunction to connect the sentences in English grammar, that is if you experience more, you can know more things.

===Domestication and Foreignization Strategies===
Domestication and foreignization are two different translation strategies proposed by Venuti in ''The Translator's Invisibility A History of Translation'' from the perspective of culture in 1995. 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 language readers.(Shulttleworth , Cowie 1997 : 43~ 44) This was based on the Germanphilosopher Schleiermacher's famous notion of the translation that don’t disturb the reader, as much as possible, and then lead the author towards the meaning that author want to convey. That is to say, using the tanslation strategie of domestication is to localize the translated text. And translator should first consider the target language readers but not the loyalty to the author. Therefore, when translating, the translator should choose the plain and familiar words and expressions in the target language that would not be a barrier to reading for readers, so that the translation can be read nativly and vividly but do not make the readers feel stiff or unfamiliar, and it would not be like a text has been translated but an original book. When translating, he also created many plots that cater to the public’s preferences, making the novel interesting and easy to understand. Because of the cultural differences between the East and the west, some specific words in the source language have no corresponding meanings in the target language. Therefore, especially when translating idioms and allusions, domestication is often used in order to maintain their unique simplicity and expressiveness. For example, cry up wine and sell vinegar(挂羊头卖狗肉)/ live a dog's life(过牛马一样的生活)/seek a hare in hen's nest（缘木求鱼）（Fang Mengzhi 2004: 3）

Foreignization refers to the translation strategy that a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. (Shulttleworth , Cowie 1997 : 58~ 59) Foreignization refers to the translation strategy that the translator first considers his loyalty to the author and the original text, so the translation will preserve the language characteristics and cultural customs of the original text. The use of foreignization translation strategy will not only make readers have "exotic" reading experience so as to help them better understand cultural differences，at the same time，it also enrich the target language. Many foreign words and expressions have been well integrated into the target language and used in people's daily life. The example of foreignization in Fang Mengzhi's a dictionary of translation studies, such as "time is money", comes from the foreignization of "time is money" in English. Many foreign words have been widely spread and used in Chinese. （Fang Mengzhi 2004: 3）

Domestication and foreignization are indispensable translation methods in cross-cultural translation. Domestication can invisibly introduce foreign cultural ideas into the country without causing exotic reading experience or bringing reading barriers to target language readers, thus increasing the readability of the text. However, with the advent of globalization, blindly domesticating other languages is a way of showing ethnocentrism, which is actually a kind of cultural aggression of other country. Venuti believes that the domestication is to use smooth translation strategy to hide the domestication in the transparency of the translation. This is not a cultural exchange but an act of culuture violence under the cover of domestication strategy with ethnocentric ideas, that is, tampering and cultural appropriation. (Fang Mengzhi 2004: 96）Therefore, foreignization has become an increasingly important translation strategy in the process of translation. For culture-loaded words, adopting foreignization translation strategy can not only accurately express the meaning of the sentence, but also promote the spread of Chinese culture, so as to promote the mutual understanding and communication between the East and the West. Therefore, foreignization is gradually accepted by people and more widely used in the world.

===A study on the English Translation of Culture Loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies===
The prose ''The Spring Festival'' contains many traditional Chinese festival culture-loaded words such as poems, idioms, proverb and so on, so in the process of translation, appropriate methods and strategies should be selected. For these Chinese culture-loaded words, the English translation is not completely corresponding to the original text. For example, some Chinese culture-loaded words have Chinese cultural connotations but are not reflected in the translation, and the sentence format in the original text is not completely corresponding in the translation. Based on the classification of culture-loaded words mentioned above, this essay analyzes the ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words in Fang Huawen's ''The Spring Festival'' on the theoretical basis of domestication and foreignization translation strategies.

====Ecological Culture-loaded Words====
Some words describing nature, environment, animals and plants are called ecological culture-loaded words. In the prose, the author used nature words "火树银花" to describe the scene of the Lantern Festival with bright lights. Literally, "火树" means the fire trees, "银花" means the silver flowers. If the translator uses the foreignization translation strategy to transliterate the sentence, the foreign readers who don't know the Chinese culture may not understand the meaning of the sentence, and will be confused. This is not a tree or flower, but a scene of bright lights. Therefore, the translator adopts the domestication translation strategy and translates it into "fireworks and laterns were everywhere to be seen", "火树" refer to the trees are covered with colorful lights, and "银花" refer to brightly lit scene.

====Material Culture-loaded Words====
Material culture-loaded words refer to some words used for material production, such as medicinal wine, units of weights and measures mentioned in the prose.

Example 1: "爆竹声中一岁除，春风送暖入屠苏。"

Translation: Firecrackers are sending the old year away; People are toasting in warm breeze.

The sentence quoted the famous poem New Year's Day by Song Dynasty poet Wang Anshi, which depicted a lively scene during the Spring Festival. The word "Tusu"(屠苏) has great cultural connotation. "Tusu" is a kind of medicinal wine, called Tusu wine. According to Chinese legend, Tusu wine was first invented by hua Tuo, a famous doctor in the Eastern Han Dynasty. It is generally drunk on the first day of the first month, which plays a role in strengthening the body and defeating diseases. Therefore, drinking it on the first day of the New Year also conveys people's best wishes for the New Year that everyone can stay away from diseases and be healthy. It implied a wish, just as people in the western culture also toast on festivals, so the translator replaced the literal translation of Tusu with the familiar word toasting.

Example 2: 曾架起一座二十丈的灯山。

Translation: ...was built up a mountain of lanterns to celebrate the festival, nearly 70 meters high.

In the sentence, "二十丈", that is twenty Zhang. Zhang is a unit of length used in ancient China. The use of Chinese length units has evolved with the changes of history. The units of measurement are closely related to life, they have appeared since the beginning of human beings. The primitive people used fingers as inches, palms as feet, and stretching elbows as feet. Then Qin Shihuang unified the measurement and till now the appearance of modern measurement technology today, the evolution of ancient measurement system reflects the changes of history. In English, there is no length unit of Zhang. Therefore the translator used the domestication translation strategy that converted 20 Zhang into 70 meters.

====Social Culture-loaded Words====
The use of social culture-loaded words reflects the specific social background of the certain period. For example, the appellation or title of people is a significant part of social culture-loaded words. In this prose, the titles of the two ancient emperors "汉武帝" and "唐睿宗" are mentioned. The translator's translation of the ruler is as follows:

Example 1：自从汉武帝以来...。

Ever since the Emperor Wu's Reign of Han Dynasty.

Example 2：唐睿宗时，长安的皇宫外庆贺元宵节

During Emperor Ruizong's Reign in Tang Dynasty there just outside the royal palace in Changan.

In Chinese history, from the Han Dynasty to the Sui Dynasty, the posthumous title of the emperor is generally used, which summarized the deeds and morality of the deceased. For example, Emperor Wu of the Han Dynasty, whose posthumous title is "Wu", praised the moral character of Emperor Wu of the Han Dynasty. From the Tang and Song Dynasties to the Yuan Dynasty, the temple name of the emperor was used as the appellation. Temple name is the name given by later generations when they worship in the temple after the death of the ancient emperor. For example, the temple name of the founding emperor is Gaozu or Taizu, such as song Taizu. For the successor, the last word is always Zong, which means to maintain the achievements of the predecessors. For example, Tang Ruizong's temple name is "Rui", which praises his wise. In English translation, the translator uses foreignization to translate the posthumous title "Wu" of Emperor Wu of the Han Dynasty and the temple name "Rui" of Ruizong of the Tang Dynasty. Although the title of emperor is different from that of Di and Zong in Chinese, translator all uses the word emperor.

Example 3: 其外形有"哪吒闹海""孙悟空""猪八戒"和"沙僧"。

Translation: lanterns in forms of Nazha's Adventure in East Sea, Monkey King, Pigsy, Sha Wujing.

The words in historical allusions and legends have great social and cultural connotation. "哪吒闹海"is an ancient Chinese legend."孙悟空", "猪八戒" and "沙僧" are main characters in Journey to the West, one of China's four greatest master pieces. Chinese people have watched TV dramas or books about these characters since childhood, so they are familiar with them. However, for foreign readers, they are not familiar with these characters or plots, so it may perplex them if you don't explain the culture background here. The translator adopted the foreignization translation strategy to directly translate "孙悟空" into "Na Zha's adventure in the East Sea", "孙悟空"into the well-known Monkey King, "猪八戒" into Pigsy, and "沙僧" into his name Sha Wujing. Literal translation may confuse readers who do not understand these legends and stories, so notes can be added, that is, Nazha (a divine warrior in Chinese mythology). And Monkey King, Pigsy, Sha Wujing (main characters in Chinese classics pilgrimage to the West).

====Regilious Culture-loaded Words====
Example 1：死后玉皇大帝封他为"斩祟将军"

And was appointed "ghost-killler general" by God of all gods after his death.

In the translation, the translator uses domestication translation theory to translate "玉皇大帝" into God of All Gods. In Chinese culture, people believe that there are ruler and gods in heaven, and "玉皇大帝" is the leader of the gods in Chinese Taoist mythology. In addition to ruling all gods, "玉皇大帝" also governs the affairs of the universe. People regard "玉皇大帝" as the "emperor" in heaven, the supreme ruler of the world of all gods.
In western culture, religions are numerous and varied. Ancient Greece is the land of pantheism, the ancient Greeks advocated many gods. Zeus is regarded as God of all gods and the supreme ruler of the gods in the Greek mythology. Several popular Western religions, such as Christianity, Judaism and Islam are monotheism, holding the belief that God is the only creator of the world. God is conceived of as the Supreme Being and principal object of faith. So the use of domestication can not only express the same meaning of the sentence, but also adapt to the religious culture in the west.

Example 2: 旧岁的最后一天叫"大年三十”，因"除旧岁”而得名除夕。

Translation: The last day of the old year, Danianshanshi in Chinese, is called Farewell Day, as the old year is sent away this day.

The phrase "旧岁”, "岁”is not only refers to the age, but also means year. "旧岁" refers to the past year. The last day of the year, called "岁除", and the night of the day is called "除夕". 除夕, the original meaning of "New Year's Eve", refers to the end of the year to usher in the new. New Year's Eve is a time for family reunion. Like Tomb-sweeping Day, Ghost Festival and the Double Ninth Festival, New Year’s Eve is a traditional Chinese festival for ancestor worship. This sentence uses the combination of domestication and foreignization. The use of foreignization preserves the cultural image and promotes the culture exchange.

====Language Culture-loaded Words====
Chinese idioms usually contain the essence of language and have Chinese characteristics. Many of them use figures of speech such as metaphor. A metaphor is a comparison of something you want to say with something that has similar characteristics. In idioms, metaphors are used to describe the characteristics of something to make it vivid, so as to trigger the association of readers. The idiom in the prose like "像箭一般冲出去了", means that the children rush out quickly, but also shows that the children eager to go outside. In Chinese culture, the arrow(箭) is often used to describe high speed. For example, the idiom "离弦之箭" is used to describe high speed. "离弦之箭" refers to Time flies quikly. But there is no equivalent like arrow in English. In English, words like "bullet" or "cheetah" or "rocket ship" are used for things that are fast. Therefore, in order for readers to better understand the meaning of the sentence, the translator uses the domestication method to paraphrase as "dash out", "dash" is an act of running or moving very quickly or hastily, Although the cultural connotation of the source language is sacrificed in this way, the translator faithfully expresses the meaning of the source language.

===Conclusion===
This essay finds that the prose includes plenty of culture-loaded words, which contains extensive and profound meaning about traditional Chinese culture and customs. This essay introduces the Spring Festival, the most important traditional festival in China, as well as various activities prepared by Chinese people for the Festival and customs they adhere to, which largely spread Chinese culture, promote cultural exchanges in the world, and greatly enhancing the strength of Chinese culture. For this essay, using Fang Huawen's translation text as the analysis object, analyze the translation strategies of translator used about different kinds of culture-loaded words, that is, ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. According to Venuti's translation theory, he advocates that translators should more use foreignization to preserve the cultural connotation of the source language. However, the translator Fang Huawen adopts the domestication translation strategy more frequently, choosing the cultural images familiar to the target language readers in order to resonate with the target language readers and make the target language readers get roughly the same reading effect like the source language readers. At the smae time, culture-loaded words have complex cultural images, if the target language readers do not understand the cultural connotation behind the words, they will not be able to get the real meaning of the text, and may even misunderstand the text mistakenly. When using domestication strategies, translators most commonly use free translation, in which they replace culture-loaded words in the original text with words and expressions more familiar to the target language readers, so as to improve the readability of the translated text and reduce readers' reading barriers. For example he translates the character of Chinese legend "玉皇大帝”into"God of the gods”that are more familiar to the target language readers. However, with the development of globalization, foreignization is increasingly used in translation. When the translator encountered some characteristic culture-loaded words, he chose literal translation, such as "Danianshanshi". Although the translator uses foreignization translation strategy to bring strangeness to the target language readers, it not only retains the traditional image of Chinese culture, but also meets the needs of cultural communication in the world. Foreignization can not only express the meaning of the source language, but also retain the characteristics of the national language. Domestication and foreignization are interactive and not completely opposite. Translators can combine foreignization and domestication in translating culture-loaded words. When translating culture-loaded words, the translator can not only use foreignization translation strategy to retain the cultural image and language connotation of the original text, but also use domestication translation strategy to make the translated text easy to understand and readable.

===References===

Nida Eugene(1993). ''Language,culture,and Translating'' [M].Shanghai:Foreign Language Education Press.

Shulttleworth, Cowie(1997). ''The Dictionary of Translation Studies'' [M]. St. Jerome Publishing.

Venuti, L(1995).''The Transltor’s Invisibility'' [M]. London&Newyork:Routledge.

Fang Huawen 方华文(2014). 中外散文诗歌佳作选译与鉴赏 ''Translation and Appreciation of Chinese& Foreign Selected Famous Proses and Poems'' [M]. 合肥：安徽科学技术出版社 Hefei: Anhui Science & Technology Press.

Fang Mengzhi 方梦之(2011). 中国译学大辞典''The Dictionary of Translation Studies in China'' [M]. 上海：上海外语教育出版社 Shanghai: Shanghai Foreign Language Education Press.

Yu Qiuyu 余秋雨(2012). 何谓文化''What is Culture'' [M]. 武汉：长江文艺出版社 Wuhan: Changjiang Literature and Art Press.

Written by --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 04:21, 9 December 2021 (UTC)

=13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]
===Abstract===
With the increasingly frequent cultural exchanges in the world and the increasingly exposed differences between cultures, cultural diversity plays a very important role in national exchanges. Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own language. Language is the carrier of culture, and word is the basic unit of language and the most active part of language. In cross-cultural communication, culture-loaded words are an important part and an important bridge and link between two languages. The study of culture-loaded words is not only an important link in the process of cross-cultural communication, but also an important mean and method for the development of a nation. There are a lot of culture-loaded words in Shen Congwen's Border Town. This paper discusses the translation of culture-loaded words in the translation based on the theory of translator's behavior.

===Key Words===
Culture-loaded words; ''Border Town''; Dai Naidie; Translator behavior criticism

===Introduction===
===1.Introduction of ''Border Town''===
====1.1 Background of ''Border Town''====
''Border Town'' was written in the 1930s, when the society was in turmoil and the development of urban civilization collided violently with the traditional agricultural civilization. The whole traditional civilization has been challenged and impacted unprecedentedly, and the traditional society has become fragmented, but on the whole it still exists peacefully. In China at that time, conscientious and thoughtful men of letters had a strong sense of responsibility and perception for the society. They did not want to see the whole nation degenerate in the violent civilization of cities, nor did they want people to lose their way in the vanity of cities. Mr. Shen as a member of the advanced intellectuals, he hoped that through ''Border Town'' this work for the impression of Xiangxi, which is similar to the Peach Blossom Land, to the confused people in cities shows the simplicity and purity of traditional culture, but also indicate the direction for them to move forward: there is a pure and natural love in life, and life needs to be converted to the nature of natural life.

====1.2 Introduction of the Author Shen Congwen====
The 1930s was the time when Shen Congwen had a good harvest in love and career, and his wife Zhang Zhaohe had the greatest influence on his creation. After their marriage, Shen Congwen wrote to his wife: "I have crossed many bridges, seen many clouds and tasted many kinds of alchohol, but I have only ever loved a man of the best age." Zhang's comely appearance and dark complexion are traits Mr. Shen used repeatedly in his works. Cuicui in ''Border Town'' was also based on her. At the same time, the Border Town also carries Shen Congwen's strong feelings for Xiangxi. Although his description of the stones, water plants, boatmen and other things in the Border Town is almost plain description, a close reading can feel his love for Xiangxi from the heart. ''Border Town'' is not only about the life of young men and girls born and raised in this small town, but also a beautiful, healthy, natural and human life form, which is also the original intention of Shen Congwen's creation.(Shen, 2013:104-105)

Shen Congwen's style inclines to romanticism, he asked the poetic novel of effect, integrating realism, recording, symbolism be in harmony an organic whole. He also asked the language style of primitive simplicity, sentence of simple forms, and thick and pure style with rich local color. He highlighted the country unique charm with a twinkle in human nature. Shen Congwen's novels are typical rural culture novels, which not only compare with the modern civilization of the city on the whole, but also pay attention to the way of living, the footprint of life and the historical destiny of the villagers, which are determined by the collision of different cultures during the transformation of the Xiangxi Area to the modern era. The whole work is full of worries about life and philosophical thinking about life, just like his real and tenacious life, giving people lessons and enlightenment.

Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that "beauty lies in life". Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, "In this world, there may be people who build great pavilions on sand or water, but that is not me, I just wanted to build a small Greek temple. Choose a small ground for a foundation and pile it with hard stones. Delicate, solid, symmetrical, small but not slender, it is my ideal building. It is dedicated to humanity." Therefore, it can be said that the "Greek temple" symbolizes a spiritual space full of human beauty and divine love, which transcends the "secular heart and eyes" and radiates the light of holiness. This "small Greek temple" lived those beautification, by the divinity of the ordinary women, such as Cuicui, YaoYao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are "the life form of the border city".(Shen, 1990:234-237)

===2. Cultural-loaded Words===
====2.1 Definition of Cultural-loaded Words====
As a complex social phenomenon, culture carries a nation's knowledge, experience, hierarchy, religion and concept of time and space. As a part of culture, language embodies the uniqueness and nationality of culture. Language is created in a nation's long-term productive labor and social practice and serves the society. As the core of language, vocabulary inevitably reflects and is influenced and restricted by national characteristics. At the same time, language can truly reflect the ecological region, material culture, religious belief, customs and habits of a country or a nation. Different languages determine the different ways of thinking, behavior and language expression of different nations. Therefore, there are inevitably huge cultural differences in languages, which produce a certain number of culture-loaded words.

Culture-loaded words are the concentrated expression of a nation's geographical environment, living habits, ideas, perceptions and national psychology in language level. It not only carries profound cultural connotation, but also closely links culture with language. In the language system, culture-loaded words are the words that can best reflect the cultural information carried by language and the social life of human beings. Language is not only a tool for the expression and communication of human thoughts and feelings, but also a carrier and an important part of culture. Therefore, culture-loaded words can best reflect the strong national color and bright cultural personality in language. The translation of culture-loaded words requires translators to accurately and appropriately understand the beliefs, customs, aesthetic values and other aspects of other cultures while faithfully conveying the essence and soul of their own cultures, so as to truly achieve the exchange of different cultures.

====2.2 The Necessity of Cultural-loaded Words Study====
In 1980, Professor Xu Guozhang published Culturally Loaded Words and English Language Teaching in Modern Foreign Languages, initiating the study of culture-loaded Words. At the same time, more and more attention has been paid to the study of culture-loaded words. Culture-loaded words, as the main bearing object of a national culture, are the embodiment of the most distinctive personality of culture. However, such words reflecting cultural differences have brought great obstacles to cultural communication and translation. The differences in language and culture between ethnic groups contribute to the diversity of ethnic communication, but at the same time bring great difficulties. Due to the incomplete equivalence of the functions and contents of words among different nationalities, many errors or even major errors in translation process are caused, which will not only cause a certain loss to the cultural or commercial activities at that time, but even cause a certain negative impact on the subsequent cultural exchanges. The generation and use of vocabulary is a unique way of activities accumulated by a nation in the long historical process, which is different from other nations. The translation of culture-loaded words is quite difficult. If the translation is improper, cultural loss will occur, that is, cultural differences will be mistaken for cultural common core, and the target language will be forced to adopt the cultural model of the source language, resulting in communication failure; or replacing the cultural image of the source language with the cultural image of the target language. Communication succeeds, but the regret is the cultural loss of the source language.(Qi, 2020: 163-164)

Culture-loaded words usually appear in literary works with ethnic characteristics. The ''Border Town'', Shen Congwen's representative work, is praised as "the purest novel text in the history of modern literature" and "the peak work in the pastoral legend of modern Chinese literature". It shows readers the harmonious life form of the Xiangxi Area. There are a large number of words which reflect the traditional customs and culture and dialect characteristics of the rural areas of Hunan, China. These culture-loaded words increase the difficulty of translation. In Dai Naidie’s translation, the translator also tries to reproduce the cultural characteristics of the original text in a variety of ways, so that the target readers can feel the local characteristics and charm of the ''Border Town'' more truly and appropriately.

===3. Analysis of Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation===
====3.1 The Introduction to Dai Naidie====
Dai Naidie (1919-1999) was born Gladys B.Tayler in 1919 to a British missionary family in Beijing. At the age of seven, she returned to England to receive education. She initially studied French language and literature, but in the later switched to Chinese language and literature because of her love for traditional Chinese culture. After marrying Yang Yixian in 1940, she settled down in China, where she and her husband hosted and translated many Chinese classics. The translated works range from pre-Qin prose to A Dream of red Mansions of more than 100 kinds. In their early works, Yang Yixian presided over the completion of the first draft, while Dai Naidie was responsible for proofreading and correcting the English expression. "Yang Yixian actually translated the Chinese into English, and I turned it into a narrative antithesis," she later recalled. With the continuous improvement of her Chinese and English translation skills, she began to try to independently translate Chinese literary works into English books, and contributed a large number of classic English translation literary works. The ''Border Town'' is one of the representative translations of Diana's independent translation period. The translation of Chinese classic literature works by Dai Naidie and her husband Yang Yixian not only promoted the cultural exchange between China and English-speaking countries, but also promoted the development of literary translation, promoted the translation process of Chinese classical novels, and contributed a huge force that cannot be ignored for Chinese culture to go out.(Song, 2017:24-27)

In the process of translating ''Border Town'', Diana was inevitably influenced by the social ideology of China at that time. As a foreigner herself, she was restricted and oppressed to a large extent, so her translation works mainly catered to the mainstream ideas of Chinese society at that time. At the same time, the powerful cultural countries represented by Britain and the United States at that time generally preferred the stereotyped works that fit their imagination in the weak culture. However, Shen Congwen's description of the backwardness and occlusion of the small town in Xiangxi was just in line with the imagination of the British and American society for the distant China, so it was once very popular in The British and American countries.(Sun, 2013: 49-50)

On the basis of being faithful to the original text, Diana's translation fully conveys the tendency of female translators' choice of translation strategies, which is reflected in the particularity of female translators' behavior in the process of translation.(Liu, 2017: 91-94)

====3.2 Analysis on Cultural-loaded Words====
Each language has its own unique features in pronunciation, vocabulary and syntax. Due to the differences in language and culture, the translatability of the expression forms of these languages will be limited when they are conveyed as information content in communicative language. If we do not understand the language and cultural characteristics of the original language, it is bound to produce ambiguity and mis-understanding. Meanwhile, translators of different identities have different approaches to translation. As a female translator, Dai Naidie was deeply aware of Shen Congwen's attitude and view when she read his work Border Town. Therefore, when dealing with the problems encountered in translation, especially some words with the color of feminism, she carefully and rigorously screened the original author Shen Congwen's own attitude, avoiding unreasonable and inappropriate translation of words, thus improving the accuracy and readability of the translation.(Song, 2017:25)
=====3.2.1 Analysis on Ecological Words=====
Ecology is a branch of biology that refers to the study of the relationship between organisms and their surroundings, especially their connections with their living environments. The diversity of ecological culture is naturally caused by the differences of geographical environment and natural conditions in various countries. The difference of ecological conditions will inevitably lead to the difference of national culture, so that culture shows a distinct regional.

The ''Border Town'' is a novel with the background of Xiangxi, which involves a lot of local customs and characteristic vocabulary. Dai Naidie followed the characteristics of Chinese culture and retained the cultural characteristics of Western Hunan in his translation. In Dai Naidie's translation, all place names are transliterated. For example, “四川”Sichuan、“秀山”Xiushan、“茶峒”Chatong, etc. Dai Naidie used pinyin system with Chinese characteristics to transliterate place names, conveying Chinese characteristics and displaying the unique charm of Chinese culture to western readers.

However, the translation of ecological culture-loaded words in the translation of Border Town by Dai Naidie does not show distinct characteristics of culture of Xiangxi in the translation of some words. In the text of translation, “有人带了礼物到碧溪岨。掌水码头的顺顺，当真请了媒人为儿子向渡船的攀亲来了。” The translation of this sentence of Dai Naidie, “Sure enough, someone comes bearing gifts to Green Stream, the go-between sent by Shun Shun to approach the ferryman on behalf of his son.” “碧溪岨” was where the heroin and his grandfather lived, who made a living by a ferry boat. There was a babbling brook in front of their house, and the houses were stacked on top of each other along the zigzagging stream. In the back side of the house, the white tower stood tall and upright, and the surroundings were the winding mountain road. Hence the place was named “碧溪岨”. In her translation, Dai Naidie ignored this rich culture-loaded word and directly translated it into "Green Stream", failing to realize the aesthetic transmission of the original text. In another version of translation, "Green Creek Hill" , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.（Guan, 2014:139-141）

For another example, “初五大清早落了点毛毛雨，河上游且涨了点‘龙船水’，河水已变作豆绿色。” Dai Naidie translated this sentence into “A fine rain sets in at dawn on the fifth, the water upstream has begun to rise, and the whole river turns pea-green.” “龙船水” is a natural phenomenon before and after the Dragon Boat Festival in the South China. The warm and damp air flows in the south of China is active, and the cold air from the north area to the south meet, there will be sustained large-scale heavy precipitation normally. After the intense precipitation, the water level of the river will rise rapidly, providing good site conditions for dragon boat racing. Therefore, people named the heavy precipitation during this period “龙船水”. In traditional Chinese culture, “龙船水” contains the function of warding off evil spirits. Hence, people will bath their feet and play in the water to get rid of bad luck and attain luck when “龙船水” comes. Here, the Dai Naidie’s version translation just simply translated “龙船水” into "water". Although with the help of context, some readers can understand the translation, Dai Naidie’s translation ignored the cultural characteristics and connotation of “龙船水” in the culture of Xiangxi and the influence of ecological environment on translation. Therefore, as a translator, Dai Naidie should not only try to preserve and convey the original characteristics of Chinese culture, but follow the authenticity of the original text.(Yin, 2020: 124-128)

=====3.2.2 Analysis on Material Words=====
Material culture refers to a kind of culture between cultural relics and social relations. It involves material processes and material production, and it reflects human emotional costs and material conditions. The cultural carrier vocabulary related to material culture is a mirror image that reflects the unique material and cultural characteristics of a certain language community, including "production of transportation, daily necessities, food, medicine, clothing and measures, etc.". Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.

The word "杜鹃" was textured by Dai Naidie, who translated it into what readers of the target language will know as "Nightingale". Although the nightingale and the cuckoo refer to different things, they both represent sad images in Chinese and Western cultural backgrounds. The nightingale is the incarnation of the ancient Greek tragic woman Procony, and the cuckoo is the reincarnation of Wang Duyu, the General of water control during the war of the Seven Kingdoms -- the nightingale and the cuckoo are endowed with similar emotional images of the traditional eastern and western world respectively. Therefore, the use of nightingale instead of cuckoo not only does not cause the deviation of emotional expression, but helps western readers to comprehend the image in the original text. This approach, on the one hand, takes into account the comprehension ability and scope of the western readers, and at the same time takes into account the traditional eastern cultural color represented by the cuckoo in the original text, which fully demonstrates the excellent female translator's thinking.(Song, 2017:24-27)

“贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。” Dai Naidie translated this sentence into “On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water.” “吊脚楼”, also known as “吊楼”, is a traditional residence of Zhuang, Miao, Dong, Buyi, Tujia and other regions. “吊脚楼” are generally built on the ground by the mountains and rivers. They are supported on flat ground with wooden pillars. They are usually two or three floors. The upper floor is ventilated and dry, and is a living room; the lower floor is closed for animals or piles of debris. Gladys has adopted a free translation method here, translating “吊脚楼” into "houses are built on stilts overhanging the water", which can make the target language readers feel the exotic style of this architecture, but fails to outline the building uniqueness of cultural characteristic in Xiangxi district. It is recommended to change the translation and add footnotes. “吊脚楼”are available in Hunan, Guizhou and other places. The readers are informed that this is a “吊脚楼” building in Xiangxi through foreignized translation strategies, and then the structure and appearance characteristics of the “吊脚楼”are described by adding footnotes, which retains the uniqueness and culture of the term "“吊脚楼”". The connotation makes the target language readers know what it is, and to a certain extent it also spreads Xiangxi culture and Chinese culture.(Yin, 2020: 124-128)

=====3.2.3 Analysis on Social Words=====
Social culture refers to folk customs, beliefs, values, traditions, lifestyles, behavior patterns and organizational activities related to a certain society. The words related to social culture are representations of characteristics of the above aspects. In the long-term development of human civilization, these aspects in one society are significantly different from other societies, thus forming different cultural-loaded words of a society.

“……车是车路，马是马路，各有走法。……” Dai Naidie translated the sentence into “Castles and knights have different moves.” The sentence was able to refer to the discipline of chess game, but in Xiangxi, it contains an entirely different meaning. The “车路” and “马路” were related to the marriage custom of Xiangxi. In China, marriage is the command of parents and the good offices of a go-between. Here, “车路” means to entrust one's life events to a go-between. The go-between is invited to persuade the person of one’s heart to marry. The final success in a large part depends on the go-between’s eloquence and the other person's opinion, which is a passive way of proposing marriage. “马路” represents the initiative to take control of one’s own life events in their own hands, and to spend time and energy singing courtship. The final success depends on their own sincerity which belongs to an initiative way. Dai Naidie used the translation strategy of domestication to translate this sentence. Although it was helpful for the target readers to understand, the cultural characteristics of the sentence were not preserved. From my perspectives, we should preserve “车路” as "Che Lu" and “马路” as "Ma Lu" by using foreignizing translation strategy, and then further explain the actual connotation of these two culture-loaded words in this sentence. This not only preserves the cultural connotation of the original text, but also helps the target language readers understand the specific charm of Chinese culture.(Yin, 2020: 124-128)

“由于边地的风俗淳朴，便是作妓女，也永远那么浑厚，遇到不相熟的主顾，做生意时也得先交钱，数目弄清楚后在关门撒野……妓女多靠四川商人维持生活，但恩情所结，则多在水手方面。” Dai Naidie translated it into "Border ways are so simple that even these girls remain honest. Before entertaining a stranger, they ask for their money and count it before closing the door and getting down to business … Whereas most of the women’ s income comes from merchants, it is usually the boatmen who win their hearts."In this example, the word "妓女" appeared twice. In Traditional Chinese values, this word is derogatory, and women in this industry will not be recognized and accepted by the society. In Shen Congwen's Border Town, prostitutes in the closed Xiangxi town described by Shen Congwen still retain a simple and kind quality belonging to Xiangxi women, although they cannot belong to the mainstream group of society. They are waiting for those travelling merchants or sailors ashore, and some innocent women who had never even crossed out of town, hoping to find their true love.

Dai Naidie translated the two repetitive words "妓女" in the excerpt as "girl" and "woman" respectively. These two words are neutral words, without any derogatory or discriminatory connotation, and more consistent with the original description of women who are forced to work as prostitutes for a living. In Shen Congwen's description, these women do not take pleasure in it, nor do they indulge in self-degradation. Just because they are in the closed small town of Xiangxi, they have not seen too much of the world, and they have no ability to support themselves, so they have to engage in humble and inferior occupation. These women have their own grievances, some even pitiable. Dai Naidie felt deep sympathy for the suffering of these women and could not bear it. As a woman, she consciously avoided the use of misogynistic words and used neutral words in her translation. On the basis of a full understanding of the original text, Dai Naidie described to the target language readers the innocent and simple characteristics of the women in Xiangxi, and then showed the plain local conditions and customs of the water town in Xiangxi. This way of dealing with these women not only did not become the object of public scorn, but more than a point of innocence color; not only does it not distort the original meaning of the author's writing, but it is helpful for the author to express his hometown -- Xiangxi water town nostalgia and yearning. (Song, 2017:24-27)

=====3.2.3 Analysis on Religious Words=====
Religion is the deepest source of all cultures, so differences in religion determine differences in culture. In China, religion is carried out in the daily life of people. In the West, people's daily secular life is carried out in religion. Therefore, in the process of translating vocabulary related to religion between China and the West, the translator will inevitably have a cultural gap. In this case, it is very difficult to fully convey the cultural connotations contained in the source language and make the target language readers have the same reading effect as the source language readers.（Guo, 1998: 12-19）

“老伯伯，你翠翠长得真标志，像个观音样子。再过两年，若我有空闲能留在茶峒照料事情，不必像老鸦到处飞，我一定每夜到这溪边来为翠翠唱歌。”Dai Naidie translated this sentence into “Uncle, your Emerald’s grown into a fine girl, a regular Guan Yin [The Goddess of Mercy]. In a couple of years, if I’m able to roost in Chatong in stead of flying off in all directions. I’ll come to this stream every night to serenade her!” “观音” is a noble and elegant figure in Chinese Buddhism. In Chinese Buddhism, Guanyin Bodhisattva can save all living beings and save people from fire and water. Therefore, it is deeply believed and worshiped by the general public. For the translation of this religious and culturally loaded word, Gladys is faithful to the original work and adopts the translation strategy of "alienation". She translated “观音” into "a regular Guan Yin" and added an endnote to explain it, taking into account the acceptability of the target language readers, and at the same time giving full play to the translator's subjectivity.(Mei, 2018: 157-162)

“过了四七，船总顺顺派人请马兵进城去，商量把翠翠接到他家中去，作为二老的媳妇。” Dai Naidie translated it into “Four weeks after the funeral, the wharf master summons the groom back to the town and proposes again that Emerald should move to his house.” In our country, every seven days after death is an anniversary of death, a memorial ceremony is held. "四七" refers to the fourth anniversary of death. Dai Naidie used the translation strategy of foreignization as “four weeks after the funeral” to express the basic meaning, but is it appropriate to use “week” here? What is special about this "四七"? Why did Cui Cui take over as the second elder's wife after four or seven? Did you miss the cultural factors that are rich in it? In the text, Cui Cui’s grandpa passed away. After the "四七", Cui Cui was a filial child. Dai Naidie only expressed the literal meaning, ignoring the cultural connotation of the original text. It should be translated into “the fourth seven days after the funeral” through the translation strategy of domestication, and the "四七" should be processed by adding footnotes to explain the specific meaning. Because there is a difference between “four weeks after the funeral” and the “fourth seven days after the funeral”, the former is the fifth week after death, that is, the day of death four weeks after death, which is a general term; while the latter refers to the fourth seven days after death, refers specifically to the expression closer to the original text. This helps to attract the target language readers to understand the cultural connotation, so that the target language readers understand and spread Chinese culture.

===Conclusion===
Translation practice examines not only the translation ability of the translator, but the translator also plays a variety of roles while performing translation activities. With the improvement of women's social discourse power, women have begun to consciously assume the cultural identity of translators. As a special group of translators, in addition to choosing materials related to female growth, female translators have unique translator behavior tendencies. ''The Border Town'' translated by Gladys Dai, a female translator, embodies two typical characteristics of female translators: on the one hand, female translators tend to choose neutral words and avoid using negatively discriminatory words; on the other hand, women The translator is more keenly aware of the original author’s linguistic information, and thus puts more emphasis on emotional communication when choosing words. As an indispensable and important component of the translation community, female translators play an increasingly important role.

At the same time, although there are many existing articles on the comparison of translations of ''The Border Town'', there are not many reference translations that can be given after the comparison. There is no definite method in translation, and there is no limit to translation, and the road to translation is long. As a translator, you must dare to make breakthroughs in the process of translation and introduce new ones. When translating culturally loaded words, you must not only take into account the dissemination and acceptance of culture, the culture of the target language reader and the correct dissemination of Chinese culture, but also the loyal original language and the correct dissemination of Chinese culture. The fluent expression of the target language, flexible use of domestication and foreignization translation strategies, transliteration, and footnote methods will enable the target readers to better understand and appreciate Chinese culture in terms of vocabulary and text, and ultimately achieve the purpose of spreading Chinese culture. So as to truly realize the "going out" of Chinese culture.(Yin, 2020: 124-128)

===Reference===
Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著(2013). 边城 [M] The Border Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.

Guo Jianzhong郭建中 (1998). 翻译中的文化因素:异化与归化[J]. Cultural Factors in Translation: Foreignization and Domestication. 外国语 Journal of Foreign Languages, 2:12-19.

Guan Xia官霞 (2014). 试论《边城》中文化负载词的翻译——兼议《边城》两英译本[J] On the Translation of Culture – Loaded Expressions in Biancheng. 海外英语 Overseas English, 17:139-141.

Liu Minxia刘霞敏(2007). 翻译中的性别差异及女性身份认同[J] The Gender Difference and Identification in Translation. 外语教学 Foreign Language Education, 2: 91-94.

Mei Qing梅晴(2018). 译者主体性视角下《边城》三个英译本的比较研究[J] A Comparative Study of Three English Versions of The Border Town from the Perspective of Translator's Subjectivity. 兰州教育学院学报Journal of Lanzhou Vocational Technical College, 10:157-162.

Qi Qi祁琦(2020). 戴乃迭、杨宪益《边城》译本中文化负载词的翻译策略及启示[J] The Translation Strategies and Enlightenment of Culturally Loaded Words in the Translation of "Border City" by Gladys Dai and Yang Xianyi. 海外英语 Overseas English, 9:163-164.

Shen Congwen 沈从文(1990). 从文小说习作选. [M]. 上海：上海书店出版社Shanghai: Shanghai Bookstore Publishing House, 1990, 234-237.

Shen Congwen 沈从文(2003). 湘行散记. [M]. 山西：北岳文艺出版社Shanxi: Beiyue Literature and Art Publishing House, 2003. 01, 104-105.

Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲(2017). 从翻译行为到译者行为:戴乃迭女性译者文化身份[J] From Translation Act to Translator Act: The Cultural Identity of Gladys Female Translators. 文学教育(下) Literature Education, 8:24-27.

Sun Ningning孙宁宁,刘亦伟(2013). 流散理论观照下译者文化身份研究:戴乃迭《边城》译本个案分析[J].语文建设Language Planning, 21:49-50.

Yin Lucheng, Liu Rurong尹泸程,刘汝荣(2020). 传播学视角下中国文化负载词的英译——以杨宪益和戴乃迭的《边城》译本为例[J] On the Translation of Culture-loaded Words from the Communication Perspective: A Case Study of The Border Town Translated by Yang Hsien-yi and Gladys Yang. 湖南第一师范学院学报 Journal of Hunan First Normal University, 01:124-128.

Zhou Na周娜(2021).跨文化视域下英汉文化负载词中概念隐喻翻译现象分析[J] An Analysis of the Translation Phenomenon of Conceptual Metaphors in Culturally Loaded Words in English and Chinese from a Cross-cultural Perspective. 今古文创 JinGu Creative Literature, 42:125-126.

=14 胡舒情浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》为例On Translation Strategies of Culture-loaded Words in Traditional Chinese Medical Classics: A Case Study of ''Treatise on Febrile Caused by Cold''=

胡舒情 Hu Shuqing, Hunan Normal University, China

[[Cult_Load_Words_EN_ 14]]

=== Abstract ===
''Treatise on Febrile Caused by Cold'', written by Zhang Zhongjing in the late Eastern Han Dynasty, is one of the "Four Classics" of Traditional Chinese medicine which uses six channels as guiding principles of syndromes differentiation and treatment. The book concentrates the traditional Chinese medical wisdom, which is both scientific and literary. The writing is smooth and simple, and the language is straightforward and vivid. A large number of rhetorical devices such as reduplication of words are used to reflect the beauty of Classical Chinese. Its multiple values have led more and more scholars to devote themselves to research, study and even translation and promotion, and a number of outstanding scholars have emerged at home and abroad to devote themselves to the translation work of this book. However, it is not easy to translate this book. China has an long history and profound culture, and the book contains many culture-loaded words. The translation quality of such words directly affects the translation quality, so it is necessary to adopt appropriate translation strategies. Therefore, the author chooses the version translated by Professor Luo Xiwen as the research blueprint to study the translation strategies of culture-loaded words in traditional Chinese medicine classics, in order to promote the translation of this book to a higher level.

=== Key Words ===
cultrue-loaded words; Treatise on Febrile Caused by Cold; Tranditional Chinese medicine classics; translation strategies

=== 题目浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》 ===

=== 摘要 ===
《伤寒论》为东汉末年的张仲景所著，是以六经作为辩证论治的纲领，荣列为中医“四大经典”之一。该书浓缩了中国传统医学智慧，兼具科学性与文学性，行文流畅朴素，语言直白形象，其中大量运用叠词等修辞手法，体现了中国文言文之美。其多重价值致使越来越多的学者致力于研究、学习、甚至是翻译推广，国内外皆涌现出一批优秀学者投身该书的翻译工作中。但翻译此书并非易事，中国历史优秀、文化精深，书中包含众多文化负载词，这类词的翻译质量直接影响译文质量，采取合适的翻译策略必不可缺。因此，笔者选择了罗希文教授所翻译的版本，作为中医典籍文化负载词翻译策略的研究蓝本，以期推进该书翻译工作更上一层楼。

=== 关键词 ===
文化负载词，《伤寒论》，中医典籍，翻译策略

===1. Introduction===
In recent years, China's international influence and national soft power have gradually improved, and the country has consciously pushed Chinese culture to all over the world. Traditional Chinese medicine culture, as an indispensable part of the excellent traditional culture of the Chinese nation, has a long history and unique theories and technical methods. Classic materials are rich and humanistic spirit of TCM is amazing, and the external dissemination of traditional Chinese medicine culture is becoming more and more important. Under this background, the translation of traditional Chinese medicine in China has been gradually carried out, and the culture-loaded words in the classics of traditional Chinese medicine are important features that reflect their rich cultural color and humanistic connotation, and the translation of culture-loaded words is the key to the translation of traditional Chinese medicine. Culture-loaded words are parts of the construction of traditional Chinese medicine culture and have basic research value. They cannot be unilaterally regarded as completely untranslatable because of the differences between Chinese and Western cultures. Facing the problems of translation, it is particularly important to put forward feasible translation strategies. A large number of translators of traditional Chinese medicine classics have also emerged in China, facing difficulties and striving to show the world the classics’ cultural accumulation and research results. Among them, the translator Luo Xiwen has translated a series of traditional Chinese medicine classics such as ''Condensed Compendium of Materia Medica'', ''Synopsis of Prescriptions of the Golden Chamber'', ''Huangdi Neijing'', and ''Treatise on Febrile Caused by Cold''. As one of China's historical medical works, ''Treatise on Febrile Caused by Cold'' is a classic work of traditional Chinese medicine written by Zhang Zhongjing in the Eastern Han Dynasty. It plays an important role in the development of medical history in the cultural biography of traditional Chinese medicine. This article will discuss the translation strategies of culture-loaded words in traditional Chinese medicine classics through Luo's translation of Treatise on Febrile Caused by Cold.

===2. TheDefinition and Classification of Culture-loaded Words in Chinese Medical Classics ===
====2.1 The Definition====
Different scholars have different interpretations of culturally loaded words, but a widely accepted definition is that words, phrases and idioms which mark the unique things in a certain culture. These words are deeply imprinted by the region and times of a language society. They only exist in one culture but are blank in another culture.

In recent years, many scholars have begun to pay attention to culture-loaded words in traditional Chinese medicine classics. Some scholars have tried to give a definition of traditional Chinese medicine culture-loaded words, but there is no clear definition yet. However, scholars Zhang Miao and others put forward recognition steps and a selection standard for traditional Chinese medicine culture-loaded words. First of all, read through the text and divide the semantic groups. Secondly, judge whether the semantic group belongs to the shared vocabulary of all human culture, that is, to express one concept of things as a vocabulary in the context of one language and culture, and words that indicate the corresponding concept in another language and culture background. For example, the words "apple", "pear" and "fire" in Chinese express the same concept and corresponding words in English. If it does not belong to part of speech, then determine whether each semantic group belongs to the following three categories. First, the basic terminology of traditional Chinese medicine. Such terms are usually divided into basic theories of traditional Chinese medicine, diagnosis of traditional Chinese medicine, diseases of traditional Chinese medicine, treatment of traditional Chinese medicine, acupuncture and moxibustion, and prescriptions of traditional Chinese medicine. Second, words unique to Chinese material culture, such as unique characters and things. Third, the unique language phenomenon of ancient Chinese. Such as ancient and modern synonymous words, common false words, word polysemy, etc. If it belongs to, and there is no obvious English corresponding word in the above semantic group, it is a culturally loaded word(Zhang Miao, 2020:63-64). According to this method, this paper selects the culture-loaded words in ''Treatise on Febrile Caused by Cold'' in the following article for analysis.

====2.2 The Classification====
After fingding out the culture-loaded words of traditional Chinese medicine, it is often necessary to classify and discuss them. Different scholars have different classification methods. Xu Xueyuan divided the culture-loaded words in ''Huangdi Neijing'' into basic philosophical concepts of traditional Chinese medicine, place names, traditional Chinese medicine terms and organs(Xu Xueyuan, 2018:148-149). Zhang Xuan divided the culture-loaded words in Su Wen into people's names, traditional Chinese medicine terminology, traditional Chinese medicine-related philosophical concepts, and other descriptive cultural load parts of speech(Zhang Xuan, 2009:12-16). Song Conghui and others divided the words of cultural load into: symptoms of traditional Chinese medicine, symptoms of traditional Chinese medicine, etiology and pathogenesis of traditional Chinese medicine, treatment of traditional Chinese medicine, basic philosophy of traditional Chinese medicine, etc(Song Conghui, 2016:121-122). Chen Zinuo and others divide the culture-loaded words of traditional Chinese medicine into five categories: syndrome, symptom, prescription, philosophy and rhetoric(Chen Zinuo, 2021:1698-1700). The latter includes the classification mentioned in the first three, and also opens up a rhetorical class to make the classification more detailed and clear. Therefore, this paper adopts Chen's classification method.

===3. Translation Strategies Used for Culture-loaded Words in ''Treatise on Febrile Caused by Cold''===
====3.1 Translation Strategy of Culture-loaded Words of Syndrome====

The translation of the syndrome affects the readability of the whole translation. ''Treatise on Febrile Caused by Cold'' has been written for a long time, and the simple structure of syndrome name carries a lot of information, so there are few modern terms that can be matched with ancient syndrome names. According to the methods mentioned above, most of the terms of traditional syndrome names belong to culture-loaded words. The author selected the syndrome -type culture-loaded words in Treatise on Febrile Caused by Cold translated by Professor Luo Xiwen to study the translation strategies of these words.

There are several syndromes mentioned in translation of Professor Luo: “太阳病” “阳明病” “少阳病” “太阴病” “少阴病” “厥阴病” “霍乱病” “阴阳易差后劳复病”. Sheng Jie believes that the translation of the syndrome name should be accurate first, then concise, and there is no need to overemphasize formal equivalence(Sheng Jie, 2013:15). When the meaning of the syndrome name has the corresponding words of Western medicine, the literal translation method should be directly used, and when there is no word to use, the method of additional translation can be selected.

Luo mainly adopts transliteration and free translation for syndrome names, first transliteration, followed by free translation, extending the cultural connotation and giving readers a way to deepen understanding. The following analysis can be seen.

“太阳病” appeares in chapter I, and Luo translates it into The Taiyang (Initial Yang) Syndromes. “太阳” does not refer to the celestial body “sun”, but to the Bladder of Foot-Taiyang. The bladder is located in the lower jiao, that is, below the belly button and above the bladder, which contains body fluid, which evaporizes to form "Qi of Taiyang", which is obvious on the body surface. This Qi has the function of protecting the body, also known as "Wei-qi". Because “Wei” meaning defensive, it is also reputed as “defensive Qi”. Because the Qi of Taiyang travels on the surface of human body, when exogenous pathogenic factors invade the human body, Taiyang must bear the brunt, and the syndromes presented as 太阳病. Professor Luo first gives the transliteration form of 太阳病, and then in view of Taiyang syndromes being the first from the law of transmission, Luo also adds “Initial Yang” as an expression of this kind of law of transmission.

“阳明病” appears in Chapter 4, Luo translates it as: The Yangming (Greater Yang) Syndrome. “阳明病” is related to the stomach channel of Foot-Yangming and the Large Intestine Meridian of Hand-Yangming, which means that Yang Qi is so strong that can be observed. Luo uses "Greater" to indicate the prosperity of yang qi to help readers understand the degree of yang.

“少阳病” appears in Chapter 5. Luo translates it as: The Shaoyang (Lesser Yang) Syndrome. Shaoyang is related to Sanjiao Meridian of Shaoyang and Shaoyang Gallbladder Meridian of Foot. It is one of the three Yang, but its ability to stand up to evil is not as good as Tiyang and Yangming, so "Lesser" is used to correspond to "少" in the name.

“太阴病” and “少阴病”, which have similar names with the “太阳病” “少阳病”, just different from Yin and Yang, have similar translations, so there is no need to go into detail. It is worth mentioning that “厥阴病”, Luo translates it as: The Jueyin (Greater Yin) Syndrome. “厥” has the meaning of “extreme”. When the disease or syndrome reaches Jueyin, Yin is extremely cold. Therefore, the degree of Yin embodied with "Greater" is similar to that of Yangming.

“霍乱” appears in Chapter 9, Luo translates it as: Huoluan (Cholera). “霍”, has the meaning of “suddenly” and “haste”, “乱” has the meaning of chaos. “霍乱” is an explosive gastrointestinal disease with vomiting and diarrhea as the main clinical manifestations. Traditional Chinese medicine believes that it is mostly caused by the combination of the six pathogenic factors and unhealthy diets. In Western medicine, Cholera is more likely to be an acute diarrheal infectious disease caused by the intake of food and water which is contaminated by Vibrio cholerae. It is not appropriate to have Cholera's literal translation of “霍乱” in Chinese medicine.

“阴阳易差后劳复病” appears in Chapter 10, Luo translated it as: The Recurrence of Disease and Yin Yang Yi Syndrome. This chapter introduces two parts: one is related to Yin Yang Yi, that is, the differentiation and treatment of Yin Yang Yi syndrome caused by patients with typhoid fever when they are not healed or just recovering, giving way to their carnal desires; the other refers to the differentiation and treatment of recurring diseases resulted from that, at the beginning of recovering from an illness or no recovery, patients start to work. In this chapter, Luo does not add interpretations, but directly arranges the free translation and transliteration in a phrase. The language is concise, easy to be accepted and understood by readers, and achieve the purpose of communication between Chinese and Western medicine. As a matter of fact, observations show that Luo's translation is relatively accurate in grasping the prosperities of syndromes, and tends to use free translation to reflect the characteristics of the progress of syndromes. However, Luo still mainly uses transliteration to convey cultural information about Yin and Yang and other Chinese-specific philosophical characters. This method also has drawbacks, that is, the transmission of cultural connotation depends on the degree of such characters’ propagation and the reader’s cultural level. For some readers who are first exposed to Chinese medicine culture, the transliteration is not friendly, which is not conducive to their reception of Chinese specific cultural information.

====3.2 Translation Strategy of Culture-loaded Words of Symptom====
When describing various syndromes in the book, it also points out the symptoms of the patient who is attacked by those disease. Most of the symptoms are described in detail at the beginning, and Chinese medical books are quite different from Western medical books in terms of the degree of language rigor. About Chinese medicine books, they make good use of rhetoric and pay attention to flowery characters and rhyme beauty, which adds a literary flavor to Chinese medicine, while it also causes the ambiguity and non-standardization of the concept of Chinese medicine, which increases the difficulty of translation as well. Examples are as follows.

Example 1：阳浮者，热自发；阴弱者，汗自出。

Translation：Floating at the surface signifies Heat weak in depth signifies spontaneous perspiration.

This sentence is neatly formed and catchy to read. Luo's translation is roughly the same as the original in form. It is worth noting that Luo translates most of the character "热" which refers to heat symptoms caused by an exopathgen as "Heat" or "pathogenic Heat", and capitalized H to distinguish the "heat" from common heat.

Example 2：鼻鸣干呕

Translation：nauseous and with a tendency to snore

In response to “干呕”, Luo uses the adjective “nauseous” to express "disgusting". In fact, the original text “干呕” is closer to “retching”, which refers to only the sound and action of vomiting, but no food or only salivation. This is not the same as complete nausea. “Nauseous” the word chosen by Luo here does not fit the context of Chinese medicine. “鼻鸣” are sounds made when the breath enters and exits due to suffocation in the nasal passages. It is manifested as thick breathing like a squeak, and snoring is the sound of thick breathing after falling asleep. Luo use the translation of “snore” is rather accurate.

Example 3：不下利，但呕者

Translation：……not cause diarrhea, but rather cause nausea and vomiting

“下利” refers to having the trots in Chinese medicine. The literal translation of "diarrhea" here fits the context. Compared with using the previous term nauseous to indicate “干呕”, Luo treats the character “呕” more carefully, using two words nausea and vomit to expresse together. At the same time, ancient Chinese medical writings in classical style tend to use omissions and emphasize parataxis, while English paying more attention to hypotaxis, Luo uses the word “cause” to make sentences more coherent and clearer.

In summary, it can be seen that the translation of symptoms extremely tests the translator's Chinese and English levels and medical understandings, and a slight difference will lead to deviations in meaning. For such culture loaded words, translators also use more literal translation and omission methods, and less transliteration. But there is also a problem, that is, most of the symptom names in Chinese and Western medicine can not completely point to the same content, and this subtle difference may cause doctors to make mistakes in judgment and cause major accidents. Therefore, the translation of symptoms should be more careful, and comments can be added when necessary to help understand.

====3.3 Translation Strategy of Culture-loaded Words of Prescription====
Treatise on Febrile Caused by Cold is the "ancestor of all prescriptions", which contains many culture loaded words related to prescriptions. Chai Hui has carried out research on the English translation of the prescriptions of Treatise on Febrile Caused by Cold, using the transliteration + literal translation + Latin notation of the "three insurances" translation method for prescription names to ensure that the translation is accurate and comprehensive(Chai Hui, 2010:703-704). Luo's translation mainly uses literal translation for such culturally loaded words. Examples are as follows.

Example 1：芍药

Translation：Radix Paeoniae

The translation of medicinal materials needs to pay attention to the phenomenon of different medicines with the same name. For example, in Zhang Zhongjing's book, there is no distinction between white peony and red peony, but in modern times, white peony and red peony are clearly classified as two kinds of medicinal materials. At present, clinical physicians generally believe that white peony’s function is rather tonic and restorative, while that of red peony refers to ejecting or diarrhea, and two medicinal materials need to be used flexibly according to the condition of the disease. Professor Luo uses Radix Paeoniae to translate it in general, without any distinction or explanation.

Example 2：潦水

Translation：rain water

In Chinese medicine, “潦水” refers to rain water. Luo Zhi literally translated it. “潦水” can be used to decoct herbal medicines whose functions are to nourish spleen and stomach and remove the dampness-heat. In fact, the translator can also explain the reasons for the use of rain water in Chinese medicine after the text, which is more conducive for readers to understand the connotation of Chinese medicine.

Example 3：苦酒汤

Translation：decoction of Bitter Wine (Ku Jiu Tang)

"苦酒汤" in Chinese medicine is actually rice vinegar. Luo translates it as "bitter wine", which means wine with a bitter taste, which is not in line with the original meaning and can be misleading.

Through the above analysis, we can find that the names of the prescriptions and the materials used in the book all have specific cultural connotations of traditional Chinese medicine. There are few corresponding words in Western languages, and even if they do, they are different from the original cultural connotations of the word in the West. We need to adopt appropriate methods in translation, which not only preserves the cultural characteristics of Chinese medicine, but also facilitates the understanding of target readers.

====3.4 Translation Strategy of Culture-loaded Words of Philosophy====
The philosophy of Chinese medicine is the ideological basis and theoretical guidance of Chinese medicine, covering Qi, Yin and Yang, and the Five Elements and so on. Among them, the theory of Yin and Yang is the main line of Treatise on Febrile Caused by Cold, which is expressed as two opposite sides of the same thing or two opposite things in a unified way. Jiang Mingde and others have analyzed the polysemous nature of the term "Yin and Yang" in Treatise on Febrile Caused by Cold, and pointed out that Yin and Yang can represent multiple meanings such as pulse location, pulse condition, disease attributes, pathological characteristics, etc(Jiang Mingde, 1992:7-8). The specific meanings in terms vary according to the environment and the translators different. Some examples are analyzed as follows.

Example 1：阴阳自和

Translation：if yin and yang are still in harmony

"阴阳自和" means that after sweating, vomiting, and using the purgation method, the human body achieves Yin-yang harmony and heals through self-regulation. This is an important content of Chinese philosophy. This tends to be a kind of dynamic balance, while Luo Yi's translation of “in harmony” is more inclined to a kind of static stability, which is somewhat different from the original meaning.

Example 2：脉阴阳俱浮

Translation：floating pulse at Yin and Yang

The translations of “阴阳” here are still transliterated as Yin and Yang. As a matter of fact, the two terms here refer to “Cun” and “Chi” (the transliteration of “寸部” “尺部”) appearing as floating features. Cun pulse pertains to Yang, and Chi pulse is to Yin. Professor Luo only uses transliteration, without supplementing background knowledge and relevant contextual information, so that readers in the target language may not understand what exactly they refer to.

Example 3：伤寒阴阳易之为病

Translation：Febrile disease caused by Cold with Yin Yang Yi syndrome

Luo adopts transliteration and free translation. In regard to Yin Yang Yi, Yin and Yang here refer to sexes of male and female, among which Yin Yi is the disease transmitted from female to male; Yang Yi is the diseases transmitted from male to female. After analysis, it can be found that most of philosophical characters such as Yin and Yang are transliterated by Luo, who does not provide additional explanations or supplementary background information. Without pre-connotations, this kind of translation would make the target language readers and feel confused and think that the translated work is obscure.

====3.5 Translation Strategy of Culture-loaded Words of Rhetoric====
The language of Chinese medicine has its unique features, which are mainly manifested in its literariness, rich philosophical thoughts, and good at comparing images and analogies. Various rhetoric techniques can be seen everywhere in the book. While deepening people’s understanding of the original text, it also increases the difficulty of literary translation into English. The correct transmission and translation of the true meaning requires a solid foundation in Chinese medicine and linguistics.

Example 1四肢烦疼：

Translation：the patient feels heavy and painful in the extremities

The "烦" in this phrase, Explanation of Treatise on Febrile Caused by Cold and other books explain it as an annoyance, a kind of feeling for people. The Chinese sentence here is a non-spirited sentence to replace people with limbs. Luo’s version of the translation emphasizes people's feelings. It rather focuses on people's feelings of heavy pain in their limbs, than translates people's feelings of boredom.

Example 2：啬啬恶寒，渐渐恶风，翕翕发热

Translation：The patient feels chill and fears wind, uneasy because of a fever.

Among them, “啬啬” “渐渐” and “翕翕” manifest various kinds of rhetoric techniques. “啬啬” reflects the howling shudder look, expressing that the degree of people’s aversion to cold is severe. And “渐渐” describes the onomatopoeia of mild wind and rain, while “翕翕” describes the appearance of mild fever, but these characters are not translated in Luo's translation, and Luo adopts the omission method.

===4. Conclusion===
''Treatise on Febrile Caused by Cold'' is a classic work of Chinese medicine and a treasure of Chinese medicine culture. The translation and dissemination of this book has extraordinary significance for the promotion of Chinese culture and the connotation of Chinese medicine. The culture loaded words are the condensed form of the unique national culture, and their translation is related to the readability of the entire book. The English translation of culture loaded words in Chinese medical classics is an extremely complex cross-cultural translation activity. It not only takes cultural characteristics into account, but also reflects the characteristics of scientific and technological styles, which is a great test for the level of translators. Professor Luo’s translation of this book is the world's first fully translated English translation of TCM classics. The book was published earlier than most translations. Under the background of that time, Luo Xiwen's translation of Treatise on Febrile Caused by Cold is no doubt of pioneering significance.

The translation strategies Professor Luo chooses are basically literal translation, free translation, omission, and transliteration, with few additional interpretations. Each of these translation strategies has its own advantages and disadvantages. The ultimate goal of translation is for readers to better understand the original text, and there is definitely a great similarity between the two different medical systems of Chinese and Western medicine, which cannot be separated. Literal translation can be used appropriately, and some of Western medicine terms can be used to express some concepts of that of Chinese medicine. Literal translation is a translation method that maintains both the original content and the original form. Generally, when the target language and the original language can express the same content in the same form, we will use literal translation. However, culture loaded words are the difficulties of translation due to the vocabulary vacancy in the target language. The use of literal translation seems to be contradictory. In fact, the choice of literal translation is also for the construction of the concept of TCM culture. Although Chinese medicine culture loaded words are not only a language full of Chinese national characteristics, but also a part of the world's national culture. We should also have full cultural self-confidence. In the translation process, we should dare to retain the national cultural characteristics, express the Chinese medicine culture with the conceptual language of Chinese medicine, and present the pure and natural Chinese medicine culture to Western readers, so as to increase the understanding, recognition and respect of the Chinese medicine culture. This is why Professor Luo extensively use transliteration is his translation, which reflects his care and thought. At the same time, we have to admit that Luo’s translation also has its shortcomings, such as mistranslation or incomplete translation of culture loaded words with multiple meanings, omission of some modifiers, and no supplementary explanations for relatively large differences between Chinese and Western cultures. In the future, Chinese medicine Translation needs to continue to explore, innovate, revise and develop.

All in all, the translation of Chinese medical culture loaded words must not only maintain national cultural characteristics, but also be conducive to the understanding and acceptance of target readers. All major translation strategies are worthy of careful consideration. Only translators familiarize themselves with the original text, master the similarities and differences between the two languages, choose the most appropriate translation strategy in different contexts, and supplement the relevant cultural background when necessary to help readers understand, translations of Traditional Chinese Medicine classics can be rather outstanding.

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--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 14:07, 8 December 2021 (UTC)

=15 陈静 The Translation of Culture-loaded Words From the Perspective of Skopos Theory: A Case Study of ''Xi Jinping: The Governance of China''=
[[Cult_Load_Words_EN_15]]
===Abstract===
The Communist Party of China celebrates its 100th anniversary in 2021. Xi Jinping: The Governance of China (Volume III) was published at a critical juncture. Xi Jinping's political vision is expanded in the third version. This book provides foreign readers with a window into China's leadership and insight into China's unique governance. Hence, the book is critical in assisting foreigners in understanding China's political position in domestic and international affairs. The purpose of this article is to investigate and analyze the translation strategies of culture-loaded words in Xi Jinping: The Governance of China (Volume III) using the framework of the Skopos Theory.

===Key words===
Culture-loaded words; Skopos theory; ''Xi Jinping: The Governance of China
''

===Introduction===
this subtitle is repeated I think, you can delete this one. And delete this my sentence as well.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:48, 13 December 2021 (UTC)

===1. Introduction===
====1.1 Research Backgrounds====

Language is a cultural carrier as well as an important means of understanding specific ethnic and national cultures. Each country’s language contains more or less culture-loaded words, and the connotation of these words differs from people’s general cognition of them in the context of globalization, reflecting their own unique culture, national color, and historical context. Because each nation has its own development history, social system, ecological environment, religious beliefs, and so on, the language will inevitably derive a large number of words, allusions, and idioms condensing the national historical and cultural characteristics during the development process of history. With a five-thousand-year-long history, Chinese has amassed a large number of culture-loaded words, and translation of culture-loaded words is an important carrier for cultural readers from other countries to understand Chinese culture without relevant cultural background.

From my perspective, "five-thousand-year-long history" is a little Chinglish, maybe "five-thousand-year history" is better.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:58, 13 December 2021 (UTC)

At the specific practice level, a large number of culture-loaded words will inevitably appear in the text as a material to publicize all aspects of the country. A good example is Xi Jinping: The Governance of China (Volume III). General Secretary Xi Jinping quoted classics and used approachable language in his speech. His use of words infused with Chinese culture made this series of speeches more vivid and appealing to the audience. Through careful text reading, analysis, and summarization, it has been discovered that the culture-loaded words used in Xi Jinping: The Governance of China (Volume III) primarily fall into the following categories: Chinese political words, including political slogans and political characters; a large number of ancient Chinese poems, with cultural connotation primarily reflected in the characters, allusions, and images appearing in poetry; unique Chinese sayings and idioms; and special words with Chinese cultural connotation, such as numbers, etc. The translation of culture-loaded words necessitates translators faithfully conveying the essence and soul of their national culture while accurately and properly understanding the beliefs, customs, and aesthetic values in other national cultures in order to achieve true cultural communication. As a result, in order to achieve the goal of Chinese culture spreading, translators should carefully deal with culture-loaded words and strive to accurately convey the essence of traditional Chinese culture to target language readers.

====1.2 Research Significance====

China’s politics and policies are attracting increasing attention from the outside world as China’s overall national strength and economic development improve. The Communist Party of China celebrates its 100th anniversary in 2021. This is a significant event in Chinese ruling party's historical and political development. ''Xi Jinping: The Governance of China (Volume III)'' was published at a critical juncture. Xi Jinping’s political vision is expanded in the third version. The language in the book is rich and diverse. In addition to general political terms, the book employs rhetorical devices such as exclusion and repetition to improve the language’s persuasion. The books also contain a large number of poems, proverbs, and idioms rich in Chinese cultural heritage. A minor blunder may result in cultural misunderstanding, a negative national image, and an impact on international relations.

According to Gao Fang (2010), in the context of “Chinese culture go out”, the country has taken various measures to strengthen cultural export, but Chinese readers disregard for local literature, western readers of Chinese culture cognition, English world innate discrimination against translation work and translation strategy decisions, which reflects the difficulties in the broadcast of Chinese culture. As a result, it has piqued the interest of the domestic literary circle, the translation circle, and various publishing institutions: how to successfully realize cross-cultural communication of cultural works, how to properly and effectively solve the translation problem?

The paper uses the English translation of culture-load words in ''Xi Jinping: The Governance of China'' as the research content, and attempts to summarize and analyze the translator’s translation strategy and rationality when translating Chinese culture-loaded words from the perspective of Skopos Theory, as well as providing a reference for the English translation of Chinese cultural load words in current publicity materials.

===2. Literature Review ===
====2.1 Culture-loaded Words====

Nida proposed the theory of culture-loaded terms translation for the first time in 1945.

Nida classified culture-loaded terms into five categories, including ecological, material, social, religious, and linguistic culture-loaded terms. Ecological culture-loaded terms are words or phrases that are distinct due to their ecological and environmental conditions, which typically involve animals, plants, and climate. Material culture-loaded terms refer to physical objects that are specific to a culture, such as vehicles, food, or clothing. Social culture-loaded terms encompass a broader range of cultural content, encompassing all aspects of social life such as cultural background, social rules, history, traditions, and so on. Religious beliefs, including myths and fairy tales, are examples of religious culture-loaded terms. Linguistic culture-loaded terms are expressions with rich cultural characteristics, such as specific pronunciation, word, and syntax. From the author’s perspective, Aixela (1996) provided two primary classifications of culture-loaded terms: specialized nouns and common expressions.

Newmark (2001: 70) classified culture-loaded terms into five categories based on Nida’s research: proper names, historical institutional terms, international institutional terms, national institutional terms, and cultural terms. Proper names, according to Newmark (2001: 70), refer to “persons, objects, and processes distinctively owned by an ethnic community with singular references”. Brand names, trademarks, geographical names, names of newspapers, firms, journals, and private institutions, as well as proprietary names, are all examples of proper names, according to Newmark (2001). According to Newmark (2001: 74), historical institutional terms are “token words that give color and flavor to a period”. International institutional terms are words used by international organizations that have an official translation. According to Newmark (2001: 75), national institutional terms are those involving modern politics, finance, administration, and society. The scope of general cultural terms is broader, including ecological terms, loanwords with no specific cultural characteristics, and so on.

Chinese academics also proposed their own classifications of culturally charged terms. Tu Guoyuan (1996) agreed with Nida and Newmark’s classification and defined culture in a broader sense as human society's mental and practical activities. In a broad sense, culture is defined as a community's distinct way of life and how it expresses its ideas. Culture-loaded terms, according to Liao Huihua and Ge Lingling(2010: 101), are words, phrases, and idioms that represent unique items in certain cultures. These terms reflect the distinct activities of specific ethnic groups that have accrued over time and distinguish them from other cultures.

====2.2 The Skopos Theory====
Skopos Theory, the foundation of Functionalist Translation Theory, was proposed by Vermeer, a student of Reiss. According to Skopos Theory, the primary principle determining the translation process is the purpose of translation activities.

There are three types of purposes, according to Vermeer. To begin, there is a broad goal that a translator strives for, such as translating as a source of professional income. Second, a target text's communicative purpose in a target context, such as instructing the audience. Third, the goal of a translation strategy or approach, such as displaying structural characteristics of the source language. The theory views the source text as a "offer of information in a target culture," which is a result of constructivist comprehension theories.

The Skopos Theory states that there are three basic rules.

First and foremost, the Skopos rule. It is the highest-ranking rule for any translation, implying that translation activities are determined by the translation purpose. Each text is written with a specific purpose in mind and should be used for that purpose only. Because translation behavior is determined by the purpose of the translation, the Skopos rule is the primary rule for all types of translation.

The coherence rule is the second. This rule states that the target text must be coherent enough to be understandable given the intended receivers' background and context. At the very least, the translator should ensure that the translation is understandable to people from the target culture. Furthermore, only when the target text meets the standard of being intratextually coherent can it be expected to play a presupposed role in the communicative situation and culture in which it is received, and the audience will understand it without difficulty.

The third is the rule of fidelity. This rule focuses on the intertextual coherence between the translation and the original text, which is not the same thing. The former is thought to be inferior to the latter, and both are subject to the Skopos rule. When the purpose of the function changes, the standard is no longer intertextual coherence with the source language, but adequacy or appropriateness in relation to the purpose (Reiss and Vermeer, 1984). It is critical in translation that there is intertextual coherence between the source and target texts, and the form of this coherence depends on both the translator's understanding of the original text and the translator's translation purpose. There is only one possible intertextual coherence: maximum fidelity to the original text.

Skopos Theory’s three basic rules are intended to guide the translator throughout the translation process. In most cases, the translation cannot meet all three rules at the same time because doing so causes it to deviate from the original intention of the source text. In general, the Skopos rule should be followed by the coherence rule, followed by the fidelity rule, or, to put it another way, the need for loyalty is considered to be subject to intratextual coherence, both of which are subject to the Skopos rule. When a faithful translation of the original text cannot be effectively understood by receivers of the target text, the translator should abandon the fidelity rule and follow the coherence rule, that is, to make the translation meaningful in the target language’s communicative context and culture. If the function changes, the required standard will no longer be intertextual consistency with the source text, but adequacy or appropriateness in terms of the purpose (Nord, 2001). If the purpose necessitates intratextual incoherence, the intratextual coherence criterion is no longer applicable.

====2.3 The Translation Strategies of Culture-loaded Words====

Wang Jianguo (2019) identified four limitations in translating culture-loaded words.

First, culture-loaded words are untranslatable. Culture has a distinguishing feature that sets it apart from the culture of the target language. Culture-loaded words are difficult to translate in certain literary works because they require more explanation and thus have the potential to influence the structural and aesthetic value of the target text. Second, cultural information that is highly relevant to the theme should be translated, and explanatory notes should be included as needed. If the culture-loaded word is unrelated to the source text, the target text will most likely be deleted or omitted. If the target text translated with literal translation can be understood, then literal translation is the most likely translation strategy to be used. Third, cultural values are difficult to convey. As a result, while translating culture-loaded words with Chinese characteristics, western media translation can be borrowed. Gu Hongmin, for example, translated “君子” as “a wise man”. Western culture emphasized wisdom, whereas Chinese culture emphasized benevolence. Gu translated “君子” as “wise man” because he thought the two words were culturally equivalent. Fourth, the principle of economy should be applied in translation. Wang discovered that when culture-loaded terms in the source text have little influence on comprehending the whole article, translators can find culturally equivalent words so that the target text will be more concise.

Wang also classified translation strategies into three categories: literal translation, non-literal translation, and translating words with unique cultural information.

The first strategy is literal translation. When there are words with similar cultural meanings, a literal translation is usually used. One type of literal translation is transliteral translation, which refers to the use of pinyin to translate culturally loaded words. Because transliteral translation preserves more cultural characteristics of the source language, it is frequently used in target text of the Big Breasts and Wide Hips. A translation strategy like this can help to avoid misinterpretation of the source language’s culture.

The second strategy is non-literal translation. This translation strategy is typically used in reader-friendly texts in the target language. Such a translation strategy does not adhere to the source text and overcomes constraints in language structure, which is a widely accepted strategy among targeted readers. Nonliteral translation strategies include explanatory notes both inside and outside the main body, including footnotes and tail notes. Filling-in translation is commonly used with literal translations, but it is also one of the non-literal translation strategies. Deletion refers to the practice of translators removing unnecessary words when the original meaning is unaffected.

The third strategy is to translate words that contain specific cultural information. Wang pointed out that idioms, aphorisms and maxims, two-part allegorical saying, the common saying, idioms and proverbs are the six major categories of idiomatic expressions. In many cases, the target text contains no words or phrases that are completely culturally equivalent to the source text.

===3. Analysis of Translation of Culture-loaded Words in ''Xi Jinping: The Governance of China''===
====3.1 Translation Strategy of Social Culture-loaded Words====

Social culture-loaded words reflect social ideology, which refers to the system in the form of social and economic factors in specific classes or groups. Social culture-loaded words encompass all aspects of social life, such as social activities, historical allusions, and festival customs. Words or phrases containing social culture-loaded words will emerge from a specific social context. As a result, it encompasses a wide range of word collocations. Political terms with Chinese characteristics, Chinese common saying, and rhetoric in Chinese are examples of social culture-loaded terms.

ST: 中国在人类发展史上曾经长期处于领先地位，自古以来逐步形成了一整套包括朝廷制度、郡县制度、土地制度、税赋制度、科举制度、监察制度、军事制度等各方面制度在内的国家制度和国家治理体系。

TT: Over a long period of history China led the world in development. It forged a complete set of state and governance systems covering the court, administration of prefectures and counties, land, taxation, civil service examination, supervision and the military.

“朝廷制度、郡县制度、土地制度、税赋制度、科举制度、监察制度” are institutions in the past of China that international readers may not be familiar with. In this case, the translators use literal translation by looking for words with similar meanings in the target language and the source language while adhering to the fidelity rule. “郡县” is translated into the modern expression of “prefectures and counties”. Such a translation strategy is in accordance with the principle of efficiency in dealing with cultural information. When the cultural information in the source text has limited influence on comprehending the entire passage, most translators will use a common strategy of finding words or phrases with similar meanings. By doing so, the original context's structure is not jeopardized, and the target text can adhere to the original meaning, which meets the fidelity rule’s requirement.

A similar strategy is adopted in translating “税赋” and “土地”. As for“税赋”in ancient China, the feudal land tax and taxation are included. However, the purpose of this excerpt is only to provide context for China's magnificent culture. Translators look for culturally equivalent words so that the target text is more precise and coherent. When translating “税赋”, since feudal land tax is a unique expression of the social system in ancient China and has little influence on the meaning of the whole passage, the translators use deletion and only translate the meaning of “税”. “土地制度” is also translated into the brief version of “land”, also using the strategy of deletion. Instead, inline annotation is used by translators when translating “科举制度”. “科举制度” is a unique examination system for public officials in ancient China, and it is difficult to find culturally equivalent words for it. To avoid misinterpretation from international readers, the translators explain this noun through explanatory notes, employing the Skopos rule to ensure effective cross-cultural communication. The translators take into account the cultural backgrounds of international readers and used culturally equivalent words in the target language. The goal of these two different translation strategies is to make cross-cultural communication easier. The Skopos rule and the coherence rule have been followed as a result of these strategies.

ST: 广大青年要坚定理想信念，志存高远，脚踏实地，勇做时代的弄潮儿，在实现中国梦的生动实践中放飞青春梦想。

TT: To all our young people, you should have firm ideals and convictions, aim high, and have your feet firmly on the ground. You should ride the waves of your day; and in the course of realizing the Chinese Dream, fulfill your youthful dreams.

“弄潮儿” is a common Chinese saying that originally referred to swimmers who swim against the tide but has since come to refer to people who are brave and entrepreneurial. This phrase has Chinese cultural characteristics and comes from a poem written during the Tang dynasty. This phrase was translated literally by the translators in accordance with the fidelity rule. The fidelity rule requires translators to avoid contradicting the original meaning of the source text while making the translation more understandable in light of the cultural differences. In the target text, the translators use literal translation to directly translate “弄潮儿”, implying that people should follow the trend of the times, which also meets President Xi’s extended meaning. Certain cultural information has its uniqueness, making it untranslatable. “弄潮儿” is a distinctive Chinese expression, and “ride the waves” refers to enjoying the advantage or benefit of a particularly successful, popular, fortunate or interesting moment. It can be difficult to find phrases that are completely culturally equivalent, so the translated version restored as much of the original information as possible, demonstrating how the fidelity rule is applied in the target text.

The above-mentioned social culture-loaded terms demonstrate a high level of adherence to the coherence rule and the Skopos rule, most likely due to the fact that social culture-loaded terms vary greatly across cultures. Target readers may find it difficult to interpret translations that strictly adhere to the fidelity rule, whereas translations that adhere to the coherence and Skopos rules can better facilitate cross-cultural communication. According to the appendix’s collected social culture-loaded terms, the majority of social culture-loaded terms used deletion, literal translation, and inline annotation. These three strategies allow international readers with limited knowledge of Chinese society to comprehend China’s policies and read the volume fluently.

====3.2 Translation Strategy of Material Culture-loaded Words====

Material culture-loaded words include material products and technology invented by human beings derived from the development of society. The third volume’s material culture-loaded terms can be divided into four categories: construction, items, literary works, and names. Most material culture-loaded terms use transliteration and amplification strategies when translating literary works and names, as well as substitutions when translating constructions and products. Materials can have a variety of meanings in different cultures. For example, in Chinese culture, the terms “勤务员” and “伙夫” are distinct expressions that may not have equivalent words or phrases in English. While translating these words, translators should be aware of expressions in Western culture with similar meanings.

ST: 中华民族伟大复兴，绝不是轻轻松松、敲锣打鼓就能实现的。

TT: Achieving national rejuvenation will be no walk in the park; it will take more than drum beating and gong clanging to get there.

East and Southeast Asian musical instruments include drums and gongs. Gongs and drums, with their symbolic meaning of hyping up, can be used in times of grand celebrations in Chinese culture. President Xi is emphasizing the difficult efforts that the Chinese people must make in order to achieve national rejuvenation. As a result, the translators use the translation strategy of addition to limit the boundaries the source text may transform so that the readers can have a more precise understanding, as shown in this excerpt by how the Skopos rule is applied. Meanwhile, the translators render the phrase as "drum beating and gong clanging," demonstrating the fidelity rule. The literal translation is used here to restore Chinese cultural connotations. The fidelity rule in translation requires equivalence in meaning and refers to word for word translation. In this case, the translators have kept the names of well-known Chinese musical instruments. At the same time, the translators explain their connotations, in order to maintain the fidelity of the target text to the source text and to improve cross-cultural communication. Understanding and conveying information of “rejuvenation is no easy task” to international readers is facilitated.

ST: 天宫、蛟龙、天眼、悟空、墨子、大飞机等重大科技成果相继问世。

TT: ... with major advances made in science and technology, including the successful launch of space lab Tiangong, the commissioning of the deep-sea manned submersible Jiaolong and of the five-hundred-meter aperture spherical telescope (FAST) Tianyan, the launch of the dark matter probe satellite Wukong and the quantum science satellite Mozi, and the test flight of the airliner C919.

In material culture-loaded terms, the aforementioned Chinese innovations fall under the category of "names." Tiangong, Jiaolong, Tianyan, Wukong, and Mozi are all important cultural figures in China, representing advances in science and technology. The translators use inline annotation to further explain these terms, demonstrating the application of the Skopos rule. This type of explanatory inline annotation takes into account English readers' understanding of Chinese culture-loaded terms. It is a limitation of language form of culturally loaded terms that also facilitates international readers' understanding of Chinese cutting-edge technology. Though the length of the article is longer, semantic conveyance can be realized through the explanation that Tianyan is the five-hundred-meter aperture spherical telescope, and the purpose of the book of showing international readers China’s accomplishments is achieved. The original names are faithfully conveyed through transliteration of these advances in science and technology. On the one hand, international readers can still see Chinese culture embodied in cutting-edge technology. Readers from different cultures, on the other hand, can still understand what these terms are thanks to inline annotation, which follows the Skopos and fidelity rules.

In these examples, the fidelity rule takes precedence over the skopos rule. Material culture-loaded terms are typically objects with Chinese characteristics. In most cases, these objects will have no effect on the coherence of the target text. As a result, fidelity to the original text and facilitation of cross-cultural communication are given top priority. Transliteration and inline annotation are the most widely used methods for translating material culture-loaded terms, demonstrating that translators prioritize preserving cultural information and making target text easily understood by international readers.

====3.3 Translation Strategy of Linguistic Culture-loaded Words====
Linguistic culture-loaded words reflect phonetic meaning of language at the language family level. In contrast to English, Chinese language, particularly idioms, typically uses four-character structures. Linguistic culture-loaded terms can be found in a variety of contexts. Linguistic culture-loaded terms include idioms, classical literary prose, the two-part allegorical saying, proverbs, and so on. Linguistic terms that are culturally loaded are more difficult for international readers to understand. As a result, translators must employ translation strategies that are both effective and skillful in order to facilitate cross-cultural communication.

ST: 鸦片战争后，中国陷入内忧外患的黑暗境地，中国人民经历了战乱频仍、山河破碎、民不聊生的深重苦难。为了民族复兴，无数仁人志士不屈不挠、前仆后继，进行了可歌可泣的斗争。

TT: But with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression; its people, ravaged by war, saw their homeland torn apart, and lived in poverty and despair. With tenacity and heroism, countless dedicated patriots fought, pressed ahead against the odds, and tried every possible means to seek the nation’s salvation.

In this excerpt, “战乱频仍”，“民不聊生”, “仁人志士”, “不屈不挠”, “前仆后继” and “可歌可泣” are Chinese idioms, with distinct national characteristics in language structure and expression. These idioms have a distinct origin in Chinese culture and are inextricably linked to national culture. It is not necessary to find culturally equivalent idioms in English when translating these idioms. The Chinese nation and Western countries share a wide range of values and aesthetics. If too many idioms are used in English translation, the same tired formulas will appear. The translations of these idioms are divided into two categories based on the coherence and fidelity rule. The first is deletion, and the second is literal translation. These idioms are intended to demonstrate that, even in difficult situations, Chinese patriots are willing to press on, which has a low chance of causing cultural misinterpretation for international readers. As a result, “战乱频仍”, “民不聊生”, “不屈不挠” and “前仆后继” adopt literal translations that improved the original meaning and demonstrated how the fidelity rule is applied. “仁人志士” is translated as “dedicated patriots” because, while it originally referred to people who were charitable, its meaning later evolved to patriots, which is also translationally adapted to the context. This translation eliminates ambiguity and allows for a more coherent reading experience. Meanwhile, “可歌可泣” was removed while translators worked from a results-oriented perspective and demonstrated the outcome of their struggle, which is "tried every possible means to seek the nation's salvation." The coherence rule was followed in this case by making the reading process for the target text readers smooth and interrupted.

ST: 应该风雨同舟，荣辱与共，努力把我们生于斯、长于斯的这个星球建成一个和睦的大家庭，把世界各国人民对美好生活的向往变成现实。

TT: We are in the same boat, and we should stick together, share weal and woe, endeavor to build this planet of ours into a single harmonious family, and turn peopled longing for a better life into reality.

The translators used two translation strategies in the passage: literal translation and full implication. These strategies adhere to the Skopos rule. When translating “风雨同舟” and “荣辱与共”，the translators restore the meaning of the two idioms, because these two idioms are an essential part of the source text in the construction of meaning. However, “生于斯、长于斯” has been translated into “the planet of ours", demonstrating the adoption of full implication. “生” and “长” are part of the process, and this process is implicated in the “the planet of ours”, which is a result-oriented structure. The translators omitted the process and presented the end results to international readers, restoring the meaning, by employing various translation strategies. The use of various strategies exemplifies the Skopos rule of facilitating cross-cultural communication.

The examples above show that the coherence rule and the skopos rule can be found frequently in the translation of these linguistic culture-loaded terms. Literal translation, inline annotation, deletion, and full implication are the most common translation strategies used when translating linguistic culture-loaded terms. Linguistic culture loaded terms are words or phrases with distinct Chinese characteristics; thus, most translators adhere to the Skopos of improving cross-cultural communication and use literal translation and inline annotation to preserve cultural value. In some cases, the linguistic culture-loaded terms are too difficult to restore their implication; therefore, the translators used deletion and full implication to improve the reading experience of international readers, demonstrating the importance of the coherence rule in the target text. With the impression that international readers will be unable to fully comprehend the meaning of such cultur3-loaded words unless they have a basic understanding of the Chinese social, ecological, and cultural environment, translators should shoulder the responsibility of selecting different translation strategies under the guidance of the Skopos theory and constructing a bridge between different cultures.

====3.4 Translation Strategy of Ecological Culture-loaded Words====

Ecological culture-loaded words reflect the climatic features, natural environment and geographical conditions in an area. People from various regions have distinct expressions that reflect regional characteristics. There are three major categories of ecological culture-loaded terms: animals, plants, and places. Cows and oxen, for example, are animals that represent diligence and industriousness in China, whereas in Western countries, the expression "work all day like a donkey" is common. As is well known, the geographical environment of China gives rise to an agriculture-based culture with a large vocabulary for animals and plants. It explains why many idioms in Chinese and English have completely different meanings. To help international readers fully understand different cultures, translators should use different strategies when translating ecologically and culturally loaded terms. The following examples will demonstrate the use of translation strategy.

ST: 坚定不移“打虎”、“拍蝇”、“猎狐”

TT: We have taken firm action to “take out tigers”, “swat flies”, and “hunt down foxes”.

In Chinese culture, the tiger is both a revered entity and a hunted beast. Tigers are used as a symbol of vigor and vitality in Chinese idioms such as “虎虎生威” (forge ahead with the vigor and vitality of the tiger) and “生龙活虎” (with furious energy). Nonetheless, there are numerous expressions and literary works in which tigers are portrayed as ferocious villains, such as the stories of Wu Song or Li Kui beating tigers. President Xi Jinping’s expression here is reminiscent of tiger figures in fiction, in which heroes battle tigers. The image of a tiger has various meanings in Western culture as well. On the one hand, it is associated with beauty and power, but it has also been referred to as a man-eater on numerous occasions. Tigers are described as “burning bright” and “dare seize the fire”, but it also appeared in Jim Corbett's adventures in India, where he used to hunt "man-eaters," including tigers. Because the images of tigers are so similar, the translators used literal translation in their translation strategy under the rule of fidelity. To save space, translators will use literal translation when a targeted language has words with the same or similar cultural meaning as the source language. Meanwhile, the ecological culture-loaded term revealed the Skopos theory’s fidelity rule. “打虎”, “拍蝇” and “猎狐” are expressions with Chinese roots. Fighting corruption is like fighting tigers, flies, and foxes. Tigers and flies can refer to corrupt officials at various levels in these expressions, while the original meaning of the source text is preserved. It is difficult to find words in Western culture that are culturally equivalent to these ecologically loaded terms. Therefore, the translators did not change the meaning of source text by using literal translation. Such selection of translation strategy shows how fidelity rule is applied.

ST: 深入开展调查研究，解剖麻雀，发现问题。

TT: We should conduct in-depth research to identify prominent problems.

In Chinese culture, there is an old proverb of “麻雀虽小五脏俱全”, which means “A sparrow may be small but it has all the vital organs”. Sparrows can represent small but vital items, whereas such expressions are difficult to find culturally equivalent terms in Western culture. The similarity between “解剖麻雀” and “发现典型” is understandable in Chinese, but the literal translation of “anatomy of a sparrow” may be difficult to grasp for an international audience. As a result, translators use deletion to make target text more fluent without affecting the original text, and the coherence rule is demonstrated in the translation strategy selection. The translation of “解剖麻雀” is omitted, and the translation of “发现典型” encompasses the extended meaning of “sparrow as the major problems”. If both terms are translated, the English expression will be reductant and not conform to English expressions. According to the coherence rule, the author omitted the explanation of why sparrow means prominent problems to facilitate readers’ reading experience and made the reading uninterrupted.

The example above show that when translating ecological culture-loaded words, translators would consider three rules of the Skopos theory, with the coherence rule taking precedence. It is most likely because most ecological culture-loaded words are names of places or animals, which may be unfamiliar to international readers. To ensure that target readers read in a consistent manner. In translating ecologically loaded terms, the translators use literal translation (including transliteration, implication, and deletion). The mixed-use of translation strategies revealed various rules that are used in translation.

===4. Conclusion===

Since the publication of ''Xi Jinping: The Governance of China (Volume III)'', it has served as the Chinese government's authoritative voice and a window for the rest of the world to understand China's policies. It crystallizes Chinese governance theory and practices and has high research value.This thesis is concerned with the classification of culture-loaded words, their translation strategies, and how these strategies demonstrate the application of three Skopos theory rules.

The Skopos theory, according to the analysis of these examples, can be used as a guiding principle for translating texts similar to those in ''Xi Jinping: The Governance of China (Volume III)''. The Skopos rule states that the translation strategy is determined by the purpose of the target text. The coherence rule, also known as intertextual coherence, requires readability in the target text and will not cause dyslexia in grammar or logic. Using the fidelity rule, the target text should be faithful to the original text. However, the fidelity rule does not require literal word-for-word translations; rather, it necessitates flexibility on the part of the translator.

Following a brief examination, it is discovered that culture-loaded words in ''Xi Jinping: The Governance of China (Volume III)'' can be divided into four major categories, with social and linguistic culture-loaded words accounting for the lion’s share. The coherence rule is frequently demonstrated in the translation of ecological culture-loaded words. Names of places or animals are examples of ecological culture-loaded words. To achieve coherence in the target text, the translators employ literal translation (including transliteration), implication, and deletion strategies when translating ecological culture-loaded words. The fidelity rule and the Skopos rule are frequently seen in target text when translating material culture-loaded words. The majority of material culture-loaded words are objects with Chinese characteristics. Transliteration and inline annotation are the most widely used, demonstrating that translators prioritize being faithful and making target text understandable to international readers. The translation of social culture-loaded words demonstrates a high level of adherence to the coherence and Skopos rules, which is likely due to the fact that social culture-loaded words differ greatly across cultures. The majority of social culture-loaded words were deleted, literal translated, or annotated inline. These three strategies promote coherence in the target text, making it easier to read and comprehend. Linguistic culture-loaded words are words or phrases that have distinct Chinese features. When translating terms of this nature, the translator usually adhered to the coherence and Skopos rules. Literal translation, inline annotation, deletion, and full implication are the most common translation strategies used when translating linguistic culture-loaded words.

To sum up, different translation strategies are very important and indispensable. Different translators would adopt different translation strategies when translating culture-loaded words due to the constraints of history, politics, culture, language and translation objectives. In order to better carry out the translation and transmission of literature and culture, different translation strategies should be used together to supplement each other.

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Culture loaded words

2021-12-14T05:56:10Z

Zhou Xiaoxue: /* Conclusion */

'''Culture Loaded Words'''

[[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]

30 Chapters（0/30)

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=1 羊叶 The Analysis of Culture-loaded Words of English Subtitle Translation in Chinese Movies-Taking Farewell to My Concubine as an Example =
[[Cult_Load_Words_EN_1]]

电影中英译字幕文化负载词的翻译分析——以《霸王别姬》为例
=== Abstract ===
Nowadays, popular films are increasingly active on the Internet. Confronting such a mass need for film translation, subtitle translation is winning more favor compared with traditional dubbing translation. This paper, taking Farewell My Concubine as an example, analyzes the strategies and methods of translating culture-loaded words. The conclusions are as follows: In terms of translator, translator needs to be super proficient in Chinese and English. In terms of translation strategies, domestication and foreignization are unity of opposites and complement each other, so there is no absolute and pure domestication and foreignization. In terms of translation methods, when translating the culture-loaded words, Linda Jaivin mainly adopted literal translation, free translation, specification, generalization and omission to nearly successfully preserve and convey the essence in Beijing dialect and Beijing Opera in China.

=== Key Words ===
Subtitle Translation; Farewell My Concubine; foreignizing method; domesticating method
=== 摘要 ===
如今，电影在互联网上越来越受欢迎。比起传统的配音翻译，字幕翻译更受青睐，电影对字幕翻译的需求巨大。本文以电影霸王别姬为例，分析翻译文化负载词时所用的翻译策略和翻译方法。结论如下：就译者而言，翻译者需精通中文和英文两种语言；就翻译策略而言，归化与异化两者对立且相互统一，没有绝对的归化、异化之说；就翻译方法而言，在翻译文化负载词时，贾佩琳主要采用了意译、直译、具体化、一般化、省略等翻译方法，成功地保留和传达了北京方言和京剧的国粹部分。
=== 关键词 ===
字幕翻译；霸王别姬；异化；归化
=== Introduction ===
1.1Research Background

Innovation of information technology brings energy for the advancement of broadcasting ways of film and television programs. More and more foreign popular films are increasingly active on the Internet; more and more local films with Chinese elements are also introduced abroad. Researchers on subtitling translation are becoming more and more important.
China's Opening-up and Reform facilitates the cultural communication between China and the outer world. In the introduction of foreign films and TV plays, language understanding becomes an obvious barrier for audiences. Two major solutions to solve such a barrier are dubbing and subtitle translation. "Subtitles sometimes referred to as captions are transcriptions of film or TV dialogue presented simultaneously on the screen." Relatively, the latter one is more favorable than the traditional dubbing way because of its cost-effectiveness, short producing cycle and audience-acceptability. With higher educational background and foreign language level, many Chinese audiences expect that films can be displayed with “a natural and original flavor” nowadays.
Under such circumstances, subtitle translation seems to be more acceptable to get access to foreign audience. Among so many elements involved in the subtitle translation process, the translator plays the most significant part, thus becoming a key and central element in the subtitle translation system. Therefore, a good subtitle translation with “a natural and original flavor” sets high and strict requirements for the translator.（Liao, 2000: 231）

1.2 Brief Introduction to Farewell My Concubine

Farewell My Concubine, the film version adopted in this thesis is the 1993 one whose heroes and heroines are Duan Xiaolou (acted by Zhang Fengyi), Cheng Dieyi (acted by Zhang Guorong) and Ju Xian (acted by Gong Li) respectively. In the film, Xiaolou and Dieyi are fellow apprentices learning Beijing opera performance together from childhood. Later on, their cooperation in the opera Farewell My Concubine makes them famous overnight throughout Beijing city. Thereafter, they make a promise to each other that they will perform Farewell My Concubine together as long as they are alive. However, their different understandings of the relationship between the opera and life finally lead to their different choices: Until mid-age, Xiaolou deeply knows that the opera isn't his whole life, so he gets married with a famous whore called Juxian; Dieyi, however, becomes totally immersed in the complicated plots and role relationships of the operas, especially Farewell my Concubine. Around such a classic and famous opera, the love and betrayal among them become escalating with the changes of times and eventually develops into a tragedy.
It is the first film that won the Golden Palm Prize in mainland China. It has been keeping the highest-grossing record of Chinese melodrama movies in America which also marks the climax of Chinese films in America. Meanwhile, it also got great box-office successes in such countries as Japan, Germany, Korean, France and so on. It should be concluded that Farewell My Concubine has achieved great success both in the art and business.
In Farewell My Concubine, Beijing Opera art is the central cultural element. It is a typical representative of classical Chinese literature art. Taking it as a case study, general and concrete subtitle translation strategies can be concluded to improve translation quality of similar subtitle translation works.

1.3 Brief Introduction to translator Linda Javin

Linda Javin, the subtitle translator of Farewell My Concubine, is a suitable and qualified person for both the director and the audiences. Since 1976, Linda has been playing an important and active role in broadcasting, studying and exploring Chinese culture. As an internationally renowned sinologist, translator and writer, Linda Javin has made great efforts in learning, feeling and appreciating Chinese culture. It is really a tough time full of difficulties and hardships under the specific social conditions then. After years of efforts to learn Chinese language, history, literature and many visits to China, Linda has begun to embark on her Chinese literary writing career recently. All these can prove that she is really a competent and qualified subtitle translator of Farewell My Concubine. Her wonderful bi-lingual and bi-cultural competence does give her favorable advantages in translating.

=== Analysis the Translation of Culture-loaded Words ===

2.1 Introduction to Culture-loaded Words

Gonzalez Davies and Scott-Tennent (2008, p.783) put forward a definition of cultural references in detail, which is "expressions (audiovisual, verbal, textual,
non-verbal) that are concerned with ecological, material, religious, social, emotional, and linguistic manifestation. In addition, these expressions are specific to a particular community, and they are recognized as a particular feature of that community. Such expressions, however, may lead to difficulties in comprehending these words or translating these words." And in China, a scholar defines it as "the words, phrases and idioms that mark the unique things in a culture." These words reflect the unique way of activities gradually accumulated by a specific nation in the long historical process, which is different from other nations.（Liao, 2000: 232）

It is more diverse to classify Culture-loaded words because China is an ancient national with a history of more than 5,000 years. In this course, many Culture-loaded words have accumulated continuously. Among all the materials, some scholars divide Culture-loaded words based on specific elements such as language and culture. Since different scholars hold different views on the classification of Culture-loaded words, and hence the fist can go on and on. Here is a well-accepted way by Nida. Nida (1945, p.196) divided language and cultural characteristics into five categories:(1)Ecological culture; (2)Material culture; (3)Social Culture; (4)Religious Culture; (5)Linguistic Culture.

2.2 The Features of Subtitles in Farewell My Concubine

Through comparison and analysis, the main language features of the Chinese lines of Farewell My Concubine are concluded as below: concise but emotional dialogue; strong Beijing Opera and Beijing dialect flavor; sharp but implicative expressions; rich of slang and idioms. All the features are drawn from the corresponding lines in the film and all these analysis in the language following features will be illustrated combining with the specific case interpretation. Thus, different translation strategies at different levels can be generalized and concluded to cater for the different language features.

The film takes place in Beijing and is thus featured with rich local color. The most obvious feature is the use of Beijing dialect. Beijing dialect is the basis of standard Mandarin, but there are some differences that make it easy for Chinese people to recognize which is which. Most prominent difference in phonology is the proliferation of rhotic vowels which results from the non suffix “儿” in vocabulary, Beijing dialect has a lot of words that are considered slangy and therefore occur much less or not at all in standard Mandarin. Some non-Beijing natives find it hard to understand what most of them mean, let alone foreigners. A dialect tells about the user's social class, status, profession, and many more. That is why so many translators are taking pains.

Beijing Opera is exactly a colorful part of the film has depicted. Beijing Opera was formed during the period of Daoguang(1821-1850). At the beginning, actors from Chu Opera such as Wang Honggui and Li Liu came to Beijing to perform in the Drama of Hui School. Later, combined with Erhuang melodies and Xipi melodies, in the same time, actors also absorbed the advantages of Kun, Beijing and Qin tunes from their respective schools. Beijing dialects were adapted to adapt to Beijing customs. Thus, it took shape initially. Gradually Beijing Opera developed into the most influential opera in the country. The characters in the whole film have a strong Beijing accent, and many opera excerpts in the film such as Farewell My Concubine, Peony Pavilion and Drunken Imperial Concubine are presented for many times. So it is inevitable to translate many professional terms.

2.3 Cases for Analysis

2.3.1 Brief Introduction to Translation Strategies

Before the specific analysis, let's have a understanding of two basic concepts of domestication and foreignization, which are important strategies in translating culture-loaded words.

The translation theory of domestication and foreignization was first put forward by Schleier Macher, a famous German translation theorist. In his book published in 1813, he put forward that there are only two ways of Translation: one is to guide the readers to get to know the author as much as possible; the other is to guide the author to get to know the readers as much as possible. In 1995, Lawrence Venuti, an American Italian translator, wrote in his important work The Translator's Invisibility, the first method described by Schleier Macher is called "foreignizing method" and the second method is called "domesticating method". That is to say, domestication is oriented by target language, while foreignization is oriented by source language.

As for Linda Javin, she once mentioned in an interview that in the face of the cultural essences in the lines, she adhered to the strategy of domestication in her translation and did not deliberately maintain the oriental flavor contained in the dialogue. Frankly speaking, she doesn't appreciate the way of retaining Pinyin combinations and then adding a lot of notes to make foreigners understood. If Chinese is pleasant to the ear, don't let the expression heard awkwardly in English. So the simplicity and directness are put above everything else to make it easy for the audience to understand.

2.3.2 Cases of Translation Methods

2.3.2.1 Literal Translation

As one of the common methods of translating culture loaded words, literal translation is to translate the source text according to the literal order or meaning, which can retain the original characteristics of Chinese language and culture.

E.g.1世卿世受国恩

岂敢昧法？

更不敢当众违背天理良心。

The government has always been good to me,

I wouldn't dare deceive the court.

Nor would I betray the laws of Heaven or my own conscience.

“天理”“良心” are terms that are quite commonly-used words in China. From literal works to daily talks, from traditional plays to modern films, such kind of expressions are useful guidelines to arouse Chinese People's self-reflection. They are invisible ethical rules guiding people's behaviors. Since they are so local and traditional, it's not surprising that it is a little complicated for foreign audiences to figure them out. Based on the "literal translation" principle, Linda brings "Heaven" into her translation. In Christian culture, "Heaven" serves as the source of various moral concepts and systems. "Heaven" and "God" are existed to guide and restrict people's behaviors. Linda's translation has wonderfully adapted to the target eco-environment and is really worthy of referencing of the subtitling workers and learners.

E.g.2磨剪子来，镪菜刀

Bring your knives for sharpening? Sharpen your knives.

Sharpening knives is a traditional craftsmanship that is disappearing in China. Their dreich yo-heave-ho can evoke many people's memories of childhood. Such lively lines full of traditional Chinese cultural elements, on the one hand, are not so easy to translate; on the other hand, deserve more efforts for the foreign audiences to figure out. Considering all these factors, Linda pays attention to the retaining of its central meaning. Actually, a more literal translation method "Sharpen your scissors, sharpen your knives" may achieve more active functions here. It's the easiest to understand, and it can save viewing and thinking time as well. As for some complicated cultural terms, the best way, the easiest as well, maybe literal translation, which can avoid misunderstanding and superfluous deducing. Finally, they benefit a lot to saving viewing time.

E.g.3什么时候洞房花烛夜啊？

What’s the time of Candle-lit-night in the Bridal Chamber?

“洞房花烛夜” is a typical expression in ancient times of China, which means the golden night of the new husband and new wife on the day they get married. The night usually is beautiful and memorable and it is the first night the new couple. As for this line, Linda did not specifically explain what is the “洞房花烛夜” , instead she use the literal meaning to depict a picture of the special night, translating “花烛夜” to “Candle-lit-night”, which is so warm and beautiful.

E.g.4横扫一切牛鬼蛇神！

Sweep away all Cow Demons and Snake Spirits!

There is an article titled “Sweep away all Cow Demons and Snake Spirits!” published on the People's Daily on June 1, 1966, which marked the climax of the Proletarian Cultural Revolution. The "Cow Demons and Snake Spirits" represents the old ideas, cultures, customs and habits that have poisoned Chinese people for thousands of years. Under the call of the Party Central Committee and Chairman Mao Zedong, hundreds of millions of workers, peasants and soldiers, revolutionary cadres and intellectuals, swept away a large number old things entrenched in the ideological and cultural position. Its momentum is like a storm, with extraordinary rapidity, breaking the spiritual shackles imposed on them by the exploiting class. Using “Cow Demons” to express “牛鬼”, “Snake Spirits” to express “蛇神” is direct, clear and distinct.

2.3.2.2 Free Translation

Free translation is the translation by meanings. That is to say, the translation is done according to the real meanings of a sentence or even a paragraph, instead of completely word to word.

E.g.1他祖师爷不肯赏饭吃，谁也没辙。

But I have no place for him. What can I do?

“祖师爷” is similar to "forefathers" to some extent in China's history. Without knowledge of the specific historical period, foreign audiences won't understand its exact meaning. Perhaps we can understand it as "destiny" "fate" or "god" of western culture, there are still cultural differences between them. From the plots in the film, we know that Mater does not want to accept Little Bean as his disciple, so he explains that Little Bean is not destined to be an actor. From this perspective, "destiny" is the most ideal choice to express the original meaning. Considering all these factors, Linda uses the strategy of "free translation" to put it as "I have no place for him" to refuse Little Bean's mother. Thus, she makes the lines easier to understand, and meanwhile, to avoid leading to a cultural misunderstanding.

E.g.2今儿个是破题儿，文章还在后头哪！

This is just the beginning. Wait till you see what's in store.

“破题” once appeared in "Romance of the Western Chamber” by Wang Shipu, a playwright of Yuan Dynasty. Since then, it has been widely used in various circumstances to refer to "the first time". From the translated version, it's clear that the translation of “破题” as "beginning" exhibits that the subtitle translator, Linda Javin, is quite familiar with the usage of the old Chinese words.

E.g.3真他妈想当太太奶奶啦你！

做你娘的玻璃梦去吧。

你当出了这门，把脸一抹擦，你还真成了良人了？

So you want to become a rich man's wife!

Go live out this goddamn fantasy' then

Don't think that when you walk out this door, you'll become a lady of virtue.

“太太奶奶” has different meanings in China in different social contexts. Without thinking or checking it, it's easy to translate it as "grandmother" "lady" or something like these. Besides, “良” means "good, kind", but here, “良人” doesn't mean "a good, kind or nice-hearted person", instead, it refers to the woman who has abandoned prostitution and become a traditional honest and good woman. Linda's translation of "a lady of virtue" is quite authentic and loyal to the original text.

E.g.4那么日后踏雪访梅，再谈不迟。

Ah, then we shall exchange poetic thoughts some other day.

“踏雪访梅” extracted from Night Vessel, written by Zhang Dai of Ming Dynasty. Originally, it's used to refer to describe the enjoyment with the beautiful scenery and the pursuit for wonderful poems of the ancient poets. In Farewell My Concubine, Mr Yuan invites Xiaolou and Dieyi to his house to have some wine and chat about certain details of the opera. The latter example is also full of cultural terms, which is said by Nakun when he tries to encourage Dieyi to talk with Xiaolou hurriedly and actively. In both examples, Linda deals with the cultural elements skillfully and flexibly.

E.g.4这武二郎碰上西门庆，不打，不打能成吗？

You know the old story about Pan Jinlian's husband meeting the man who screwed her? Did he have any choice but to fight?

It's an old story about Pan Jinlian and his husband in ancient China. When performing translation, a translator needs to place the specific written text under some relative social and cultural backgrounds. This is useful and meaningful for a better and comprehensive expression of the original meaning. The story of “武二郎”“西门庆” is typically traditional Chinese cultural element, the translated text can't be formed without relative culture knowledge. For some literary allusion, stating its general meaning to offer a general idea is very helpful for the audience to grasp the central meaning.

E.g.5这妞够厉害的呀！

What a dragon lady!

Different cultures have different cultural prototypes. Dragon is a propitious symbol in China. As a Chinese totem, all Chinese people see themselves as the grandsons of the dragons. It's a positive and lucky symbol for Chinese people. However, because of the cultural differences, the "dragon" in Western countries means more evil than good. Its fierceness and grisly outlooks make people feel uncomfortable. Thus, "a dragon lady" here, on the one hand, can show Ju Xian's courage for true love; on the other hand, the image of "dragon" can clearly show to the foreign audiences that Ju Xian is at the bottom of the society and she is despised by the social group. Linda's choice of "dragon" clearly shows her comprehensive consideration for the complicated circumstance then.

E.g.6关师父：各位爷，多捧场了啊!

Master Guan: Ladies and gentlemen, enjoy the show!

“各位爷” is a conventional Chinese way to address the male spectators with respect. However, in English, there is no such a counterpart. Therefore, the translator substitutes it with "Ladies and gentlemen", a conventional way to address the audience of a performance in English. “多捧场了啊” is also conventional in indicating the beginning of a show and literally means "support our show". However, the English convention has it as "enjoy the show." The translator thus conforms to target conventions to avoid deviation from audience's "expectancy norms" which are established by the native text in the receiver target of the translation, by their expectations of what a target language should be like.

E.g.7小石头：嗬，够横的你。

Shitou: You are really something.

“横” in Beijing dialect means harsh and unreasonable, "Be (quite or really) something" is an informal expression referring to a person or a thing is of consequence. In the above example, the replacement of “横” by "be really something" shows that Shitou is impressed by Douzi's arrogance and reveals Shitou's generous nature. Although his kindness to offer a sleep place to Douzi is unappreciated, Shitou does not say something harsh. If it is translated into "You're unreasonable", it would be too straightforward.

2.3.2.3 Generalization

Generalization is defined as the type of modulation in which the dissimilarity between source text and target text transemes is characterized by a shift towards greater generality in target text; as such it contrasts with the opposite phenomenon of specification. Generalization is acceptable if target text has no suitable alternative, or if the omited detail may be gleaned from the target text context or is just not important.

E.g.1不罚，不罚你永远是下三滥。

还想成角？做梦。

And if I don't punish you, you'll always be third-rate.

You want to be a great actor? Dream on!

“下三滥” is a traditional Chinese expression that describes some impuissant and footling people in the lower class status in China. To avoid misunderstanding of it, Linda just translates it as "the third rate", simply and concisely. As for “角”, it's a technical term specially used in dramatic performance referring to leading roles in dramas. But “成角” here means becoming a famous actor or actress. Linda's translation retains the most important and essential meaning.

E.g.2依我看，只要是唱西皮二黄，它就是京戏。

I say if it uses the traditional forms, then it’s the Beijing Opera.

"Xipi Erhuang" is a professional term in drama. "Xipi" and "Erhuang" refer to two different vocal cavities respectively. Xipi originated from Qin opera. Its singing is lively and high pitched, generally being used to express cheerful and excited feelings. Erhuang comes from Anhui. The tone of Erhuang is more stable and serious. In the development of drama, Xipi and Erhuang went through a process of slow integration. If the translator transliterates the tones of "Xipi" and "Erhuang" respectively in the subtitles, on the one hand, the audience without the knowledge of Peking Opera can not understand it completely; on the other hand, the subtitles have space limitations, and the letter translation should not be too long. Here, Linda generally translates it as "the traditional forms" to give the audience an abstract understanding.

E.g.3反正这两杯子也沾上了四旧了

Anyway, jade cups were part of the old society

With abundant political background, on August 8th, 1966, as the film mentioned “in the era of Communist revolution, the on-going Great Proletarian Cultural Revolution will be a revolution that reconstructs people’s mind”. "四旧" as a derogatory word, refers to the collective name and general designation of old ideas, including old culture, old customs and old habits. For a time, streets, factories, communes, time-honored stores and schools were changed into revolutionary names such as "Anti-road Construction", "Dongfeng Store" and "Red Guard War School" , destroying the authority of "bourgeois reactionary academic authorities" such as scholars, writers, artists and scientists. Violence became commonly seen in the streets. Instead of illustrating what is “四旧”, Linda chose “old society” to generally express the real social situation at that time, almost everything should be put out the label of “old, bad” to be accused and criticized.

E.g.4尘世中，男子阳污，女子阴秽

There is foulness in both men and women.

This sentence comes from the mouth of Mr Yuan, a drama addict. The word "尘世" is unique to Chinese. It is used by Buddhists or Taoists to refer to the world, with a deep religious color. However, the main religious belief in western countries is Christianity, and "尘世" has no corresponding word in English. In this sentence, Linda translated the sentence into existential sentence, which is a good way to generalize the meaning of the word. In fact, this sentence means that in the eyes of people who believe in Buddhism or Taoism, men and women on earth are all dirty. If the translator rigidly corresponds "阳污" to "man" and "阴秽" to "woman", the translation will only overlap meaning, resulting the translation not authentic.

E.g.5来给师哥勾勾脸

Will you give me a hand with my make up?

The facial makeup in Peking Opera is a special makeup method. The traditional facial makeup mainly refers to clean facial painting. "勾脸" is one of its painting techniques. In order to let the audience clearly understand the meaning of dialogue, it is literally and generally translated as "make up".

2.3.2.4 Specification

Specification is distinguished from the other type, generalization, in that here the shift which occurs between source text and target text in the direction of a higher level of explicitness. In other words, a shift towards greater specification will produce a transeme the meaning of which is made more precisely, by either the addition of extra words or the use of words with a less general meaning.

E.g.1别介，都是下九流谁嫌弃谁啊

Don’t be foolish. Prostitutes and actors are equally despised by society.

The mother (prostitute) of the little boy (Cheng Dieyi) took him to the troupe and hoped that the master would accept him. After seeing the little boy's sixth finger, the master said he had no gift to sing. So the mother knelt down (sexually) and hinted that the master would benefit as long as he accepted the disciple. So the master said this sentence. There is a saying of "三教九流" in ancient China. The three religions here refer to Confucianism, Taoism and Buddhism. The nine religions are divided into upper, middle and lower levels. The translator does not directly translate the "inferior" but translates the contents of the reference, which not only makes the meaning more thorough, but also does not increase the viewing obstacles of the audience.

E.g.2小爷我今儿练的是九转金炉的火丹功。

I have been practicing Kungfu to keep myself warm.

When dealing with those terms with strong cultural meanings, it's proper and wise to conclude some specific tiny terms into a general broader concept. As a result, the translator can save efforts; the audiences can get the general meaning without being entangled in those unimportant tiny details. Kungfu in the translated text, though fails to express the original Taoist cultural meanings, it really saves much screen space and viewing time, thus, it's easier for foreign audiences to understand.

2.3.2.5 Omission

Being opposed to "addition", omission means that some words in the original text do not need to be translated, because although there are no specific words in the translation, potential meaning has been shown. In other words, omission is to delete some unnecessary words, or words that are cumbersome or contrary to the language habits of the translation. But omission does not delete any ideological content of the original text.

E.g.1各位爷都站好甭动。真钱买真货。我小石头今儿个玩儿真的,让爷儿们都开开眼。

I'll give you something to look at.

This scene describes Little Stone and his partners was performing in the street to earn money, but no one gives a reward. In order to attract the audience, Little Stone decided to perform a wonderful show. He decided to hit his head with a brick, so he said the above lines. Because the morpheme of the actor is fast, the picture switches to that he hits his head with a brick as soon as the voice falls, so the translator uses a short sentence to express it. This not only does not affect the audience's viewing of the wonderful picture, but also completely expresses the semantics.

E.g.2他这一亮相,那台底下听戏的人不都吓跑了。

He would scare off the audience

This line is what Master Guan said to Little Bean's mother when he found an extra finger on Little Bean's right hand. While speaking this line, Master Guan stretched out his right hand and made an appearance of being on the stage. Therefore, if the translation of "his appearance" is omitted, this meaningless information vocabulary can be deleted naturally, which does not affect the audience's understanding of the plot at that time, also does not deviate from the meaning of the original lines, and will not cause the audience's confusion. It is a good way to accurately convey the information and let the audience understand the content of the film.

E.g.3陈:唉，袁四爷今儿个来看戏

段:没见我盖着唢呐唱吗？把血都挣出来了

Chen: So, Master Yuan has come to see us tonight.

Duan: I know. I sang so loudly I drowned out the horns.

“今儿个” is a typical time indicator in Beijing dialect. It usually refers to "today". In view of the context, it can also be translated as "tonight". In translating Duan's response, the translator tries to relay its meaning than to represent its form. She omits “把血都挣出来了”，also a typical dialectal expression, which literally means "drive the blood out" and "do very hard" in the real sense. "I sang so loudly" is added to facilitate understanding. The translator also makes efforts to find the most understandable way from the target culture.

===Conclusion ===
3.1 The Conclusion

In terms of translator, translator needs to be super proficient in Chinese and English. In terms of translation strategies, domestication and foreignization are unity of opposites and complement each other, so there is no absolute and pure domestication and foreignization. The translator, the recreator of dialogues in the process of translation, should choose the most appropriate translation strategy to reconstruct the meaning of the original text. In terms of translation methods, when translating the culture-loaded words, Linda Jaivin mainly adopted literal translation, free translation, specification, generalization and omission to nearly successfully preserve and convey the essence in Beijing dialect and Beijing Opera in China.

3.2 Advice

Due to the cultural differences behind translation, some films cannot achieve the same effect abroad as at home. It is true that the two important purposes of subtitle translation are to provide the audience with plot information and to convey the cultural connotation contained in the film. Plot information is the premise of cultural connotation. If the audience of target language cannot understand the plot, it is difficult to achieve cultural communication. Therefore, in the face of handling with culture-loaded words in subtitles, the translator should focus on the purpose of information, put letting the audience understand the film content above everything else, and then give consideration to the cultural purpose.

The subtitle translation in Farewell my concubine mainly adopts the domestication strategy rather than foreignization. Truly speaking, foreignization can retain the cultural characteristics of the original language in translation, making the readers of the target language feel the exotic customs and the unique charm of the source culture. Foreignization could be taken as a means of resistance to the cultural colonial policy of the strong culture, break its "domestication" and strive for winning a place for the weak culture in the forest of global culture. Therefore, there is still a long way for Chinese translators to spread Chinese culture to the countries abroad.

===References ===
Xiao Xiang. The Transmission of Peking Opera Culture in the English Subtitle Translation of Farewell, My Concubine[J]. Frontiers in Educational Research, 2020, 3.0(13.0)

Nan Wan. Subtitling and its Acceptability in the Film Farewell, My Concubine: A Multimodal Approach[J]. Advances in Language and Literary Studies, 2019, 10(6) : 94.

Zhang Kaijuan张凯娟. 电影字幕翻译中的语域对等研究[D].西南大学,2019.

[4]徐敏. 电影《霸王别姬》的汉英影视字幕翻译评析[D].浙江工商大学,2014.

[5]金海娜.从《霸王别姬》到《一代宗师》———电影译者Linda Jaivin访谈录［J］.中国翻译，2013，34（04）.

[6]杜阿晴.目的论视角下电影字幕中文化负载词的翻译——以电影《霸王别姬》《风月》为例[J].福建教育学院学报,2013,14(04):94-97.

=2 谢庆琳 The Analysis of the Chinese Translation of Culture-loaded Words in Russian =
[[Cult_Load_Words_EN_2]]

谢庆琳 Xie Qinglin, Hunan Normal University, China

=== Abstract ===

Language is a product of culture, an integral part of it and a condition of its existence, and an important factor in the formation of cultural codes. Since the 21st century, linguistics has actively studied a direction that sees language as a code for understanding the culture of a nation, not just as a tool for communication and cognition. As we all know, there are certain cultural differences among various ethnic groups influenced by factors such as geographical environment, political system, religious beliefs, living habits, moral values and aesthetic interests. These factors together contribute to the creation of culture-loaded words. The translation of culture-loaded words requires the translator to accurately and appropriately understand the beliefs, customs, aesthetics and values of the foreign culture while faithfully conveying the essence and soul of the translated culture to the readers of the translated language to truly communicate with different cultures. The translation of culture-loaded words directly affects the understanding of readers of the translated work, and also influences the readability and literary quality of the work. The study of Chinese translation of Russian culture-loaded words from the perspective of cultural load words not only promotes the communication between Chinese and Russian languages, but also deepens the cultural understanding between Chinese and Russian people.

=== Key Words ===
Russian Culture-loaded Words; Translation Principles; Translation Strategies

=== 题目分析俄语文化负载词的中文翻译 ===

=== 摘要 ===

语言是文化的产物，是文化的组成部分和存在条件，也是文化密码形成的一个重要因素。 21世纪以来，语言学积极研究一个方向，即把语言看作是了解一个民族文化的密码，而不仅仅是一个交流和认知的工具。众所周知，各民族受地理环境、政治制度、宗教信仰、生活习惯、道德价值、审美情趣等因素影响，其间存在一定的文化差异。这些因素共同促使了文化负载词的产生。文化负载词的翻译要求译者准确恰当地理解异国文化中的信仰、习俗、审美及价值观等的同时，忠实地将译语文化的精髓与灵魂传递到译语读者面前，真正做到不同文化的交流。对文化负载词的翻译会直接影响译文读者对作品的理解，也影响着作品的可读性及文学性。从文化负载词的角度来研究俄语文化负载词的中译不仅推动中俄两国语言的沟通，同时对加深中俄人民之间的文化理解也具有重要意义。

=== 关键词 ===
俄语文化负载词；翻译原则；翻译策略

=== Introduction ===

After the 1970s, cultural factors were gradually incorporated into the scope of linguists' studies, and cultural studies became a topic of common concern for linguists and translators. Susan Bassnett (1990), the core representative of the cultural translation concept, believes that translation is an exchange between cultures, and the reciprocity of translation should not only realize the reciprocity of language forms, but also pursue the reciprocity of cultural functions between the original text and the translated text. Therefore, translation is not only an act of purely linguistic conversion, but also a reflection of the cultural meaning of language. Language is a means of communication of human thoughts and feelings, and it is both a carrier and an important part of culture. In the process of historical development, countries around the world have formed large or small cultural differences due to different geographical environments, political rule, religious beliefs, traditional customs, lifestyles, value orientations and aesthetic interests. These factors have together contributed to the creation of a large number of cultural-loaded words. Each language has its own cultural vocabulary with cultural color and connotation, and these words reflect the cultural values of each nation. Because they are loaded with special national cultural connotations, cultural-loaded words often constitute the focus and difficulty of translation as an act of intercultural communication, and even become a barrier to the transmission of information.

Guided by American translator and translation theorist Eugene Nida's theory of functional equivalence, this paper takes the Russian as an example to explore the cultural information carried by the cultural-loaded words in its subtitles and summarize its translation method. The translation of cultural-loaded words requires the translator to accurately and appropriately understand the beliefs, customs, aesthetics and values of the foreign culture, while faithfully transmitting the essence and soul of the translated culture to the readers of the translated language, so as to truly communicate with different cultures. The study of Chinese subtitles of Russian TV series from the perspective of cultural-load words not only promotes the communication between Chinese and Russian languages, but also has great significance in deepening the cultural understanding between Chinese and Russian people.

The paper consists of an introduction, three chapters and concluding remarks. The introductory part firstly describes the feasibility, theoretical significance and practical significance of this research, and then clarifies the novelty of this research. The first chapter briefly outlines the concept of cultural-loaded words, and classifies cultural-loaded words according to Eugene Nida's functional equivalence theory, laying the foundation for the translation study of cultural-loaded words later on. Chapter 2 analyzes in detail the cultural-loaded words appearing in “Intern”, and discusses the translation principles and translation strategies of cultural-loaded words. The third chapter analyzes the causes of mistranslation and difficult-to-understand cultural-loaded words in “Intern”. The concluding remarks summarize the content of the whole text.

=== Culture-loaded Words ===

==== Definition of Culture-loaded Words ====

Culture-loaded words are also called culturally connotative words. In the language system, culture-loaded words are the vocabulary which can best embody the cultural information that a language carries and they also reflect the social life.

Behind each vocabulary are deeply imprinted the cultural, geographical and historical characteristics of a society. Vocabulary is the basic element of language,and the formation of each vocabulary is inseparable from culture. It carries a largeamount of "national cultural accumulation", that is, cultural connotation. This article is an analysis of Russian cultural-loaded words, reflecting mostly about the Russian national culture.

Language is the carrier of culture, so cultural differences must also be reflected in language. Translation means the spread of culture, and words that carry culture are words that express culture. Therefore, the translator focuses on the cultural-loaded words that appear in the source text, and on this basis. The words containing language and culture reflect the development, progress and change of the language of a country's dynasties, as well as the accumulation of various activities that are completely different from other countries (Liao, 2002). Translating social cultural terms and ecological cultural terms can truly understand the living conditions and social conditions of a country in a specific period.

==== Classification of Culture-loaded Words ====

According to Naida's classification of cultural factors, cultural load words are divided into five categories: the first category is ecological cultural load words, which usually refer to words related to plants, animals, climate, etc. of a specific region, for example, a small twisting path is not used in the Russian language environment, such as “羊肠小径”. The second category is material cultural load words. For example, “轿子” refers to a human-powered means of transportation in feudal China, which does not exist in Western countries. The third category is the social cultural load words, which usually involve words of social etiquette, social identity and leisure, such as kneel three times and kowtow nine, the dragon boat festiva, which are unique to Chinese culture and tradition. The fourth category is religious cultural load words, which are generally words reflecting the cultural beliefs of a certain nationality, such as “八字”(horoscopes), “算命先生”(fortune-teller), and so on. The fifth category is language-based cultural load words, which reflect the different ways of speaking and habits of different ethnic groups in terms of phonetics, vocabulary, syntax and so on. For example, the name of a person, the use of idioms, and so on.

=== Translation Principles and Strategies of Russian Culture-loaded Words ===

==== Translation Principles of Russian Culture-loaded Words ====

===== The Principle of Faithfulness to the Original Text =====

Fidelity to the original text is one of the most basic principles and standards of translation. When translating cultural-loaded words, two points should be clear: on the one hand, we can not add some cultural meanings in the translation process based on our own conjecture. On the one hand, it is not possible to attach some cultural meanings to the translation process that are not intended by the author of the original text. For example, the Russian word for rabbit (заяц) has a negative cultural symbolism and is considered to be a symbol of evil and cowardice, while
In the passage of «Судьба Человека»: "… а я уже на ничьей земле между воронками петляю не хуже зайца" (李世俊，张永全等: 1999), a soldier tells how he bravely and wisely crossed the German lines. The rabbit is used here only to borrow the positive image of its quick and dexterous movements, not the cultural symbolism described above.
If we do not take into account the author's real intention and turn it into "no less than a timid rabbit", we are not being faithful to the original text, but rather making a faux pas. Therefore, this sentence
should be translated as "I have reached the middle of the field, and I am not less dexterous than a rabbit in going around in the middle of the crater."

On the other hand, it is important to translate the cultural meaning of the culturally loaded words that are crucial or important to the understanding of the text, as it is easy to misunderstand if only the surface meaning is translated. For example, “сушить сухарь” literally means toast a thousand, but in fact it means to prepare dry food for exile on the road, and now it often refers to eating lawsuits. If there is a scene in Chinese literature where the crane is used to celebrate a long life, it must be translated into Russian with the meaning of longevity in Chinese culture, otherwise the Russians will find it inexplicable.

===== Contextual Principal =====

The meaning of words is often multi-layered and multi-faceted, and translators should judge the meaning of specific words according to the context. Therefore, context is the key to determining the true meaning of a word in a specific context and to help the translator correctly translate the original text.

The following are three situations to determine the specific meaning: (1) Words that often have cultural meaning and represent cultural images may not have culturally loaded meaning in a certain context. (2) The same culturally loaded word may have a different cultural meaning in a specific context. For example, the Russian word “ медведь” sometimes means "powerful" and sometimes means "heavy". Sometimes it refers to the strength of the bear, sometimes it refers to the stupidity of the bear, and sometimes it also refers to the maidenhead. Therefore, it is more important to determine the exact meaning according to the context when translating. (3) Common words may become cultural-loaded in specific contexts. (3) Common words may become cultural-loaded words in specific contexts.

===== Principle of Appropriateness of Explicit and Implicit =====

The cultural-loaded word serves the text with its cultural meaning, so the translation should be either explicit or implicit according to the needs of the text, to keep the text simple and fluent. For example, due to the limitation of space or style
For example, in Russian,“кричать во всю Ивановскую” literally means "shouting at Ivan Square" because in the Tsarist era, decrees and orders were issued on Ivan Square, and people often had to shout to hear them. Therefore, it is not necessary to turn out the meaning of the cultural load when translating into foreign languages, and it can be directly translated as shouting. However, if the translator intends to introduce this historical and cultural phenomenon, it is a different story. In short, the translation of cultural-loaded words should serve the whole text, and be consistent with the context and the author's style, and the translator's purpose.

==== Translation Strategies of Russian Culture-loaded Words ====

Translation principles are macro requirements for the translation process, while in the actual translation process, in order to achieve good translation, in addition to following these principles, we must also adopt necessary translation strategies according to the specific characteristics of the vocabulary. The complexity and specificity of cultural factors determine the variability of the meaning and form of culturally loaded terms, as well as the flexibility and adaptability of their translation means. Generally speaking, in order to achieve good translation effect, translators often use such translation strategies as "direct translation (phonetic translation) plus annotation", "direct translation with free translation" and "free translation" for cultural-loaded words and so on.

====== Direct Translation (Phonetic Translation) plus Annotation ======

The direct translation mainly refers to the translation that retains the original language form completely, so that it is similar to the original text. The method of translation is similar to the original text and has the same structure. Since this method mainly focuses on the linguistic form of the original text, sometimes the translation cannot fully and accurately express the original text.Sometimes the translation cannot fully express the original language accurately, then the translator can adopt the method of adding. In this case, the translator can adopt the method of adding notes to offset the loss of meaning brought by this translation strategy. Cultural-loaded words contain a large number of national-specific words, such as various proper nouns, historical allusions and these words have no direct counterparts in the translated language. Therefore, it is often necessary to translate them by the strategy of phonetic translation with annotation. For example, many literary works use phonetic translation of the Russian national costume “сарафан”, which is translated as "Sarah
A" with a note stating that the sarafan is a traditional Russian folk dress without sleeves.

====== Direct Translation with Free Translation ======

Direct translation with paraphrase is a translation method that combines direct translation and translation with meaning, which not only translates the surface meaning of the original text word by word, but also translates the potential meaning beyond the surface meaning of the original text. The direct translation is a method of translating not only the surface meaning of the original text word by word, but also the potential meaning beyond the surface meaning. For the translation of cultural-loaded words, the combination of direct translation and literal translation can better reveal their true meanings in terms of both form and content. The Russian word "колосс на глиняных ногах" from the «Old Testament»It is about the dream of Nebuchadnezzar, the king of Babylon, who saw a giant statue of a terrible shape, whose feet were half clay and half iron, and the whole statue collapsed due to a stone that happened to hit his feet from the mountain. This dream symbolized the doomed kingdom of Nebuchadnezzar. Thus, the cultural meaning of "giant with feet of clay" refers to a country that is outwardly strong but actually weak and destined to perish. Thus, Lenin said in his speech on November 7, 1919, at the conference commemorating the second anniversary of the October Revolution: "Мы видим, что империализм, который казался таким непреодолимым колосом, казался на глазах у всех колоссом на глиняных ногах." (刘永红：2002) The whole sentence should be translated as "We see that imperialism, which looks like a giant that cannot be served, is actually a giant in the mud with a strong exterior in the eyes of everyone.

===== Free Translation =====

The free translation strategy emphasizes the meaning conveyed to the original language words in specific contexts. The first thing is to translate the meaning of the original, not necessarily to preserve the original form, not to achieve the same literal and structural translation as the original. The translation is suitable for the translation of the cultural load words whose cultural meaning does not play a major role in the original text, or the cultural load words whose cultural image is too remote, sometimes also subject to the limitations of the manuscript and style and use this method, a cultural load words, such as culturally significant sayings, proverbs, because for a long time Ba Jing has a conventional translation of foreign, so in the translation can also be used when the original translation method. For example, "китайская грамота" literally means "Chinese word", "Chinese character", but because of the big difference between Russian and Chinese, it is very difficult for Russians to understand Chinese characters, so here it is translated as "heavenly book, incomprehensible, inexplicable thing". “Для него это китайская грамота” translates as "He doesn't know anything about it".

=== The Translation Difficulties of Russian Culture-loaded Words ===

==== Translatability of Culture-loaded Words in Russian ====

Language is the most important tool for human communication and one of the important carriers of information. The cultural characteristics of a nation's way of thinking, concepts, and systems are bound to leave their mark on language. Vocabulary is one of the most active dimensions of language. Changes in social life, the development of national culture and other changes can be recorded through vocabulary. Culture-loaded words are those words, phrases and idioms that mark things specific to a certain culture, and these words reflect the unique way of activity of a particular people that has gradually accumulated over a long historical process and is distinct from other peoples. Although translation is a transformation of symbols in its manifestation, in its essence it is a cultural exchange activity. The difficulty of translation is not the language itself, but how to convey the cultural content of the original language. The Russian cultural load is an important external expression of Russian culture, which is difficult to find in other national languages, but this does not mean that the cultural load is untranslatable. Firstly, although the differences between languages of different nationalities are determined by their respective nationalities, the similarity of human living conditions and physiological structure determines the similarity of human thinking patterns, therefore, different nationalities have similarities in understanding and understanding things; secondly, translation activities have a long history, and there are numerous cases of translators overcoming cultural gaps and achieving successful translations in the rich translation practice, therefore, the translatability of culture- loaded words is proven by a large number of translation practices. Thus, translators can still use their dynamism in a limited space to preserve and convey the cultural elements contained in the culture-loaded words in Russian.

==== Factors Affecting the Translation of Culture-loaded Words in Russian ====

The first is the internal factor, i.e., the internal factor of language. In his book «Language and Translation», Balhudarov divides the translation unit into six levels: phonemic level, grapheme level, word level, phrase level, sentence level, and discourse level, in an effort to make the original text and the translated text equivalent. After the 1980s, translation research has taken a new direction - the cultural theory of translation, and Susan Basnett, as one of the representatives of this school, believes that translation should take culture as the basic unit of translation, instead of resting on the previous parts of speech. The original text is the most real and objective existence in translation, and the characteristics of the translation object itself will also affect the translation, and the culture-loaded words have the characteristics of ethnicity, implication and unaccustomedness. When translating culture-loaded words, translators often encounter two bottlenecks: first, the lack of corresponding vocabulary; second, the lack of equivalent cultural meaning, that is, the same word in different cultural contexts expresses different connotations. In ancient Chinese philosophy, it is important to "look at things and take images", and under the influence of traditional Chinese thinking, Chinese tends to use concrete words to express imaginary concepts. The abstract content is expressed by the concrete image. Take the word "jianghu" as an example. "Jianghu" is another new word with changed connotation and extension, which is composed of the concepts of "river" and "lake". The word "jianghu" lacks its semantic and formal equivalents in Russian, so translators need to adopt a flexible translation approach to interpret the semantic and cultural connotations of the word "jianghu".

Second, external factors, including the translator's own body and the purpose of translation, etc. The translator is the most active factor in the translation activity, and is the doer of the whole translation activity, which must be completed by the translator. There is no shortage of excellent translators in China, most of them are concentrated in the field of English studies. Unlike the English translations of Chinese literary and artistic works, the translators of both film and television dramas and Chinese literary and theoretical works are mostly Russians. Unlike the Chinese translators' approach to Chinese culture, foreign translators, when translating, unlike the Chinese translators' approach to Chinese culture, foreign translators may have less sense of mission and enthusiasm for spreading Chinese culture when they translate from Chinese to foreign languages, and they pay more attention to the reading norms and market acceptance of contemporary readers, so they tend to adopt translation strategies such as paraphrasing and naturalizing to facilitate the understanding of readers of the translated language.

=== Conclusion ===

There is a growing awareness that language is just an international communication tool
and is not restricted to a particular country or nation but as a neutral information medium. This paper analyzed the definition and claasification of culture-loaded words. Then we disscussed the translation principles and strategies of Russian culture-loaded words. Last it discussed the difficulties in the translation of these words, and makes a conclusion that we should use the combination of literal translation and free translation in the translation according to different circumstances.

Translation is a language communicative activity; there are a lot of words with Russian cultural features, so we cannot find the equivalent words to express the same cultural information in the target language. When translating these cultural-loaded words, it needs the help of alienation principles, achieving the conversion between language and cultural information. However, after all, the reader's understanding of Russian culture is limited, so the translator must follow the rules of Russian language and expression, taking the text type, translation factors such as purpose and audience into consideration to acquire the best translation.

To sum up, language, culture and translation are inseparable. Language is also a cultural phenomenon, while culture shapes language. Translation is a tool for exchanging different cultures and human civilizations, and therefore they are closely related. In the process of intercultural communication and translation, culturally loaded words are the main obstacle, but they reveal the cultural characteristics and social customs of a people. Accurate and faithful translation of culture-loaded words plays a crucial role in facilitating cultural exchange. Direct translation and paraphrasing are effective translation strategies to solve the problem of culture-loaded words. Direct translation can help the target language readers understand the translation more easily. It aims to make the target language readers and the source language readers empathize. However, free translation is intended to preserve the cultural style of the source language for the readers. These two approaches may seem to be opposing, but they actually complement each other. It is impossible for a translator to use one translation strategy to complete the translation task, so in translation practice as a translator, he or she should try to make a comprehensive use of the two translation methods to make the translation more relevant and evocative.

=== References ===

Barkhudarov L. S. Language and translation. (1975) Questions of the general and private theory of translation[M]. Moscow: International relations.

Kozhin A. N. (1982) Functional types of Russian speech. [M]. Moscow: Vysshaya shkola.

Rosenthal D.E. (1987) Practical stylistics of Russian language. [M]. Moscow: Vyssnaya shkola.

Fedorov A. V. (2002) Fundamentals of the general theory of translation. [M]. Moscow: High School.

Yuriev A. N. (2005) Types and styles of speech. [M]. Moscow: Almaty.

Chen Guoting 陈国亭 (2012). 俄汉语通用最简翻译指南 [M]. A general minimalist translation guide for Russian and Chinese. 哈尔滨：哈尔滨工业大学出版社 Harbin: Harbin Institute of Technology Press.

Cai Yi et al 蔡毅等 (2006). 俄译汉教程增修本[M]. Russian to Chinese Translation Course Supplement. 北京:外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.

Huang Ying 黄颖 (2008). 新编俄语语法 [M]. New Russian Grammar. 北京:外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Publishing House.

=3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =

功能主义目的论视角下加里斯奈德对寒山诗的英译研究

罗曦 Luo Xi, Hunan Normal University, China

[[Cult_Load_Words_EN_3]]

=4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong 《九章》许渊冲译本文化负载词的翻译=
[[Cult_Load_Words_EN_4]]

=5 孙雅诗 Study on the translation of culture loaded words under the ecological translation theory——Take the English translation of Dou E Yuan as an example 生态翻译学视域下文化负载词翻译研究——以《窦娥冤》英译本为例 =
[[Cult_Load_Words_EN_5]]

=6 杜莉娜 On the English Translation of Culture-loaded Words in Chinese Tourism Texts from the Perspective of Intercultural Communication—Exemplified by Zhangjiajie=

'''跨文化交际视角下旅游文本中文化负载词的英译研究--以张家界为例'''

杜莉娜 Du Lina, Hunan Normal University, China

[[Cult_Load_Words_EN_6]]

=7 宫博雅 An analysis of the Chinese translation of culture-loaded words in Russian Idioms =
[[Cult_Load_Words_EN_7]]

===Abstract===
Language is the carrier of culture, and the characteristics of language also reflect the characteristics of culture. Culture is closely related to language. In-depth understanding and exploration of culture is conducive to language learning and better use of language for communication. Idiom as a fixed structure in language expression, with profound cultural connotation, is an important part of a national culture. Russian idioms are the concentration of the essence of Russian national culture, including Russian history, religion, national thinking, cultural customs, local customs and other unique national characteristics. In the process of language development, each nation has accumulated its own unique culture-loaded words. These words are loaded with the unique cultural connotation of this nation and express the rich cultural color of this nation. Due to different cultural backgrounds and historical development tracks, Russian contains many words, phrases and idioms that represent unique things in Russian culture. From the perspective of Nida's cultural classification, this paper analyzes the Chinese translation of culture-loaded words in Russian idioms, which is helpful to promote the study of Russian language and deepen the understanding of Russian traditional culture and Russian national psychology.
===Key words===
Culture-loaded Words; Russian idioms; Russian culture
=== 题目 ===
俄语成语中文化负载词的中文翻译分析
=== 摘要 ===
语言是文化的载体，语言的特性同时也体现了文化的特性，文化与语言紧密相关。对文化的深入了解和探究有助于语言的学习和更好的运用语言进行交际。成语作为固定的结构存在于语言表达中，具有深刻的文化内涵，是一个民族文化的重要表现部分。俄语成语是俄罗斯民族文化精华的浓缩，其中包含俄罗斯历史、宗教、民族思维、文化习俗、风土人情等特有的民族特点。语言发展的进程中，每个民族都积累了本民族特有的文化负载词。这些词语负载着本民族独特的文化内涵，表现本民族丰富的文化色彩。由于不同的文化背景和历史发展轨迹，俄语中包含许多代表俄罗斯文化中特有事物的词、词组和习语。本文以奈达的文化分类为视角，分析俄罗斯成语中文化负载词的中文翻译，有助于促进对俄罗斯语言的学习，进一步加深对俄罗斯传统文化及俄罗斯民族心理的了解。
=== 关键词 ===
文化负载词；俄语成语；俄罗斯文化
===Introduction===
Nowadays, with the sound development of relations between China and Russia and the deepening of exchanges in all aspects, a better understanding of Russian culture can further strengthen bilateral exchanges and cooperation. Culture-loaded words are words, phrases and idioms that mark the unique things in a certain culture. They directly reflect the unique activities of a particular nation that have been gradually accumulated in the long historical process and are different from other nations. At the lexical level, cultural differences between the two countries are reflected in culture-loaded words. Idioms, as the essence of language, contain rich cultural connotations, reflect national character and reflect social changes. The analysis of the Chinese translation of culture-loaded words in Russian idioms can help us trace the origin of Russian culture, go deep into the core of Russian culture, and explore the significance of Russian culture. According to Nida's classification of language and cultural characteristics, this paper tries to have a deep understanding of Russian culture and make tiny contributions to cross-cultural communication and translation through the analysis of Chinese translation of culture-loaded words.

===1.The meaning of culture-loaded words===
Culture-loaded words are the cultural labels of a nation, which have distinct cultural characteristics and play an important role in the development and dissemination of culture. Liao Qiyi said, "Culture-loaded words refer to words, phrases and idioms that mark things unique to a certain culture. These words reflect the unique activities of a particular ethnic group that have gradually accumulated in the long course of history and are different from other ethnic groups."When some foreign words are translated into Chinese, they cannot find their exact corresponding or equivalent words, thus forming culture-loaded words. Culture-loaded words are also called culture-unique words and culture-connotation words. They are deeply marked by the region and times of a certain language society, and are words (phrases) expressing the things and concepts peculiar to a certain culture. Such words not only carry rich cultural connotations, but also "exist only in one culture and are blank in another culture". Just because I have characteristics that you do not have, they are often obstacles to cross-cultural communication and translation.

===2. Classification of culture-loaded words===
According to Nida's classification of cultural factors, culture-loaded words can be divided into five categories. The first category is ecological culture-loaded words, which usually refer to the plants and animals, geographical environment, climate change and other related words in a specific region. The second category is material culture-loaded words, which refer to the specific material products in different cultures. Generally, they refer to words including food, clothing, housing and transportation. The third category is the social culture-loaded words, which usually involve the words of social etiquette, social identity, leisure and entertainment, such as local conditions and practices, traditions, social rules, religious moral standards, historical background, ideology and so on. For example, different cultures have different festivals and celebration customs, and people give different meanings to color words. The fourth category is religious culture-loaded words, which generally reflect the cultural beliefs of a certain nation. The fifth category is language culture-loaded words. Different nations have different speaking ways and habits, which are reflected in pronunciation, vocabulary, syntax and other aspects.

===3. Translation methods of culture-loaded words===
1. Substitution
Substitution method is a translation method that converts the cultural images in the source language into the cultural images familiar to the target readers. When the cultural images of the source language words are quite different from those familiar to the target readers, it is difficult for the target readers to understand, so the alternative translation method can be adopted.
2. Interpretation
Interpretation is a method of interpretative translation of words. Some words exist in both Chinese and Japanese languages, but due to the change of national culture, such words have different connotations in the two nations and are easily confused by translators and readers. At this point, the real meaning of the source words is supplemented by interpretation.
3. Annotation
Annotation is a translation method that is faithful to the source language. When the cultural information contained in a word is relatively simple, the translation method of in-text annotation can be adopted. When the cultural information contained in the vocabulary is long, the method of footnote can be adopted.

===4. Culture-loaded words in Russian idioms===
No matter in Chinese or Russian, there are many words with rich cultural characteristics, especially in many idioms, speech, slang and dialects, with rich cultural connotations. Russian idiom is a language unit composed of two or more stress components with fixed structure and integral meaning. Generalized Russian idioms include proverbs, sayings, idioms, fixed phrases of parole or called idiomatic phrases; In the narrow sense, Russian idioms only include idioms and idiomatic fixed phrases. This paper analyzes the Chinese translation of culture-loaded words in Russian idioms from a broad perspective. Russian can reflect the culture and way of thinking of a nation, with rich cultural connotation and distinctive national characteristics. As the essence of Russian traditional culture, Russian idioms can fully reflect the vivid and vivid Russian national culture, fully reflect the Russian nation's daily life behavior habits, value orientation and traditional customs. As the concentration and essence of Russian national language, Russian idioms are of great significance to the study of Russian and Russian national culture. It can reflect the lifestyle of the Russian nation, the character of the Russian people and cultural connotation. The research on the characteristics and translation methods of Russian idioms can help us understand Russian language and culture in a deeper level. It also gives us a unique glimpse of the world's brilliant culture.

General translation methods of Russian idioms
(1) Translation of equivalent idioms
There are some idioms that are basically the same in terms of literal meaning, inner meaning, word image, and implied philosophy in Russian and Chinese. We can use the corresponding translation method to translate these idioms, that is, the formal word-by-word translation. When translating these counterparts, the context can be ignored, as long as the translator keeps in mind the corresponding equivalents. This type of idioms can be translated using literal translation, that is, a translation method that maintains the content of the original idiom without changing the rhetorical characteristics. E.g:
　　1.Беда не приходит одна-祸不单行. Among them, "беда", "не", and "приходит одна" respectively have the same literal meaning and image of words as "祸", "不" and "单行" in Chinese, and their philosophical meanings are also the same.
　　2. Куй железо, пока горячо-趁热打铁. Among them, "куй", "железо", and "пока горячо" correspond to the Chinese words "打", "铁", and "趁热" respectively.
　　3. Лучше один раз увидеть, чем сто раз услышать — 百闻不如一见.
　　4. Век живи, век учись — 活到老，学到老.
(2) Translation of similar idioms
approximate idioms are also called semi-equivalence idioms, which refer to the same literal meaning, inner meaning, and philosophical meaning of the Russian and Chinese idioms, but the image of the words is partly the same, and partly different. Free translation is usually used when dealing with the translation of such idioms. The so-called free translation method is to convert the image of an idiom in one language into another language as much as possible without losing its meaning. For example: Правда глаза колет-忠言逆耳. "Правда" and "колет" in Russian are the same as "忠言" and "刺痛" in Chinese; however, "глаза" (眼睛) in Russian is not the same as "耳朵" in Chinese. The image needs to be changed when translating. Similar idioms are: как грибы после дождя-如雨后春笋. When грибы (蘑菇) is translated into Chinese, it becomes "春笋".
(3)Translation of non-equivalent idioms
Non-equivalent idiom refers to the national culture contained in the Russian idiom that is unique to the Russian nation and is unfamiliar to the Han nation. This kind of idioms are usually translated using creative methods, that is, without changing the meaning of one language idiom, using the most appropriate interpretation of another language for translation. There are generally two ways of creativity: literal translation + free translation, such as мало каши ел (喝很少的粥)-经验不足, use "каша" to refer to experience; выжимать соки (挤果汁)-榨取血汗, use "сок" refers to blood and sweat, labor; literal translation + comment, such as червонный валет (红桃 "J")-花花公子, using playing cards to refer to the macaroni（纨绔子弟）; мелкая сошка (小木犁)-无名小卒, using small things to refer to Little people. The paraphrase and annotations here are equivalent. ездят в тулу со своим самоваром (带着茶炊去图拉)-没有必要，多此一举, it involves the cultural and national conditions, Tula is a place rich in teapots, so it is unnecessary to take a samovar to Tula.
====4.1 Ecological culture-loaded words in Russian idioms====
As we all know, Russia is a vast country with vast resources. The unique vast land area has created a unique geographical environment in Russia, while breeding a variety of animals and plants on the Russian land.

As we all know, Russia has a vast territory,rich in natural resources. The unique vast land area has created a unique geographical environment in Russia, while breeding a variety of animals and plants on the Russian land.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:49, 14 December 2021 (UTC)

Crows have a bad connotation in the eyes of the Russian people and are often seen as a bad omen. "белая ворона -白乌鸦" refers to a person who is out of place(特立独行的人), and this idiom is used in Russian with a sense of disapproval. Crows are usually black, but white crows are very strange. "ворон считать - 数乌鸦" means eating the bread of idleness(游手好闲). Usually people with nothing to do have time to count crows. "ворона в павлиньих перьях - 伪装成孔雀的乌鸦" is a person who adorn oneself with borrowed plumes(装腔作势的人). Sparrows are also common in Russian idioms. Sparrow action speed is very fast, in "слово не воробей, вылетит - не поймаешь - 话语如麻雀，出口追不回"as a metaphor of a gentleman's word can't be chased(君子一言驷马难追). There are also "стреляный воробей" refer in particular to sophisticated man (老于世故的人，老油条). Similar words for " старого воробья на мякине не проведёшь посл -秕糠捉不住老鸟"are refers to the sophisticated people are not easily deceived(久经世故之人不易受骗).

In Chinese and Russian idioms, different animals and plants are often used to describe the same phenomenon due to different historical and cultural backgrounds. In Russian, the word "Брать быка за рога (抓住牛角)" has a similar meaning with the Chinese word "抓住牛鼻子", which means destroying the leader and the gang will collapse(擒贼先擒王). "Метать бисер перед свиньями(猪前撒珠)" is like "对牛弹琴". It means speaking truth to unreasonable people and speaking elegance to those who do not understand beauty.

Crocodile tears - "крокодиловы слёзы" refers to false compassion假慈悲. According to ancient Western legends, crocodiles are both ferocious and cruel as well as cunning and crafty. When it peeps into people, livestock, animal fish and other prey objects, often will first shed tears, like mercy, so that you were paralyzed by the illusion of its sudden attack to lose vigilance, in a state of no defense by it fiercely swallowed. Another said, is the crocodile will be captured after the prey, greedily swallowed at the same time, will shed crocodile tears. In short, it's a metaphor for false tears, fake sympathy. Later, it is conventionally extended to satirize those insidious and crafty people who harm others while pretending to be compassionate and kind.

====4.2 Material culture-loaded words in Russian idioms====
Russia has its own unique cultural material products, these cultural characteristics reflected in all aspects of clothing, food, housing and transportation.

"первый блин всегда комом - 第一张薄饼是一团" means all things are difficult before they are easy(万事开头难). "блин - 薄饼" is a kind of unique Russian food. It is round in shape, symbolizing the bright sun and heralding the coming of spring and the lengthening days. "блин - 薄饼" is also a staple in the traditional Slavic festival - Maslenitsa. To "ездят в тулу со своим самоваром - 带着茶炊去图拉" is to make a waste of time(多此一举). Tula is a place name in Russia, where the samovar is abundant, so it is unnecessary to take the samovar to Tula."за семь вёрст киселя хлебать - 跑七里路去喝一口羹(没有必要)" and "седьмая вода на киселе - 羹里的第七滴水(八竿子打不着的亲戚)". Among them "кисель(甜羹)" is also native food to the Russian nation. It can be made from almost any kind of fruit and berries, fresh and dried, fruit and pulp juices, syrups, jams, and milk with potato starch or corn starch. There are also non-sweet-tasting ones made from vegetables like peas. "по ерёме колпак кафтан - 捉襟见肘" and "тришкин кафтан - 什么样的人就戴什么样的帽子(恰如其分)". "кафтан(男长衣)" in this idiom is a kind of long coat with belted waist and floor-length sleeves worn by Russian men in the old days, which was very popular in Russia before the 20th century. "садиться не в свои сани - 坐在别人的雪橇上(不称职、对职务不能胜任)", the word "сани(雪橇)" in this idiom is one of the most common means of transport for Russians in winter.

====4.3 Religious culture-loaded words in Russian idioms====
Most people in Russia are religious, but most of the Idioms in Russian with religious cultural overtones are derived from Western Christianity.

"Дорого яичко к Христову дню - 送红鸡蛋要赶复活节" refers to do not send umbrellas after rain, refers to do good deeds must be timely(不要雨后送伞、做好事必须及时), Easter is a very important traditional Festival in Russia, is to commemorate the resurrection of Jesus after the death. Easter eggs to prepare cooked eggs (Easter eggs), boiled eggs coated with red, yellow, blue, coffee, green, purple and other colors, when the guests come, the host gives an egg, to symbolize the prosperity of life.

"не все коту масленица - 不是全年都是谢肉节" means that the good times will not last long and the feast will not come again(好景不长、盛宴难再). This idiom comes from the Maslenitsa culture of Russian national religion. The festival of Maslenitsa originated in the Eastern Orthodox Church. Meat and entertainment are forbidden during the 40-day Maslenitsa period. Thus, in the week before the start of Ramadan, people indulge in orgies and families eat meat to make up for the ascetic lifestyle of fasting. Hence the name of the Festival.

"козёл отпущения" refers to a scapegoat(替罪羊). At that time, the ancient Jews had such a ritual in life. When the day of confession came, the highest priest would put his hands on the head of the live goat, which indicated that the sin of all mankind would be transferred to the goat, and the goat would be banished to the desert. In Russian national and religious culture, this idiom is usually used to mean that people take the blame for others.

The Influence of Christianity on Russian idioms is very profound. Pushkin, the great Russian writer and poet, pointed out that the birth of Christianity was the greatest spiritual and political turning point on our earth, and the world died and was born in this sacred environment. It can be said that Christianity has played an extremely important role in human history, especially in western social life and cultural development. Since 988, when The Archduke of Kievan Rus established Christianity as the state religion, most Of the Russian people believe in Christianity, and there are about 200 idioms and fixed words from the Bible. A large number of Idioms in Russian derive from the Bible. The Bible is a Christian classic, including the Old Testament and the New Testament in 66 volumes. With the development of history and the evolution of language, idioms derived from the myths and legends of the Bible and the teachings and precepts of the Gospels have entered the Russian standard language and acquired new meanings. Now, through the study of Russian idioms from the Bible, analysis of their source text interpretation, use characteristics, we can see the influence of the Bible on Russian from the side.

"в поте лица - 汗流满面" From "Old Testament·Genesis" (Chapter 3, Section 19), God says to Adam, the father of mankind, when he sinned and drove him out of the Garden of Eden for eating from the tree of good and evil: "В поле лица твоего будешь есть хлеб, доколе не возвратишься в землю, из которой ты взят, ибо прах ты и в прах возвратишься.” - 你必须汗流满面才有饭吃，直到你归于尘土，因为你是由土而来的；你即是灰土，还要归于灰土." "Волк в овечьей шкуре 或 волк (напялил) на себя овечью шкуру - 披着羊皮的狼" from "New Testament Gospel of Matthew" (Chapter 7, Section 15), "Берегитесь лжепророков, которые приходят к вам в овечьей одежде, а внутри суть волки хищные - 你们要提防假先知! 他们来到你们跟前,外披羊皮,内心却是凶残的豺狼." "Кто не работает, тот не ест - 不劳动者不得食" originally derived from "The New Testament·2 Thessalonians": "Ибо когда мы были у вас, то завещевали вам сие: если кто не хочет трудиться, тот не ест. - 当我们在你们那里的时候，早已吩咐过你们：谁若不愿意工作就不应当吃饭." "продать (предать) за тридцать сребреников(кого) - 为三十块银币而出卖某人" from "the New Testament Gospel of Matthew". The story tells that judas, one of The twelve disciples of Jesus, got thirty pieces of silver from the priest and sold Jesus to the Jewish authority. Then he took the opportunity to bring many people with knives and clubs to the house of Jesus and his disciples and arrested Jesus. As a result, Jesus was crucified. According to the statistics of the Dictionary of Russian Idiom etymology, there are more than 1400 Russian idioms in the book, among which 161 are derived from the Bible or related to them, accounting for 11.5%. It can be seen that the Bible has a deep influence on Russian.

====4.4 CultureSocial culture-loaded words in Russian idioms====
Russia has a long history and diverse social customs. Many unique Russian cultural phenomena are reflected in Russian idioms.

During the Soviet Union, some words and languages produced under the background of The Times had unique meanings and connotations of the society at that time. The "Красный уголок
(红角)" was a place for cultural and educational activities in the Soviet Union. Russian idioms also reflect their national cultural characteristics through their lexical composition. Some words in these idioms are not equivalent words. "Фертом стоять (смотреть, ходить, глядеть, выглядеть. . . ) - 趾高气扬、威武自负、洋洋自得的样子" The word is an ancient name of the Russian letter "ф", which resembles a man standing erect with his hands akimbo, so the meaning of the whole idiom is to place his hands between the waist in a confident, aggressive posture. Other similar Russian idioms include "На ять - 顶呱呱，呱呱叫" and "Лезть на рожон - 铤而走险". The idiom "Чувство локтя - 站队时保持一肘距离的习惯" is used in the spirit of supporting friendly troops and helping each other(支持友军的精神，互助精神). The word "Белый - 白色的" in idioms sometimes conveys a negative meaning. The idiom "Показать белое перо - 展示白羽毛" comes from a cockfight. In fights between roosters of different colors, red, red, and black roosters were found to be more aggressive, biting off the tail feathers of timid white roosters. So this idiom means to be defeated and laughed at(被打败，被嘲笑). "Белый - 白色的" in this idiom means "cowardice, cowardice, and submission."

===Conclusion===
Culture-loaded words, as their name implies, carry the culture of a particular nation or country, which are closely related to the culture they carry. This sets up difficulties for translators when translating such expressions. If the translation only stays on the surface and ignores the cultural connotation of the words, it will lead to the loss of culture. In addition, another point worth the translator's attention is that the conceptual meaning and connotative meaning of culture-loaded words are often inconsistent. This requires us to flexibly choose appropriate translation strategies in translation to convey the connotation and meaning of culture-loaded words as far as possible, so as to ensure the readability of the translated text and retain the flavor of the original text to facilitate cultural exchange and communication.

Differences in cultural systems and language systems, and difficulties in translation, lead to misunderstandings in the translation of culturally loaded words, and it is difficult to deeply grasp the core of culture and make it fully presented in front of us.
There are several situations in the translation and translation effect of culturally loaded words:
1) Omission-complete lack of cultural connotation;
2) Simple transliteration-whether the cultural connotation is transmitted or not depends on the degree of communication of the word and the cultural level of the target language reader;
3) Transliteration plus annotations-cultural information is conveyed, but it is likely to damage the readability of the story or cause the translation to be cumbersome;
4) Replacement imagery and even complete domestication-the cultural connotation of the original word disappears, but it is easy for readers of the target language to understand.
It can be seen that several translation strategies are not superior in the absolute sense. For the translation of culturally loaded words, the translator must not only have a deep language foundation, but also an encyclopedia-like knowledge structure, and must be careful and patient in the translation process. Culture-loaded words belong to micro-culture, and their distinctive and strong cultural color is an indispensable part of Russian culture. Although they will inevitably "make a facelift" in the process of translation, resulting in the loss of some information, translators should still work hard to understand the cultural connotations of the original language and the target language in order to build a bridge for communication and understanding between the two sides.

Culture is a complex social phenomenon, which is the sum total of a nation's knowledge, experience, value, rank, religion and concept of time and space. It has distinct national and regional characteristics and is used in all areas of a certain society. Language is only a part of culture, any language is a reflection of a certain culture, language is the carrier of culture, language and culture are inseparable. Russian and Chinese are both languages with a long history, yet each belongs to a completely different language family. Their differences are not only reflected in the form of language (pronunciation, grammar), but also show the rich cultural characteristics of words. Because the objectivity of language, social and cultural are casting together, language is a nation created in the long-term productive labor and social practice and service for them, so their words are bound to the social reality of the nation, the native living habits and way of thinking, language, psychology, behavior norms, moral values, political ideas and cultural traditions, and deeply stamped with this nation, this region and this era. Therefore, Russian and Chinese words are bound to carry their own specific cultural connotations. To understand the culture of a nation, in addition to observing its actual behavior, what is more important is that we can study their language, especially through the study of language vocabulary to understand their cultural traditions and connotation in the culture. Because vocabulary contains abundant cultural information, it is an important content for better cross-cultural communication.

Culture is a complex social phenomenon, which is the sum of a nation's knowledge, experience, value, rank, religion and concept of time and space. It has distinct national and regional characteristics and is widely applied to every fields in modern society. --[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:56, 14 December 2021 (UTC)

To sum up, Russian idioms are an important part of Russian national culture, which fully reflect the Russian nation's daily lifestyle, beliefs, customs and psychological characteristics. Russian idioms content is rich and colorful characteristics, by strengthening the study of Russian idiom learning, can help us deeply understand the master to the traditional customs of ethnic russians, and correct use of Russian language, add more glory for language expression, and to avoid in the process of Russian social expression appeared a slip of the tongue, affect each other on both sides of the normal communication smoothly.

===Reference===
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[2]王发金.俄语成语文化的研究[J].旅游纵览(下半月),2017(22):237.
[3]袁顺芝.俄汉翻译中的语言文化现象及其处理方法[J].中国俄语教学,2014,33(04):40-44.
[4]司道权.浅析俄语成语的特点及翻译方法[J].品牌,2015(03):113.
[5]裴晓明.俄语成语翻译中的几个问题[J].科技信息,2012(30):212.
[6]王金凤.俄语成语的意义及其翻译[J].中国翻译,2008,29(05):72-74.
[7]张莹.俄语成语翻译中的文化伴随意义[J].佳木斯大学社会科学学报,2006(02):157-158.\
[8]鞠海娜.俄汉成语蕴含的民族文化比较研究[J].黑河学院学报,2021,12(04):174-175.
[9]廖七一 .当代西方翻译理论探索 [M]. 南京 :译林出版社 , 2000
[10]王淑杰.不同宗教信仰影响下的俄汉成语[J].科技信息,2009(07):531+553.
[11]张家丰.俄语成语颜色词的象征意义[J].黑河学院学报,2021,12(02):169-171.
[12]王青.中国文化负载词的英译研究[J].校园英语,2020(24):243-244.

=8周小雪 The Translation of Culture Loaded Words in English and Japanese Versions of Medicine =
[[Cult_Load_Words_EN_8]]

=9 付诗雨 On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum =
[[Cult_Load_Words_EN_9]]

=10 丁旋 Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =

[[Cult_Load_Words_EN_10]]

=11 高蜜On the Translation of Culture-loaded Words in ''Lao Can You Ji'' from the Perspective of Cultural Schema Theory 从文化图式理论看《老残游记》中文化负载词的英译=
[[Cult_Load_Words_EN_11]]

=12 殷慧珍 A study on the English Translation of Culture-loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies =

殷慧珍 Yin Huizhen, Hunan Normal University, China

[[Cult_Load_Words_EN_12]]

===Abstract===
Culture-loaded words refer to words with unique cultural connotations, which are powerful tools to promote cultural communication. Due to the great differences between eastern and western cultural backgrounds, the translation of culture-loaded words is a difficult task. Therefore, this essay studies the English translation of Chinese culture-loaded words in ''The Spring Festival'', which is a prose written by Chinese Writer and translator Fang Huawen, introducing many Chinese customs and activities containing Chinese culture-loaded words. According to the Nida’s classification of culture, this essay classifies culture-loaded words into ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. Based on the domestication and foreignization translation strategies proposed by Venuti, this essay analyzes the translation strategies of culture-loaded words in Fang Huawen’s prose ''The Spring Festival'' and its translation, and summarizes the translation of culture-loaded words based on domestication and foreignization strategies.

===Key Words===
Culture-loaded Words, ''The Spring Festival'', Domestication and Foreignization Strategies, Fang Huawen

===题目===
归化异化策略下方华文《春节》中文化负载词的英译研究

===摘要===
文化负载词是指具有独特文化内涵的词语，是促进文化交流的强有力工具。由于东西方文化背景的巨大差异，文化负载词的翻译是一项艰巨的任务。因此，本文以方华文散文《春节》中的中国文化负载词的英译为研究对象，介绍了许多词汇关于中国习俗活动里蕴含的中国文化负载词。根据奈达的文化分类，本文将文化负载词分为生态文化负载词、物质文化负载词、社会文化负载词、宗教文化负载词和语言文化负载词。本文以韦努蒂提出的归化和异化翻译策略为基础，分析方华文的散文《春节》中文化负载词的翻译策略，总结出基于归化和异化策略的文化负载词翻译方法。

===关键词===
文化负载词《春节》归化与异化翻译策略方华文

===Introduction===
Since the development of China’s reform and opening up, China's economy has improved rapidly. Culture, as a manifestation of the soft power of national development, playing an increasing role in the country. And Chinese culture is becoming more and more popular among foreign readers. As a carrier of culture, book is a powerful tool for cultural communication. Meanwhile, translation is a bridge connected different languages and different cultures and the main task of translation is to translate the content of the source language into the target language. Therefore, in China, more and more books, such as poetry collections, novels, essays and so on, are translated into foreign languages and then widely spread all over the world. However, due to the huge differences in economic system, language structure and cultural customs between China and the West, many culture-loaded words with unique characteristics of the Chinese nation, such as some idioms, sayings and idiomatic expressions, are difficult to translate. Those who do not understand the Chinese cultural background cannot fully understand the meaning of these culture-loaded words. Therefore, the translation of culture-loaded words is key to the whole translation which is well worthy of doing research. ''The Spring Festival'' is a prose written by Fang Huawen, a famous Chinese literary translator. It talks about the Spring Festival, the most important traditional Chinese festival, and gives a detailed description of the activities during this traditional festival. Many culture-loaded words appeared in the prose represent Chinese culture, people can understand the profound Chinese culture through the authentic translation. Based on the translation strategies of domestication and foreignization, this essay explores the translation strategies of culture-loaded words in Fang Huawen’s ''The Spring Festival''.

===Fang Huawen and ''The Spring Festival''===
Fang Huawen was born in 1955, who is a famous Chinese literary translator and translation theorist. He plays an important role in literary translation in China and he was elected as a representative in the field of literary translation in China. He has translated many literary works such as ''Oliver Twist'' and ''David Copperfield'' written by Charles Dickens, ''Tess of the d'Urbervilles'' and ''Jude the Obscure'' written by Thomas Hardy, ''Jane Eyre'' and ''Pride and Prejudice'' written by Jane Austen and so on. Also, he wrote books of Chinese Culture of Editions Series such as ''Chinese Garden'', ''Chinese Folk Customs'', ''Famous Historical Cities in China'' and so on, which introduce Chinese culture in all areas. His representative translated work is ''History of Chinese Translation in the 20th Century'', which elaborately introduces the Chinsese Translation theories and translators, covering more than ten million words. His translated works have made great contributions to the spread of Chinese culture, and his translation views are well known both at home and abroad. He was named "the most productive literary translator in contemporary China” by the UNESCO International Federation of Translators and his translation theories were publish in ''Babel'', the academic journal of the International Federation of Translators, which enabled the world to know the general situation of Translation in China and the characteristics of translation.

In this essay, ''The Spring Festival'' is selected as the text of analysis, which is one of the prose collected in the book ''Translation and Appreciation of Chinese and Foreign Selected Famous Proses and Poems'', whose author is also Fang Huawen, selecting and translating famous Chinese and foreign proses and poetry. ''The Spring Festival'' is written by Fang Huawen and he selcets his own translation version in the book. The prose introduces the Spring Festival, the most important traditional festival of the China. The prose introduces the customs and activities of the Spring Festival in detail, which have been passed down from the ancient time. With the changes of the time, the words and customs have their own distinctiveness. Taking the traditional activity “post picture” as an example in the essay, Chinese people posted pictures of Shen Shu and Yu Lu with the wish of getting good luck and happiness in Nan Dynasty. While in Tang Dynasty, they posted the photos of Qin Shubao and Yuchi Jingde. If you don't know the cultural background of Chinese culture, you can hardly know the connotaion of the words. For example, the names of firecrackers are of various kinds, like "Rockets", "Rolling Mines", "Fairy Scattering Flowers", "Knights in Red" and so on. The author elaborately introduces all kinds of customs and activities from the first day of the first lunar month to the 15th day of the first lunar month, among which culture-loaded words are unique to Chinese culture, and the translation of these culture-loaded words will greatly promote the spread of Chinese culture.

===Culture and Culture-loaded Words===

====The Brief Introduction of Culture====
Compared with the economic and political field, culture refers to the spiritual activities of human beings and the products they produce. Culture is a set of customs, traditions and values formed by people living in a specific community over a long period of time, such as the culture of a nation or country. There are various cultures in the world, and each culture has its own characteristics, including its own ethnic values, such as religious belief, world outlook, etc. It also includes spiritual products produced by specific ethnic groups, such as some artistic and scientific spiritual products. Besides, the manners and behaviors of a nation such as folk customs, spirits and so on.

Chinese contemporary writer and scholar Yu Qiuyu gave a detailed interpretation of culture. He gave a definition of culture with a concise and simple sentence in ''What is Culture'', that is, culture is a kind of spiritual value and life style called habit, and its final result is collective personality. (Yu qiuyu 2012:3) The first key word is spiritual value, which means that culture is not only a cultural phenomenon, but also has cultural value. Therefore, it can be explained that culture is a spiritual symbol of human beings compared with the primitive state. The second key word is lifestyle. This is the concrete realization of spiritual value. In most cases, culture, it should be concrete and acessible. The third key word is collective personality. This shows that culture not only affects people, but also concentrates on personality precipitation to maintain some stability.
That is to say, the unique spiritual value and way of life developed by a particular nation is the culture of this nation, such as Confucianism, ancestral hall culture in Chinese culture and so on.

Specifically, Culture covers nearly all kinds of fields in social life. There are many classifications of culture from different perspectives. For example, from the geographical aspect, there are local culture and foreign culture, urban culture and rural culture, Eastern culture and Western culture and so on. Also, from the perspective of time, there are primitive culture, slavery culture, feudal culture, capitalist culture, socialist culture and so on. According to Nida, he divided culture into five categories in his book Language, Cultural and Translation:(1) ecological culture, (2) material culture, (3) social culture, (4) religious culture, (5) language culture. (Nida 1993: 91)

====The Brief Introduction of Culture-loaded Words====
Culture-loaded words refer to the words or phrases carrying the unique cultural connotations of a certain nation, which are different from other nations. Chinese scholar Hu Wenzhong defined culture-loaded words as follows: "Culture-loaded words are words within the scope of a specific culture, and are the direct and indirect reflection of national culture in the language vocabulary" (Hu Wenzhong 1999:64). When these culture-loaded words are translated into the target language, it is not easy to find corresponding words in the target language. Therefore, the wide use of culture-loaded words can transmit national cultural values and promote national communication.

Based on the classification of culture of Nida, culture-loaded words also can be divided into five catergories accordingly. The first is ecological culture-loaded words, which refer to the words that reflect the unique local ecology, such as climate, lgeomorphology, natural environment, mountains, rivers, vegetation and so on. Different geographical environments breed different cultures, such as the Chinese idiom “稳如泰山”, which translates into English as stable as Mount Tai, meaning as firm as a rock, "Mount Tai" is a unique ecological environment in China. Mount Tai is very majestic in the hearts of the Chinese people, and it is worshipped by the people and enjoys a high status. Therefore, people use this idiom to praise people as stable and unshakable as Mount Tai. For English phrase, "a big fish" is literally translated into Chinese “一条大鱼”, but in English culture, it means "Great man", because Britain is an island country surrounded by the sea, which reflects the influence of the sea on British culture.

The second is material culture-loaded words, which refer to words produced in daily life to meet the development of people's material life, that is, words with cultural connotations such as clothing, food and household goods that people need in daily life. In different cultures, people have different associations with different objects. For example, in Chinese culture, since the ancient time, people have divided the universe into five kinds of things, namely are Wood (木), Fire (火), Earth (土), Metal (金), and Water (水), and called them "Wu Xing(五行)"also known as the Five Elements or Five Phases. The system of five phases was used for describing interactions and relationships between phenomena.

The third social culture-loaded words refer to words that reflect various aspects of the society according to different social backgrounds, such as unique festivals, customs, local conditions and practices, as well as the way of address and greeting. For example, "aunt" in English refers to different people in Chinese, that is, maternal aunt, paternal aunt, wife of mother's brother, wife of father's brother.

The fourth religious culture-loaded words refer to some words related to religious beliefs and concepts, reflecting the influence of religion o.n people's lives. For example, Chinese culture is deeply influenced by Buddhism. Some common sayings contain the influence of Buddhism on people's life, such as the Chinese proverb "菩萨心肠"，which refers to the people with a great kind heart. Cram at the eleventh hour. "菩萨"is Bodhisattvas, who embrace qualities like self-sacrifice and morality. The Image of bodhisattva in Buddhism is different from that of Jesus in Christianity.

The last one language culture-loaded words are the reflection of different languages characteristics in speech, lexical, syntax and other linguistic aspects, usually found in dialogue, ancient poetry and colloquialisms, idioms, and so on. Chinese sentences attach importance to the connection of meaning, and clauses are often connected by meaning, while English sentences are connected by connectives. For example, the famous Chinese proverb,"经得广，知得多"，the whole sentence is very concise, only with six words, and there is no conjunction to connect the sentence. However, the English translation cannot completely translate the format, but need to use a conjunction to connect the sentences in English grammar, that is if you experience more, you can know more things.

===Domestication and Foreignization Strategies===
Domestication and foreignization are two different translation strategies proposed by Venuti in ''The Translator's Invisibility A History of Translation'' from the perspective of culture in 1995. 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 language readers.(Shulttleworth , Cowie 1997 : 43~ 44) This was based on the Germanphilosopher Schleiermacher's famous notion of the translation that don’t disturb the reader, as much as possible, and then lead the author towards the meaning that author want to convey. That is to say, using the tanslation strategie of domestication is to localize the translated text. And translator should first consider the target language readers but not the loyalty to the author. Therefore, when translating, the translator should choose the plain and familiar words and expressions in the target language that would not be a barrier to reading for readers, so that the translation can be read nativly and vividly but do not make the readers feel stiff or unfamiliar, and it would not be like a text has been translated but an original book. When translating, he also created many plots that cater to the public’s preferences, making the novel interesting and easy to understand. Because of the cultural differences between the East and the west, some specific words in the source language have no corresponding meanings in the target language. Therefore, especially when translating idioms and allusions, domestication is often used in order to maintain their unique simplicity and expressiveness. For example, cry up wine and sell vinegar(挂羊头卖狗肉)/ live a dog's life(过牛马一样的生活)/seek a hare in hen's nest（缘木求鱼）（Fang Mengzhi 2004: 3）

Foreignization refers to the translation strategy that a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. (Shulttleworth , Cowie 1997 : 58~ 59) Foreignization refers to the translation strategy that the translator first considers his loyalty to the author and the original text, so the translation will preserve the language characteristics and cultural customs of the original text. The use of foreignization translation strategy will not only make readers have "exotic" reading experience so as to help them better understand cultural differences，at the same time，it also enrich the target language. Many foreign words and expressions have been well integrated into the target language and used in people's daily life. The example of foreignization in Fang Mengzhi's a dictionary of translation studies, such as "time is money", comes from the foreignization of "time is money" in English. Many foreign words have been widely spread and used in Chinese. （Fang Mengzhi 2004: 3）

Domestication and foreignization are indispensable translation methods in cross-cultural translation. Domestication can invisibly introduce foreign cultural ideas into the country without causing exotic reading experience or bringing reading barriers to target language readers, thus increasing the readability of the text. However, with the advent of globalization, blindly domesticating other languages is a way of showing ethnocentrism, which is actually a kind of cultural aggression of other country. Venuti believes that the domestication is to use smooth translation strategy to hide the domestication in the transparency of the translation. This is not a cultural exchange but an act of culuture violence under the cover of domestication strategy with ethnocentric ideas, that is, tampering and cultural appropriation. (Fang Mengzhi 2004: 96）Therefore, foreignization has become an increasingly important translation strategy in the process of translation. For culture-loaded words, adopting foreignization translation strategy can not only accurately express the meaning of the sentence, but also promote the spread of Chinese culture, so as to promote the mutual understanding and communication between the East and the West. Therefore, foreignization is gradually accepted by people and more widely used in the world.

===A study on the English Translation of Culture Loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies===
The prose ''The Spring Festival'' contains many traditional Chinese festival culture-loaded words such as poems, idioms, proverb and so on, so in the process of translation, appropriate methods and strategies should be selected. For these Chinese culture-loaded words, the English translation is not completely corresponding to the original text. For example, some Chinese culture-loaded words have Chinese cultural connotations but are not reflected in the translation, and the sentence format in the original text is not completely corresponding in the translation. Based on the classification of culture-loaded words mentioned above, this essay analyzes the ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words in Fang Huawen's ''The Spring Festival'' on the theoretical basis of domestication and foreignization translation strategies.

====Ecological Culture-loaded Words====
Some words describing nature, environment, animals and plants are called ecological culture-loaded words. In the prose, the author used nature words "火树银花" to describe the scene of the Lantern Festival with bright lights. Literally, "火树" means the fire trees, "银花" means the silver flowers. If the translator uses the foreignization translation strategy to transliterate the sentence, the foreign readers who don't know the Chinese culture may not understand the meaning of the sentence, and will be confused. This is not a tree or flower, but a scene of bright lights. Therefore, the translator adopts the domestication translation strategy and translates it into "fireworks and laterns were everywhere to be seen", "火树" refer to the trees are covered with colorful lights, and "银花" refer to brightly lit scene.

====Material Culture-loaded Words====
Material culture-loaded words refer to some words used for material production, such as medicinal wine, units of weights and measures mentioned in the prose.

Example 1: "爆竹声中一岁除，春风送暖入屠苏。"

Translation: Firecrackers are sending the old year away; People are toasting in warm breeze.

The sentence quoted the famous poem New Year's Day by Song Dynasty poet Wang Anshi, which depicted a lively scene during the Spring Festival. The word "Tusu"(屠苏) has great cultural connotation. "Tusu" is a kind of medicinal wine, called Tusu wine. According to Chinese legend, Tusu wine was first invented by hua Tuo, a famous doctor in the Eastern Han Dynasty. It is generally drunk on the first day of the first month, which plays a role in strengthening the body and defeating diseases. Therefore, drinking it on the first day of the New Year also conveys people's best wishes for the New Year that everyone can stay away from diseases and be healthy. It implied a wish, just as people in the western culture also toast on festivals, so the translator replaced the literal translation of Tusu with the familiar word toasting.

Example 2: 曾架起一座二十丈的灯山。

Translation: ...was built up a mountain of lanterns to celebrate the festival, nearly 70 meters high.

In the sentence, "二十丈", that is twenty Zhang. Zhang is a unit of length used in ancient China. The use of Chinese length units has evolved with the changes of history. The units of measurement are closely related to life, they have appeared since the beginning of human beings. The primitive people used fingers as inches, palms as feet, and stretching elbows as feet. Then Qin Shihuang unified the measurement and till now the appearance of modern measurement technology today, the evolution of ancient measurement system reflects the changes of history. In English, there is no length unit of Zhang. Therefore the translator used the domestication translation strategy that converted 20 Zhang into 70 meters.

====Social Culture-loaded Words====
The use of social culture-loaded words reflects the specific social background of the certain period. For example, the appellation or title of people is a significant part of social culture-loaded words. In this prose, the titles of the two ancient emperors "汉武帝" and "唐睿宗" are mentioned. The translator's translation of the ruler is as follows:

Example 1：自从汉武帝以来...。

Ever since the Emperor Wu's Reign of Han Dynasty.

Example 2：唐睿宗时，长安的皇宫外庆贺元宵节

During Emperor Ruizong's Reign in Tang Dynasty there just outside the royal palace in Changan.

In Chinese history, from the Han Dynasty to the Sui Dynasty, the posthumous title of the emperor is generally used, which summarized the deeds and morality of the deceased. For example, Emperor Wu of the Han Dynasty, whose posthumous title is "Wu", praised the moral character of Emperor Wu of the Han Dynasty. From the Tang and Song Dynasties to the Yuan Dynasty, the temple name of the emperor was used as the appellation. Temple name is the name given by later generations when they worship in the temple after the death of the ancient emperor. For example, the temple name of the founding emperor is Gaozu or Taizu, such as song Taizu. For the successor, the last word is always Zong, which means to maintain the achievements of the predecessors. For example, Tang Ruizong's temple name is "Rui", which praises his wise. In English translation, the translator uses foreignization to translate the posthumous title "Wu" of Emperor Wu of the Han Dynasty and the temple name "Rui" of Ruizong of the Tang Dynasty. Although the title of emperor is different from that of Di and Zong in Chinese, translator all uses the word emperor.

Example 3: 其外形有"哪吒闹海""孙悟空""猪八戒"和"沙僧"。

Translation: lanterns in forms of Nazha's Adventure in East Sea, Monkey King, Pigsy, Sha Wujing.

The words in historical allusions and legends have great social and cultural connotation. "哪吒闹海"is an ancient Chinese legend."孙悟空", "猪八戒" and "沙僧" are main characters in Journey to the West, one of China's four greatest master pieces. Chinese people have watched TV dramas or books about these characters since childhood, so they are familiar with them. However, for foreign readers, they are not familiar with these characters or plots, so it may perplex them if you don't explain the culture background here. The translator adopted the foreignization translation strategy to directly translate "孙悟空" into "Na Zha's adventure in the East Sea", "孙悟空"into the well-known Monkey King, "猪八戒" into Pigsy, and "沙僧" into his name Sha Wujing. Literal translation may confuse readers who do not understand these legends and stories, so notes can be added, that is, Nazha (a divine warrior in Chinese mythology). And Monkey King, Pigsy, Sha Wujing (main characters in Chinese classics pilgrimage to the West).

====Regilious Culture-loaded Words====
Example 1：死后玉皇大帝封他为"斩祟将军"

And was appointed "ghost-killler general" by God of all gods after his death.

In the translation, the translator uses domestication translation theory to translate "玉皇大帝" into God of All Gods. In Chinese culture, people believe that there are ruler and gods in heaven, and "玉皇大帝" is the leader of the gods in Chinese Taoist mythology. In addition to ruling all gods, "玉皇大帝" also governs the affairs of the universe. People regard "玉皇大帝" as the "emperor" in heaven, the supreme ruler of the world of all gods.
In western culture, religions are numerous and varied. Ancient Greece is the land of pantheism, the ancient Greeks advocated many gods. Zeus is regarded as God of all gods and the supreme ruler of the gods in the Greek mythology. Several popular Western religions, such as Christianity, Judaism and Islam are monotheism, holding the belief that God is the only creator of the world. God is conceived of as the Supreme Being and principal object of faith. So the use of domestication can not only express the same meaning of the sentence, but also adapt to the religious culture in the west.

Example 2: 旧岁的最后一天叫"大年三十”，因"除旧岁”而得名除夕。

Translation: The last day of the old year, Danianshanshi in Chinese, is called Farewell Day, as the old year is sent away this day.

The phrase "旧岁”, "岁”is not only refers to the age, but also means year. "旧岁" refers to the past year. The last day of the year, called "岁除", and the night of the day is called "除夕". 除夕, the original meaning of "New Year's Eve", refers to the end of the year to usher in the new. New Year's Eve is a time for family reunion. Like Tomb-sweeping Day, Ghost Festival and the Double Ninth Festival, New Year’s Eve is a traditional Chinese festival for ancestor worship. This sentence uses the combination of domestication and foreignization. The use of foreignization preserves the cultural image and promotes the culture exchange.

====Language Culture-loaded Words====
Chinese idioms usually contain the essence of language and have Chinese characteristics. Many of them use figures of speech such as metaphor. A metaphor is a comparison of something you want to say with something that has similar characteristics. In idioms, metaphors are used to describe the characteristics of something to make it vivid, so as to trigger the association of readers. The idiom in the prose like "像箭一般冲出去了", means that the children rush out quickly, but also shows that the children eager to go outside. In Chinese culture, the arrow(箭) is often used to describe high speed. For example, the idiom "离弦之箭" is used to describe high speed. "离弦之箭" refers to Time flies quikly. But there is no equivalent like arrow in English. In English, words like "bullet" or "cheetah" or "rocket ship" are used for things that are fast. Therefore, in order for readers to better understand the meaning of the sentence, the translator uses the domestication method to paraphrase as "dash out", "dash" is an act of running or moving very quickly or hastily, Although the cultural connotation of the source language is sacrificed in this way, the translator faithfully expresses the meaning of the source language.

===Conclusion===
This essay finds that the prose includes plenty of culture-loaded words, which contains extensive and profound meaning about traditional Chinese culture and customs. This essay introduces the Spring Festival, the most important traditional festival in China, as well as various activities prepared by Chinese people for the Festival and customs they adhere to, which largely spread Chinese culture, promote cultural exchanges in the world, and greatly enhancing the strength of Chinese culture. For this essay, using Fang Huawen's translation text as the analysis object, analyze the translation strategies of translator used about different kinds of culture-loaded words, that is, ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. According to Venuti's translation theory, he advocates that translators should more use foreignization to preserve the cultural connotation of the source language. However, the translator Fang Huawen adopts the domestication translation strategy more frequently, choosing the cultural images familiar to the target language readers in order to resonate with the target language readers and make the target language readers get roughly the same reading effect like the source language readers. At the smae time, culture-loaded words have complex cultural images, if the target language readers do not understand the cultural connotation behind the words, they will not be able to get the real meaning of the text, and may even misunderstand the text mistakenly. When using domestication strategies, translators most commonly use free translation, in which they replace culture-loaded words in the original text with words and expressions more familiar to the target language readers, so as to improve the readability of the translated text and reduce readers' reading barriers. For example he translates the character of Chinese legend "玉皇大帝”into"God of the gods”that are more familiar to the target language readers. However, with the development of globalization, foreignization is increasingly used in translation. When the translator encountered some characteristic culture-loaded words, he chose literal translation, such as "Danianshanshi". Although the translator uses foreignization translation strategy to bring strangeness to the target language readers, it not only retains the traditional image of Chinese culture, but also meets the needs of cultural communication in the world. Foreignization can not only express the meaning of the source language, but also retain the characteristics of the national language. Domestication and foreignization are interactive and not completely opposite. Translators can combine foreignization and domestication in translating culture-loaded words. When translating culture-loaded words, the translator can not only use foreignization translation strategy to retain the cultural image and language connotation of the original text, but also use domestication translation strategy to make the translated text easy to understand and readable.

===References===

Nida Eugene(1993). ''Language,culture,and Translating'' [M].Shanghai:Foreign Language Education Press.

Shulttleworth, Cowie(1997). ''The Dictionary of Translation Studies'' [M]. St. Jerome Publishing.

Venuti, L(1995).''The Transltor’s Invisibility'' [M]. London&Newyork:Routledge.

Fang Huawen 方华文(2014). 中外散文诗歌佳作选译与鉴赏 ''Translation and Appreciation of Chinese& Foreign Selected Famous Proses and Poems'' [M]. 合肥：安徽科学技术出版社 Hefei: Anhui Science & Technology Press.

Fang Mengzhi 方梦之(2011). 中国译学大辞典''The Dictionary of Translation Studies in China'' [M]. 上海：上海外语教育出版社 Shanghai: Shanghai Foreign Language Education Press.

Yu Qiuyu 余秋雨(2012). 何谓文化''What is Culture'' [M]. 武汉：长江文艺出版社 Wuhan: Changjiang Literature and Art Press.

Written by --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 04:21, 9 December 2021 (UTC)

=13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]
===Abstract===
With the increasingly frequent cultural exchanges in the world and the increasingly exposed differences between cultures, cultural diversity plays a very important role in national exchanges. Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own language. Language is the carrier of culture, and word is the basic unit of language and the most active part of language. In cross-cultural communication, culture-loaded words are an important part and an important bridge and link between two languages. The study of culture-loaded words is not only an important link in the process of cross-cultural communication, but also an important mean and method for the development of a nation. There are a lot of culture-loaded words in Shen Congwen's Border Town. This paper discusses the translation of culture-loaded words in the translation based on the theory of translator's behavior.

===Key Words===
Culture-loaded words; ''Border Town''; Dai Naidie; Translator behavior criticism

===Introduction===
===1.Introduction of ''Border Town''===
====1.1 Background of ''Border Town''====
''Border Town'' was written in the 1930s, when the society was in turmoil and the development of urban civilization collided violently with the traditional agricultural civilization. The whole traditional civilization has been challenged and impacted unprecedentedly, and the traditional society has become fragmented, but on the whole it still exists peacefully. In China at that time, conscientious and thoughtful men of letters had a strong sense of responsibility and perception for the society. They did not want to see the whole nation degenerate in the violent civilization of cities, nor did they want people to lose their way in the vanity of cities. Mr. Shen as a member of the advanced intellectuals, he hoped that through ''Border Town'' this work for the impression of Xiangxi, which is similar to the Peach Blossom Land, to the confused people in cities shows the simplicity and purity of traditional culture, but also indicate the direction for them to move forward: there is a pure and natural love in life, and life needs to be converted to the nature of natural life.

====1.2 Introduction of the Author Shen Congwen====
The 1930s was the time when Shen Congwen had a good harvest in love and career, and his wife Zhang Zhaohe had the greatest influence on his creation. After their marriage, Shen Congwen wrote to his wife: "I have crossed many bridges, seen many clouds and tasted many kinds of alchohol, but I have only ever loved a man of the best age." Zhang's comely appearance and dark complexion are traits Mr. Shen used repeatedly in his works. Cuicui in ''Border Town'' was also based on her. At the same time, the Border Town also carries Shen Congwen's strong feelings for Xiangxi. Although his description of the stones, water plants, boatmen and other things in the Border Town is almost plain description, a close reading can feel his love for Xiangxi from the heart. ''Border Town'' is not only about the life of young men and girls born and raised in this small town, but also a beautiful, healthy, natural and human life form, which is also the original intention of Shen Congwen's creation.(Shen, 2013:104-105)

Shen Congwen's style inclines to romanticism, he asked the poetic novel of effect, integrating realism, recording, symbolism be in harmony an organic whole. He also asked the language style of primitive simplicity, sentence of simple forms, and thick and pure style with rich local color. He highlighted the country unique charm with a twinkle in human nature. Shen Congwen's novels are typical rural culture novels, which not only compare with the modern civilization of the city on the whole, but also pay attention to the way of living, the footprint of life and the historical destiny of the villagers, which are determined by the collision of different cultures during the transformation of the Xiangxi Area to the modern era. The whole work is full of worries about life and philosophical thinking about life, just like his real and tenacious life, giving people lessons and enlightenment.

Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that "beauty lies in life". Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, "In this world, there may be people who build great pavilions on sand or water, but that is not me, I just wanted to build a small Greek temple. Choose a small ground for a foundation and pile it with hard stones. Delicate, solid, symmetrical, small but not slender, it is my ideal building. It is dedicated to humanity." Therefore, it can be said that the "Greek temple" symbolizes a spiritual space full of human beauty and divine love, which transcends the "secular heart and eyes" and radiates the light of holiness. This "small Greek temple" lived those beautification, by the divinity of the ordinary women, such as Cuicui, YaoYao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are "the life form of the border city".(Shen, 1990:234-237)

===2. Cultural-loaded Words===
====2.1 Definition of Cultural-loaded Words====
As a complex social phenomenon, culture carries a nation's knowledge, experience, hierarchy, religion and concept of time and space. As a part of culture, language embodies the uniqueness and nationality of culture. Language is created in a nation's long-term productive labor and social practice and serves the society. As the core of language, vocabulary inevitably reflects and is influenced and restricted by national characteristics. At the same time, language can truly reflect the ecological region, material culture, religious belief, customs and habits of a country or a nation. Different languages determine the different ways of thinking, behavior and language expression of different nations. Therefore, there are inevitably huge cultural differences in languages, which produce a certain number of culture-loaded words.

Culture-loaded words are the concentrated expression of a nation's geographical environment, living habits, ideas, perceptions and national psychology in language level. It not only carries profound cultural connotation, but also closely links culture with language. In the language system, culture-loaded words are the words that can best reflect the cultural information carried by language and the social life of human beings. Language is not only a tool for the expression and communication of human thoughts and feelings, but also a carrier and an important part of culture. Therefore, culture-loaded words can best reflect the strong national color and bright cultural personality in language. The translation of culture-loaded words requires translators to accurately and appropriately understand the beliefs, customs, aesthetic values and other aspects of other cultures while faithfully conveying the essence and soul of their own cultures, so as to truly achieve the exchange of different cultures.

====2.2 The Necessity of Cultural-loaded Words Study====
In 1980, Professor Xu Guozhang published Culturally Loaded Words and English Language Teaching in Modern Foreign Languages, initiating the study of culture-loaded Words. At the same time, more and more attention has been paid to the study of culture-loaded words. Culture-loaded words, as the main bearing object of a national culture, are the embodiment of the most distinctive personality of culture. However, such words reflecting cultural differences have brought great obstacles to cultural communication and translation. The differences in language and culture between ethnic groups contribute to the diversity of ethnic communication, but at the same time bring great difficulties. Due to the incomplete equivalence of the functions and contents of words among different nationalities, many errors or even major errors in translation process are caused, which will not only cause a certain loss to the cultural or commercial activities at that time, but even cause a certain negative impact on the subsequent cultural exchanges. The generation and use of vocabulary is a unique way of activities accumulated by a nation in the long historical process, which is different from other nations. The translation of culture-loaded words is quite difficult. If the translation is improper, cultural loss will occur, that is, cultural differences will be mistaken for cultural common core, and the target language will be forced to adopt the cultural model of the source language, resulting in communication failure; or replacing the cultural image of the source language with the cultural image of the target language. Communication succeeds, but the regret is the cultural loss of the source language.(Qi, 2020: 163-164)

Culture-loaded words usually appear in literary works with ethnic characteristics. The ''Border Town'', Shen Congwen's representative work, is praised as "the purest novel text in the history of modern literature" and "the peak work in the pastoral legend of modern Chinese literature". It shows readers the harmonious life form of the Xiangxi Area. There are a large number of words which reflect the traditional customs and culture and dialect characteristics of the rural areas of Hunan, China. These culture-loaded words increase the difficulty of translation. In Dai Naidie’s translation, the translator also tries to reproduce the cultural characteristics of the original text in a variety of ways, so that the target readers can feel the local characteristics and charm of the ''Border Town'' more truly and appropriately.

===3. Analysis of Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation===
====3.1 The Introduction to Dai Naidie====
Dai Naidie (1919-1999) was born Gladys B.Tayler in 1919 to a British missionary family in Beijing. At the age of seven, she returned to England to receive education. She initially studied French language and literature, but in the later switched to Chinese language and literature because of her love for traditional Chinese culture. After marrying Yang Yixian in 1940, she settled down in China, where she and her husband hosted and translated many Chinese classics. The translated works range from pre-Qin prose to A Dream of red Mansions of more than 100 kinds. In their early works, Yang Yixian presided over the completion of the first draft, while Dai Naidie was responsible for proofreading and correcting the English expression. "Yang Yixian actually translated the Chinese into English, and I turned it into a narrative antithesis," she later recalled. With the continuous improvement of her Chinese and English translation skills, she began to try to independently translate Chinese literary works into English books, and contributed a large number of classic English translation literary works. The ''Border Town'' is one of the representative translations of Diana's independent translation period. The translation of Chinese classic literature works by Dai Naidie and her husband Yang Yixian not only promoted the cultural exchange between China and English-speaking countries, but also promoted the development of literary translation, promoted the translation process of Chinese classical novels, and contributed a huge force that cannot be ignored for Chinese culture to go out.(Song, 2017:24-27)

In the process of translating ''Border Town'', Diana was inevitably influenced by the social ideology of China at that time. As a foreigner herself, she was restricted and oppressed to a large extent, so her translation works mainly catered to the mainstream ideas of Chinese society at that time. At the same time, the powerful cultural countries represented by Britain and the United States at that time generally preferred the stereotyped works that fit their imagination in the weak culture. However, Shen Congwen's description of the backwardness and occlusion of the small town in Xiangxi was just in line with the imagination of the British and American society for the distant China, so it was once very popular in The British and American countries.(Sun, 2013: 49-50)

On the basis of being faithful to the original text, Diana's translation fully conveys the tendency of female translators' choice of translation strategies, which is reflected in the particularity of female translators' behavior in the process of translation.(Liu, 2017: 91-94)

====3.2 Analysis on Cultural-loaded Words====
Each language has its own unique features in pronunciation, vocabulary and syntax. Due to the differences in language and culture, the translatability of the expression forms of these languages will be limited when they are conveyed as information content in communicative language. If we do not understand the language and cultural characteristics of the original language, it is bound to produce ambiguity and mis-understanding. Meanwhile, translators of different identities have different approaches to translation. As a female translator, Dai Naidie was deeply aware of Shen Congwen's attitude and view when she read his work Border Town. Therefore, when dealing with the problems encountered in translation, especially some words with the color of feminism, she carefully and rigorously screened the original author Shen Congwen's own attitude, avoiding unreasonable and inappropriate translation of words, thus improving the accuracy and readability of the translation.(Song, 2017:25)
=====3.2.1 Analysis on Ecological Words=====
Ecology is a branch of biology that refers to the study of the relationship between organisms and their surroundings, especially their connections with their living environments. The diversity of ecological culture is naturally caused by the differences of geographical environment and natural conditions in various countries. The difference of ecological conditions will inevitably lead to the difference of national culture, so that culture shows a distinct regional.

The ''Border Town'' is a novel with the background of Xiangxi, which involves a lot of local customs and characteristic vocabulary. Dai Naidie followed the characteristics of Chinese culture and retained the cultural characteristics of Western Hunan in his translation. In Dai Naidie's translation, all place names are transliterated. For example, “四川”Sichuan、“秀山”Xiushan、“茶峒”Chatong, etc. Dai Naidie used pinyin system with Chinese characteristics to transliterate place names, conveying Chinese characteristics and displaying the unique charm of Chinese culture to western readers.

However, the translation of ecological culture-loaded words in the translation of Border Town by Dai Naidie does not show distinct characteristics of culture of Xiangxi in the translation of some words. In the text of translation, “有人带了礼物到碧溪岨。掌水码头的顺顺，当真请了媒人为儿子向渡船的攀亲来了。” The translation of this sentence of Dai Naidie, “Sure enough, someone comes bearing gifts to Green Stream, the go-between sent by Shun Shun to approach the ferryman on behalf of his son.” “碧溪岨” was where the heroin and his grandfather lived, who made a living by a ferry boat. There was a babbling brook in front of their house, and the houses were stacked on top of each other along the zigzagging stream. In the back side of the house, the white tower stood tall and upright, and the surroundings were the winding mountain road. Hence the place was named “碧溪岨”. In her translation, Dai Naidie ignored this rich culture-loaded word and directly translated it into "Green Stream", failing to realize the aesthetic transmission of the original text. In another version of translation, "Green Creek Hill" , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.（Guan, 2014:139-141）

For another example, “初五大清早落了点毛毛雨，河上游且涨了点‘龙船水’，河水已变作豆绿色。” Dai Naidie translated this sentence into “A fine rain sets in at dawn on the fifth, the water upstream has begun to rise, and the whole river turns pea-green.” “龙船水” is a natural phenomenon before and after the Dragon Boat Festival in the South China. The warm and damp air flows in the south of China is active, and the cold air from the north area to the south meet, there will be sustained large-scale heavy precipitation normally. After the intense precipitation, the water level of the river will rise rapidly, providing good site conditions for dragon boat racing. Therefore, people named the heavy precipitation during this period “龙船水”. In traditional Chinese culture, “龙船水” contains the function of warding off evil spirits. Hence, people will bath their feet and play in the water to get rid of bad luck and attain luck when “龙船水” comes. Here, the Dai Naidie’s version translation just simply translated “龙船水” into "water". Although with the help of context, some readers can understand the translation, Dai Naidie’s translation ignored the cultural characteristics and connotation of “龙船水” in the culture of Xiangxi and the influence of ecological environment on translation. Therefore, as a translator, Dai Naidie should not only try to preserve and convey the original characteristics of Chinese culture, but follow the authenticity of the original text.(Yin, 2020: 124-128)

=====3.2.2 Analysis on Material Words=====
Material culture refers to a kind of culture between cultural relics and social relations. It involves material processes and material production, and it reflects human emotional costs and material conditions. The cultural carrier vocabulary related to material culture is a mirror image that reflects the unique material and cultural characteristics of a certain language community, including "production of transportation, daily necessities, food, medicine, clothing and measures, etc.". Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.

The word "杜鹃" was textured by Dai Naidie, who translated it into what readers of the target language will know as "Nightingale". Although the nightingale and the cuckoo refer to different things, they both represent sad images in Chinese and Western cultural backgrounds. The nightingale is the incarnation of the ancient Greek tragic woman Procony, and the cuckoo is the reincarnation of Wang Duyu, the General of water control during the war of the Seven Kingdoms -- the nightingale and the cuckoo are endowed with similar emotional images of the traditional eastern and western world respectively. Therefore, the use of nightingale instead of cuckoo not only does not cause the deviation of emotional expression, but helps western readers to comprehend the image in the original text. This approach, on the one hand, takes into account the comprehension ability and scope of the western readers, and at the same time takes into account the traditional eastern cultural color represented by the cuckoo in the original text, which fully demonstrates the excellent female translator's thinking.(Song, 2017:24-27)

“贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。” Dai Naidie translated this sentence into “On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water.” “吊脚楼”, also known as “吊楼”, is a traditional residence of Zhuang, Miao, Dong, Buyi, Tujia and other regions. “吊脚楼” are generally built on the ground by the mountains and rivers. They are supported on flat ground with wooden pillars. They are usually two or three floors. The upper floor is ventilated and dry, and is a living room; the lower floor is closed for animals or piles of debris. Gladys has adopted a free translation method here, translating “吊脚楼” into "houses are built on stilts overhanging the water", which can make the target language readers feel the exotic style of this architecture, but fails to outline the building uniqueness of cultural characteristic in Xiangxi district. It is recommended to change the translation and add footnotes. “吊脚楼”are available in Hunan, Guizhou and other places. The readers are informed that this is a “吊脚楼” building in Xiangxi through foreignized translation strategies, and then the structure and appearance characteristics of the “吊脚楼”are described by adding footnotes, which retains the uniqueness and culture of the term "“吊脚楼”". The connotation makes the target language readers know what it is, and to a certain extent it also spreads Xiangxi culture and Chinese culture.(Yin, 2020: 124-128)

=====3.2.3 Analysis on Social Words=====
Social culture refers to folk customs, beliefs, values, traditions, lifestyles, behavior patterns and organizational activities related to a certain society. The words related to social culture are representations of characteristics of the above aspects. In the long-term development of human civilization, these aspects in one society are significantly different from other societies, thus forming different cultural-loaded words of a society.

“……车是车路，马是马路，各有走法。……” Dai Naidie translated the sentence into “Castles and knights have different moves.” The sentence was able to refer to the discipline of chess game, but in Xiangxi, it contains an entirely different meaning. The “车路” and “马路” were related to the marriage custom of Xiangxi. In China, marriage is the command of parents and the good offices of a go-between. Here, “车路” means to entrust one's life events to a go-between. The go-between is invited to persuade the person of one’s heart to marry. The final success in a large part depends on the go-between’s eloquence and the other person's opinion, which is a passive way of proposing marriage. “马路” represents the initiative to take control of one’s own life events in their own hands, and to spend time and energy singing courtship. The final success depends on their own sincerity which belongs to an initiative way. Dai Naidie used the translation strategy of domestication to translate this sentence. Although it was helpful for the target readers to understand, the cultural characteristics of the sentence were not preserved. From my perspectives, we should preserve “车路” as "Che Lu" and “马路” as "Ma Lu" by using foreignizing translation strategy, and then further explain the actual connotation of these two culture-loaded words in this sentence. This not only preserves the cultural connotation of the original text, but also helps the target language readers understand the specific charm of Chinese culture.(Yin, 2020: 124-128)

“由于边地的风俗淳朴，便是作妓女，也永远那么浑厚，遇到不相熟的主顾，做生意时也得先交钱，数目弄清楚后在关门撒野……妓女多靠四川商人维持生活，但恩情所结，则多在水手方面。” Dai Naidie translated it into "Border ways are so simple that even these girls remain honest. Before entertaining a stranger, they ask for their money and count it before closing the door and getting down to business … Whereas most of the women’ s income comes from merchants, it is usually the boatmen who win their hearts."In this example, the word "妓女" appeared twice. In Traditional Chinese values, this word is derogatory, and women in this industry will not be recognized and accepted by the society. In Shen Congwen's Border Town, prostitutes in the closed Xiangxi town described by Shen Congwen still retain a simple and kind quality belonging to Xiangxi women, although they cannot belong to the mainstream group of society. They are waiting for those travelling merchants or sailors ashore, and some innocent women who had never even crossed out of town, hoping to find their true love.

Dai Naidie translated the two repetitive words "妓女" in the excerpt as "girl" and "woman" respectively. These two words are neutral words, without any derogatory or discriminatory connotation, and more consistent with the original description of women who are forced to work as prostitutes for a living. In Shen Congwen's description, these women do not take pleasure in it, nor do they indulge in self-degradation. Just because they are in the closed small town of Xiangxi, they have not seen too much of the world, and they have no ability to support themselves, so they have to engage in humble and inferior occupation. These women have their own grievances, some even pitiable. Dai Naidie felt deep sympathy for the suffering of these women and could not bear it. As a woman, she consciously avoided the use of misogynistic words and used neutral words in her translation. On the basis of a full understanding of the original text, Dai Naidie described to the target language readers the innocent and simple characteristics of the women in Xiangxi, and then showed the plain local conditions and customs of the water town in Xiangxi. This way of dealing with these women not only did not become the object of public scorn, but more than a point of innocence color; not only does it not distort the original meaning of the author's writing, but it is helpful for the author to express his hometown -- Xiangxi water town nostalgia and yearning. (Song, 2017:24-27)

=====3.2.3 Analysis on Religious Words=====
Religion is the deepest source of all cultures, so differences in religion determine differences in culture. In China, religion is carried out in the daily life of people. In the West, people's daily secular life is carried out in religion. Therefore, in the process of translating vocabulary related to religion between China and the West, the translator will inevitably have a cultural gap. In this case, it is very difficult to fully convey the cultural connotations contained in the source language and make the target language readers have the same reading effect as the source language readers.（Guo, 1998: 12-19）

“老伯伯，你翠翠长得真标志，像个观音样子。再过两年，若我有空闲能留在茶峒照料事情，不必像老鸦到处飞，我一定每夜到这溪边来为翠翠唱歌。”Dai Naidie translated this sentence into “Uncle, your Emerald’s grown into a fine girl, a regular Guan Yin [The Goddess of Mercy]. In a couple of years, if I’m able to roost in Chatong in stead of flying off in all directions. I’ll come to this stream every night to serenade her!” “观音” is a noble and elegant figure in Chinese Buddhism. In Chinese Buddhism, Guanyin Bodhisattva can save all living beings and save people from fire and water. Therefore, it is deeply believed and worshiped by the general public. For the translation of this religious and culturally loaded word, Gladys is faithful to the original work and adopts the translation strategy of "alienation". She translated “观音” into "a regular Guan Yin" and added an endnote to explain it, taking into account the acceptability of the target language readers, and at the same time giving full play to the translator's subjectivity.(Mei, 2018: 157-162)

“过了四七，船总顺顺派人请马兵进城去，商量把翠翠接到他家中去，作为二老的媳妇。” Dai Naidie translated it into “Four weeks after the funeral, the wharf master summons the groom back to the town and proposes again that Emerald should move to his house.” In our country, every seven days after death is an anniversary of death, a memorial ceremony is held. "四七" refers to the fourth anniversary of death. Dai Naidie used the translation strategy of foreignization as “four weeks after the funeral” to express the basic meaning, but is it appropriate to use “week” here? What is special about this "四七"? Why did Cui Cui take over as the second elder's wife after four or seven? Did you miss the cultural factors that are rich in it? In the text, Cui Cui’s grandpa passed away. After the "四七", Cui Cui was a filial child. Dai Naidie only expressed the literal meaning, ignoring the cultural connotation of the original text. It should be translated into “the fourth seven days after the funeral” through the translation strategy of domestication, and the "四七" should be processed by adding footnotes to explain the specific meaning. Because there is a difference between “four weeks after the funeral” and the “fourth seven days after the funeral”, the former is the fifth week after death, that is, the day of death four weeks after death, which is a general term; while the latter refers to the fourth seven days after death, refers specifically to the expression closer to the original text. This helps to attract the target language readers to understand the cultural connotation, so that the target language readers understand and spread Chinese culture.

===Conclusion===
Translation practice examines not only the translation ability of the translator, but the translator also plays a variety of roles while performing translation activities. With the improvement of women's social discourse power, women have begun to consciously assume the cultural identity of translators. As a special group of translators, in addition to choosing materials related to female growth, female translators have unique translator behavior tendencies. ''The Border Town'' translated by Gladys Dai, a female translator, embodies two typical characteristics of female translators: on the one hand, female translators tend to choose neutral words and avoid using negatively discriminatory words; on the other hand, women The translator is more keenly aware of the original author’s linguistic information, and thus puts more emphasis on emotional communication when choosing words. As an indispensable and important component of the translation community, female translators play an increasingly important role.

At the same time, although there are many existing articles on the comparison of translations of ''The Border Town'', there are not many reference translations that can be given after the comparison. There is no definite method in translation, and there is no limit to translation, and the road to translation is long. As a translator, you must dare to make breakthroughs in the process of translation and introduce new ones. When translating culturally loaded words, you must not only take into account the dissemination and acceptance of culture, the culture of the target language reader and the correct dissemination of Chinese culture, but also the loyal original language and the correct dissemination of Chinese culture. The fluent expression of the target language, flexible use of domestication and foreignization translation strategies, transliteration, and footnote methods will enable the target readers to better understand and appreciate Chinese culture in terms of vocabulary and text, and ultimately achieve the purpose of spreading Chinese culture. So as to truly realize the "going out" of Chinese culture.(Yin, 2020: 124-128)

===Reference===
Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著(2013). 边城 [M] The Border Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.

Guo Jianzhong郭建中 (1998). 翻译中的文化因素:异化与归化[J]. Cultural Factors in Translation: Foreignization and Domestication. 外国语 Journal of Foreign Languages, 2:12-19.

Guan Xia官霞 (2014). 试论《边城》中文化负载词的翻译——兼议《边城》两英译本[J] On the Translation of Culture – Loaded Expressions in Biancheng. 海外英语 Overseas English, 17:139-141.

Liu Minxia刘霞敏(2007). 翻译中的性别差异及女性身份认同[J] The Gender Difference and Identification in Translation. 外语教学 Foreign Language Education, 2: 91-94.

Mei Qing梅晴(2018). 译者主体性视角下《边城》三个英译本的比较研究[J] A Comparative Study of Three English Versions of The Border Town from the Perspective of Translator's Subjectivity. 兰州教育学院学报Journal of Lanzhou Vocational Technical College, 10:157-162.

Qi Qi祁琦(2020). 戴乃迭、杨宪益《边城》译本中文化负载词的翻译策略及启示[J] The Translation Strategies and Enlightenment of Culturally Loaded Words in the Translation of "Border City" by Gladys Dai and Yang Xianyi. 海外英语 Overseas English, 9:163-164.

Shen Congwen 沈从文(1990). 从文小说习作选. [M]. 上海：上海书店出版社Shanghai: Shanghai Bookstore Publishing House, 1990, 234-237.

Shen Congwen 沈从文(2003). 湘行散记. [M]. 山西：北岳文艺出版社Shanxi: Beiyue Literature and Art Publishing House, 2003. 01, 104-105.

Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲(2017). 从翻译行为到译者行为:戴乃迭女性译者文化身份[J] From Translation Act to Translator Act: The Cultural Identity of Gladys Female Translators. 文学教育(下) Literature Education, 8:24-27.

Sun Ningning孙宁宁,刘亦伟(2013). 流散理论观照下译者文化身份研究:戴乃迭《边城》译本个案分析[J].语文建设Language Planning, 21:49-50.

Yin Lucheng, Liu Rurong尹泸程,刘汝荣(2020). 传播学视角下中国文化负载词的英译——以杨宪益和戴乃迭的《边城》译本为例[J] On the Translation of Culture-loaded Words from the Communication Perspective: A Case Study of The Border Town Translated by Yang Hsien-yi and Gladys Yang. 湖南第一师范学院学报 Journal of Hunan First Normal University, 01:124-128.

Zhou Na周娜(2021).跨文化视域下英汉文化负载词中概念隐喻翻译现象分析[J] An Analysis of the Translation Phenomenon of Conceptual Metaphors in Culturally Loaded Words in English and Chinese from a Cross-cultural Perspective. 今古文创 JinGu Creative Literature, 42:125-126.

=14 胡舒情浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》为例On Translation Strategies of Culture-loaded Words in Traditional Chinese Medical Classics: A Case Study of ''Treatise on Febrile Caused by Cold''=

胡舒情 Hu Shuqing, Hunan Normal University, China

[[Cult_Load_Words_EN_ 14]]

=== Abstract ===
''Treatise on Febrile Caused by Cold'', written by Zhang Zhongjing in the late Eastern Han Dynasty, is one of the "Four Classics" of Traditional Chinese medicine which uses six channels as guiding principles of syndromes differentiation and treatment. The book concentrates the traditional Chinese medical wisdom, which is both scientific and literary. The writing is smooth and simple, and the language is straightforward and vivid. A large number of rhetorical devices such as reduplication of words are used to reflect the beauty of Classical Chinese. Its multiple values have led more and more scholars to devote themselves to research, study and even translation and promotion, and a number of outstanding scholars have emerged at home and abroad to devote themselves to the translation work of this book. However, it is not easy to translate this book. China has an long history and profound culture, and the book contains many culture-loaded words. The translation quality of such words directly affects the translation quality, so it is necessary to adopt appropriate translation strategies. Therefore, the author chooses the version translated by Professor Luo Xiwen as the research blueprint to study the translation strategies of culture-loaded words in traditional Chinese medicine classics, in order to promote the translation of this book to a higher level.

=== Key Words ===
cultrue-loaded words; Treatise on Febrile Caused by Cold; Tranditional Chinese medicine classics; translation strategies

=== 题目浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》 ===

=== 摘要 ===
《伤寒论》为东汉末年的张仲景所著，是以六经作为辩证论治的纲领，荣列为中医“四大经典”之一。该书浓缩了中国传统医学智慧，兼具科学性与文学性，行文流畅朴素，语言直白形象，其中大量运用叠词等修辞手法，体现了中国文言文之美。其多重价值致使越来越多的学者致力于研究、学习、甚至是翻译推广，国内外皆涌现出一批优秀学者投身该书的翻译工作中。但翻译此书并非易事，中国历史优秀、文化精深，书中包含众多文化负载词，这类词的翻译质量直接影响译文质量，采取合适的翻译策略必不可缺。因此，笔者选择了罗希文教授所翻译的版本，作为中医典籍文化负载词翻译策略的研究蓝本，以期推进该书翻译工作更上一层楼。

=== 关键词 ===
文化负载词，《伤寒论》，中医典籍，翻译策略

===1. Introduction===
In recent years, China's international influence and national soft power have gradually improved, and the country has consciously pushed Chinese culture to all over the world. Traditional Chinese medicine culture, as an indispensable part of the excellent traditional culture of the Chinese nation, has a long history and unique theories and technical methods. Classic materials are rich and humanistic spirit of TCM is amazing, and the external dissemination of traditional Chinese medicine culture is becoming more and more important. Under this background, the translation of traditional Chinese medicine in China has been gradually carried out, and the culture-loaded words in the classics of traditional Chinese medicine are important features that reflect their rich cultural color and humanistic connotation, and the translation of culture-loaded words is the key to the translation of traditional Chinese medicine. Culture-loaded words are parts of the construction of traditional Chinese medicine culture and have basic research value. They cannot be unilaterally regarded as completely untranslatable because of the differences between Chinese and Western cultures. Facing the problems of translation, it is particularly important to put forward feasible translation strategies. A large number of translators of traditional Chinese medicine classics have also emerged in China, facing difficulties and striving to show the world the classics’ cultural accumulation and research results. Among them, the translator Luo Xiwen has translated a series of traditional Chinese medicine classics such as ''Condensed Compendium of Materia Medica'', ''Synopsis of Prescriptions of the Golden Chamber'', ''Huangdi Neijing'', and ''Treatise on Febrile Caused by Cold''. As one of China's historical medical works, ''Treatise on Febrile Caused by Cold'' is a classic work of traditional Chinese medicine written by Zhang Zhongjing in the Eastern Han Dynasty. It plays an important role in the development of medical history in the cultural biography of traditional Chinese medicine. This article will discuss the translation strategies of culture-loaded words in traditional Chinese medicine classics through Luo's translation of Treatise on Febrile Caused by Cold.

===2. TheDefinition and Classification of Culture-loaded Words in Chinese Medical Classics ===
====2.1 The Definition====
Different scholars have different interpretations of culturally loaded words, but a widely accepted definition is that words, phrases and idioms which mark the unique things in a certain culture. These words are deeply imprinted by the region and times of a language society. They only exist in one culture but are blank in another culture.

In recent years, many scholars have begun to pay attention to culture-loaded words in traditional Chinese medicine classics. Some scholars have tried to give a definition of traditional Chinese medicine culture-loaded words, but there is no clear definition yet. However, scholars Zhang Miao and others put forward recognition steps and a selection standard for traditional Chinese medicine culture-loaded words. First of all, read through the text and divide the semantic groups. Secondly, judge whether the semantic group belongs to the shared vocabulary of all human culture, that is, to express one concept of things as a vocabulary in the context of one language and culture, and words that indicate the corresponding concept in another language and culture background. For example, the words "apple", "pear" and "fire" in Chinese express the same concept and corresponding words in English. If it does not belong to part of speech, then determine whether each semantic group belongs to the following three categories. First, the basic terminology of traditional Chinese medicine. Such terms are usually divided into basic theories of traditional Chinese medicine, diagnosis of traditional Chinese medicine, diseases of traditional Chinese medicine, treatment of traditional Chinese medicine, acupuncture and moxibustion, and prescriptions of traditional Chinese medicine. Second, words unique to Chinese material culture, such as unique characters and things. Third, the unique language phenomenon of ancient Chinese. Such as ancient and modern synonymous words, common false words, word polysemy, etc. If it belongs to, and there is no obvious English corresponding word in the above semantic group, it is a culturally loaded word(Zhang Miao, 2020:63-64). According to this method, this paper selects the culture-loaded words in ''Treatise on Febrile Caused by Cold'' in the following article for analysis.

====2.2 The Classification====
After fingding out the culture-loaded words of traditional Chinese medicine, it is often necessary to classify and discuss them. Different scholars have different classification methods. Xu Xueyuan divided the culture-loaded words in ''Huangdi Neijing'' into basic philosophical concepts of traditional Chinese medicine, place names, traditional Chinese medicine terms and organs(Xu Xueyuan, 2018:148-149). Zhang Xuan divided the culture-loaded words in Su Wen into people's names, traditional Chinese medicine terminology, traditional Chinese medicine-related philosophical concepts, and other descriptive cultural load parts of speech(Zhang Xuan, 2009:12-16). Song Conghui and others divided the words of cultural load into: symptoms of traditional Chinese medicine, symptoms of traditional Chinese medicine, etiology and pathogenesis of traditional Chinese medicine, treatment of traditional Chinese medicine, basic philosophy of traditional Chinese medicine, etc(Song Conghui, 2016:121-122). Chen Zinuo and others divide the culture-loaded words of traditional Chinese medicine into five categories: syndrome, symptom, prescription, philosophy and rhetoric(Chen Zinuo, 2021:1698-1700). The latter includes the classification mentioned in the first three, and also opens up a rhetorical class to make the classification more detailed and clear. Therefore, this paper adopts Chen's classification method.

===3. Translation Strategies Used for Culture-loaded Words in ''Treatise on Febrile Caused by Cold''===
====3.1 Translation Strategy of Culture-loaded Words of Syndrome====

The translation of the syndrome affects the readability of the whole translation. ''Treatise on Febrile Caused by Cold'' has been written for a long time, and the simple structure of syndrome name carries a lot of information, so there are few modern terms that can be matched with ancient syndrome names. According to the methods mentioned above, most of the terms of traditional syndrome names belong to culture-loaded words. The author selected the syndrome -type culture-loaded words in Treatise on Febrile Caused by Cold translated by Professor Luo Xiwen to study the translation strategies of these words.

There are several syndromes mentioned in translation of Professor Luo: “太阳病” “阳明病” “少阳病” “太阴病” “少阴病” “厥阴病” “霍乱病” “阴阳易差后劳复病”. Sheng Jie believes that the translation of the syndrome name should be accurate first, then concise, and there is no need to overemphasize formal equivalence(Sheng Jie, 2013:15). When the meaning of the syndrome name has the corresponding words of Western medicine, the literal translation method should be directly used, and when there is no word to use, the method of additional translation can be selected.

Luo mainly adopts transliteration and free translation for syndrome names, first transliteration, followed by free translation, extending the cultural connotation and giving readers a way to deepen understanding. The following analysis can be seen.

“太阳病” appeares in chapter I, and Luo translates it into The Taiyang (Initial Yang) Syndromes. “太阳” does not refer to the celestial body “sun”, but to the Bladder of Foot-Taiyang. The bladder is located in the lower jiao, that is, below the belly button and above the bladder, which contains body fluid, which evaporizes to form "Qi of Taiyang", which is obvious on the body surface. This Qi has the function of protecting the body, also known as "Wei-qi". Because “Wei” meaning defensive, it is also reputed as “defensive Qi”. Because the Qi of Taiyang travels on the surface of human body, when exogenous pathogenic factors invade the human body, Taiyang must bear the brunt, and the syndromes presented as 太阳病. Professor Luo first gives the transliteration form of 太阳病, and then in view of Taiyang syndromes being the first from the law of transmission, Luo also adds “Initial Yang” as an expression of this kind of law of transmission.

“阳明病” appears in Chapter 4, Luo translates it as: The Yangming (Greater Yang) Syndrome. “阳明病” is related to the stomach channel of Foot-Yangming and the Large Intestine Meridian of Hand-Yangming, which means that Yang Qi is so strong that can be observed. Luo uses "Greater" to indicate the prosperity of yang qi to help readers understand the degree of yang.

“少阳病” appears in Chapter 5. Luo translates it as: The Shaoyang (Lesser Yang) Syndrome. Shaoyang is related to Sanjiao Meridian of Shaoyang and Shaoyang Gallbladder Meridian of Foot. It is one of the three Yang, but its ability to stand up to evil is not as good as Tiyang and Yangming, so "Lesser" is used to correspond to "少" in the name.

“太阴病” and “少阴病”, which have similar names with the “太阳病” “少阳病”, just different from Yin and Yang, have similar translations, so there is no need to go into detail. It is worth mentioning that “厥阴病”, Luo translates it as: The Jueyin (Greater Yin) Syndrome. “厥” has the meaning of “extreme”. When the disease or syndrome reaches Jueyin, Yin is extremely cold. Therefore, the degree of Yin embodied with "Greater" is similar to that of Yangming.

“霍乱” appears in Chapter 9, Luo translates it as: Huoluan (Cholera). “霍”, has the meaning of “suddenly” and “haste”, “乱” has the meaning of chaos. “霍乱” is an explosive gastrointestinal disease with vomiting and diarrhea as the main clinical manifestations. Traditional Chinese medicine believes that it is mostly caused by the combination of the six pathogenic factors and unhealthy diets. In Western medicine, Cholera is more likely to be an acute diarrheal infectious disease caused by the intake of food and water which is contaminated by Vibrio cholerae. It is not appropriate to have Cholera's literal translation of “霍乱” in Chinese medicine.

“阴阳易差后劳复病” appears in Chapter 10, Luo translated it as: The Recurrence of Disease and Yin Yang Yi Syndrome. This chapter introduces two parts: one is related to Yin Yang Yi, that is, the differentiation and treatment of Yin Yang Yi syndrome caused by patients with typhoid fever when they are not healed or just recovering, giving way to their carnal desires; the other refers to the differentiation and treatment of recurring diseases resulted from that, at the beginning of recovering from an illness or no recovery, patients start to work. In this chapter, Luo does not add interpretations, but directly arranges the free translation and transliteration in a phrase. The language is concise, easy to be accepted and understood by readers, and achieve the purpose of communication between Chinese and Western medicine. As a matter of fact, observations show that Luo's translation is relatively accurate in grasping the prosperities of syndromes, and tends to use free translation to reflect the characteristics of the progress of syndromes. However, Luo still mainly uses transliteration to convey cultural information about Yin and Yang and other Chinese-specific philosophical characters. This method also has drawbacks, that is, the transmission of cultural connotation depends on the degree of such characters’ propagation and the reader’s cultural level. For some readers who are first exposed to Chinese medicine culture, the transliteration is not friendly, which is not conducive to their reception of Chinese specific cultural information.

====3.2 Translation Strategy of Culture-loaded Words of Symptom====
When describing various syndromes in the book, it also points out the symptoms of the patient who is attacked by those disease. Most of the symptoms are described in detail at the beginning, and Chinese medical books are quite different from Western medical books in terms of the degree of language rigor. About Chinese medicine books, they make good use of rhetoric and pay attention to flowery characters and rhyme beauty, which adds a literary flavor to Chinese medicine, while it also causes the ambiguity and non-standardization of the concept of Chinese medicine, which increases the difficulty of translation as well. Examples are as follows.

Example 1：阳浮者，热自发；阴弱者，汗自出。

Translation：Floating at the surface signifies Heat weak in depth signifies spontaneous perspiration.

This sentence is neatly formed and catchy to read. Luo's translation is roughly the same as the original in form. It is worth noting that Luo translates most of the character "热" which refers to heat symptoms caused by an exopathgen as "Heat" or "pathogenic Heat", and capitalized H to distinguish the "heat" from common heat.

Example 2：鼻鸣干呕

Translation：nauseous and with a tendency to snore

In response to “干呕”, Luo uses the adjective “nauseous” to express "disgusting". In fact, the original text “干呕” is closer to “retching”, which refers to only the sound and action of vomiting, but no food or only salivation. This is not the same as complete nausea. “Nauseous” the word chosen by Luo here does not fit the context of Chinese medicine. “鼻鸣” are sounds made when the breath enters and exits due to suffocation in the nasal passages. It is manifested as thick breathing like a squeak, and snoring is the sound of thick breathing after falling asleep. Luo use the translation of “snore” is rather accurate.

Example 3：不下利，但呕者

Translation：……not cause diarrhea, but rather cause nausea and vomiting

“下利” refers to having the trots in Chinese medicine. The literal translation of "diarrhea" here fits the context. Compared with using the previous term nauseous to indicate “干呕”, Luo treats the character “呕” more carefully, using two words nausea and vomit to expresse together. At the same time, ancient Chinese medical writings in classical style tend to use omissions and emphasize parataxis, while English paying more attention to hypotaxis, Luo uses the word “cause” to make sentences more coherent and clearer.

In summary, it can be seen that the translation of symptoms extremely tests the translator's Chinese and English levels and medical understandings, and a slight difference will lead to deviations in meaning. For such culture loaded words, translators also use more literal translation and omission methods, and less transliteration. But there is also a problem, that is, most of the symptom names in Chinese and Western medicine can not completely point to the same content, and this subtle difference may cause doctors to make mistakes in judgment and cause major accidents. Therefore, the translation of symptoms should be more careful, and comments can be added when necessary to help understand.

====3.3 Translation Strategy of Culture-loaded Words of Prescription====
Treatise on Febrile Caused by Cold is the "ancestor of all prescriptions", which contains many culture loaded words related to prescriptions. Chai Hui has carried out research on the English translation of the prescriptions of Treatise on Febrile Caused by Cold, using the transliteration + literal translation + Latin notation of the "three insurances" translation method for prescription names to ensure that the translation is accurate and comprehensive(Chai Hui, 2010:703-704). Luo's translation mainly uses literal translation for such culturally loaded words. Examples are as follows.

Example 1：芍药

Translation：Radix Paeoniae

The translation of medicinal materials needs to pay attention to the phenomenon of different medicines with the same name. For example, in Zhang Zhongjing's book, there is no distinction between white peony and red peony, but in modern times, white peony and red peony are clearly classified as two kinds of medicinal materials. At present, clinical physicians generally believe that white peony’s function is rather tonic and restorative, while that of red peony refers to ejecting or diarrhea, and two medicinal materials need to be used flexibly according to the condition of the disease. Professor Luo uses Radix Paeoniae to translate it in general, without any distinction or explanation.

Example 2：潦水

Translation：rain water

In Chinese medicine, “潦水” refers to rain water. Luo Zhi literally translated it. “潦水” can be used to decoct herbal medicines whose functions are to nourish spleen and stomach and remove the dampness-heat. In fact, the translator can also explain the reasons for the use of rain water in Chinese medicine after the text, which is more conducive for readers to understand the connotation of Chinese medicine.

Example 3：苦酒汤

Translation：decoction of Bitter Wine (Ku Jiu Tang)

"苦酒汤" in Chinese medicine is actually rice vinegar. Luo translates it as "bitter wine", which means wine with a bitter taste, which is not in line with the original meaning and can be misleading.

Through the above analysis, we can find that the names of the prescriptions and the materials used in the book all have specific cultural connotations of traditional Chinese medicine. There are few corresponding words in Western languages, and even if they do, they are different from the original cultural connotations of the word in the West. We need to adopt appropriate methods in translation, which not only preserves the cultural characteristics of Chinese medicine, but also facilitates the understanding of target readers.

====3.4 Translation Strategy of Culture-loaded Words of Philosophy====
The philosophy of Chinese medicine is the ideological basis and theoretical guidance of Chinese medicine, covering Qi, Yin and Yang, and the Five Elements and so on. Among them, the theory of Yin and Yang is the main line of Treatise on Febrile Caused by Cold, which is expressed as two opposite sides of the same thing or two opposite things in a unified way. Jiang Mingde and others have analyzed the polysemous nature of the term "Yin and Yang" in Treatise on Febrile Caused by Cold, and pointed out that Yin and Yang can represent multiple meanings such as pulse location, pulse condition, disease attributes, pathological characteristics, etc(Jiang Mingde, 1992:7-8). The specific meanings in terms vary according to the environment and the translators different. Some examples are analyzed as follows.

Example 1：阴阳自和

Translation：if yin and yang are still in harmony

"阴阳自和" means that after sweating, vomiting, and using the purgation method, the human body achieves Yin-yang harmony and heals through self-regulation. This is an important content of Chinese philosophy. This tends to be a kind of dynamic balance, while Luo Yi's translation of “in harmony” is more inclined to a kind of static stability, which is somewhat different from the original meaning.

Example 2：脉阴阳俱浮

Translation：floating pulse at Yin and Yang

The translations of “阴阳” here are still transliterated as Yin and Yang. As a matter of fact, the two terms here refer to “Cun” and “Chi” (the transliteration of “寸部” “尺部”) appearing as floating features. Cun pulse pertains to Yang, and Chi pulse is to Yin. Professor Luo only uses transliteration, without supplementing background knowledge and relevant contextual information, so that readers in the target language may not understand what exactly they refer to.

Example 3：伤寒阴阳易之为病

Translation：Febrile disease caused by Cold with Yin Yang Yi syndrome

Luo adopts transliteration and free translation. In regard to Yin Yang Yi, Yin and Yang here refer to sexes of male and female, among which Yin Yi is the disease transmitted from female to male; Yang Yi is the diseases transmitted from male to female. After analysis, it can be found that most of philosophical characters such as Yin and Yang are transliterated by Luo, who does not provide additional explanations or supplementary background information. Without pre-connotations, this kind of translation would make the target language readers and feel confused and think that the translated work is obscure.

====3.5 Translation Strategy of Culture-loaded Words of Rhetoric====
The language of Chinese medicine has its unique features, which are mainly manifested in its literariness, rich philosophical thoughts, and good at comparing images and analogies. Various rhetoric techniques can be seen everywhere in the book. While deepening people’s understanding of the original text, it also increases the difficulty of literary translation into English. The correct transmission and translation of the true meaning requires a solid foundation in Chinese medicine and linguistics.

Example 1四肢烦疼：

Translation：the patient feels heavy and painful in the extremities

The "烦" in this phrase, Explanation of Treatise on Febrile Caused by Cold and other books explain it as an annoyance, a kind of feeling for people. The Chinese sentence here is a non-spirited sentence to replace people with limbs. Luo’s version of the translation emphasizes people's feelings. It rather focuses on people's feelings of heavy pain in their limbs, than translates people's feelings of boredom.

Example 2：啬啬恶寒，渐渐恶风，翕翕发热

Translation：The patient feels chill and fears wind, uneasy because of a fever.

Among them, “啬啬” “渐渐” and “翕翕” manifest various kinds of rhetoric techniques. “啬啬” reflects the howling shudder look, expressing that the degree of people’s aversion to cold is severe. And “渐渐” describes the onomatopoeia of mild wind and rain, while “翕翕” describes the appearance of mild fever, but these characters are not translated in Luo's translation, and Luo adopts the omission method.

===4. Conclusion===
''Treatise on Febrile Caused by Cold'' is a classic work of Chinese medicine and a treasure of Chinese medicine culture. The translation and dissemination of this book has extraordinary significance for the promotion of Chinese culture and the connotation of Chinese medicine. The culture loaded words are the condensed form of the unique national culture, and their translation is related to the readability of the entire book. The English translation of culture loaded words in Chinese medical classics is an extremely complex cross-cultural translation activity. It not only takes cultural characteristics into account, but also reflects the characteristics of scientific and technological styles, which is a great test for the level of translators. Professor Luo’s translation of this book is the world's first fully translated English translation of TCM classics. The book was published earlier than most translations. Under the background of that time, Luo Xiwen's translation of Treatise on Febrile Caused by Cold is no doubt of pioneering significance.

The translation strategies Professor Luo chooses are basically literal translation, free translation, omission, and transliteration, with few additional interpretations. Each of these translation strategies has its own advantages and disadvantages. The ultimate goal of translation is for readers to better understand the original text, and there is definitely a great similarity between the two different medical systems of Chinese and Western medicine, which cannot be separated. Literal translation can be used appropriately, and some of Western medicine terms can be used to express some concepts of that of Chinese medicine. Literal translation is a translation method that maintains both the original content and the original form. Generally, when the target language and the original language can express the same content in the same form, we will use literal translation. However, culture loaded words are the difficulties of translation due to the vocabulary vacancy in the target language. The use of literal translation seems to be contradictory. In fact, the choice of literal translation is also for the construction of the concept of TCM culture. Although Chinese medicine culture loaded words are not only a language full of Chinese national characteristics, but also a part of the world's national culture. We should also have full cultural self-confidence. In the translation process, we should dare to retain the national cultural characteristics, express the Chinese medicine culture with the conceptual language of Chinese medicine, and present the pure and natural Chinese medicine culture to Western readers, so as to increase the understanding, recognition and respect of the Chinese medicine culture. This is why Professor Luo extensively use transliteration is his translation, which reflects his care and thought. At the same time, we have to admit that Luo’s translation also has its shortcomings, such as mistranslation or incomplete translation of culture loaded words with multiple meanings, omission of some modifiers, and no supplementary explanations for relatively large differences between Chinese and Western cultures. In the future, Chinese medicine Translation needs to continue to explore, innovate, revise and develop.

All in all, the translation of Chinese medical culture loaded words must not only maintain national cultural characteristics, but also be conducive to the understanding and acceptance of target readers. All major translation strategies are worthy of careful consideration. Only translators familiarize themselves with the original text, master the similarities and differences between the two languages, choose the most appropriate translation strategy in different contexts, and supplement the relevant cultural background when necessary to help readers understand, translations of Traditional Chinese Medicine classics can be rather outstanding.

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--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 14:07, 8 December 2021 (UTC)

=15 陈静 The Translation of Culture-loaded Words From the Perspective of Skopos Theory: A Case Study of ''Xi Jinping: The Governance of China''=
[[Cult_Load_Words_EN_15]]
===Abstract===
The Communist Party of China celebrates its 100th anniversary in 2021. Xi Jinping: The Governance of China (Volume III) was published at a critical juncture. Xi Jinping's political vision is expanded in the third version. This book provides foreign readers with a window into China's leadership and insight into China's unique governance. Hence, the book is critical in assisting foreigners in understanding China's political position in domestic and international affairs. The purpose of this article is to investigate and analyze the translation strategies of culture-loaded words in Xi Jinping: The Governance of China (Volume III) using the framework of the Skopos Theory.

===Key words===
Culture-loaded words; Skopos theory; ''Xi Jinping: The Governance of China
''

===Introduction===
this subtitle is repeated I think, you can delete this one. And delete this my sentence as well.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:48, 13 December 2021 (UTC)

===1. Introduction===
====1.1 Research Backgrounds====

Language is a cultural carrier as well as an important means of understanding specific ethnic and national cultures. Each country’s language contains more or less culture-loaded words, and the connotation of these words differs from people’s general cognition of them in the context of globalization, reflecting their own unique culture, national color, and historical context. Because each nation has its own development history, social system, ecological environment, religious beliefs, and so on, the language will inevitably derive a large number of words, allusions, and idioms condensing the national historical and cultural characteristics during the development process of history. With a five-thousand-year-long history, Chinese has amassed a large number of culture-loaded words, and translation of culture-loaded words is an important carrier for cultural readers from other countries to understand Chinese culture without relevant cultural background.

From my perspective, "five-thousand-year-long history" is a little Chinglish, maybe "five-thousand-year history" is better.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:58, 13 December 2021 (UTC)

At the specific practice level, a large number of culture-loaded words will inevitably appear in the text as a material to publicize all aspects of the country. A good example is Xi Jinping: The Governance of China (Volume III). General Secretary Xi Jinping quoted classics and used approachable language in his speech. His use of words infused with Chinese culture made this series of speeches more vivid and appealing to the audience. Through careful text reading, analysis, and summarization, it has been discovered that the culture-loaded words used in Xi Jinping: The Governance of China (Volume III) primarily fall into the following categories: Chinese political words, including political slogans and political characters; a large number of ancient Chinese poems, with cultural connotation primarily reflected in the characters, allusions, and images appearing in poetry; unique Chinese sayings and idioms; and special words with Chinese cultural connotation, such as numbers, etc. The translation of culture-loaded words necessitates translators faithfully conveying the essence and soul of their national culture while accurately and properly understanding the beliefs, customs, and aesthetic values in other national cultures in order to achieve true cultural communication. As a result, in order to achieve the goal of Chinese culture spreading, translators should carefully deal with culture-loaded words and strive to accurately convey the essence of traditional Chinese culture to target language readers.

====1.2 Research Significance====

China’s politics and policies are attracting increasing attention from the outside world as China’s overall national strength and economic development improve. The Communist Party of China celebrates its 100th anniversary in 2021. This is a significant event in Chinese ruling party's historical and political development. ''Xi Jinping: The Governance of China (Volume III)'' was published at a critical juncture. Xi Jinping’s political vision is expanded in the third version. The language in the book is rich and diverse. In addition to general political terms, the book employs rhetorical devices such as exclusion and repetition to improve the language’s persuasion. The books also contain a large number of poems, proverbs, and idioms rich in Chinese cultural heritage. A minor blunder may result in cultural misunderstanding, a negative national image, and an impact on international relations.

According to Gao Fang (2010), in the context of “Chinese culture go out”, the country has taken various measures to strengthen cultural export, but Chinese readers disregard for local literature, western readers of Chinese culture cognition, English world innate discrimination against translation work and translation strategy decisions, which reflects the difficulties in the broadcast of Chinese culture. As a result, it has piqued the interest of the domestic literary circle, the translation circle, and various publishing institutions: how to successfully realize cross-cultural communication of cultural works, how to properly and effectively solve the translation problem?

The paper uses the English translation of culture-load words in ''Xi Jinping: The Governance of China'' as the research content, and attempts to summarize and analyze the translator’s translation strategy and rationality when translating Chinese culture-loaded words from the perspective of Skopos Theory, as well as providing a reference for the English translation of Chinese cultural load words in current publicity materials.

===2. Literature Review ===
====2.1 Culture-loaded Words====

Nida proposed the theory of culture-loaded terms translation for the first time in 1945.

Nida classified culture-loaded terms into five categories, including ecological, material, social, religious, and linguistic culture-loaded terms. Ecological culture-loaded terms are words or phrases that are distinct due to their ecological and environmental conditions, which typically involve animals, plants, and climate. Material culture-loaded terms refer to physical objects that are specific to a culture, such as vehicles, food, or clothing. Social culture-loaded terms encompass a broader range of cultural content, encompassing all aspects of social life such as cultural background, social rules, history, traditions, and so on. Religious beliefs, including myths and fairy tales, are examples of religious culture-loaded terms. Linguistic culture-loaded terms are expressions with rich cultural characteristics, such as specific pronunciation, word, and syntax. From the author’s perspective, Aixela (1996) provided two primary classifications of culture-loaded terms: specialized nouns and common expressions.

Newmark (2001: 70) classified culture-loaded terms into five categories based on Nida’s research: proper names, historical institutional terms, international institutional terms, national institutional terms, and cultural terms. Proper names, according to Newmark (2001: 70), refer to “persons, objects, and processes distinctively owned by an ethnic community with singular references”. Brand names, trademarks, geographical names, names of newspapers, firms, journals, and private institutions, as well as proprietary names, are all examples of proper names, according to Newmark (2001). According to Newmark (2001: 74), historical institutional terms are “token words that give color and flavor to a period”. International institutional terms are words used by international organizations that have an official translation. According to Newmark (2001: 75), national institutional terms are those involving modern politics, finance, administration, and society. The scope of general cultural terms is broader, including ecological terms, loanwords with no specific cultural characteristics, and so on.

Chinese academics also proposed their own classifications of culturally charged terms. Tu Guoyuan (1996) agreed with Nida and Newmark’s classification and defined culture in a broader sense as human society's mental and practical activities. In a broad sense, culture is defined as a community's distinct way of life and how it expresses its ideas. Culture-loaded terms, according to Liao Huihua and Ge Lingling(2010: 101), are words, phrases, and idioms that represent unique items in certain cultures. These terms reflect the distinct activities of specific ethnic groups that have accrued over time and distinguish them from other cultures.

====2.2 The Skopos Theory====
Skopos Theory, the foundation of Functionalist Translation Theory, was proposed by Vermeer, a student of Reiss. According to Skopos Theory, the primary principle determining the translation process is the purpose of translation activities.

There are three types of purposes, according to Vermeer. To begin, there is a broad goal that a translator strives for, such as translating as a source of professional income. Second, a target text's communicative purpose in a target context, such as instructing the audience. Third, the goal of a translation strategy or approach, such as displaying structural characteristics of the source language. The theory views the source text as a "offer of information in a target culture," which is a result of constructivist comprehension theories.

The Skopos Theory states that there are three basic rules.

First and foremost, the Skopos rule. It is the highest-ranking rule for any translation, implying that translation activities are determined by the translation purpose. Each text is written with a specific purpose in mind and should be used for that purpose only. Because translation behavior is determined by the purpose of the translation, the Skopos rule is the primary rule for all types of translation.

The coherence rule is the second. This rule states that the target text must be coherent enough to be understandable given the intended receivers' background and context. At the very least, the translator should ensure that the translation is understandable to people from the target culture. Furthermore, only when the target text meets the standard of being intratextually coherent can it be expected to play a presupposed role in the communicative situation and culture in which it is received, and the audience will understand it without difficulty.

The third is the rule of fidelity. This rule focuses on the intertextual coherence between the translation and the original text, which is not the same thing. The former is thought to be inferior to the latter, and both are subject to the Skopos rule. When the purpose of the function changes, the standard is no longer intertextual coherence with the source language, but adequacy or appropriateness in relation to the purpose (Reiss and Vermeer, 1984). It is critical in translation that there is intertextual coherence between the source and target texts, and the form of this coherence depends on both the translator's understanding of the original text and the translator's translation purpose. There is only one possible intertextual coherence: maximum fidelity to the original text.

Skopos Theory’s three basic rules are intended to guide the translator throughout the translation process. In most cases, the translation cannot meet all three rules at the same time because doing so causes it to deviate from the original intention of the source text. In general, the Skopos rule should be followed by the coherence rule, followed by the fidelity rule, or, to put it another way, the need for loyalty is considered to be subject to intratextual coherence, both of which are subject to the Skopos rule. When a faithful translation of the original text cannot be effectively understood by receivers of the target text, the translator should abandon the fidelity rule and follow the coherence rule, that is, to make the translation meaningful in the target language’s communicative context and culture. If the function changes, the required standard will no longer be intertextual consistency with the source text, but adequacy or appropriateness in terms of the purpose (Nord, 2001). If the purpose necessitates intratextual incoherence, the intratextual coherence criterion is no longer applicable.

====2.3 The Translation Strategies of Culture-loaded Words====

Wang Jianguo (2019) identified four limitations in translating culture-loaded words.

First, culture-loaded words are untranslatable. Culture has a distinguishing feature that sets it apart from the culture of the target language. Culture-loaded words are difficult to translate in certain literary works because they require more explanation and thus have the potential to influence the structural and aesthetic value of the target text. Second, cultural information that is highly relevant to the theme should be translated, and explanatory notes should be included as needed. If the culture-loaded word is unrelated to the source text, the target text will most likely be deleted or omitted. If the target text translated with literal translation can be understood, then literal translation is the most likely translation strategy to be used. Third, cultural values are difficult to convey. As a result, while translating culture-loaded words with Chinese characteristics, western media translation can be borrowed. Gu Hongmin, for example, translated “君子” as “a wise man”. Western culture emphasized wisdom, whereas Chinese culture emphasized benevolence. Gu translated “君子” as “wise man” because he thought the two words were culturally equivalent. Fourth, the principle of economy should be applied in translation. Wang discovered that when culture-loaded terms in the source text have little influence on comprehending the whole article, translators can find culturally equivalent words so that the target text will be more concise.

Wang also classified translation strategies into three categories: literal translation, non-literal translation, and translating words with unique cultural information.

The first strategy is literal translation. When there are words with similar cultural meanings, a literal translation is usually used. One type of literal translation is transliteral translation, which refers to the use of pinyin to translate culturally loaded words. Because transliteral translation preserves more cultural characteristics of the source language, it is frequently used in target text of the Big Breasts and Wide Hips. A translation strategy like this can help to avoid misinterpretation of the source language’s culture.

The second strategy is non-literal translation. This translation strategy is typically used in reader-friendly texts in the target language. Such a translation strategy does not adhere to the source text and overcomes constraints in language structure, which is a widely accepted strategy among targeted readers. Nonliteral translation strategies include explanatory notes both inside and outside the main body, including footnotes and tail notes. Filling-in translation is commonly used with literal translations, but it is also one of the non-literal translation strategies. Deletion refers to the practice of translators removing unnecessary words when the original meaning is unaffected.

The third strategy is to translate words that contain specific cultural information. Wang pointed out that idioms, aphorisms and maxims, two-part allegorical saying, the common saying, idioms and proverbs are the six major categories of idiomatic expressions. In many cases, the target text contains no words or phrases that are completely culturally equivalent to the source text.

===3. Analysis of Translation of Culture-loaded Words in ''Xi Jinping: The Governance of China''===
====3.1 Translation Strategy of Social Culture-loaded Words====

Social culture-loaded words reflect social ideology, which refers to the system in the form of social and economic factors in specific classes or groups. Social culture-loaded words encompass all aspects of social life, such as social activities, historical allusions, and festival customs. Words or phrases containing social culture-loaded words will emerge from a specific social context. As a result, it encompasses a wide range of word collocations. Political terms with Chinese characteristics, Chinese common saying, and rhetoric in Chinese are examples of social culture-loaded terms.

ST: 中国在人类发展史上曾经长期处于领先地位，自古以来逐步形成了一整套包括朝廷制度、郡县制度、土地制度、税赋制度、科举制度、监察制度、军事制度等各方面制度在内的国家制度和国家治理体系。

TT: Over a long period of history China led the world in development. It forged a complete set of state and governance systems covering the court, administration of prefectures and counties, land, taxation, civil service examination, supervision and the military.

“朝廷制度、郡县制度、土地制度、税赋制度、科举制度、监察制度” are institutions in the past of China that international readers may not be familiar with. In this case, the translators use literal translation by looking for words with similar meanings in the target language and the source language while adhering to the fidelity rule. “郡县” is translated into the modern expression of “prefectures and counties”. Such a translation strategy is in accordance with the principle of efficiency in dealing with cultural information. When the cultural information in the source text has limited influence on comprehending the entire passage, most translators will use a common strategy of finding words or phrases with similar meanings. By doing so, the original context's structure is not jeopardized, and the target text can adhere to the original meaning, which meets the fidelity rule’s requirement.

A similar strategy is adopted in translating “税赋” and “土地”. As for“税赋”in ancient China, the feudal land tax and taxation are included. However, the purpose of this excerpt is only to provide context for China's magnificent culture. Translators look for culturally equivalent words so that the target text is more precise and coherent. When translating “税赋”, since feudal land tax is a unique expression of the social system in ancient China and has little influence on the meaning of the whole passage, the translators use deletion and only translate the meaning of “税”. “土地制度” is also translated into the brief version of “land”, also using the strategy of deletion. Instead, inline annotation is used by translators when translating “科举制度”. “科举制度” is a unique examination system for public officials in ancient China, and it is difficult to find culturally equivalent words for it. To avoid misinterpretation from international readers, the translators explain this noun through explanatory notes, employing the Skopos rule to ensure effective cross-cultural communication. The translators take into account the cultural backgrounds of international readers and used culturally equivalent words in the target language. The goal of these two different translation strategies is to make cross-cultural communication easier. The Skopos rule and the coherence rule have been followed as a result of these strategies.

ST: 广大青年要坚定理想信念，志存高远，脚踏实地，勇做时代的弄潮儿，在实现中国梦的生动实践中放飞青春梦想。

TT: To all our young people, you should have firm ideals and convictions, aim high, and have your feet firmly on the ground. You should ride the waves of your day; and in the course of realizing the Chinese Dream, fulfill your youthful dreams.

“弄潮儿” is a common Chinese saying that originally referred to swimmers who swim against the tide but has since come to refer to people who are brave and entrepreneurial. This phrase has Chinese cultural characteristics and comes from a poem written during the Tang dynasty. This phrase was translated literally by the translators in accordance with the fidelity rule. The fidelity rule requires translators to avoid contradicting the original meaning of the source text while making the translation more understandable in light of the cultural differences. In the target text, the translators use literal translation to directly translate “弄潮儿”, implying that people should follow the trend of the times, which also meets President Xi’s extended meaning. Certain cultural information has its uniqueness, making it untranslatable. “弄潮儿” is a distinctive Chinese expression, and “ride the waves” refers to enjoying the advantage or benefit of a particularly successful, popular, fortunate or interesting moment. It can be difficult to find phrases that are completely culturally equivalent, so the translated version restored as much of the original information as possible, demonstrating how the fidelity rule is applied in the target text.

The above-mentioned social culture-loaded terms demonstrate a high level of adherence to the coherence rule and the Skopos rule, most likely due to the fact that social culture-loaded terms vary greatly across cultures. Target readers may find it difficult to interpret translations that strictly adhere to the fidelity rule, whereas translations that adhere to the coherence and Skopos rules can better facilitate cross-cultural communication. According to the appendix’s collected social culture-loaded terms, the majority of social culture-loaded terms used deletion, literal translation, and inline annotation. These three strategies allow international readers with limited knowledge of Chinese society to comprehend China’s policies and read the volume fluently.

====3.2 Translation Strategy of Material Culture-loaded Words====

Material culture-loaded words include material products and technology invented by human beings derived from the development of society. The third volume’s material culture-loaded terms can be divided into four categories: construction, items, literary works, and names. Most material culture-loaded terms use transliteration and amplification strategies when translating literary works and names, as well as substitutions when translating constructions and products. Materials can have a variety of meanings in different cultures. For example, in Chinese culture, the terms “勤务员” and “伙夫” are distinct expressions that may not have equivalent words or phrases in English. While translating these words, translators should be aware of expressions in Western culture with similar meanings.

ST: 中华民族伟大复兴，绝不是轻轻松松、敲锣打鼓就能实现的。

TT: Achieving national rejuvenation will be no walk in the park; it will take more than drum beating and gong clanging to get there.

East and Southeast Asian musical instruments include drums and gongs. Gongs and drums, with their symbolic meaning of hyping up, can be used in times of grand celebrations in Chinese culture. President Xi is emphasizing the difficult efforts that the Chinese people must make in order to achieve national rejuvenation. As a result, the translators use the translation strategy of addition to limit the boundaries the source text may transform so that the readers can have a more precise understanding, as shown in this excerpt by how the Skopos rule is applied. Meanwhile, the translators render the phrase as "drum beating and gong clanging," demonstrating the fidelity rule. The literal translation is used here to restore Chinese cultural connotations. The fidelity rule in translation requires equivalence in meaning and refers to word for word translation. In this case, the translators have kept the names of well-known Chinese musical instruments. At the same time, the translators explain their connotations, in order to maintain the fidelity of the target text to the source text and to improve cross-cultural communication. Understanding and conveying information of “rejuvenation is no easy task” to international readers is facilitated.

ST: 天宫、蛟龙、天眼、悟空、墨子、大飞机等重大科技成果相继问世。

TT: ... with major advances made in science and technology, including the successful launch of space lab Tiangong, the commissioning of the deep-sea manned submersible Jiaolong and of the five-hundred-meter aperture spherical telescope (FAST) Tianyan, the launch of the dark matter probe satellite Wukong and the quantum science satellite Mozi, and the test flight of the airliner C919.

In material culture-loaded terms, the aforementioned Chinese innovations fall under the category of "names." Tiangong, Jiaolong, Tianyan, Wukong, and Mozi are all important cultural figures in China, representing advances in science and technology. The translators use inline annotation to further explain these terms, demonstrating the application of the Skopos rule. This type of explanatory inline annotation takes into account English readers' understanding of Chinese culture-loaded terms. It is a limitation of language form of culturally loaded terms that also facilitates international readers' understanding of Chinese cutting-edge technology. Though the length of the article is longer, semantic conveyance can be realized through the explanation that Tianyan is the five-hundred-meter aperture spherical telescope, and the purpose of the book of showing international readers China’s accomplishments is achieved. The original names are faithfully conveyed through transliteration of these advances in science and technology. On the one hand, international readers can still see Chinese culture embodied in cutting-edge technology. Readers from different cultures, on the other hand, can still understand what these terms are thanks to inline annotation, which follows the Skopos and fidelity rules.

In these examples, the fidelity rule takes precedence over the skopos rule. Material culture-loaded terms are typically objects with Chinese characteristics. In most cases, these objects will have no effect on the coherence of the target text. As a result, fidelity to the original text and facilitation of cross-cultural communication are given top priority. Transliteration and inline annotation are the most widely used methods for translating material culture-loaded terms, demonstrating that translators prioritize preserving cultural information and making target text easily understood by international readers.

====3.3 Translation Strategy of Linguistic Culture-loaded Words====
Linguistic culture-loaded words reflect phonetic meaning of language at the language family level. In contrast to English, Chinese language, particularly idioms, typically uses four-character structures. Linguistic culture-loaded terms can be found in a variety of contexts. Linguistic culture-loaded terms include idioms, classical literary prose, the two-part allegorical saying, proverbs, and so on. Linguistic terms that are culturally loaded are more difficult for international readers to understand. As a result, translators must employ translation strategies that are both effective and skillful in order to facilitate cross-cultural communication.

ST: 鸦片战争后，中国陷入内忧外患的黑暗境地，中国人民经历了战乱频仍、山河破碎、民不聊生的深重苦难。为了民族复兴，无数仁人志士不屈不挠、前仆后继，进行了可歌可泣的斗争。

TT: But with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression; its people, ravaged by war, saw their homeland torn apart, and lived in poverty and despair. With tenacity and heroism, countless dedicated patriots fought, pressed ahead against the odds, and tried every possible means to seek the nation’s salvation.

In this excerpt, “战乱频仍”，“民不聊生”, “仁人志士”, “不屈不挠”, “前仆后继” and “可歌可泣” are Chinese idioms, with distinct national characteristics in language structure and expression. These idioms have a distinct origin in Chinese culture and are inextricably linked to national culture. It is not necessary to find culturally equivalent idioms in English when translating these idioms. The Chinese nation and Western countries share a wide range of values and aesthetics. If too many idioms are used in English translation, the same tired formulas will appear. The translations of these idioms are divided into two categories based on the coherence and fidelity rule. The first is deletion, and the second is literal translation. These idioms are intended to demonstrate that, even in difficult situations, Chinese patriots are willing to press on, which has a low chance of causing cultural misinterpretation for international readers. As a result, “战乱频仍”, “民不聊生”, “不屈不挠” and “前仆后继” adopt literal translations that improved the original meaning and demonstrated how the fidelity rule is applied. “仁人志士” is translated as “dedicated patriots” because, while it originally referred to people who were charitable, its meaning later evolved to patriots, which is also translationally adapted to the context. This translation eliminates ambiguity and allows for a more coherent reading experience. Meanwhile, “可歌可泣” was removed while translators worked from a results-oriented perspective and demonstrated the outcome of their struggle, which is "tried every possible means to seek the nation's salvation." The coherence rule was followed in this case by making the reading process for the target text readers smooth and interrupted.

ST: 应该风雨同舟，荣辱与共，努力把我们生于斯、长于斯的这个星球建成一个和睦的大家庭，把世界各国人民对美好生活的向往变成现实。

TT: We are in the same boat, and we should stick together, share weal and woe, endeavor to build this planet of ours into a single harmonious family, and turn peopled longing for a better life into reality.

The translators used two translation strategies in the passage: literal translation and full implication. These strategies adhere to the Skopos rule. When translating “风雨同舟” and “荣辱与共”，the translators restore the meaning of the two idioms, because these two idioms are an essential part of the source text in the construction of meaning. However, “生于斯、长于斯” has been translated into “the planet of ours", demonstrating the adoption of full implication. “生” and “长” are part of the process, and this process is implicated in the “the planet of ours”, which is a result-oriented structure. The translators omitted the process and presented the end results to international readers, restoring the meaning, by employing various translation strategies. The use of various strategies exemplifies the Skopos rule of facilitating cross-cultural communication.

The examples above show that the coherence rule and the skopos rule can be found frequently in the translation of these linguistic culture-loaded terms. Literal translation, inline annotation, deletion, and full implication are the most common translation strategies used when translating linguistic culture-loaded terms. Linguistic culture loaded terms are words or phrases with distinct Chinese characteristics; thus, most translators adhere to the Skopos of improving cross-cultural communication and use literal translation and inline annotation to preserve cultural value. In some cases, the linguistic culture-loaded terms are too difficult to restore their implication; therefore, the translators used deletion and full implication to improve the reading experience of international readers, demonstrating the importance of the coherence rule in the target text. With the impression that international readers will be unable to fully comprehend the meaning of such cultur3-loaded words unless they have a basic understanding of the Chinese social, ecological, and cultural environment, translators should shoulder the responsibility of selecting different translation strategies under the guidance of the Skopos theory and constructing a bridge between different cultures.

====3.4 Translation Strategy of Ecological Culture-loaded Words====

Ecological culture-loaded words reflect the climatic features, natural environment and geographical conditions in an area. People from various regions have distinct expressions that reflect regional characteristics. There are three major categories of ecological culture-loaded terms: animals, plants, and places. Cows and oxen, for example, are animals that represent diligence and industriousness in China, whereas in Western countries, the expression "work all day like a donkey" is common. As is well known, the geographical environment of China gives rise to an agriculture-based culture with a large vocabulary for animals and plants. It explains why many idioms in Chinese and English have completely different meanings. To help international readers fully understand different cultures, translators should use different strategies when translating ecologically and culturally loaded terms. The following examples will demonstrate the use of translation strategy.

ST: 坚定不移“打虎”、“拍蝇”、“猎狐”

TT: We have taken firm action to “take out tigers”, “swat flies”, and “hunt down foxes”.

In Chinese culture, the tiger is both a revered entity and a hunted beast. Tigers are used as a symbol of vigor and vitality in Chinese idioms such as “虎虎生威” (forge ahead with the vigor and vitality of the tiger) and “生龙活虎” (with furious energy). Nonetheless, there are numerous expressions and literary works in which tigers are portrayed as ferocious villains, such as the stories of Wu Song or Li Kui beating tigers. President Xi Jinping’s expression here is reminiscent of tiger figures in fiction, in which heroes battle tigers. The image of a tiger has various meanings in Western culture as well. On the one hand, it is associated with beauty and power, but it has also been referred to as a man-eater on numerous occasions. Tigers are described as “burning bright” and “dare seize the fire”, but it also appeared in Jim Corbett's adventures in India, where he used to hunt "man-eaters," including tigers. Because the images of tigers are so similar, the translators used literal translation in their translation strategy under the rule of fidelity. To save space, translators will use literal translation when a targeted language has words with the same or similar cultural meaning as the source language. Meanwhile, the ecological culture-loaded term revealed the Skopos theory’s fidelity rule. “打虎”, “拍蝇” and “猎狐” are expressions with Chinese roots. Fighting corruption is like fighting tigers, flies, and foxes. Tigers and flies can refer to corrupt officials at various levels in these expressions, while the original meaning of the source text is preserved. It is difficult to find words in Western culture that are culturally equivalent to these ecologically loaded terms. Therefore, the translators did not change the meaning of source text by using literal translation. Such selection of translation strategy shows how fidelity rule is applied.

ST: 深入开展调查研究，解剖麻雀，发现问题。

TT: We should conduct in-depth research to identify prominent problems.

In Chinese culture, there is an old proverb of “麻雀虽小五脏俱全”, which means “A sparrow may be small but it has all the vital organs”. Sparrows can represent small but vital items, whereas such expressions are difficult to find culturally equivalent terms in Western culture. The similarity between “解剖麻雀” and “发现典型” is understandable in Chinese, but the literal translation of “anatomy of a sparrow” may be difficult to grasp for an international audience. As a result, translators use deletion to make target text more fluent without affecting the original text, and the coherence rule is demonstrated in the translation strategy selection. The translation of “解剖麻雀” is omitted, and the translation of “发现典型” encompasses the extended meaning of “sparrow as the major problems”. If both terms are translated, the English expression will be reductant and not conform to English expressions. According to the coherence rule, the author omitted the explanation of why sparrow means prominent problems to facilitate readers’ reading experience and made the reading uninterrupted.

The example above show that when translating ecological culture-loaded words, translators would consider three rules of the Skopos theory, with the coherence rule taking precedence. It is most likely because most ecological culture-loaded words are names of places or animals, which may be unfamiliar to international readers. To ensure that target readers read in a consistent manner. In translating ecologically loaded terms, the translators use literal translation (including transliteration, implication, and deletion). The mixed-use of translation strategies revealed various rules that are used in translation.

===4. Conclusion===

Since the publication of ''Xi Jinping: The Governance of China (Volume III)'', it has served as the Chinese government's authoritative voice and a window for the rest of the world to understand China's policies. It crystallizes Chinese governance theory and practices and has high research value.This thesis is concerned with the classification of culture-loaded words, their translation strategies, and how these strategies demonstrate the application of three Skopos theory rules.

The Skopos theory, according to the analysis of these examples, can be used as a guiding principle for translating texts similar to those in ''Xi Jinping: The Governance of China (Volume III)''. The Skopos rule states that the translation strategy is determined by the purpose of the target text. The coherence rule, also known as intertextual coherence, requires readability in the target text and will not cause dyslexia in grammar or logic. Using the fidelity rule, the target text should be faithful to the original text. However, the fidelity rule does not require literal word-for-word translations; rather, it necessitates flexibility on the part of the translator.

Following a brief examination, it is discovered that culture-loaded words in ''Xi Jinping: The Governance of China (Volume III)'' can be divided into four major categories, with social and linguistic culture-loaded words accounting for the lion’s share. The coherence rule is frequently demonstrated in the translation of ecological culture-loaded words. Names of places or animals are examples of ecological culture-loaded words. To achieve coherence in the target text, the translators employ literal translation (including transliteration), implication, and deletion strategies when translating ecological culture-loaded words. The fidelity rule and the Skopos rule are frequently seen in target text when translating material culture-loaded words. The majority of material culture-loaded words are objects with Chinese characteristics. Transliteration and inline annotation are the most widely used, demonstrating that translators prioritize being faithful and making target text understandable to international readers. The translation of social culture-loaded words demonstrates a high level of adherence to the coherence and Skopos rules, which is likely due to the fact that social culture-loaded words differ greatly across cultures. The majority of social culture-loaded words were deleted, literal translated, or annotated inline. These three strategies promote coherence in the target text, making it easier to read and comprehend. Linguistic culture-loaded words are words or phrases that have distinct Chinese features. When translating terms of this nature, the translator usually adhered to the coherence and Skopos rules. Literal translation, inline annotation, deletion, and full implication are the most common translation strategies used when translating linguistic culture-loaded words.

To sum up, different translation strategies are very important and indispensable. Different translators would adopt different translation strategies when translating culture-loaded words due to the constraints of history, politics, culture, language and translation objectives. In order to better carry out the translation and transmission of literature and culture, different translation strategies should be used together to supplement each other.

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Culture loaded words

2021-12-14T05:49:01Z

Zhou Xiaoxue: /* 4.1 Ecological culture-loaded words in Russian idioms */

'''Culture Loaded Words'''

[[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]

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=1 羊叶 The Analysis of Culture-loaded Words of English Subtitle Translation in Chinese Movies-Taking Farewell to My Concubine as an Example =
[[Cult_Load_Words_EN_1]]

电影中英译字幕文化负载词的翻译分析——以《霸王别姬》为例
=== Abstract ===
Nowadays, popular films are increasingly active on the Internet. Confronting such a mass need for film translation, subtitle translation is winning more favor compared with traditional dubbing translation. This paper, taking Farewell My Concubine as an example, analyzes the strategies and methods of translating culture-loaded words. The conclusions are as follows: In terms of translator, translator needs to be super proficient in Chinese and English. In terms of translation strategies, domestication and foreignization are unity of opposites and complement each other, so there is no absolute and pure domestication and foreignization. In terms of translation methods, when translating the culture-loaded words, Linda Jaivin mainly adopted literal translation, free translation, specification, generalization and omission to nearly successfully preserve and convey the essence in Beijing dialect and Beijing Opera in China.

=== Key Words ===
Subtitle Translation; Farewell My Concubine; foreignizing method; domesticating method
=== 摘要 ===
如今，电影在互联网上越来越受欢迎。比起传统的配音翻译，字幕翻译更受青睐，电影对字幕翻译的需求巨大。本文以电影霸王别姬为例，分析翻译文化负载词时所用的翻译策略和翻译方法。结论如下：就译者而言，翻译者需精通中文和英文两种语言；就翻译策略而言，归化与异化两者对立且相互统一，没有绝对的归化、异化之说；就翻译方法而言，在翻译文化负载词时，贾佩琳主要采用了意译、直译、具体化、一般化、省略等翻译方法，成功地保留和传达了北京方言和京剧的国粹部分。
=== 关键词 ===
字幕翻译；霸王别姬；异化；归化
=== Introduction ===
1.1Research Background

Innovation of information technology brings energy for the advancement of broadcasting ways of film and television programs. More and more foreign popular films are increasingly active on the Internet; more and more local films with Chinese elements are also introduced abroad. Researchers on subtitling translation are becoming more and more important.
China's Opening-up and Reform facilitates the cultural communication between China and the outer world. In the introduction of foreign films and TV plays, language understanding becomes an obvious barrier for audiences. Two major solutions to solve such a barrier are dubbing and subtitle translation. "Subtitles sometimes referred to as captions are transcriptions of film or TV dialogue presented simultaneously on the screen." Relatively, the latter one is more favorable than the traditional dubbing way because of its cost-effectiveness, short producing cycle and audience-acceptability. With higher educational background and foreign language level, many Chinese audiences expect that films can be displayed with “a natural and original flavor” nowadays.
Under such circumstances, subtitle translation seems to be more acceptable to get access to foreign audience. Among so many elements involved in the subtitle translation process, the translator plays the most significant part, thus becoming a key and central element in the subtitle translation system. Therefore, a good subtitle translation with “a natural and original flavor” sets high and strict requirements for the translator.（Liao, 2000: 231）

1.2 Brief Introduction to Farewell My Concubine

Farewell My Concubine, the film version adopted in this thesis is the 1993 one whose heroes and heroines are Duan Xiaolou (acted by Zhang Fengyi), Cheng Dieyi (acted by Zhang Guorong) and Ju Xian (acted by Gong Li) respectively. In the film, Xiaolou and Dieyi are fellow apprentices learning Beijing opera performance together from childhood. Later on, their cooperation in the opera Farewell My Concubine makes them famous overnight throughout Beijing city. Thereafter, they make a promise to each other that they will perform Farewell My Concubine together as long as they are alive. However, their different understandings of the relationship between the opera and life finally lead to their different choices: Until mid-age, Xiaolou deeply knows that the opera isn't his whole life, so he gets married with a famous whore called Juxian; Dieyi, however, becomes totally immersed in the complicated plots and role relationships of the operas, especially Farewell my Concubine. Around such a classic and famous opera, the love and betrayal among them become escalating with the changes of times and eventually develops into a tragedy.
It is the first film that won the Golden Palm Prize in mainland China. It has been keeping the highest-grossing record of Chinese melodrama movies in America which also marks the climax of Chinese films in America. Meanwhile, it also got great box-office successes in such countries as Japan, Germany, Korean, France and so on. It should be concluded that Farewell My Concubine has achieved great success both in the art and business.
In Farewell My Concubine, Beijing Opera art is the central cultural element. It is a typical representative of classical Chinese literature art. Taking it as a case study, general and concrete subtitle translation strategies can be concluded to improve translation quality of similar subtitle translation works.

1.3 Brief Introduction to translator Linda Javin

Linda Javin, the subtitle translator of Farewell My Concubine, is a suitable and qualified person for both the director and the audiences. Since 1976, Linda has been playing an important and active role in broadcasting, studying and exploring Chinese culture. As an internationally renowned sinologist, translator and writer, Linda Javin has made great efforts in learning, feeling and appreciating Chinese culture. It is really a tough time full of difficulties and hardships under the specific social conditions then. After years of efforts to learn Chinese language, history, literature and many visits to China, Linda has begun to embark on her Chinese literary writing career recently. All these can prove that she is really a competent and qualified subtitle translator of Farewell My Concubine. Her wonderful bi-lingual and bi-cultural competence does give her favorable advantages in translating.

=== Analysis the Translation of Culture-loaded Words ===

2.1 Introduction to Culture-loaded Words

Gonzalez Davies and Scott-Tennent (2008, p.783) put forward a definition of cultural references in detail, which is "expressions (audiovisual, verbal, textual,
non-verbal) that are concerned with ecological, material, religious, social, emotional, and linguistic manifestation. In addition, these expressions are specific to a particular community, and they are recognized as a particular feature of that community. Such expressions, however, may lead to difficulties in comprehending these words or translating these words." And in China, a scholar defines it as "the words, phrases and idioms that mark the unique things in a culture." These words reflect the unique way of activities gradually accumulated by a specific nation in the long historical process, which is different from other nations.（Liao, 2000: 232）

It is more diverse to classify Culture-loaded words because China is an ancient national with a history of more than 5,000 years. In this course, many Culture-loaded words have accumulated continuously. Among all the materials, some scholars divide Culture-loaded words based on specific elements such as language and culture. Since different scholars hold different views on the classification of Culture-loaded words, and hence the fist can go on and on. Here is a well-accepted way by Nida. Nida (1945, p.196) divided language and cultural characteristics into five categories:(1)Ecological culture; (2)Material culture; (3)Social Culture; (4)Religious Culture; (5)Linguistic Culture.

2.2 The Features of Subtitles in Farewell My Concubine

Through comparison and analysis, the main language features of the Chinese lines of Farewell My Concubine are concluded as below: concise but emotional dialogue; strong Beijing Opera and Beijing dialect flavor; sharp but implicative expressions; rich of slang and idioms. All the features are drawn from the corresponding lines in the film and all these analysis in the language following features will be illustrated combining with the specific case interpretation. Thus, different translation strategies at different levels can be generalized and concluded to cater for the different language features.

The film takes place in Beijing and is thus featured with rich local color. The most obvious feature is the use of Beijing dialect. Beijing dialect is the basis of standard Mandarin, but there are some differences that make it easy for Chinese people to recognize which is which. Most prominent difference in phonology is the proliferation of rhotic vowels which results from the non suffix “儿” in vocabulary, Beijing dialect has a lot of words that are considered slangy and therefore occur much less or not at all in standard Mandarin. Some non-Beijing natives find it hard to understand what most of them mean, let alone foreigners. A dialect tells about the user's social class, status, profession, and many more. That is why so many translators are taking pains.

Beijing Opera is exactly a colorful part of the film has depicted. Beijing Opera was formed during the period of Daoguang(1821-1850). At the beginning, actors from Chu Opera such as Wang Honggui and Li Liu came to Beijing to perform in the Drama of Hui School. Later, combined with Erhuang melodies and Xipi melodies, in the same time, actors also absorbed the advantages of Kun, Beijing and Qin tunes from their respective schools. Beijing dialects were adapted to adapt to Beijing customs. Thus, it took shape initially. Gradually Beijing Opera developed into the most influential opera in the country. The characters in the whole film have a strong Beijing accent, and many opera excerpts in the film such as Farewell My Concubine, Peony Pavilion and Drunken Imperial Concubine are presented for many times. So it is inevitable to translate many professional terms.

2.3 Cases for Analysis

2.3.1 Brief Introduction to Translation Strategies

Before the specific analysis, let's have a understanding of two basic concepts of domestication and foreignization, which are important strategies in translating culture-loaded words.

The translation theory of domestication and foreignization was first put forward by Schleier Macher, a famous German translation theorist. In his book published in 1813, he put forward that there are only two ways of Translation: one is to guide the readers to get to know the author as much as possible; the other is to guide the author to get to know the readers as much as possible. In 1995, Lawrence Venuti, an American Italian translator, wrote in his important work The Translator's Invisibility, the first method described by Schleier Macher is called "foreignizing method" and the second method is called "domesticating method". That is to say, domestication is oriented by target language, while foreignization is oriented by source language.

As for Linda Javin, she once mentioned in an interview that in the face of the cultural essences in the lines, she adhered to the strategy of domestication in her translation and did not deliberately maintain the oriental flavor contained in the dialogue. Frankly speaking, she doesn't appreciate the way of retaining Pinyin combinations and then adding a lot of notes to make foreigners understood. If Chinese is pleasant to the ear, don't let the expression heard awkwardly in English. So the simplicity and directness are put above everything else to make it easy for the audience to understand.

2.3.2 Cases of Translation Methods

2.3.2.1 Literal Translation

As one of the common methods of translating culture loaded words, literal translation is to translate the source text according to the literal order or meaning, which can retain the original characteristics of Chinese language and culture.

E.g.1世卿世受国恩

岂敢昧法？

更不敢当众违背天理良心。

The government has always been good to me,

I wouldn't dare deceive the court.

Nor would I betray the laws of Heaven or my own conscience.

“天理”“良心” are terms that are quite commonly-used words in China. From literal works to daily talks, from traditional plays to modern films, such kind of expressions are useful guidelines to arouse Chinese People's self-reflection. They are invisible ethical rules guiding people's behaviors. Since they are so local and traditional, it's not surprising that it is a little complicated for foreign audiences to figure them out. Based on the "literal translation" principle, Linda brings "Heaven" into her translation. In Christian culture, "Heaven" serves as the source of various moral concepts and systems. "Heaven" and "God" are existed to guide and restrict people's behaviors. Linda's translation has wonderfully adapted to the target eco-environment and is really worthy of referencing of the subtitling workers and learners.

E.g.2磨剪子来，镪菜刀

Bring your knives for sharpening? Sharpen your knives.

Sharpening knives is a traditional craftsmanship that is disappearing in China. Their dreich yo-heave-ho can evoke many people's memories of childhood. Such lively lines full of traditional Chinese cultural elements, on the one hand, are not so easy to translate; on the other hand, deserve more efforts for the foreign audiences to figure out. Considering all these factors, Linda pays attention to the retaining of its central meaning. Actually, a more literal translation method "Sharpen your scissors, sharpen your knives" may achieve more active functions here. It's the easiest to understand, and it can save viewing and thinking time as well. As for some complicated cultural terms, the best way, the easiest as well, maybe literal translation, which can avoid misunderstanding and superfluous deducing. Finally, they benefit a lot to saving viewing time.

E.g.3什么时候洞房花烛夜啊？

What’s the time of Candle-lit-night in the Bridal Chamber?

“洞房花烛夜” is a typical expression in ancient times of China, which means the golden night of the new husband and new wife on the day they get married. The night usually is beautiful and memorable and it is the first night the new couple. As for this line, Linda did not specifically explain what is the “洞房花烛夜” , instead she use the literal meaning to depict a picture of the special night, translating “花烛夜” to “Candle-lit-night”, which is so warm and beautiful.

E.g.4横扫一切牛鬼蛇神！

Sweep away all Cow Demons and Snake Spirits!

There is an article titled “Sweep away all Cow Demons and Snake Spirits!” published on the People's Daily on June 1, 1966, which marked the climax of the Proletarian Cultural Revolution. The "Cow Demons and Snake Spirits" represents the old ideas, cultures, customs and habits that have poisoned Chinese people for thousands of years. Under the call of the Party Central Committee and Chairman Mao Zedong, hundreds of millions of workers, peasants and soldiers, revolutionary cadres and intellectuals, swept away a large number old things entrenched in the ideological and cultural position. Its momentum is like a storm, with extraordinary rapidity, breaking the spiritual shackles imposed on them by the exploiting class. Using “Cow Demons” to express “牛鬼”, “Snake Spirits” to express “蛇神” is direct, clear and distinct.

2.3.2.2 Free Translation

Free translation is the translation by meanings. That is to say, the translation is done according to the real meanings of a sentence or even a paragraph, instead of completely word to word.

E.g.1他祖师爷不肯赏饭吃，谁也没辙。

But I have no place for him. What can I do?

“祖师爷” is similar to "forefathers" to some extent in China's history. Without knowledge of the specific historical period, foreign audiences won't understand its exact meaning. Perhaps we can understand it as "destiny" "fate" or "god" of western culture, there are still cultural differences between them. From the plots in the film, we know that Mater does not want to accept Little Bean as his disciple, so he explains that Little Bean is not destined to be an actor. From this perspective, "destiny" is the most ideal choice to express the original meaning. Considering all these factors, Linda uses the strategy of "free translation" to put it as "I have no place for him" to refuse Little Bean's mother. Thus, she makes the lines easier to understand, and meanwhile, to avoid leading to a cultural misunderstanding.

E.g.2今儿个是破题儿，文章还在后头哪！

This is just the beginning. Wait till you see what's in store.

“破题” once appeared in "Romance of the Western Chamber” by Wang Shipu, a playwright of Yuan Dynasty. Since then, it has been widely used in various circumstances to refer to "the first time". From the translated version, it's clear that the translation of “破题” as "beginning" exhibits that the subtitle translator, Linda Javin, is quite familiar with the usage of the old Chinese words.

E.g.3真他妈想当太太奶奶啦你！

做你娘的玻璃梦去吧。

你当出了这门，把脸一抹擦，你还真成了良人了？

So you want to become a rich man's wife!

Go live out this goddamn fantasy' then

Don't think that when you walk out this door, you'll become a lady of virtue.

“太太奶奶” has different meanings in China in different social contexts. Without thinking or checking it, it's easy to translate it as "grandmother" "lady" or something like these. Besides, “良” means "good, kind", but here, “良人” doesn't mean "a good, kind or nice-hearted person", instead, it refers to the woman who has abandoned prostitution and become a traditional honest and good woman. Linda's translation of "a lady of virtue" is quite authentic and loyal to the original text.

E.g.4那么日后踏雪访梅，再谈不迟。

Ah, then we shall exchange poetic thoughts some other day.

“踏雪访梅” extracted from Night Vessel, written by Zhang Dai of Ming Dynasty. Originally, it's used to refer to describe the enjoyment with the beautiful scenery and the pursuit for wonderful poems of the ancient poets. In Farewell My Concubine, Mr Yuan invites Xiaolou and Dieyi to his house to have some wine and chat about certain details of the opera. The latter example is also full of cultural terms, which is said by Nakun when he tries to encourage Dieyi to talk with Xiaolou hurriedly and actively. In both examples, Linda deals with the cultural elements skillfully and flexibly.

E.g.4这武二郎碰上西门庆，不打，不打能成吗？

You know the old story about Pan Jinlian's husband meeting the man who screwed her? Did he have any choice but to fight?

It's an old story about Pan Jinlian and his husband in ancient China. When performing translation, a translator needs to place the specific written text under some relative social and cultural backgrounds. This is useful and meaningful for a better and comprehensive expression of the original meaning. The story of “武二郎”“西门庆” is typically traditional Chinese cultural element, the translated text can't be formed without relative culture knowledge. For some literary allusion, stating its general meaning to offer a general idea is very helpful for the audience to grasp the central meaning.

E.g.5这妞够厉害的呀！

What a dragon lady!

Different cultures have different cultural prototypes. Dragon is a propitious symbol in China. As a Chinese totem, all Chinese people see themselves as the grandsons of the dragons. It's a positive and lucky symbol for Chinese people. However, because of the cultural differences, the "dragon" in Western countries means more evil than good. Its fierceness and grisly outlooks make people feel uncomfortable. Thus, "a dragon lady" here, on the one hand, can show Ju Xian's courage for true love; on the other hand, the image of "dragon" can clearly show to the foreign audiences that Ju Xian is at the bottom of the society and she is despised by the social group. Linda's choice of "dragon" clearly shows her comprehensive consideration for the complicated circumstance then.

E.g.6关师父：各位爷，多捧场了啊!

Master Guan: Ladies and gentlemen, enjoy the show!

“各位爷” is a conventional Chinese way to address the male spectators with respect. However, in English, there is no such a counterpart. Therefore, the translator substitutes it with "Ladies and gentlemen", a conventional way to address the audience of a performance in English. “多捧场了啊” is also conventional in indicating the beginning of a show and literally means "support our show". However, the English convention has it as "enjoy the show." The translator thus conforms to target conventions to avoid deviation from audience's "expectancy norms" which are established by the native text in the receiver target of the translation, by their expectations of what a target language should be like.

E.g.7小石头：嗬，够横的你。

Shitou: You are really something.

“横” in Beijing dialect means harsh and unreasonable, "Be (quite or really) something" is an informal expression referring to a person or a thing is of consequence. In the above example, the replacement of “横” by "be really something" shows that Shitou is impressed by Douzi's arrogance and reveals Shitou's generous nature. Although his kindness to offer a sleep place to Douzi is unappreciated, Shitou does not say something harsh. If it is translated into "You're unreasonable", it would be too straightforward.

2.3.2.3 Generalization

Generalization is defined as the type of modulation in which the dissimilarity between source text and target text transemes is characterized by a shift towards greater generality in target text; as such it contrasts with the opposite phenomenon of specification. Generalization is acceptable if target text has no suitable alternative, or if the omited detail may be gleaned from the target text context or is just not important.

E.g.1不罚，不罚你永远是下三滥。

还想成角？做梦。

And if I don't punish you, you'll always be third-rate.

You want to be a great actor? Dream on!

“下三滥” is a traditional Chinese expression that describes some impuissant and footling people in the lower class status in China. To avoid misunderstanding of it, Linda just translates it as "the third rate", simply and concisely. As for “角”, it's a technical term specially used in dramatic performance referring to leading roles in dramas. But “成角” here means becoming a famous actor or actress. Linda's translation retains the most important and essential meaning.

E.g.2依我看，只要是唱西皮二黄，它就是京戏。

I say if it uses the traditional forms, then it’s the Beijing Opera.

"Xipi Erhuang" is a professional term in drama. "Xipi" and "Erhuang" refer to two different vocal cavities respectively. Xipi originated from Qin opera. Its singing is lively and high pitched, generally being used to express cheerful and excited feelings. Erhuang comes from Anhui. The tone of Erhuang is more stable and serious. In the development of drama, Xipi and Erhuang went through a process of slow integration. If the translator transliterates the tones of "Xipi" and "Erhuang" respectively in the subtitles, on the one hand, the audience without the knowledge of Peking Opera can not understand it completely; on the other hand, the subtitles have space limitations, and the letter translation should not be too long. Here, Linda generally translates it as "the traditional forms" to give the audience an abstract understanding.

E.g.3反正这两杯子也沾上了四旧了

Anyway, jade cups were part of the old society

With abundant political background, on August 8th, 1966, as the film mentioned “in the era of Communist revolution, the on-going Great Proletarian Cultural Revolution will be a revolution that reconstructs people’s mind”. "四旧" as a derogatory word, refers to the collective name and general designation of old ideas, including old culture, old customs and old habits. For a time, streets, factories, communes, time-honored stores and schools were changed into revolutionary names such as "Anti-road Construction", "Dongfeng Store" and "Red Guard War School" , destroying the authority of "bourgeois reactionary academic authorities" such as scholars, writers, artists and scientists. Violence became commonly seen in the streets. Instead of illustrating what is “四旧”, Linda chose “old society” to generally express the real social situation at that time, almost everything should be put out the label of “old, bad” to be accused and criticized.

E.g.4尘世中，男子阳污，女子阴秽

There is foulness in both men and women.

This sentence comes from the mouth of Mr Yuan, a drama addict. The word "尘世" is unique to Chinese. It is used by Buddhists or Taoists to refer to the world, with a deep religious color. However, the main religious belief in western countries is Christianity, and "尘世" has no corresponding word in English. In this sentence, Linda translated the sentence into existential sentence, which is a good way to generalize the meaning of the word. In fact, this sentence means that in the eyes of people who believe in Buddhism or Taoism, men and women on earth are all dirty. If the translator rigidly corresponds "阳污" to "man" and "阴秽" to "woman", the translation will only overlap meaning, resulting the translation not authentic.

E.g.5来给师哥勾勾脸

Will you give me a hand with my make up?

The facial makeup in Peking Opera is a special makeup method. The traditional facial makeup mainly refers to clean facial painting. "勾脸" is one of its painting techniques. In order to let the audience clearly understand the meaning of dialogue, it is literally and generally translated as "make up".

2.3.2.4 Specification

Specification is distinguished from the other type, generalization, in that here the shift which occurs between source text and target text in the direction of a higher level of explicitness. In other words, a shift towards greater specification will produce a transeme the meaning of which is made more precisely, by either the addition of extra words or the use of words with a less general meaning.

E.g.1别介，都是下九流谁嫌弃谁啊

Don’t be foolish. Prostitutes and actors are equally despised by society.

The mother (prostitute) of the little boy (Cheng Dieyi) took him to the troupe and hoped that the master would accept him. After seeing the little boy's sixth finger, the master said he had no gift to sing. So the mother knelt down (sexually) and hinted that the master would benefit as long as he accepted the disciple. So the master said this sentence. There is a saying of "三教九流" in ancient China. The three religions here refer to Confucianism, Taoism and Buddhism. The nine religions are divided into upper, middle and lower levels. The translator does not directly translate the "inferior" but translates the contents of the reference, which not only makes the meaning more thorough, but also does not increase the viewing obstacles of the audience.

E.g.2小爷我今儿练的是九转金炉的火丹功。

I have been practicing Kungfu to keep myself warm.

When dealing with those terms with strong cultural meanings, it's proper and wise to conclude some specific tiny terms into a general broader concept. As a result, the translator can save efforts; the audiences can get the general meaning without being entangled in those unimportant tiny details. Kungfu in the translated text, though fails to express the original Taoist cultural meanings, it really saves much screen space and viewing time, thus, it's easier for foreign audiences to understand.

2.3.2.5 Omission

Being opposed to "addition", omission means that some words in the original text do not need to be translated, because although there are no specific words in the translation, potential meaning has been shown. In other words, omission is to delete some unnecessary words, or words that are cumbersome or contrary to the language habits of the translation. But omission does not delete any ideological content of the original text.

E.g.1各位爷都站好甭动。真钱买真货。我小石头今儿个玩儿真的,让爷儿们都开开眼。

I'll give you something to look at.

This scene describes Little Stone and his partners was performing in the street to earn money, but no one gives a reward. In order to attract the audience, Little Stone decided to perform a wonderful show. He decided to hit his head with a brick, so he said the above lines. Because the morpheme of the actor is fast, the picture switches to that he hits his head with a brick as soon as the voice falls, so the translator uses a short sentence to express it. This not only does not affect the audience's viewing of the wonderful picture, but also completely expresses the semantics.

E.g.2他这一亮相,那台底下听戏的人不都吓跑了。

He would scare off the audience

This line is what Master Guan said to Little Bean's mother when he found an extra finger on Little Bean's right hand. While speaking this line, Master Guan stretched out his right hand and made an appearance of being on the stage. Therefore, if the translation of "his appearance" is omitted, this meaningless information vocabulary can be deleted naturally, which does not affect the audience's understanding of the plot at that time, also does not deviate from the meaning of the original lines, and will not cause the audience's confusion. It is a good way to accurately convey the information and let the audience understand the content of the film.

E.g.3陈:唉，袁四爷今儿个来看戏

段:没见我盖着唢呐唱吗？把血都挣出来了

Chen: So, Master Yuan has come to see us tonight.

Duan: I know. I sang so loudly I drowned out the horns.

“今儿个” is a typical time indicator in Beijing dialect. It usually refers to "today". In view of the context, it can also be translated as "tonight". In translating Duan's response, the translator tries to relay its meaning than to represent its form. She omits “把血都挣出来了”，also a typical dialectal expression, which literally means "drive the blood out" and "do very hard" in the real sense. "I sang so loudly" is added to facilitate understanding. The translator also makes efforts to find the most understandable way from the target culture.

===Conclusion ===
3.1 The Conclusion

In terms of translator, translator needs to be super proficient in Chinese and English. In terms of translation strategies, domestication and foreignization are unity of opposites and complement each other, so there is no absolute and pure domestication and foreignization. The translator, the recreator of dialogues in the process of translation, should choose the most appropriate translation strategy to reconstruct the meaning of the original text. In terms of translation methods, when translating the culture-loaded words, Linda Jaivin mainly adopted literal translation, free translation, specification, generalization and omission to nearly successfully preserve and convey the essence in Beijing dialect and Beijing Opera in China.

3.2 Advice

Due to the cultural differences behind translation, some films cannot achieve the same effect abroad as at home. It is true that the two important purposes of subtitle translation are to provide the audience with plot information and to convey the cultural connotation contained in the film. Plot information is the premise of cultural connotation. If the audience of target language cannot understand the plot, it is difficult to achieve cultural communication. Therefore, in the face of handling with culture-loaded words in subtitles, the translator should focus on the purpose of information, put letting the audience understand the film content above everything else, and then give consideration to the cultural purpose.

The subtitle translation in Farewell my concubine mainly adopts the domestication strategy rather than foreignization. Truly speaking, foreignization can retain the cultural characteristics of the original language in translation, making the readers of the target language feel the exotic customs and the unique charm of the source culture. Foreignization could be taken as a means of resistance to the cultural colonial policy of the strong culture, break its "domestication" and strive for winning a place for the weak culture in the forest of global culture. Therefore, there is still a long way for Chinese translators to spread Chinese culture to the countries abroad.

===References ===
Xiao Xiang. The Transmission of Peking Opera Culture in the English Subtitle Translation of Farewell, My Concubine[J]. Frontiers in Educational Research, 2020, 3.0(13.0)

Nan Wan. Subtitling and its Acceptability in the Film Farewell, My Concubine: A Multimodal Approach[J]. Advances in Language and Literary Studies, 2019, 10(6) : 94.

Zhang Kaijuan张凯娟. 电影字幕翻译中的语域对等研究[D].西南大学,2019.

[4]徐敏. 电影《霸王别姬》的汉英影视字幕翻译评析[D].浙江工商大学,2014.

[5]金海娜.从《霸王别姬》到《一代宗师》———电影译者Linda Jaivin访谈录［J］.中国翻译，2013，34（04）.

[6]杜阿晴.目的论视角下电影字幕中文化负载词的翻译——以电影《霸王别姬》《风月》为例[J].福建教育学院学报,2013,14(04):94-97.

=2 谢庆琳 The Analysis of the Chinese Translation of Culture-loaded Words in Russian =
[[Cult_Load_Words_EN_2]]

谢庆琳 Xie Qinglin, Hunan Normal University, China

=== Abstract ===

Language is a product of culture, an integral part of it and a condition of its existence, and an important factor in the formation of cultural codes. Since the 21st century, linguistics has actively studied a direction that sees language as a code for understanding the culture of a nation, not just as a tool for communication and cognition. As we all know, there are certain cultural differences among various ethnic groups influenced by factors such as geographical environment, political system, religious beliefs, living habits, moral values and aesthetic interests. These factors together contribute to the creation of culture-loaded words. The translation of culture-loaded words requires the translator to accurately and appropriately understand the beliefs, customs, aesthetics and values of the foreign culture while faithfully conveying the essence and soul of the translated culture to the readers of the translated language to truly communicate with different cultures. The translation of culture-loaded words directly affects the understanding of readers of the translated work, and also influences the readability and literary quality of the work. The study of Chinese translation of Russian culture-loaded words from the perspective of cultural load words not only promotes the communication between Chinese and Russian languages, but also deepens the cultural understanding between Chinese and Russian people.

=== Key Words ===
Russian Culture-loaded Words; Translation Principles; Translation Strategies

=== 题目分析俄语文化负载词的中文翻译 ===

=== 摘要 ===

语言是文化的产物，是文化的组成部分和存在条件，也是文化密码形成的一个重要因素。 21世纪以来，语言学积极研究一个方向，即把语言看作是了解一个民族文化的密码，而不仅仅是一个交流和认知的工具。众所周知，各民族受地理环境、政治制度、宗教信仰、生活习惯、道德价值、审美情趣等因素影响，其间存在一定的文化差异。这些因素共同促使了文化负载词的产生。文化负载词的翻译要求译者准确恰当地理解异国文化中的信仰、习俗、审美及价值观等的同时，忠实地将译语文化的精髓与灵魂传递到译语读者面前，真正做到不同文化的交流。对文化负载词的翻译会直接影响译文读者对作品的理解，也影响着作品的可读性及文学性。从文化负载词的角度来研究俄语文化负载词的中译不仅推动中俄两国语言的沟通，同时对加深中俄人民之间的文化理解也具有重要意义。

=== 关键词 ===
俄语文化负载词；翻译原则；翻译策略

=== Introduction ===

After the 1970s, cultural factors were gradually incorporated into the scope of linguists' studies, and cultural studies became a topic of common concern for linguists and translators. Susan Bassnett (1990), the core representative of the cultural translation concept, believes that translation is an exchange between cultures, and the reciprocity of translation should not only realize the reciprocity of language forms, but also pursue the reciprocity of cultural functions between the original text and the translated text. Therefore, translation is not only an act of purely linguistic conversion, but also a reflection of the cultural meaning of language. Language is a means of communication of human thoughts and feelings, and it is both a carrier and an important part of culture. In the process of historical development, countries around the world have formed large or small cultural differences due to different geographical environments, political rule, religious beliefs, traditional customs, lifestyles, value orientations and aesthetic interests. These factors have together contributed to the creation of a large number of cultural-loaded words. Each language has its own cultural vocabulary with cultural color and connotation, and these words reflect the cultural values of each nation. Because they are loaded with special national cultural connotations, cultural-loaded words often constitute the focus and difficulty of translation as an act of intercultural communication, and even become a barrier to the transmission of information.

Guided by American translator and translation theorist Eugene Nida's theory of functional equivalence, this paper takes the Russian as an example to explore the cultural information carried by the cultural-loaded words in its subtitles and summarize its translation method. The translation of cultural-loaded words requires the translator to accurately and appropriately understand the beliefs, customs, aesthetics and values of the foreign culture, while faithfully transmitting the essence and soul of the translated culture to the readers of the translated language, so as to truly communicate with different cultures. The study of Chinese subtitles of Russian TV series from the perspective of cultural-load words not only promotes the communication between Chinese and Russian languages, but also has great significance in deepening the cultural understanding between Chinese and Russian people.

The paper consists of an introduction, three chapters and concluding remarks. The introductory part firstly describes the feasibility, theoretical significance and practical significance of this research, and then clarifies the novelty of this research. The first chapter briefly outlines the concept of cultural-loaded words, and classifies cultural-loaded words according to Eugene Nida's functional equivalence theory, laying the foundation for the translation study of cultural-loaded words later on. Chapter 2 analyzes in detail the cultural-loaded words appearing in “Intern”, and discusses the translation principles and translation strategies of cultural-loaded words. The third chapter analyzes the causes of mistranslation and difficult-to-understand cultural-loaded words in “Intern”. The concluding remarks summarize the content of the whole text.

=== Culture-loaded Words ===

==== Definition of Culture-loaded Words ====

Culture-loaded words are also called culturally connotative words. In the language system, culture-loaded words are the vocabulary which can best embody the cultural information that a language carries and they also reflect the social life.

Behind each vocabulary are deeply imprinted the cultural, geographical and historical characteristics of a society. Vocabulary is the basic element of language,and the formation of each vocabulary is inseparable from culture. It carries a largeamount of "national cultural accumulation", that is, cultural connotation. This article is an analysis of Russian cultural-loaded words, reflecting mostly about the Russian national culture.

Language is the carrier of culture, so cultural differences must also be reflected in language. Translation means the spread of culture, and words that carry culture are words that express culture. Therefore, the translator focuses on the cultural-loaded words that appear in the source text, and on this basis. The words containing language and culture reflect the development, progress and change of the language of a country's dynasties, as well as the accumulation of various activities that are completely different from other countries (Liao, 2002). Translating social cultural terms and ecological cultural terms can truly understand the living conditions and social conditions of a country in a specific period.

==== Classification of Culture-loaded Words ====

According to Naida's classification of cultural factors, cultural load words are divided into five categories: the first category is ecological cultural load words, which usually refer to words related to plants, animals, climate, etc. of a specific region, for example, a small twisting path is not used in the Russian language environment, such as “羊肠小径”. The second category is material cultural load words. For example, “轿子” refers to a human-powered means of transportation in feudal China, which does not exist in Western countries. The third category is the social cultural load words, which usually involve words of social etiquette, social identity and leisure, such as kneel three times and kowtow nine, the dragon boat festiva, which are unique to Chinese culture and tradition. The fourth category is religious cultural load words, which are generally words reflecting the cultural beliefs of a certain nationality, such as “八字”(horoscopes), “算命先生”(fortune-teller), and so on. The fifth category is language-based cultural load words, which reflect the different ways of speaking and habits of different ethnic groups in terms of phonetics, vocabulary, syntax and so on. For example, the name of a person, the use of idioms, and so on.

=== Translation Principles and Strategies of Russian Culture-loaded Words ===

==== Translation Principles of Russian Culture-loaded Words ====

===== The Principle of Faithfulness to the Original Text =====

Fidelity to the original text is one of the most basic principles and standards of translation. When translating cultural-loaded words, two points should be clear: on the one hand, we can not add some cultural meanings in the translation process based on our own conjecture. On the one hand, it is not possible to attach some cultural meanings to the translation process that are not intended by the author of the original text. For example, the Russian word for rabbit (заяц) has a negative cultural symbolism and is considered to be a symbol of evil and cowardice, while
In the passage of «Судьба Человека»: "… а я уже на ничьей земле между воронками петляю не хуже зайца" (李世俊，张永全等: 1999), a soldier tells how he bravely and wisely crossed the German lines. The rabbit is used here only to borrow the positive image of its quick and dexterous movements, not the cultural symbolism described above.
If we do not take into account the author's real intention and turn it into "no less than a timid rabbit", we are not being faithful to the original text, but rather making a faux pas. Therefore, this sentence
should be translated as "I have reached the middle of the field, and I am not less dexterous than a rabbit in going around in the middle of the crater."

On the other hand, it is important to translate the cultural meaning of the culturally loaded words that are crucial or important to the understanding of the text, as it is easy to misunderstand if only the surface meaning is translated. For example, “сушить сухарь” literally means toast a thousand, but in fact it means to prepare dry food for exile on the road, and now it often refers to eating lawsuits. If there is a scene in Chinese literature where the crane is used to celebrate a long life, it must be translated into Russian with the meaning of longevity in Chinese culture, otherwise the Russians will find it inexplicable.

===== Contextual Principal =====

The meaning of words is often multi-layered and multi-faceted, and translators should judge the meaning of specific words according to the context. Therefore, context is the key to determining the true meaning of a word in a specific context and to help the translator correctly translate the original text.

The following are three situations to determine the specific meaning: (1) Words that often have cultural meaning and represent cultural images may not have culturally loaded meaning in a certain context. (2) The same culturally loaded word may have a different cultural meaning in a specific context. For example, the Russian word “ медведь” sometimes means "powerful" and sometimes means "heavy". Sometimes it refers to the strength of the bear, sometimes it refers to the stupidity of the bear, and sometimes it also refers to the maidenhead. Therefore, it is more important to determine the exact meaning according to the context when translating. (3) Common words may become cultural-loaded in specific contexts. (3) Common words may become cultural-loaded words in specific contexts.

===== Principle of Appropriateness of Explicit and Implicit =====

The cultural-loaded word serves the text with its cultural meaning, so the translation should be either explicit or implicit according to the needs of the text, to keep the text simple and fluent. For example, due to the limitation of space or style
For example, in Russian,“кричать во всю Ивановскую” literally means "shouting at Ivan Square" because in the Tsarist era, decrees and orders were issued on Ivan Square, and people often had to shout to hear them. Therefore, it is not necessary to turn out the meaning of the cultural load when translating into foreign languages, and it can be directly translated as shouting. However, if the translator intends to introduce this historical and cultural phenomenon, it is a different story. In short, the translation of cultural-loaded words should serve the whole text, and be consistent with the context and the author's style, and the translator's purpose.

==== Translation Strategies of Russian Culture-loaded Words ====

Translation principles are macro requirements for the translation process, while in the actual translation process, in order to achieve good translation, in addition to following these principles, we must also adopt necessary translation strategies according to the specific characteristics of the vocabulary. The complexity and specificity of cultural factors determine the variability of the meaning and form of culturally loaded terms, as well as the flexibility and adaptability of their translation means. Generally speaking, in order to achieve good translation effect, translators often use such translation strategies as "direct translation (phonetic translation) plus annotation", "direct translation with free translation" and "free translation" for cultural-loaded words and so on.

====== Direct Translation (Phonetic Translation) plus Annotation ======

The direct translation mainly refers to the translation that retains the original language form completely, so that it is similar to the original text. The method of translation is similar to the original text and has the same structure. Since this method mainly focuses on the linguistic form of the original text, sometimes the translation cannot fully and accurately express the original text.Sometimes the translation cannot fully express the original language accurately, then the translator can adopt the method of adding. In this case, the translator can adopt the method of adding notes to offset the loss of meaning brought by this translation strategy. Cultural-loaded words contain a large number of national-specific words, such as various proper nouns, historical allusions and these words have no direct counterparts in the translated language. Therefore, it is often necessary to translate them by the strategy of phonetic translation with annotation. For example, many literary works use phonetic translation of the Russian national costume “сарафан”, which is translated as "Sarah
A" with a note stating that the sarafan is a traditional Russian folk dress without sleeves.

====== Direct Translation with Free Translation ======

Direct translation with paraphrase is a translation method that combines direct translation and translation with meaning, which not only translates the surface meaning of the original text word by word, but also translates the potential meaning beyond the surface meaning of the original text. The direct translation is a method of translating not only the surface meaning of the original text word by word, but also the potential meaning beyond the surface meaning. For the translation of cultural-loaded words, the combination of direct translation and literal translation can better reveal their true meanings in terms of both form and content. The Russian word "колосс на глиняных ногах" from the «Old Testament»It is about the dream of Nebuchadnezzar, the king of Babylon, who saw a giant statue of a terrible shape, whose feet were half clay and half iron, and the whole statue collapsed due to a stone that happened to hit his feet from the mountain. This dream symbolized the doomed kingdom of Nebuchadnezzar. Thus, the cultural meaning of "giant with feet of clay" refers to a country that is outwardly strong but actually weak and destined to perish. Thus, Lenin said in his speech on November 7, 1919, at the conference commemorating the second anniversary of the October Revolution: "Мы видим, что империализм, который казался таким непреодолимым колосом, казался на глазах у всех колоссом на глиняных ногах." (刘永红：2002) The whole sentence should be translated as "We see that imperialism, which looks like a giant that cannot be served, is actually a giant in the mud with a strong exterior in the eyes of everyone.

===== Free Translation =====

The free translation strategy emphasizes the meaning conveyed to the original language words in specific contexts. The first thing is to translate the meaning of the original, not necessarily to preserve the original form, not to achieve the same literal and structural translation as the original. The translation is suitable for the translation of the cultural load words whose cultural meaning does not play a major role in the original text, or the cultural load words whose cultural image is too remote, sometimes also subject to the limitations of the manuscript and style and use this method, a cultural load words, such as culturally significant sayings, proverbs, because for a long time Ba Jing has a conventional translation of foreign, so in the translation can also be used when the original translation method. For example, "китайская грамота" literally means "Chinese word", "Chinese character", but because of the big difference between Russian and Chinese, it is very difficult for Russians to understand Chinese characters, so here it is translated as "heavenly book, incomprehensible, inexplicable thing". “Для него это китайская грамота” translates as "He doesn't know anything about it".

=== The Translation Difficulties of Russian Culture-loaded Words ===

==== Translatability of Culture-loaded Words in Russian ====

Language is the most important tool for human communication and one of the important carriers of information. The cultural characteristics of a nation's way of thinking, concepts, and systems are bound to leave their mark on language. Vocabulary is one of the most active dimensions of language. Changes in social life, the development of national culture and other changes can be recorded through vocabulary. Culture-loaded words are those words, phrases and idioms that mark things specific to a certain culture, and these words reflect the unique way of activity of a particular people that has gradually accumulated over a long historical process and is distinct from other peoples. Although translation is a transformation of symbols in its manifestation, in its essence it is a cultural exchange activity. The difficulty of translation is not the language itself, but how to convey the cultural content of the original language. The Russian cultural load is an important external expression of Russian culture, which is difficult to find in other national languages, but this does not mean that the cultural load is untranslatable. Firstly, although the differences between languages of different nationalities are determined by their respective nationalities, the similarity of human living conditions and physiological structure determines the similarity of human thinking patterns, therefore, different nationalities have similarities in understanding and understanding things; secondly, translation activities have a long history, and there are numerous cases of translators overcoming cultural gaps and achieving successful translations in the rich translation practice, therefore, the translatability of culture- loaded words is proven by a large number of translation practices. Thus, translators can still use their dynamism in a limited space to preserve and convey the cultural elements contained in the culture-loaded words in Russian.

==== Factors Affecting the Translation of Culture-loaded Words in Russian ====

The first is the internal factor, i.e., the internal factor of language. In his book «Language and Translation», Balhudarov divides the translation unit into six levels: phonemic level, grapheme level, word level, phrase level, sentence level, and discourse level, in an effort to make the original text and the translated text equivalent. After the 1980s, translation research has taken a new direction - the cultural theory of translation, and Susan Basnett, as one of the representatives of this school, believes that translation should take culture as the basic unit of translation, instead of resting on the previous parts of speech. The original text is the most real and objective existence in translation, and the characteristics of the translation object itself will also affect the translation, and the culture-loaded words have the characteristics of ethnicity, implication and unaccustomedness. When translating culture-loaded words, translators often encounter two bottlenecks: first, the lack of corresponding vocabulary; second, the lack of equivalent cultural meaning, that is, the same word in different cultural contexts expresses different connotations. In ancient Chinese philosophy, it is important to "look at things and take images", and under the influence of traditional Chinese thinking, Chinese tends to use concrete words to express imaginary concepts. The abstract content is expressed by the concrete image. Take the word "jianghu" as an example. "Jianghu" is another new word with changed connotation and extension, which is composed of the concepts of "river" and "lake". The word "jianghu" lacks its semantic and formal equivalents in Russian, so translators need to adopt a flexible translation approach to interpret the semantic and cultural connotations of the word "jianghu".

Second, external factors, including the translator's own body and the purpose of translation, etc. The translator is the most active factor in the translation activity, and is the doer of the whole translation activity, which must be completed by the translator. There is no shortage of excellent translators in China, most of them are concentrated in the field of English studies. Unlike the English translations of Chinese literary and artistic works, the translators of both film and television dramas and Chinese literary and theoretical works are mostly Russians. Unlike the Chinese translators' approach to Chinese culture, foreign translators, when translating, unlike the Chinese translators' approach to Chinese culture, foreign translators may have less sense of mission and enthusiasm for spreading Chinese culture when they translate from Chinese to foreign languages, and they pay more attention to the reading norms and market acceptance of contemporary readers, so they tend to adopt translation strategies such as paraphrasing and naturalizing to facilitate the understanding of readers of the translated language.

=== Conclusion ===

There is a growing awareness that language is just an international communication tool
and is not restricted to a particular country or nation but as a neutral information medium. This paper analyzed the definition and claasification of culture-loaded words. Then we disscussed the translation principles and strategies of Russian culture-loaded words. Last it discussed the difficulties in the translation of these words, and makes a conclusion that we should use the combination of literal translation and free translation in the translation according to different circumstances.

Translation is a language communicative activity; there are a lot of words with Russian cultural features, so we cannot find the equivalent words to express the same cultural information in the target language. When translating these cultural-loaded words, it needs the help of alienation principles, achieving the conversion between language and cultural information. However, after all, the reader's understanding of Russian culture is limited, so the translator must follow the rules of Russian language and expression, taking the text type, translation factors such as purpose and audience into consideration to acquire the best translation.

To sum up, language, culture and translation are inseparable. Language is also a cultural phenomenon, while culture shapes language. Translation is a tool for exchanging different cultures and human civilizations, and therefore they are closely related. In the process of intercultural communication and translation, culturally loaded words are the main obstacle, but they reveal the cultural characteristics and social customs of a people. Accurate and faithful translation of culture-loaded words plays a crucial role in facilitating cultural exchange. Direct translation and paraphrasing are effective translation strategies to solve the problem of culture-loaded words. Direct translation can help the target language readers understand the translation more easily. It aims to make the target language readers and the source language readers empathize. However, free translation is intended to preserve the cultural style of the source language for the readers. These two approaches may seem to be opposing, but they actually complement each other. It is impossible for a translator to use one translation strategy to complete the translation task, so in translation practice as a translator, he or she should try to make a comprehensive use of the two translation methods to make the translation more relevant and evocative.

=== References ===

Barkhudarov L. S. Language and translation. (1975) Questions of the general and private theory of translation[M]. Moscow: International relations.

Kozhin A. N. (1982) Functional types of Russian speech. [M]. Moscow: Vysshaya shkola.

Rosenthal D.E. (1987) Practical stylistics of Russian language. [M]. Moscow: Vyssnaya shkola.

Fedorov A. V. (2002) Fundamentals of the general theory of translation. [M]. Moscow: High School.

Yuriev A. N. (2005) Types and styles of speech. [M]. Moscow: Almaty.

Chen Guoting 陈国亭 (2012). 俄汉语通用最简翻译指南 [M]. A general minimalist translation guide for Russian and Chinese. 哈尔滨：哈尔滨工业大学出版社 Harbin: Harbin Institute of Technology Press.

Cai Yi et al 蔡毅等 (2006). 俄译汉教程增修本[M]. Russian to Chinese Translation Course Supplement. 北京:外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.

Huang Ying 黄颖 (2008). 新编俄语语法 [M]. New Russian Grammar. 北京:外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Publishing House.

=3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =

功能主义目的论视角下加里斯奈德对寒山诗的英译研究

罗曦 Luo Xi, Hunan Normal University, China

[[Cult_Load_Words_EN_3]]

=4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong 《九章》许渊冲译本文化负载词的翻译=
[[Cult_Load_Words_EN_4]]

=5 孙雅诗 Study on the translation of culture loaded words under the ecological translation theory——Take the English translation of Dou E Yuan as an example 生态翻译学视域下文化负载词翻译研究——以《窦娥冤》英译本为例 =
[[Cult_Load_Words_EN_5]]

=6 杜莉娜 On the English Translation of Culture-loaded Words in Chinese Tourism Texts from the Perspective of Intercultural Communication—Exemplified by Zhangjiajie=

'''跨文化交际视角下旅游文本中文化负载词的英译研究--以张家界为例'''

杜莉娜 Du Lina, Hunan Normal University, China

[[Cult_Load_Words_EN_6]]

=7 宫博雅 An analysis of the Chinese translation of culture-loaded words in Russian Idioms =
[[Cult_Load_Words_EN_7]]

===Abstract===
Language is the carrier of culture, and the characteristics of language also reflect the characteristics of culture. Culture is closely related to language. In-depth understanding and exploration of culture is conducive to language learning and better use of language for communication. Idiom as a fixed structure in language expression, with profound cultural connotation, is an important part of a national culture. Russian idioms are the concentration of the essence of Russian national culture, including Russian history, religion, national thinking, cultural customs, local customs and other unique national characteristics. In the process of language development, each nation has accumulated its own unique culture-loaded words. These words are loaded with the unique cultural connotation of this nation and express the rich cultural color of this nation. Due to different cultural backgrounds and historical development tracks, Russian contains many words, phrases and idioms that represent unique things in Russian culture. From the perspective of Nida's cultural classification, this paper analyzes the Chinese translation of culture-loaded words in Russian idioms, which is helpful to promote the study of Russian language and deepen the understanding of Russian traditional culture and Russian national psychology.
===Key words===
Culture-loaded Words; Russian idioms; Russian culture
=== 题目 ===
俄语成语中文化负载词的中文翻译分析
=== 摘要 ===
语言是文化的载体，语言的特性同时也体现了文化的特性，文化与语言紧密相关。对文化的深入了解和探究有助于语言的学习和更好的运用语言进行交际。成语作为固定的结构存在于语言表达中，具有深刻的文化内涵，是一个民族文化的重要表现部分。俄语成语是俄罗斯民族文化精华的浓缩，其中包含俄罗斯历史、宗教、民族思维、文化习俗、风土人情等特有的民族特点。语言发展的进程中，每个民族都积累了本民族特有的文化负载词。这些词语负载着本民族独特的文化内涵，表现本民族丰富的文化色彩。由于不同的文化背景和历史发展轨迹，俄语中包含许多代表俄罗斯文化中特有事物的词、词组和习语。本文以奈达的文化分类为视角，分析俄罗斯成语中文化负载词的中文翻译，有助于促进对俄罗斯语言的学习，进一步加深对俄罗斯传统文化及俄罗斯民族心理的了解。
=== 关键词 ===
文化负载词；俄语成语；俄罗斯文化
===Introduction===
Nowadays, with the sound development of relations between China and Russia and the deepening of exchanges in all aspects, a better understanding of Russian culture can further strengthen bilateral exchanges and cooperation. Culture-loaded words are words, phrases and idioms that mark the unique things in a certain culture. They directly reflect the unique activities of a particular nation that have been gradually accumulated in the long historical process and are different from other nations. At the lexical level, cultural differences between the two countries are reflected in culture-loaded words. Idioms, as the essence of language, contain rich cultural connotations, reflect national character and reflect social changes. The analysis of the Chinese translation of culture-loaded words in Russian idioms can help us trace the origin of Russian culture, go deep into the core of Russian culture, and explore the significance of Russian culture. According to Nida's classification of language and cultural characteristics, this paper tries to have a deep understanding of Russian culture and make tiny contributions to cross-cultural communication and translation through the analysis of Chinese translation of culture-loaded words.

===1.The meaning of culture-loaded words===
Culture-loaded words are the cultural labels of a nation, which have distinct cultural characteristics and play an important role in the development and dissemination of culture. Liao Qiyi said, "Culture-loaded words refer to words, phrases and idioms that mark things unique to a certain culture. These words reflect the unique activities of a particular ethnic group that have gradually accumulated in the long course of history and are different from other ethnic groups."When some foreign words are translated into Chinese, they cannot find their exact corresponding or equivalent words, thus forming culture-loaded words. Culture-loaded words are also called culture-unique words and culture-connotation words. They are deeply marked by the region and times of a certain language society, and are words (phrases) expressing the things and concepts peculiar to a certain culture. Such words not only carry rich cultural connotations, but also "exist only in one culture and are blank in another culture". Just because I have characteristics that you do not have, they are often obstacles to cross-cultural communication and translation.

===2. Classification of culture-loaded words===
According to Nida's classification of cultural factors, culture-loaded words can be divided into five categories. The first category is ecological culture-loaded words, which usually refer to the plants and animals, geographical environment, climate change and other related words in a specific region. The second category is material culture-loaded words, which refer to the specific material products in different cultures. Generally, they refer to words including food, clothing, housing and transportation. The third category is the social culture-loaded words, which usually involve the words of social etiquette, social identity, leisure and entertainment, such as local conditions and practices, traditions, social rules, religious moral standards, historical background, ideology and so on. For example, different cultures have different festivals and celebration customs, and people give different meanings to color words. The fourth category is religious culture-loaded words, which generally reflect the cultural beliefs of a certain nation. The fifth category is language culture-loaded words. Different nations have different speaking ways and habits, which are reflected in pronunciation, vocabulary, syntax and other aspects.

===3. Translation methods of culture-loaded words===
1. Substitution
Substitution method is a translation method that converts the cultural images in the source language into the cultural images familiar to the target readers. When the cultural images of the source language words are quite different from those familiar to the target readers, it is difficult for the target readers to understand, so the alternative translation method can be adopted.
2. Interpretation
Interpretation is a method of interpretative translation of words. Some words exist in both Chinese and Japanese languages, but due to the change of national culture, such words have different connotations in the two nations and are easily confused by translators and readers. At this point, the real meaning of the source words is supplemented by interpretation.
3. Annotation
Annotation is a translation method that is faithful to the source language. When the cultural information contained in a word is relatively simple, the translation method of in-text annotation can be adopted. When the cultural information contained in the vocabulary is long, the method of footnote can be adopted.

===4. Culture-loaded words in Russian idioms===
No matter in Chinese or Russian, there are many words with rich cultural characteristics, especially in many idioms, speech, slang and dialects, with rich cultural connotations. Russian idiom is a language unit composed of two or more stress components with fixed structure and integral meaning. Generalized Russian idioms include proverbs, sayings, idioms, fixed phrases of parole or called idiomatic phrases; In the narrow sense, Russian idioms only include idioms and idiomatic fixed phrases. This paper analyzes the Chinese translation of culture-loaded words in Russian idioms from a broad perspective. Russian can reflect the culture and way of thinking of a nation, with rich cultural connotation and distinctive national characteristics. As the essence of Russian traditional culture, Russian idioms can fully reflect the vivid and vivid Russian national culture, fully reflect the Russian nation's daily life behavior habits, value orientation and traditional customs. As the concentration and essence of Russian national language, Russian idioms are of great significance to the study of Russian and Russian national culture. It can reflect the lifestyle of the Russian nation, the character of the Russian people and cultural connotation. The research on the characteristics and translation methods of Russian idioms can help us understand Russian language and culture in a deeper level. It also gives us a unique glimpse of the world's brilliant culture.

General translation methods of Russian idioms
(1) Translation of equivalent idioms
There are some idioms that are basically the same in terms of literal meaning, inner meaning, word image, and implied philosophy in Russian and Chinese. We can use the corresponding translation method to translate these idioms, that is, the formal word-by-word translation. When translating these counterparts, the context can be ignored, as long as the translator keeps in mind the corresponding equivalents. This type of idioms can be translated using literal translation, that is, a translation method that maintains the content of the original idiom without changing the rhetorical characteristics. E.g:
　　1.Беда не приходит одна-祸不单行. Among them, "беда", "не", and "приходит одна" respectively have the same literal meaning and image of words as "祸", "不" and "单行" in Chinese, and their philosophical meanings are also the same.
　　2. Куй железо, пока горячо-趁热打铁. Among them, "куй", "железо", and "пока горячо" correspond to the Chinese words "打", "铁", and "趁热" respectively.
　　3. Лучше один раз увидеть, чем сто раз услышать — 百闻不如一见.
　　4. Век живи, век учись — 活到老，学到老.
(2) Translation of similar idioms
approximate idioms are also called semi-equivalence idioms, which refer to the same literal meaning, inner meaning, and philosophical meaning of the Russian and Chinese idioms, but the image of the words is partly the same, and partly different. Free translation is usually used when dealing with the translation of such idioms. The so-called free translation method is to convert the image of an idiom in one language into another language as much as possible without losing its meaning. For example: Правда глаза колет-忠言逆耳. "Правда" and "колет" in Russian are the same as "忠言" and "刺痛" in Chinese; however, "глаза" (眼睛) in Russian is not the same as "耳朵" in Chinese. The image needs to be changed when translating. Similar idioms are: как грибы после дождя-如雨后春笋. When грибы (蘑菇) is translated into Chinese, it becomes "春笋".
(3)Translation of non-equivalent idioms
Non-equivalent idiom refers to the national culture contained in the Russian idiom that is unique to the Russian nation and is unfamiliar to the Han nation. This kind of idioms are usually translated using creative methods, that is, without changing the meaning of one language idiom, using the most appropriate interpretation of another language for translation. There are generally two ways of creativity: literal translation + free translation, such as мало каши ел (喝很少的粥)-经验不足, use "каша" to refer to experience; выжимать соки (挤果汁)-榨取血汗, use "сок" refers to blood and sweat, labor; literal translation + comment, such as червонный валет (红桃 "J")-花花公子, using playing cards to refer to the macaroni（纨绔子弟）; мелкая сошка (小木犁)-无名小卒, using small things to refer to Little people. The paraphrase and annotations here are equivalent. ездят в тулу со своим самоваром (带着茶炊去图拉)-没有必要，多此一举, it involves the cultural and national conditions, Tula is a place rich in teapots, so it is unnecessary to take a samovar to Tula.
====4.1 Ecological culture-loaded words in Russian idioms====
As we all know, Russia is a vast country with vast resources. The unique vast land area has created a unique geographical environment in Russia, while breeding a variety of animals and plants on the Russian land.

As we all know, Russia has a vast territory,rich in natural resources. The unique vast land area has created a unique geographical environment in Russia, while breeding a variety of animals and plants on the Russian land.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:49, 14 December 2021 (UTC)

Crows have a bad connotation in the eyes of the Russian people and are often seen as a bad omen. "белая ворона -白乌鸦" refers to a person who is out of place(特立独行的人), and this idiom is used in Russian with a sense of disapproval. Crows are usually black, but white crows are very strange. "ворон считать - 数乌鸦" means eating the bread of idleness(游手好闲). Usually people with nothing to do have time to count crows. "ворона в павлиньих перьях - 伪装成孔雀的乌鸦" is a person who adorn oneself with borrowed plumes(装腔作势的人). Sparrows are also common in Russian idioms. Sparrow action speed is very fast, in "слово не воробей, вылетит - не поймаешь - 话语如麻雀，出口追不回"as a metaphor of a gentleman's word can't be chased(君子一言驷马难追). There are also "стреляный воробей" refer in particular to sophisticated man (老于世故的人，老油条). Similar words for " старого воробья на мякине не проведёшь посл -秕糠捉不住老鸟"are refers to the sophisticated people are not easily deceived(久经世故之人不易受骗).

In Chinese and Russian idioms, different animals and plants are often used to describe the same phenomenon due to different historical and cultural backgrounds. In Russian, the word "Брать быка за рога (抓住牛角)" has a similar meaning with the Chinese word "抓住牛鼻子", which means destroying the leader and the gang will collapse(擒贼先擒王). "Метать бисер перед свиньями(猪前撒珠)" is like "对牛弹琴". It means speaking truth to unreasonable people and speaking elegance to those who do not understand beauty.

Crocodile tears - "крокодиловы слёзы" refers to false compassion假慈悲. According to ancient Western legends, crocodiles are both ferocious and cruel as well as cunning and crafty. When it peeps into people, livestock, animal fish and other prey objects, often will first shed tears, like mercy, so that you were paralyzed by the illusion of its sudden attack to lose vigilance, in a state of no defense by it fiercely swallowed. Another said, is the crocodile will be captured after the prey, greedily swallowed at the same time, will shed crocodile tears. In short, it's a metaphor for false tears, fake sympathy. Later, it is conventionally extended to satirize those insidious and crafty people who harm others while pretending to be compassionate and kind.

====4.2 Material culture-loaded words in Russian idioms====
Russia has its own unique cultural material products, these cultural characteristics reflected in all aspects of clothing, food, housing and transportation.

"первый блин всегда комом - 第一张薄饼是一团" means all things are difficult before they are easy(万事开头难). "блин - 薄饼" is a kind of unique Russian food. It is round in shape, symbolizing the bright sun and heralding the coming of spring and the lengthening days. "блин - 薄饼" is also a staple in the traditional Slavic festival - Maslenitsa. To "ездят в тулу со своим самоваром - 带着茶炊去图拉" is to make a waste of time(多此一举). Tula is a place name in Russia, where the samovar is abundant, so it is unnecessary to take the samovar to Tula."за семь вёрст киселя хлебать - 跑七里路去喝一口羹(没有必要)" and "седьмая вода на киселе - 羹里的第七滴水(八竿子打不着的亲戚)". Among them "кисель(甜羹)" is also native food to the Russian nation. It can be made from almost any kind of fruit and berries, fresh and dried, fruit and pulp juices, syrups, jams, and milk with potato starch or corn starch. There are also non-sweet-tasting ones made from vegetables like peas. "по ерёме колпак кафтан - 捉襟见肘" and "тришкин кафтан - 什么样的人就戴什么样的帽子(恰如其分)". "кафтан(男长衣)" in this idiom is a kind of long coat with belted waist and floor-length sleeves worn by Russian men in the old days, which was very popular in Russia before the 20th century. "садиться не в свои сани - 坐在别人的雪橇上(不称职、对职务不能胜任)", the word "сани(雪橇)" in this idiom is one of the most common means of transport for Russians in winter.

====4.3 Religious culture-loaded words in Russian idioms====
Most people in Russia are religious, but most of the Idioms in Russian with religious cultural overtones are derived from Western Christianity.

"Дорого яичко к Христову дню - 送红鸡蛋要赶复活节" refers to do not send umbrellas after rain, refers to do good deeds must be timely(不要雨后送伞、做好事必须及时), Easter is a very important traditional Festival in Russia, is to commemorate the resurrection of Jesus after the death. Easter eggs to prepare cooked eggs (Easter eggs), boiled eggs coated with red, yellow, blue, coffee, green, purple and other colors, when the guests come, the host gives an egg, to symbolize the prosperity of life.

"не все коту масленица - 不是全年都是谢肉节" means that the good times will not last long and the feast will not come again(好景不长、盛宴难再). This idiom comes from the Maslenitsa culture of Russian national religion. The festival of Maslenitsa originated in the Eastern Orthodox Church. Meat and entertainment are forbidden during the 40-day Maslenitsa period. Thus, in the week before the start of Ramadan, people indulge in orgies and families eat meat to make up for the ascetic lifestyle of fasting. Hence the name of the Festival.

"козёл отпущения" refers to a scapegoat(替罪羊). At that time, the ancient Jews had such a ritual in life. When the day of confession came, the highest priest would put his hands on the head of the live goat, which indicated that the sin of all mankind would be transferred to the goat, and the goat would be banished to the desert. In Russian national and religious culture, this idiom is usually used to mean that people take the blame for others.

The Influence of Christianity on Russian idioms is very profound. Pushkin, the great Russian writer and poet, pointed out that the birth of Christianity was the greatest spiritual and political turning point on our earth, and the world died and was born in this sacred environment. It can be said that Christianity has played an extremely important role in human history, especially in western social life and cultural development. Since 988, when The Archduke of Kievan Rus established Christianity as the state religion, most Of the Russian people believe in Christianity, and there are about 200 idioms and fixed words from the Bible. A large number of Idioms in Russian derive from the Bible. The Bible is a Christian classic, including the Old Testament and the New Testament in 66 volumes. With the development of history and the evolution of language, idioms derived from the myths and legends of the Bible and the teachings and precepts of the Gospels have entered the Russian standard language and acquired new meanings. Now, through the study of Russian idioms from the Bible, analysis of their source text interpretation, use characteristics, we can see the influence of the Bible on Russian from the side.

"в поте лица - 汗流满面" From "Old Testament·Genesis" (Chapter 3, Section 19), God says to Adam, the father of mankind, when he sinned and drove him out of the Garden of Eden for eating from the tree of good and evil: "В поле лица твоего будешь есть хлеб, доколе не возвратишься в землю, из которой ты взят, ибо прах ты и в прах возвратишься.” - 你必须汗流满面才有饭吃，直到你归于尘土，因为你是由土而来的；你即是灰土，还要归于灰土." "Волк в овечьей шкуре 或 волк (напялил) на себя овечью шкуру - 披着羊皮的狼" from "New Testament Gospel of Matthew" (Chapter 7, Section 15), "Берегитесь лжепророков, которые приходят к вам в овечьей одежде, а внутри суть волки хищные - 你们要提防假先知! 他们来到你们跟前,外披羊皮,内心却是凶残的豺狼." "Кто не работает, тот не ест - 不劳动者不得食" originally derived from "The New Testament·2 Thessalonians": "Ибо когда мы были у вас, то завещевали вам сие: если кто не хочет трудиться, тот не ест. - 当我们在你们那里的时候，早已吩咐过你们：谁若不愿意工作就不应当吃饭." "продать (предать) за тридцать сребреников(кого) - 为三十块银币而出卖某人" from "the New Testament Gospel of Matthew". The story tells that judas, one of The twelve disciples of Jesus, got thirty pieces of silver from the priest and sold Jesus to the Jewish authority. Then he took the opportunity to bring many people with knives and clubs to the house of Jesus and his disciples and arrested Jesus. As a result, Jesus was crucified. According to the statistics of the Dictionary of Russian Idiom etymology, there are more than 1400 Russian idioms in the book, among which 161 are derived from the Bible or related to them, accounting for 11.5%. It can be seen that the Bible has a deep influence on Russian.

====4.4 CultureSocial culture-loaded words in Russian idioms====
Russia has a long history and diverse social customs. Many unique Russian cultural phenomena are reflected in Russian idioms.

During the Soviet Union, some words and languages produced under the background of The Times had unique meanings and connotations of the society at that time. The "Красный уголок
(红角)" was a place for cultural and educational activities in the Soviet Union. Russian idioms also reflect their national cultural characteristics through their lexical composition. Some words in these idioms are not equivalent words. "Фертом стоять (смотреть, ходить, глядеть, выглядеть. . . ) - 趾高气扬、威武自负、洋洋自得的样子" The word is an ancient name of the Russian letter "ф", which resembles a man standing erect with his hands akimbo, so the meaning of the whole idiom is to place his hands between the waist in a confident, aggressive posture. Other similar Russian idioms include "На ять - 顶呱呱，呱呱叫" and "Лезть на рожон - 铤而走险". The idiom "Чувство локтя - 站队时保持一肘距离的习惯" is used in the spirit of supporting friendly troops and helping each other(支持友军的精神，互助精神). The word "Белый - 白色的" in idioms sometimes conveys a negative meaning. The idiom "Показать белое перо - 展示白羽毛" comes from a cockfight. In fights between roosters of different colors, red, red, and black roosters were found to be more aggressive, biting off the tail feathers of timid white roosters. So this idiom means to be defeated and laughed at(被打败，被嘲笑). "Белый - 白色的" in this idiom means "cowardice, cowardice, and submission."

===Conclusion===
Culture-loaded words, as their name implies, carry the culture of a particular nation or country, which are closely related to the culture they carry. This sets up difficulties for translators when translating such expressions. If the translation only stays on the surface and ignores the cultural connotation of the words, it will lead to the loss of culture. In addition, another point worth the translator's attention is that the conceptual meaning and connotative meaning of culture-loaded words are often inconsistent. This requires us to flexibly choose appropriate translation strategies in translation to convey the connotation and meaning of culture-loaded words as far as possible, so as to ensure the readability of the translated text and retain the flavor of the original text to facilitate cultural exchange and communication.

Differences in cultural systems and language systems, and difficulties in translation, lead to misunderstandings in the translation of culturally loaded words, and it is difficult to deeply grasp the core of culture and make it fully presented in front of us.
There are several situations in the translation and translation effect of culturally loaded words:
1) Omission-complete lack of cultural connotation;
2) Simple transliteration-whether the cultural connotation is transmitted or not depends on the degree of communication of the word and the cultural level of the target language reader;
3) Transliteration plus annotations-cultural information is conveyed, but it is likely to damage the readability of the story or cause the translation to be cumbersome;
4) Replacement imagery and even complete domestication-the cultural connotation of the original word disappears, but it is easy for readers of the target language to understand.
It can be seen that several translation strategies are not superior in the absolute sense. For the translation of culturally loaded words, the translator must not only have a deep language foundation, but also an encyclopedia-like knowledge structure, and must be careful and patient in the translation process. Culture-loaded words belong to micro-culture, and their distinctive and strong cultural color is an indispensable part of Russian culture. Although they will inevitably "make a facelift" in the process of translation, resulting in the loss of some information, translators should still work hard to understand the cultural connotations of the original language and the target language in order to build a bridge for communication and understanding between the two sides.

Culture is a complex social phenomenon, which is the sum total of a nation's knowledge, experience, value, rank, religion and concept of time and space. It has distinct national and regional characteristics and is used in all areas of a certain society. Language is only a part of culture, any language is a reflection of a certain culture, language is the carrier of culture, language and culture are inseparable. Russian and Chinese are both languages with a long history, yet each belongs to a completely different language family. Their differences are not only reflected in the form of language (pronunciation, grammar), but also show the rich cultural characteristics of words. Because the objectivity of language, social and cultural are casting together, language is a nation created in the long-term productive labor and social practice and service for them, so their words are bound to the social reality of the nation, the native living habits and way of thinking, language, psychology, behavior norms, moral values, political ideas and cultural traditions, and deeply stamped with this nation, this region and this era. Therefore, Russian and Chinese words are bound to carry their own specific cultural connotations. To understand the culture of a nation, in addition to observing its actual behavior, what is more important is that we can study their language, especially through the study of language vocabulary to understand their cultural traditions and connotation in the culture. Because vocabulary contains abundant cultural information, it is an important content for better cross-cultural communication.

To sum up, Russian idioms are an important part of Russian national culture, which fully reflect the Russian nation's daily lifestyle, beliefs, customs and psychological characteristics. Russian idioms content is rich and colorful characteristics, by strengthening the study of Russian idiom learning, can help us deeply understand the master to the traditional customs of ethnic russians, and correct use of Russian language, add more glory for language expression, and to avoid in the process of Russian social expression appeared a slip of the tongue, affect each other on both sides of the normal communication smoothly.

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=8周小雪 The Translation of Culture Loaded Words in English and Japanese Versions of Medicine =
[[Cult_Load_Words_EN_8]]

=9 付诗雨 On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum =
[[Cult_Load_Words_EN_9]]

=10 丁旋 Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =

[[Cult_Load_Words_EN_10]]

=11 高蜜On the Translation of Culture-loaded Words in ''Lao Can You Ji'' from the Perspective of Cultural Schema Theory 从文化图式理论看《老残游记》中文化负载词的英译=
[[Cult_Load_Words_EN_11]]

=12 殷慧珍 A study on the English Translation of Culture-loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies =

殷慧珍 Yin Huizhen, Hunan Normal University, China

[[Cult_Load_Words_EN_12]]

===Abstract===
Culture-loaded words refer to words with unique cultural connotations, which are powerful tools to promote cultural communication. Due to the great differences between eastern and western cultural backgrounds, the translation of culture-loaded words is a difficult task. Therefore, this essay studies the English translation of Chinese culture-loaded words in ''The Spring Festival'', which is a prose written by Chinese Writer and translator Fang Huawen, introducing many Chinese customs and activities containing Chinese culture-loaded words. According to the Nida’s classification of culture, this essay classifies culture-loaded words into ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. Based on the domestication and foreignization translation strategies proposed by Venuti, this essay analyzes the translation strategies of culture-loaded words in Fang Huawen’s prose ''The Spring Festival'' and its translation, and summarizes the translation of culture-loaded words based on domestication and foreignization strategies.

===Key Words===
Culture-loaded Words, ''The Spring Festival'', Domestication and Foreignization Strategies, Fang Huawen

===题目===
归化异化策略下方华文《春节》中文化负载词的英译研究

===摘要===
文化负载词是指具有独特文化内涵的词语，是促进文化交流的强有力工具。由于东西方文化背景的巨大差异，文化负载词的翻译是一项艰巨的任务。因此，本文以方华文散文《春节》中的中国文化负载词的英译为研究对象，介绍了许多词汇关于中国习俗活动里蕴含的中国文化负载词。根据奈达的文化分类，本文将文化负载词分为生态文化负载词、物质文化负载词、社会文化负载词、宗教文化负载词和语言文化负载词。本文以韦努蒂提出的归化和异化翻译策略为基础，分析方华文的散文《春节》中文化负载词的翻译策略，总结出基于归化和异化策略的文化负载词翻译方法。

===关键词===
文化负载词《春节》归化与异化翻译策略方华文

===Introduction===
Since the development of China’s reform and opening up, China's economy has improved rapidly. Culture, as a manifestation of the soft power of national development, playing an increasing role in the country. And Chinese culture is becoming more and more popular among foreign readers. As a carrier of culture, book is a powerful tool for cultural communication. Meanwhile, translation is a bridge connected different languages and different cultures and the main task of translation is to translate the content of the source language into the target language. Therefore, in China, more and more books, such as poetry collections, novels, essays and so on, are translated into foreign languages and then widely spread all over the world. However, due to the huge differences in economic system, language structure and cultural customs between China and the West, many culture-loaded words with unique characteristics of the Chinese nation, such as some idioms, sayings and idiomatic expressions, are difficult to translate. Those who do not understand the Chinese cultural background cannot fully understand the meaning of these culture-loaded words. Therefore, the translation of culture-loaded words is key to the whole translation which is well worthy of doing research. ''The Spring Festival'' is a prose written by Fang Huawen, a famous Chinese literary translator. It talks about the Spring Festival, the most important traditional Chinese festival, and gives a detailed description of the activities during this traditional festival. Many culture-loaded words appeared in the prose represent Chinese culture, people can understand the profound Chinese culture through the authentic translation. Based on the translation strategies of domestication and foreignization, this essay explores the translation strategies of culture-loaded words in Fang Huawen’s ''The Spring Festival''.

===Fang Huawen and ''The Spring Festival''===
Fang Huawen was born in 1955, who is a famous Chinese literary translator and translation theorist. He plays an important role in literary translation in China and he was elected as a representative in the field of literary translation in China. He has translated many literary works such as ''Oliver Twist'' and ''David Copperfield'' written by Charles Dickens, ''Tess of the d'Urbervilles'' and ''Jude the Obscure'' written by Thomas Hardy, ''Jane Eyre'' and ''Pride and Prejudice'' written by Jane Austen and so on. Also, he wrote books of Chinese Culture of Editions Series such as ''Chinese Garden'', ''Chinese Folk Customs'', ''Famous Historical Cities in China'' and so on, which introduce Chinese culture in all areas. His representative translated work is ''History of Chinese Translation in the 20th Century'', which elaborately introduces the Chinsese Translation theories and translators, covering more than ten million words. His translated works have made great contributions to the spread of Chinese culture, and his translation views are well known both at home and abroad. He was named "the most productive literary translator in contemporary China” by the UNESCO International Federation of Translators and his translation theories were publish in ''Babel'', the academic journal of the International Federation of Translators, which enabled the world to know the general situation of Translation in China and the characteristics of translation.

In this essay, ''The Spring Festival'' is selected as the text of analysis, which is one of the prose collected in the book ''Translation and Appreciation of Chinese and Foreign Selected Famous Proses and Poems'', whose author is also Fang Huawen, selecting and translating famous Chinese and foreign proses and poetry. ''The Spring Festival'' is written by Fang Huawen and he selcets his own translation version in the book. The prose introduces the Spring Festival, the most important traditional festival of the China. The prose introduces the customs and activities of the Spring Festival in detail, which have been passed down from the ancient time. With the changes of the time, the words and customs have their own distinctiveness. Taking the traditional activity “post picture” as an example in the essay, Chinese people posted pictures of Shen Shu and Yu Lu with the wish of getting good luck and happiness in Nan Dynasty. While in Tang Dynasty, they posted the photos of Qin Shubao and Yuchi Jingde. If you don't know the cultural background of Chinese culture, you can hardly know the connotaion of the words. For example, the names of firecrackers are of various kinds, like "Rockets", "Rolling Mines", "Fairy Scattering Flowers", "Knights in Red" and so on. The author elaborately introduces all kinds of customs and activities from the first day of the first lunar month to the 15th day of the first lunar month, among which culture-loaded words are unique to Chinese culture, and the translation of these culture-loaded words will greatly promote the spread of Chinese culture.

===Culture and Culture-loaded Words===

====The Brief Introduction of Culture====
Compared with the economic and political field, culture refers to the spiritual activities of human beings and the products they produce. Culture is a set of customs, traditions and values formed by people living in a specific community over a long period of time, such as the culture of a nation or country. There are various cultures in the world, and each culture has its own characteristics, including its own ethnic values, such as religious belief, world outlook, etc. It also includes spiritual products produced by specific ethnic groups, such as some artistic and scientific spiritual products. Besides, the manners and behaviors of a nation such as folk customs, spirits and so on.

Chinese contemporary writer and scholar Yu Qiuyu gave a detailed interpretation of culture. He gave a definition of culture with a concise and simple sentence in ''What is Culture'', that is, culture is a kind of spiritual value and life style called habit, and its final result is collective personality. (Yu qiuyu 2012:3) The first key word is spiritual value, which means that culture is not only a cultural phenomenon, but also has cultural value. Therefore, it can be explained that culture is a spiritual symbol of human beings compared with the primitive state. The second key word is lifestyle. This is the concrete realization of spiritual value. In most cases, culture, it should be concrete and acessible. The third key word is collective personality. This shows that culture not only affects people, but also concentrates on personality precipitation to maintain some stability.
That is to say, the unique spiritual value and way of life developed by a particular nation is the culture of this nation, such as Confucianism, ancestral hall culture in Chinese culture and so on.

Specifically, Culture covers nearly all kinds of fields in social life. There are many classifications of culture from different perspectives. For example, from the geographical aspect, there are local culture and foreign culture, urban culture and rural culture, Eastern culture and Western culture and so on. Also, from the perspective of time, there are primitive culture, slavery culture, feudal culture, capitalist culture, socialist culture and so on. According to Nida, he divided culture into five categories in his book Language, Cultural and Translation:(1) ecological culture, (2) material culture, (3) social culture, (4) religious culture, (5) language culture. (Nida 1993: 91)

====The Brief Introduction of Culture-loaded Words====
Culture-loaded words refer to the words or phrases carrying the unique cultural connotations of a certain nation, which are different from other nations. Chinese scholar Hu Wenzhong defined culture-loaded words as follows: "Culture-loaded words are words within the scope of a specific culture, and are the direct and indirect reflection of national culture in the language vocabulary" (Hu Wenzhong 1999:64). When these culture-loaded words are translated into the target language, it is not easy to find corresponding words in the target language. Therefore, the wide use of culture-loaded words can transmit national cultural values and promote national communication.

Based on the classification of culture of Nida, culture-loaded words also can be divided into five catergories accordingly. The first is ecological culture-loaded words, which refer to the words that reflect the unique local ecology, such as climate, lgeomorphology, natural environment, mountains, rivers, vegetation and so on. Different geographical environments breed different cultures, such as the Chinese idiom “稳如泰山”, which translates into English as stable as Mount Tai, meaning as firm as a rock, "Mount Tai" is a unique ecological environment in China. Mount Tai is very majestic in the hearts of the Chinese people, and it is worshipped by the people and enjoys a high status. Therefore, people use this idiom to praise people as stable and unshakable as Mount Tai. For English phrase, "a big fish" is literally translated into Chinese “一条大鱼”, but in English culture, it means "Great man", because Britain is an island country surrounded by the sea, which reflects the influence of the sea on British culture.

The second is material culture-loaded words, which refer to words produced in daily life to meet the development of people's material life, that is, words with cultural connotations such as clothing, food and household goods that people need in daily life. In different cultures, people have different associations with different objects. For example, in Chinese culture, since the ancient time, people have divided the universe into five kinds of things, namely are Wood (木), Fire (火), Earth (土), Metal (金), and Water (水), and called them "Wu Xing(五行)"also known as the Five Elements or Five Phases. The system of five phases was used for describing interactions and relationships between phenomena.

The third social culture-loaded words refer to words that reflect various aspects of the society according to different social backgrounds, such as unique festivals, customs, local conditions and practices, as well as the way of address and greeting. For example, "aunt" in English refers to different people in Chinese, that is, maternal aunt, paternal aunt, wife of mother's brother, wife of father's brother.

The fourth religious culture-loaded words refer to some words related to religious beliefs and concepts, reflecting the influence of religion o.n people's lives. For example, Chinese culture is deeply influenced by Buddhism. Some common sayings contain the influence of Buddhism on people's life, such as the Chinese proverb "菩萨心肠"，which refers to the people with a great kind heart. Cram at the eleventh hour. "菩萨"is Bodhisattvas, who embrace qualities like self-sacrifice and morality. The Image of bodhisattva in Buddhism is different from that of Jesus in Christianity.

The last one language culture-loaded words are the reflection of different languages characteristics in speech, lexical, syntax and other linguistic aspects, usually found in dialogue, ancient poetry and colloquialisms, idioms, and so on. Chinese sentences attach importance to the connection of meaning, and clauses are often connected by meaning, while English sentences are connected by connectives. For example, the famous Chinese proverb,"经得广，知得多"，the whole sentence is very concise, only with six words, and there is no conjunction to connect the sentence. However, the English translation cannot completely translate the format, but need to use a conjunction to connect the sentences in English grammar, that is if you experience more, you can know more things.

===Domestication and Foreignization Strategies===
Domestication and foreignization are two different translation strategies proposed by Venuti in ''The Translator's Invisibility A History of Translation'' from the perspective of culture in 1995. 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 language readers.(Shulttleworth , Cowie 1997 : 43~ 44) This was based on the Germanphilosopher Schleiermacher's famous notion of the translation that don’t disturb the reader, as much as possible, and then lead the author towards the meaning that author want to convey. That is to say, using the tanslation strategie of domestication is to localize the translated text. And translator should first consider the target language readers but not the loyalty to the author. Therefore, when translating, the translator should choose the plain and familiar words and expressions in the target language that would not be a barrier to reading for readers, so that the translation can be read nativly and vividly but do not make the readers feel stiff or unfamiliar, and it would not be like a text has been translated but an original book. When translating, he also created many plots that cater to the public’s preferences, making the novel interesting and easy to understand. Because of the cultural differences between the East and the west, some specific words in the source language have no corresponding meanings in the target language. Therefore, especially when translating idioms and allusions, domestication is often used in order to maintain their unique simplicity and expressiveness. For example, cry up wine and sell vinegar(挂羊头卖狗肉)/ live a dog's life(过牛马一样的生活)/seek a hare in hen's nest（缘木求鱼）（Fang Mengzhi 2004: 3）

Foreignization refers to the translation strategy that a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. (Shulttleworth , Cowie 1997 : 58~ 59) Foreignization refers to the translation strategy that the translator first considers his loyalty to the author and the original text, so the translation will preserve the language characteristics and cultural customs of the original text. The use of foreignization translation strategy will not only make readers have "exotic" reading experience so as to help them better understand cultural differences，at the same time，it also enrich the target language. Many foreign words and expressions have been well integrated into the target language and used in people's daily life. The example of foreignization in Fang Mengzhi's a dictionary of translation studies, such as "time is money", comes from the foreignization of "time is money" in English. Many foreign words have been widely spread and used in Chinese. （Fang Mengzhi 2004: 3）

Domestication and foreignization are indispensable translation methods in cross-cultural translation. Domestication can invisibly introduce foreign cultural ideas into the country without causing exotic reading experience or bringing reading barriers to target language readers, thus increasing the readability of the text. However, with the advent of globalization, blindly domesticating other languages is a way of showing ethnocentrism, which is actually a kind of cultural aggression of other country. Venuti believes that the domestication is to use smooth translation strategy to hide the domestication in the transparency of the translation. This is not a cultural exchange but an act of culuture violence under the cover of domestication strategy with ethnocentric ideas, that is, tampering and cultural appropriation. (Fang Mengzhi 2004: 96）Therefore, foreignization has become an increasingly important translation strategy in the process of translation. For culture-loaded words, adopting foreignization translation strategy can not only accurately express the meaning of the sentence, but also promote the spread of Chinese culture, so as to promote the mutual understanding and communication between the East and the West. Therefore, foreignization is gradually accepted by people and more widely used in the world.

===A study on the English Translation of Culture Loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies===
The prose ''The Spring Festival'' contains many traditional Chinese festival culture-loaded words such as poems, idioms, proverb and so on, so in the process of translation, appropriate methods and strategies should be selected. For these Chinese culture-loaded words, the English translation is not completely corresponding to the original text. For example, some Chinese culture-loaded words have Chinese cultural connotations but are not reflected in the translation, and the sentence format in the original text is not completely corresponding in the translation. Based on the classification of culture-loaded words mentioned above, this essay analyzes the ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words in Fang Huawen's ''The Spring Festival'' on the theoretical basis of domestication and foreignization translation strategies.

====Ecological Culture-loaded Words====
Some words describing nature, environment, animals and plants are called ecological culture-loaded words. In the prose, the author used nature words "火树银花" to describe the scene of the Lantern Festival with bright lights. Literally, "火树" means the fire trees, "银花" means the silver flowers. If the translator uses the foreignization translation strategy to transliterate the sentence, the foreign readers who don't know the Chinese culture may not understand the meaning of the sentence, and will be confused. This is not a tree or flower, but a scene of bright lights. Therefore, the translator adopts the domestication translation strategy and translates it into "fireworks and laterns were everywhere to be seen", "火树" refer to the trees are covered with colorful lights, and "银花" refer to brightly lit scene.

====Material Culture-loaded Words====
Material culture-loaded words refer to some words used for material production, such as medicinal wine, units of weights and measures mentioned in the prose.

Example 1: "爆竹声中一岁除，春风送暖入屠苏。"

Translation: Firecrackers are sending the old year away; People are toasting in warm breeze.

The sentence quoted the famous poem New Year's Day by Song Dynasty poet Wang Anshi, which depicted a lively scene during the Spring Festival. The word "Tusu"(屠苏) has great cultural connotation. "Tusu" is a kind of medicinal wine, called Tusu wine. According to Chinese legend, Tusu wine was first invented by hua Tuo, a famous doctor in the Eastern Han Dynasty. It is generally drunk on the first day of the first month, which plays a role in strengthening the body and defeating diseases. Therefore, drinking it on the first day of the New Year also conveys people's best wishes for the New Year that everyone can stay away from diseases and be healthy. It implied a wish, just as people in the western culture also toast on festivals, so the translator replaced the literal translation of Tusu with the familiar word toasting.

Example 2: 曾架起一座二十丈的灯山。

Translation: ...was built up a mountain of lanterns to celebrate the festival, nearly 70 meters high.

In the sentence, "二十丈", that is twenty Zhang. Zhang is a unit of length used in ancient China. The use of Chinese length units has evolved with the changes of history. The units of measurement are closely related to life, they have appeared since the beginning of human beings. The primitive people used fingers as inches, palms as feet, and stretching elbows as feet. Then Qin Shihuang unified the measurement and till now the appearance of modern measurement technology today, the evolution of ancient measurement system reflects the changes of history. In English, there is no length unit of Zhang. Therefore the translator used the domestication translation strategy that converted 20 Zhang into 70 meters.

====Social Culture-loaded Words====
The use of social culture-loaded words reflects the specific social background of the certain period. For example, the appellation or title of people is a significant part of social culture-loaded words. In this prose, the titles of the two ancient emperors "汉武帝" and "唐睿宗" are mentioned. The translator's translation of the ruler is as follows:

Example 1：自从汉武帝以来...。

Ever since the Emperor Wu's Reign of Han Dynasty.

Example 2：唐睿宗时，长安的皇宫外庆贺元宵节

During Emperor Ruizong's Reign in Tang Dynasty there just outside the royal palace in Changan.

In Chinese history, from the Han Dynasty to the Sui Dynasty, the posthumous title of the emperor is generally used, which summarized the deeds and morality of the deceased. For example, Emperor Wu of the Han Dynasty, whose posthumous title is "Wu", praised the moral character of Emperor Wu of the Han Dynasty. From the Tang and Song Dynasties to the Yuan Dynasty, the temple name of the emperor was used as the appellation. Temple name is the name given by later generations when they worship in the temple after the death of the ancient emperor. For example, the temple name of the founding emperor is Gaozu or Taizu, such as song Taizu. For the successor, the last word is always Zong, which means to maintain the achievements of the predecessors. For example, Tang Ruizong's temple name is "Rui", which praises his wise. In English translation, the translator uses foreignization to translate the posthumous title "Wu" of Emperor Wu of the Han Dynasty and the temple name "Rui" of Ruizong of the Tang Dynasty. Although the title of emperor is different from that of Di and Zong in Chinese, translator all uses the word emperor.

Example 3: 其外形有"哪吒闹海""孙悟空""猪八戒"和"沙僧"。

Translation: lanterns in forms of Nazha's Adventure in East Sea, Monkey King, Pigsy, Sha Wujing.

The words in historical allusions and legends have great social and cultural connotation. "哪吒闹海"is an ancient Chinese legend."孙悟空", "猪八戒" and "沙僧" are main characters in Journey to the West, one of China's four greatest master pieces. Chinese people have watched TV dramas or books about these characters since childhood, so they are familiar with them. However, for foreign readers, they are not familiar with these characters or plots, so it may perplex them if you don't explain the culture background here. The translator adopted the foreignization translation strategy to directly translate "孙悟空" into "Na Zha's adventure in the East Sea", "孙悟空"into the well-known Monkey King, "猪八戒" into Pigsy, and "沙僧" into his name Sha Wujing. Literal translation may confuse readers who do not understand these legends and stories, so notes can be added, that is, Nazha (a divine warrior in Chinese mythology). And Monkey King, Pigsy, Sha Wujing (main characters in Chinese classics pilgrimage to the West).

====Regilious Culture-loaded Words====
Example 1：死后玉皇大帝封他为"斩祟将军"

And was appointed "ghost-killler general" by God of all gods after his death.

In the translation, the translator uses domestication translation theory to translate "玉皇大帝" into God of All Gods. In Chinese culture, people believe that there are ruler and gods in heaven, and "玉皇大帝" is the leader of the gods in Chinese Taoist mythology. In addition to ruling all gods, "玉皇大帝" also governs the affairs of the universe. People regard "玉皇大帝" as the "emperor" in heaven, the supreme ruler of the world of all gods.
In western culture, religions are numerous and varied. Ancient Greece is the land of pantheism, the ancient Greeks advocated many gods. Zeus is regarded as God of all gods and the supreme ruler of the gods in the Greek mythology. Several popular Western religions, such as Christianity, Judaism and Islam are monotheism, holding the belief that God is the only creator of the world. God is conceived of as the Supreme Being and principal object of faith. So the use of domestication can not only express the same meaning of the sentence, but also adapt to the religious culture in the west.

Example 2: 旧岁的最后一天叫"大年三十”，因"除旧岁”而得名除夕。

Translation: The last day of the old year, Danianshanshi in Chinese, is called Farewell Day, as the old year is sent away this day.

The phrase "旧岁”, "岁”is not only refers to the age, but also means year. "旧岁" refers to the past year. The last day of the year, called "岁除", and the night of the day is called "除夕". 除夕, the original meaning of "New Year's Eve", refers to the end of the year to usher in the new. New Year's Eve is a time for family reunion. Like Tomb-sweeping Day, Ghost Festival and the Double Ninth Festival, New Year’s Eve is a traditional Chinese festival for ancestor worship. This sentence uses the combination of domestication and foreignization. The use of foreignization preserves the cultural image and promotes the culture exchange.

====Language Culture-loaded Words====
Chinese idioms usually contain the essence of language and have Chinese characteristics. Many of them use figures of speech such as metaphor. A metaphor is a comparison of something you want to say with something that has similar characteristics. In idioms, metaphors are used to describe the characteristics of something to make it vivid, so as to trigger the association of readers. The idiom in the prose like "像箭一般冲出去了", means that the children rush out quickly, but also shows that the children eager to go outside. In Chinese culture, the arrow(箭) is often used to describe high speed. For example, the idiom "离弦之箭" is used to describe high speed. "离弦之箭" refers to Time flies quikly. But there is no equivalent like arrow in English. In English, words like "bullet" or "cheetah" or "rocket ship" are used for things that are fast. Therefore, in order for readers to better understand the meaning of the sentence, the translator uses the domestication method to paraphrase as "dash out", "dash" is an act of running or moving very quickly or hastily, Although the cultural connotation of the source language is sacrificed in this way, the translator faithfully expresses the meaning of the source language.

===Conclusion===
This essay finds that the prose includes plenty of culture-loaded words, which contains extensive and profound meaning about traditional Chinese culture and customs. This essay introduces the Spring Festival, the most important traditional festival in China, as well as various activities prepared by Chinese people for the Festival and customs they adhere to, which largely spread Chinese culture, promote cultural exchanges in the world, and greatly enhancing the strength of Chinese culture. For this essay, using Fang Huawen's translation text as the analysis object, analyze the translation strategies of translator used about different kinds of culture-loaded words, that is, ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. According to Venuti's translation theory, he advocates that translators should more use foreignization to preserve the cultural connotation of the source language. However, the translator Fang Huawen adopts the domestication translation strategy more frequently, choosing the cultural images familiar to the target language readers in order to resonate with the target language readers and make the target language readers get roughly the same reading effect like the source language readers. At the smae time, culture-loaded words have complex cultural images, if the target language readers do not understand the cultural connotation behind the words, they will not be able to get the real meaning of the text, and may even misunderstand the text mistakenly. When using domestication strategies, translators most commonly use free translation, in which they replace culture-loaded words in the original text with words and expressions more familiar to the target language readers, so as to improve the readability of the translated text and reduce readers' reading barriers. For example he translates the character of Chinese legend "玉皇大帝”into"God of the gods”that are more familiar to the target language readers. However, with the development of globalization, foreignization is increasingly used in translation. When the translator encountered some characteristic culture-loaded words, he chose literal translation, such as "Danianshanshi". Although the translator uses foreignization translation strategy to bring strangeness to the target language readers, it not only retains the traditional image of Chinese culture, but also meets the needs of cultural communication in the world. Foreignization can not only express the meaning of the source language, but also retain the characteristics of the national language. Domestication and foreignization are interactive and not completely opposite. Translators can combine foreignization and domestication in translating culture-loaded words. When translating culture-loaded words, the translator can not only use foreignization translation strategy to retain the cultural image and language connotation of the original text, but also use domestication translation strategy to make the translated text easy to understand and readable.

===References===

Nida Eugene(1993). ''Language,culture,and Translating'' [M].Shanghai:Foreign Language Education Press.

Shulttleworth, Cowie(1997). ''The Dictionary of Translation Studies'' [M]. St. Jerome Publishing.

Venuti, L(1995).''The Transltor’s Invisibility'' [M]. London&Newyork:Routledge.

Fang Huawen 方华文(2014). 中外散文诗歌佳作选译与鉴赏 ''Translation and Appreciation of Chinese& Foreign Selected Famous Proses and Poems'' [M]. 合肥：安徽科学技术出版社 Hefei: Anhui Science & Technology Press.

Fang Mengzhi 方梦之(2011). 中国译学大辞典''The Dictionary of Translation Studies in China'' [M]. 上海：上海外语教育出版社 Shanghai: Shanghai Foreign Language Education Press.

Yu Qiuyu 余秋雨(2012). 何谓文化''What is Culture'' [M]. 武汉：长江文艺出版社 Wuhan: Changjiang Literature and Art Press.

Written by --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 04:21, 9 December 2021 (UTC)

=13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]
===Abstract===
With the increasingly frequent cultural exchanges in the world and the increasingly exposed differences between cultures, cultural diversity plays a very important role in national exchanges. Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own language. Language is the carrier of culture, and word is the basic unit of language and the most active part of language. In cross-cultural communication, culture-loaded words are an important part and an important bridge and link between two languages. The study of culture-loaded words is not only an important link in the process of cross-cultural communication, but also an important mean and method for the development of a nation. There are a lot of culture-loaded words in Shen Congwen's Border Town. This paper discusses the translation of culture-loaded words in the translation based on the theory of translator's behavior.

===Key Words===
Culture-loaded words; ''Border Town''; Dai Naidie; Translator behavior criticism

===Introduction===
===1.Introduction of ''Border Town''===
====1.1 Background of ''Border Town''====
''Border Town'' was written in the 1930s, when the society was in turmoil and the development of urban civilization collided violently with the traditional agricultural civilization. The whole traditional civilization has been challenged and impacted unprecedentedly, and the traditional society has become fragmented, but on the whole it still exists peacefully. In China at that time, conscientious and thoughtful men of letters had a strong sense of responsibility and perception for the society. They did not want to see the whole nation degenerate in the violent civilization of cities, nor did they want people to lose their way in the vanity of cities. Mr. Shen as a member of the advanced intellectuals, he hoped that through ''Border Town'' this work for the impression of Xiangxi, which is similar to the Peach Blossom Land, to the confused people in cities shows the simplicity and purity of traditional culture, but also indicate the direction for them to move forward: there is a pure and natural love in life, and life needs to be converted to the nature of natural life.

====1.2 Introduction of the Author Shen Congwen====
The 1930s was the time when Shen Congwen had a good harvest in love and career, and his wife Zhang Zhaohe had the greatest influence on his creation. After their marriage, Shen Congwen wrote to his wife: "I have crossed many bridges, seen many clouds and tasted many kinds of alchohol, but I have only ever loved a man of the best age." Zhang's comely appearance and dark complexion are traits Mr. Shen used repeatedly in his works. Cuicui in ''Border Town'' was also based on her. At the same time, the Border Town also carries Shen Congwen's strong feelings for Xiangxi. Although his description of the stones, water plants, boatmen and other things in the Border Town is almost plain description, a close reading can feel his love for Xiangxi from the heart. ''Border Town'' is not only about the life of young men and girls born and raised in this small town, but also a beautiful, healthy, natural and human life form, which is also the original intention of Shen Congwen's creation.(Shen, 2013:104-105)

Shen Congwen's style inclines to romanticism, he asked the poetic novel of effect, integrating realism, recording, symbolism be in harmony an organic whole. He also asked the language style of primitive simplicity, sentence of simple forms, and thick and pure style with rich local color. He highlighted the country unique charm with a twinkle in human nature. Shen Congwen's novels are typical rural culture novels, which not only compare with the modern civilization of the city on the whole, but also pay attention to the way of living, the footprint of life and the historical destiny of the villagers, which are determined by the collision of different cultures during the transformation of the Xiangxi Area to the modern era. The whole work is full of worries about life and philosophical thinking about life, just like his real and tenacious life, giving people lessons and enlightenment.

Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that "beauty lies in life". Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, "In this world, there may be people who build great pavilions on sand or water, but that is not me, I just wanted to build a small Greek temple. Choose a small ground for a foundation and pile it with hard stones. Delicate, solid, symmetrical, small but not slender, it is my ideal building. It is dedicated to humanity." Therefore, it can be said that the "Greek temple" symbolizes a spiritual space full of human beauty and divine love, which transcends the "secular heart and eyes" and radiates the light of holiness. This "small Greek temple" lived those beautification, by the divinity of the ordinary women, such as Cuicui, YaoYao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are "the life form of the border city".(Shen, 1990:234-237)

===2. Cultural-loaded Words===
====2.1 Definition of Cultural-loaded Words====
As a complex social phenomenon, culture carries a nation's knowledge, experience, hierarchy, religion and concept of time and space. As a part of culture, language embodies the uniqueness and nationality of culture. Language is created in a nation's long-term productive labor and social practice and serves the society. As the core of language, vocabulary inevitably reflects and is influenced and restricted by national characteristics. At the same time, language can truly reflect the ecological region, material culture, religious belief, customs and habits of a country or a nation. Different languages determine the different ways of thinking, behavior and language expression of different nations. Therefore, there are inevitably huge cultural differences in languages, which produce a certain number of culture-loaded words.

Culture-loaded words are the concentrated expression of a nation's geographical environment, living habits, ideas, perceptions and national psychology in language level. It not only carries profound cultural connotation, but also closely links culture with language. In the language system, culture-loaded words are the words that can best reflect the cultural information carried by language and the social life of human beings. Language is not only a tool for the expression and communication of human thoughts and feelings, but also a carrier and an important part of culture. Therefore, culture-loaded words can best reflect the strong national color and bright cultural personality in language. The translation of culture-loaded words requires translators to accurately and appropriately understand the beliefs, customs, aesthetic values and other aspects of other cultures while faithfully conveying the essence and soul of their own cultures, so as to truly achieve the exchange of different cultures.

====2.2 The Necessity of Cultural-loaded Words Study====
In 1980, Professor Xu Guozhang published Culturally Loaded Words and English Language Teaching in Modern Foreign Languages, initiating the study of culture-loaded Words. At the same time, more and more attention has been paid to the study of culture-loaded words. Culture-loaded words, as the main bearing object of a national culture, are the embodiment of the most distinctive personality of culture. However, such words reflecting cultural differences have brought great obstacles to cultural communication and translation. The differences in language and culture between ethnic groups contribute to the diversity of ethnic communication, but at the same time bring great difficulties. Due to the incomplete equivalence of the functions and contents of words among different nationalities, many errors or even major errors in translation process are caused, which will not only cause a certain loss to the cultural or commercial activities at that time, but even cause a certain negative impact on the subsequent cultural exchanges. The generation and use of vocabulary is a unique way of activities accumulated by a nation in the long historical process, which is different from other nations. The translation of culture-loaded words is quite difficult. If the translation is improper, cultural loss will occur, that is, cultural differences will be mistaken for cultural common core, and the target language will be forced to adopt the cultural model of the source language, resulting in communication failure; or replacing the cultural image of the source language with the cultural image of the target language. Communication succeeds, but the regret is the cultural loss of the source language.(Qi, 2020: 163-164)

Culture-loaded words usually appear in literary works with ethnic characteristics. The ''Border Town'', Shen Congwen's representative work, is praised as "the purest novel text in the history of modern literature" and "the peak work in the pastoral legend of modern Chinese literature". It shows readers the harmonious life form of the Xiangxi Area. There are a large number of words which reflect the traditional customs and culture and dialect characteristics of the rural areas of Hunan, China. These culture-loaded words increase the difficulty of translation. In Dai Naidie’s translation, the translator also tries to reproduce the cultural characteristics of the original text in a variety of ways, so that the target readers can feel the local characteristics and charm of the ''Border Town'' more truly and appropriately.

===3. Analysis of Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation===
====3.1 The Introduction to Dai Naidie====
Dai Naidie (1919-1999) was born Gladys B.Tayler in 1919 to a British missionary family in Beijing. At the age of seven, she returned to England to receive education. She initially studied French language and literature, but in the later switched to Chinese language and literature because of her love for traditional Chinese culture. After marrying Yang Yixian in 1940, she settled down in China, where she and her husband hosted and translated many Chinese classics. The translated works range from pre-Qin prose to A Dream of red Mansions of more than 100 kinds. In their early works, Yang Yixian presided over the completion of the first draft, while Dai Naidie was responsible for proofreading and correcting the English expression. "Yang Yixian actually translated the Chinese into English, and I turned it into a narrative antithesis," she later recalled. With the continuous improvement of her Chinese and English translation skills, she began to try to independently translate Chinese literary works into English books, and contributed a large number of classic English translation literary works. The ''Border Town'' is one of the representative translations of Diana's independent translation period. The translation of Chinese classic literature works by Dai Naidie and her husband Yang Yixian not only promoted the cultural exchange between China and English-speaking countries, but also promoted the development of literary translation, promoted the translation process of Chinese classical novels, and contributed a huge force that cannot be ignored for Chinese culture to go out.(Song, 2017:24-27)

In the process of translating ''Border Town'', Diana was inevitably influenced by the social ideology of China at that time. As a foreigner herself, she was restricted and oppressed to a large extent, so her translation works mainly catered to the mainstream ideas of Chinese society at that time. At the same time, the powerful cultural countries represented by Britain and the United States at that time generally preferred the stereotyped works that fit their imagination in the weak culture. However, Shen Congwen's description of the backwardness and occlusion of the small town in Xiangxi was just in line with the imagination of the British and American society for the distant China, so it was once very popular in The British and American countries.(Sun, 2013: 49-50)

On the basis of being faithful to the original text, Diana's translation fully conveys the tendency of female translators' choice of translation strategies, which is reflected in the particularity of female translators' behavior in the process of translation.(Liu, 2017: 91-94)

====3.2 Analysis on Cultural-loaded Words====
Each language has its own unique features in pronunciation, vocabulary and syntax. Due to the differences in language and culture, the translatability of the expression forms of these languages will be limited when they are conveyed as information content in communicative language. If we do not understand the language and cultural characteristics of the original language, it is bound to produce ambiguity and mis-understanding. Meanwhile, translators of different identities have different approaches to translation. As a female translator, Dai Naidie was deeply aware of Shen Congwen's attitude and view when she read his work Border Town. Therefore, when dealing with the problems encountered in translation, especially some words with the color of feminism, she carefully and rigorously screened the original author Shen Congwen's own attitude, avoiding unreasonable and inappropriate translation of words, thus improving the accuracy and readability of the translation.(Song, 2017:25)
=====3.2.1 Analysis on Ecological Words=====
Ecology is a branch of biology that refers to the study of the relationship between organisms and their surroundings, especially their connections with their living environments. The diversity of ecological culture is naturally caused by the differences of geographical environment and natural conditions in various countries. The difference of ecological conditions will inevitably lead to the difference of national culture, so that culture shows a distinct regional.

The ''Border Town'' is a novel with the background of Xiangxi, which involves a lot of local customs and characteristic vocabulary. Dai Naidie followed the characteristics of Chinese culture and retained the cultural characteristics of Western Hunan in his translation. In Dai Naidie's translation, all place names are transliterated. For example, “四川”Sichuan、“秀山”Xiushan、“茶峒”Chatong, etc. Dai Naidie used pinyin system with Chinese characteristics to transliterate place names, conveying Chinese characteristics and displaying the unique charm of Chinese culture to western readers.

However, the translation of ecological culture-loaded words in the translation of Border Town by Dai Naidie does not show distinct characteristics of culture of Xiangxi in the translation of some words. In the text of translation, “有人带了礼物到碧溪岨。掌水码头的顺顺，当真请了媒人为儿子向渡船的攀亲来了。” The translation of this sentence of Dai Naidie, “Sure enough, someone comes bearing gifts to Green Stream, the go-between sent by Shun Shun to approach the ferryman on behalf of his son.” “碧溪岨” was where the heroin and his grandfather lived, who made a living by a ferry boat. There was a babbling brook in front of their house, and the houses were stacked on top of each other along the zigzagging stream. In the back side of the house, the white tower stood tall and upright, and the surroundings were the winding mountain road. Hence the place was named “碧溪岨”. In her translation, Dai Naidie ignored this rich culture-loaded word and directly translated it into "Green Stream", failing to realize the aesthetic transmission of the original text. In another version of translation, "Green Creek Hill" , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.（Guan, 2014:139-141）

For another example, “初五大清早落了点毛毛雨，河上游且涨了点‘龙船水’，河水已变作豆绿色。” Dai Naidie translated this sentence into “A fine rain sets in at dawn on the fifth, the water upstream has begun to rise, and the whole river turns pea-green.” “龙船水” is a natural phenomenon before and after the Dragon Boat Festival in the South China. The warm and damp air flows in the south of China is active, and the cold air from the north area to the south meet, there will be sustained large-scale heavy precipitation normally. After the intense precipitation, the water level of the river will rise rapidly, providing good site conditions for dragon boat racing. Therefore, people named the heavy precipitation during this period “龙船水”. In traditional Chinese culture, “龙船水” contains the function of warding off evil spirits. Hence, people will bath their feet and play in the water to get rid of bad luck and attain luck when “龙船水” comes. Here, the Dai Naidie’s version translation just simply translated “龙船水” into "water". Although with the help of context, some readers can understand the translation, Dai Naidie’s translation ignored the cultural characteristics and connotation of “龙船水” in the culture of Xiangxi and the influence of ecological environment on translation. Therefore, as a translator, Dai Naidie should not only try to preserve and convey the original characteristics of Chinese culture, but follow the authenticity of the original text.(Yin, 2020: 124-128)

=====3.2.2 Analysis on Material Words=====
Material culture refers to a kind of culture between cultural relics and social relations. It involves material processes and material production, and it reflects human emotional costs and material conditions. The cultural carrier vocabulary related to material culture is a mirror image that reflects the unique material and cultural characteristics of a certain language community, including "production of transportation, daily necessities, food, medicine, clothing and measures, etc.". Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.

The word "杜鹃" was textured by Dai Naidie, who translated it into what readers of the target language will know as "Nightingale". Although the nightingale and the cuckoo refer to different things, they both represent sad images in Chinese and Western cultural backgrounds. The nightingale is the incarnation of the ancient Greek tragic woman Procony, and the cuckoo is the reincarnation of Wang Duyu, the General of water control during the war of the Seven Kingdoms -- the nightingale and the cuckoo are endowed with similar emotional images of the traditional eastern and western world respectively. Therefore, the use of nightingale instead of cuckoo not only does not cause the deviation of emotional expression, but helps western readers to comprehend the image in the original text. This approach, on the one hand, takes into account the comprehension ability and scope of the western readers, and at the same time takes into account the traditional eastern cultural color represented by the cuckoo in the original text, which fully demonstrates the excellent female translator's thinking.(Song, 2017:24-27)

“贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。” Dai Naidie translated this sentence into “On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water.” “吊脚楼”, also known as “吊楼”, is a traditional residence of Zhuang, Miao, Dong, Buyi, Tujia and other regions. “吊脚楼” are generally built on the ground by the mountains and rivers. They are supported on flat ground with wooden pillars. They are usually two or three floors. The upper floor is ventilated and dry, and is a living room; the lower floor is closed for animals or piles of debris. Gladys has adopted a free translation method here, translating “吊脚楼” into "houses are built on stilts overhanging the water", which can make the target language readers feel the exotic style of this architecture, but fails to outline the building uniqueness of cultural characteristic in Xiangxi district. It is recommended to change the translation and add footnotes. “吊脚楼”are available in Hunan, Guizhou and other places. The readers are informed that this is a “吊脚楼” building in Xiangxi through foreignized translation strategies, and then the structure and appearance characteristics of the “吊脚楼”are described by adding footnotes, which retains the uniqueness and culture of the term "“吊脚楼”". The connotation makes the target language readers know what it is, and to a certain extent it also spreads Xiangxi culture and Chinese culture.(Yin, 2020: 124-128)

=====3.2.3 Analysis on Social Words=====
Social culture refers to folk customs, beliefs, values, traditions, lifestyles, behavior patterns and organizational activities related to a certain society. The words related to social culture are representations of characteristics of the above aspects. In the long-term development of human civilization, these aspects in one society are significantly different from other societies, thus forming different cultural-loaded words of a society.

“……车是车路，马是马路，各有走法。……” Dai Naidie translated the sentence into “Castles and knights have different moves.” The sentence was able to refer to the discipline of chess game, but in Xiangxi, it contains an entirely different meaning. The “车路” and “马路” were related to the marriage custom of Xiangxi. In China, marriage is the command of parents and the good offices of a go-between. Here, “车路” means to entrust one's life events to a go-between. The go-between is invited to persuade the person of one’s heart to marry. The final success in a large part depends on the go-between’s eloquence and the other person's opinion, which is a passive way of proposing marriage. “马路” represents the initiative to take control of one’s own life events in their own hands, and to spend time and energy singing courtship. The final success depends on their own sincerity which belongs to an initiative way. Dai Naidie used the translation strategy of domestication to translate this sentence. Although it was helpful for the target readers to understand, the cultural characteristics of the sentence were not preserved. From my perspectives, we should preserve “车路” as "Che Lu" and “马路” as "Ma Lu" by using foreignizing translation strategy, and then further explain the actual connotation of these two culture-loaded words in this sentence. This not only preserves the cultural connotation of the original text, but also helps the target language readers understand the specific charm of Chinese culture.(Yin, 2020: 124-128)

“由于边地的风俗淳朴，便是作妓女，也永远那么浑厚，遇到不相熟的主顾，做生意时也得先交钱，数目弄清楚后在关门撒野……妓女多靠四川商人维持生活，但恩情所结，则多在水手方面。” Dai Naidie translated it into "Border ways are so simple that even these girls remain honest. Before entertaining a stranger, they ask for their money and count it before closing the door and getting down to business … Whereas most of the women’ s income comes from merchants, it is usually the boatmen who win their hearts."In this example, the word "妓女" appeared twice. In Traditional Chinese values, this word is derogatory, and women in this industry will not be recognized and accepted by the society. In Shen Congwen's Border Town, prostitutes in the closed Xiangxi town described by Shen Congwen still retain a simple and kind quality belonging to Xiangxi women, although they cannot belong to the mainstream group of society. They are waiting for those travelling merchants or sailors ashore, and some innocent women who had never even crossed out of town, hoping to find their true love.

Dai Naidie translated the two repetitive words "妓女" in the excerpt as "girl" and "woman" respectively. These two words are neutral words, without any derogatory or discriminatory connotation, and more consistent with the original description of women who are forced to work as prostitutes for a living. In Shen Congwen's description, these women do not take pleasure in it, nor do they indulge in self-degradation. Just because they are in the closed small town of Xiangxi, they have not seen too much of the world, and they have no ability to support themselves, so they have to engage in humble and inferior occupation. These women have their own grievances, some even pitiable. Dai Naidie felt deep sympathy for the suffering of these women and could not bear it. As a woman, she consciously avoided the use of misogynistic words and used neutral words in her translation. On the basis of a full understanding of the original text, Dai Naidie described to the target language readers the innocent and simple characteristics of the women in Xiangxi, and then showed the plain local conditions and customs of the water town in Xiangxi. This way of dealing with these women not only did not become the object of public scorn, but more than a point of innocence color; not only does it not distort the original meaning of the author's writing, but it is helpful for the author to express his hometown -- Xiangxi water town nostalgia and yearning. (Song, 2017:24-27)

=====3.2.3 Analysis on Religious Words=====
Religion is the deepest source of all cultures, so differences in religion determine differences in culture. In China, religion is carried out in the daily life of people. In the West, people's daily secular life is carried out in religion. Therefore, in the process of translating vocabulary related to religion between China and the West, the translator will inevitably have a cultural gap. In this case, it is very difficult to fully convey the cultural connotations contained in the source language and make the target language readers have the same reading effect as the source language readers.（Guo, 1998: 12-19）

“老伯伯，你翠翠长得真标志，像个观音样子。再过两年，若我有空闲能留在茶峒照料事情，不必像老鸦到处飞，我一定每夜到这溪边来为翠翠唱歌。”Dai Naidie translated this sentence into “Uncle, your Emerald’s grown into a fine girl, a regular Guan Yin [The Goddess of Mercy]. In a couple of years, if I’m able to roost in Chatong in stead of flying off in all directions. I’ll come to this stream every night to serenade her!” “观音” is a noble and elegant figure in Chinese Buddhism. In Chinese Buddhism, Guanyin Bodhisattva can save all living beings and save people from fire and water. Therefore, it is deeply believed and worshiped by the general public. For the translation of this religious and culturally loaded word, Gladys is faithful to the original work and adopts the translation strategy of "alienation". She translated “观音” into "a regular Guan Yin" and added an endnote to explain it, taking into account the acceptability of the target language readers, and at the same time giving full play to the translator's subjectivity.(Mei, 2018: 157-162)

“过了四七，船总顺顺派人请马兵进城去，商量把翠翠接到他家中去，作为二老的媳妇。” Dai Naidie translated it into “Four weeks after the funeral, the wharf master summons the groom back to the town and proposes again that Emerald should move to his house.” In our country, every seven days after death is an anniversary of death, a memorial ceremony is held. "四七" refers to the fourth anniversary of death. Dai Naidie used the translation strategy of foreignization as “four weeks after the funeral” to express the basic meaning, but is it appropriate to use “week” here? What is special about this "四七"? Why did Cui Cui take over as the second elder's wife after four or seven? Did you miss the cultural factors that are rich in it? In the text, Cui Cui’s grandpa passed away. After the "四七", Cui Cui was a filial child. Dai Naidie only expressed the literal meaning, ignoring the cultural connotation of the original text. It should be translated into “the fourth seven days after the funeral” through the translation strategy of domestication, and the "四七" should be processed by adding footnotes to explain the specific meaning. Because there is a difference between “four weeks after the funeral” and the “fourth seven days after the funeral”, the former is the fifth week after death, that is, the day of death four weeks after death, which is a general term; while the latter refers to the fourth seven days after death, refers specifically to the expression closer to the original text. This helps to attract the target language readers to understand the cultural connotation, so that the target language readers understand and spread Chinese culture.

===Conclusion===
Translation practice examines not only the translation ability of the translator, but the translator also plays a variety of roles while performing translation activities. With the improvement of women's social discourse power, women have begun to consciously assume the cultural identity of translators. As a special group of translators, in addition to choosing materials related to female growth, female translators have unique translator behavior tendencies. ''The Border Town'' translated by Gladys Dai, a female translator, embodies two typical characteristics of female translators: on the one hand, female translators tend to choose neutral words and avoid using negatively discriminatory words; on the other hand, women The translator is more keenly aware of the original author’s linguistic information, and thus puts more emphasis on emotional communication when choosing words. As an indispensable and important component of the translation community, female translators play an increasingly important role.

At the same time, although there are many existing articles on the comparison of translations of ''The Border Town'', there are not many reference translations that can be given after the comparison. There is no definite method in translation, and there is no limit to translation, and the road to translation is long. As a translator, you must dare to make breakthroughs in the process of translation and introduce new ones. When translating culturally loaded words, you must not only take into account the dissemination and acceptance of culture, the culture of the target language reader and the correct dissemination of Chinese culture, but also the loyal original language and the correct dissemination of Chinese culture. The fluent expression of the target language, flexible use of domestication and foreignization translation strategies, transliteration, and footnote methods will enable the target readers to better understand and appreciate Chinese culture in terms of vocabulary and text, and ultimately achieve the purpose of spreading Chinese culture. So as to truly realize the "going out" of Chinese culture.(Yin, 2020: 124-128)

===Reference===
Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著(2013). 边城 [M] The Border Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.

Guo Jianzhong郭建中 (1998). 翻译中的文化因素:异化与归化[J]. Cultural Factors in Translation: Foreignization and Domestication. 外国语 Journal of Foreign Languages, 2:12-19.

Guan Xia官霞 (2014). 试论《边城》中文化负载词的翻译——兼议《边城》两英译本[J] On the Translation of Culture – Loaded Expressions in Biancheng. 海外英语 Overseas English, 17:139-141.

Liu Minxia刘霞敏(2007). 翻译中的性别差异及女性身份认同[J] The Gender Difference and Identification in Translation. 外语教学 Foreign Language Education, 2: 91-94.

Mei Qing梅晴(2018). 译者主体性视角下《边城》三个英译本的比较研究[J] A Comparative Study of Three English Versions of The Border Town from the Perspective of Translator's Subjectivity. 兰州教育学院学报Journal of Lanzhou Vocational Technical College, 10:157-162.

Qi Qi祁琦(2020). 戴乃迭、杨宪益《边城》译本中文化负载词的翻译策略及启示[J] The Translation Strategies and Enlightenment of Culturally Loaded Words in the Translation of "Border City" by Gladys Dai and Yang Xianyi. 海外英语 Overseas English, 9:163-164.

Shen Congwen 沈从文(1990). 从文小说习作选. [M]. 上海：上海书店出版社Shanghai: Shanghai Bookstore Publishing House, 1990, 234-237.

Shen Congwen 沈从文(2003). 湘行散记. [M]. 山西：北岳文艺出版社Shanxi: Beiyue Literature and Art Publishing House, 2003. 01, 104-105.

Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲(2017). 从翻译行为到译者行为:戴乃迭女性译者文化身份[J] From Translation Act to Translator Act: The Cultural Identity of Gladys Female Translators. 文学教育(下) Literature Education, 8:24-27.

Sun Ningning孙宁宁,刘亦伟(2013). 流散理论观照下译者文化身份研究:戴乃迭《边城》译本个案分析[J].语文建设Language Planning, 21:49-50.

Yin Lucheng, Liu Rurong尹泸程,刘汝荣(2020). 传播学视角下中国文化负载词的英译——以杨宪益和戴乃迭的《边城》译本为例[J] On the Translation of Culture-loaded Words from the Communication Perspective: A Case Study of The Border Town Translated by Yang Hsien-yi and Gladys Yang. 湖南第一师范学院学报 Journal of Hunan First Normal University, 01:124-128.

Zhou Na周娜(2021).跨文化视域下英汉文化负载词中概念隐喻翻译现象分析[J] An Analysis of the Translation Phenomenon of Conceptual Metaphors in Culturally Loaded Words in English and Chinese from a Cross-cultural Perspective. 今古文创 JinGu Creative Literature, 42:125-126.

=14 胡舒情浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》为例On Translation Strategies of Culture-loaded Words in Traditional Chinese Medical Classics: A Case Study of ''Treatise on Febrile Caused by Cold''=

胡舒情 Hu Shuqing, Hunan Normal University, China

[[Cult_Load_Words_EN_ 14]]

=== Abstract ===
''Treatise on Febrile Caused by Cold'', written by Zhang Zhongjing in the late Eastern Han Dynasty, is one of the "Four Classics" of Traditional Chinese medicine which uses six channels as guiding principles of syndromes differentiation and treatment. The book concentrates the traditional Chinese medical wisdom, which is both scientific and literary. The writing is smooth and simple, and the language is straightforward and vivid. A large number of rhetorical devices such as reduplication of words are used to reflect the beauty of Classical Chinese. Its multiple values have led more and more scholars to devote themselves to research, study and even translation and promotion, and a number of outstanding scholars have emerged at home and abroad to devote themselves to the translation work of this book. However, it is not easy to translate this book. China has an long history and profound culture, and the book contains many culture-loaded words. The translation quality of such words directly affects the translation quality, so it is necessary to adopt appropriate translation strategies. Therefore, the author chooses the version translated by Professor Luo Xiwen as the research blueprint to study the translation strategies of culture-loaded words in traditional Chinese medicine classics, in order to promote the translation of this book to a higher level.

=== Key Words ===
cultrue-loaded words; Treatise on Febrile Caused by Cold; Tranditional Chinese medicine classics; translation strategies

=== 题目浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》 ===

=== 摘要 ===
《伤寒论》为东汉末年的张仲景所著，是以六经作为辩证论治的纲领，荣列为中医“四大经典”之一。该书浓缩了中国传统医学智慧，兼具科学性与文学性，行文流畅朴素，语言直白形象，其中大量运用叠词等修辞手法，体现了中国文言文之美。其多重价值致使越来越多的学者致力于研究、学习、甚至是翻译推广，国内外皆涌现出一批优秀学者投身该书的翻译工作中。但翻译此书并非易事，中国历史优秀、文化精深，书中包含众多文化负载词，这类词的翻译质量直接影响译文质量，采取合适的翻译策略必不可缺。因此，笔者选择了罗希文教授所翻译的版本，作为中医典籍文化负载词翻译策略的研究蓝本，以期推进该书翻译工作更上一层楼。

=== 关键词 ===
文化负载词，《伤寒论》，中医典籍，翻译策略

===1. Introduction===
In recent years, China's international influence and national soft power have gradually improved, and the country has consciously pushed Chinese culture to all over the world. Traditional Chinese medicine culture, as an indispensable part of the excellent traditional culture of the Chinese nation, has a long history and unique theories and technical methods. Classic materials are rich and humanistic spirit of TCM is amazing, and the external dissemination of traditional Chinese medicine culture is becoming more and more important. Under this background, the translation of traditional Chinese medicine in China has been gradually carried out, and the culture-loaded words in the classics of traditional Chinese medicine are important features that reflect their rich cultural color and humanistic connotation, and the translation of culture-loaded words is the key to the translation of traditional Chinese medicine. Culture-loaded words are parts of the construction of traditional Chinese medicine culture and have basic research value. They cannot be unilaterally regarded as completely untranslatable because of the differences between Chinese and Western cultures. Facing the problems of translation, it is particularly important to put forward feasible translation strategies. A large number of translators of traditional Chinese medicine classics have also emerged in China, facing difficulties and striving to show the world the classics’ cultural accumulation and research results. Among them, the translator Luo Xiwen has translated a series of traditional Chinese medicine classics such as ''Condensed Compendium of Materia Medica'', ''Synopsis of Prescriptions of the Golden Chamber'', ''Huangdi Neijing'', and ''Treatise on Febrile Caused by Cold''. As one of China's historical medical works, ''Treatise on Febrile Caused by Cold'' is a classic work of traditional Chinese medicine written by Zhang Zhongjing in the Eastern Han Dynasty. It plays an important role in the development of medical history in the cultural biography of traditional Chinese medicine. This article will discuss the translation strategies of culture-loaded words in traditional Chinese medicine classics through Luo's translation of Treatise on Febrile Caused by Cold.

===2. TheDefinition and Classification of Culture-loaded Words in Chinese Medical Classics ===
====2.1 The Definition====
Different scholars have different interpretations of culturally loaded words, but a widely accepted definition is that words, phrases and idioms which mark the unique things in a certain culture. These words are deeply imprinted by the region and times of a language society. They only exist in one culture but are blank in another culture.

In recent years, many scholars have begun to pay attention to culture-loaded words in traditional Chinese medicine classics. Some scholars have tried to give a definition of traditional Chinese medicine culture-loaded words, but there is no clear definition yet. However, scholars Zhang Miao and others put forward recognition steps and a selection standard for traditional Chinese medicine culture-loaded words. First of all, read through the text and divide the semantic groups. Secondly, judge whether the semantic group belongs to the shared vocabulary of all human culture, that is, to express one concept of things as a vocabulary in the context of one language and culture, and words that indicate the corresponding concept in another language and culture background. For example, the words "apple", "pear" and "fire" in Chinese express the same concept and corresponding words in English. If it does not belong to part of speech, then determine whether each semantic group belongs to the following three categories. First, the basic terminology of traditional Chinese medicine. Such terms are usually divided into basic theories of traditional Chinese medicine, diagnosis of traditional Chinese medicine, diseases of traditional Chinese medicine, treatment of traditional Chinese medicine, acupuncture and moxibustion, and prescriptions of traditional Chinese medicine. Second, words unique to Chinese material culture, such as unique characters and things. Third, the unique language phenomenon of ancient Chinese. Such as ancient and modern synonymous words, common false words, word polysemy, etc. If it belongs to, and there is no obvious English corresponding word in the above semantic group, it is a culturally loaded word(Zhang Miao, 2020:63-64). According to this method, this paper selects the culture-loaded words in ''Treatise on Febrile Caused by Cold'' in the following article for analysis.

====2.2 The Classification====
After fingding out the culture-loaded words of traditional Chinese medicine, it is often necessary to classify and discuss them. Different scholars have different classification methods. Xu Xueyuan divided the culture-loaded words in ''Huangdi Neijing'' into basic philosophical concepts of traditional Chinese medicine, place names, traditional Chinese medicine terms and organs(Xu Xueyuan, 2018:148-149). Zhang Xuan divided the culture-loaded words in Su Wen into people's names, traditional Chinese medicine terminology, traditional Chinese medicine-related philosophical concepts, and other descriptive cultural load parts of speech(Zhang Xuan, 2009:12-16). Song Conghui and others divided the words of cultural load into: symptoms of traditional Chinese medicine, symptoms of traditional Chinese medicine, etiology and pathogenesis of traditional Chinese medicine, treatment of traditional Chinese medicine, basic philosophy of traditional Chinese medicine, etc(Song Conghui, 2016:121-122). Chen Zinuo and others divide the culture-loaded words of traditional Chinese medicine into five categories: syndrome, symptom, prescription, philosophy and rhetoric(Chen Zinuo, 2021:1698-1700). The latter includes the classification mentioned in the first three, and also opens up a rhetorical class to make the classification more detailed and clear. Therefore, this paper adopts Chen's classification method.

===3. Translation Strategies Used for Culture-loaded Words in ''Treatise on Febrile Caused by Cold''===
====3.1 Translation Strategy of Culture-loaded Words of Syndrome====

The translation of the syndrome affects the readability of the whole translation. ''Treatise on Febrile Caused by Cold'' has been written for a long time, and the simple structure of syndrome name carries a lot of information, so there are few modern terms that can be matched with ancient syndrome names. According to the methods mentioned above, most of the terms of traditional syndrome names belong to culture-loaded words. The author selected the syndrome -type culture-loaded words in Treatise on Febrile Caused by Cold translated by Professor Luo Xiwen to study the translation strategies of these words.

There are several syndromes mentioned in translation of Professor Luo: “太阳病” “阳明病” “少阳病” “太阴病” “少阴病” “厥阴病” “霍乱病” “阴阳易差后劳复病”. Sheng Jie believes that the translation of the syndrome name should be accurate first, then concise, and there is no need to overemphasize formal equivalence(Sheng Jie, 2013:15). When the meaning of the syndrome name has the corresponding words of Western medicine, the literal translation method should be directly used, and when there is no word to use, the method of additional translation can be selected.

Luo mainly adopts transliteration and free translation for syndrome names, first transliteration, followed by free translation, extending the cultural connotation and giving readers a way to deepen understanding. The following analysis can be seen.

“太阳病” appeares in chapter I, and Luo translates it into The Taiyang (Initial Yang) Syndromes. “太阳” does not refer to the celestial body “sun”, but to the Bladder of Foot-Taiyang. The bladder is located in the lower jiao, that is, below the belly button and above the bladder, which contains body fluid, which evaporizes to form "Qi of Taiyang", which is obvious on the body surface. This Qi has the function of protecting the body, also known as "Wei-qi". Because “Wei” meaning defensive, it is also reputed as “defensive Qi”. Because the Qi of Taiyang travels on the surface of human body, when exogenous pathogenic factors invade the human body, Taiyang must bear the brunt, and the syndromes presented as 太阳病. Professor Luo first gives the transliteration form of 太阳病, and then in view of Taiyang syndromes being the first from the law of transmission, Luo also adds “Initial Yang” as an expression of this kind of law of transmission.

“阳明病” appears in Chapter 4, Luo translates it as: The Yangming (Greater Yang) Syndrome. “阳明病” is related to the stomach channel of Foot-Yangming and the Large Intestine Meridian of Hand-Yangming, which means that Yang Qi is so strong that can be observed. Luo uses "Greater" to indicate the prosperity of yang qi to help readers understand the degree of yang.

“少阳病” appears in Chapter 5. Luo translates it as: The Shaoyang (Lesser Yang) Syndrome. Shaoyang is related to Sanjiao Meridian of Shaoyang and Shaoyang Gallbladder Meridian of Foot. It is one of the three Yang, but its ability to stand up to evil is not as good as Tiyang and Yangming, so "Lesser" is used to correspond to "少" in the name.

“太阴病” and “少阴病”, which have similar names with the “太阳病” “少阳病”, just different from Yin and Yang, have similar translations, so there is no need to go into detail. It is worth mentioning that “厥阴病”, Luo translates it as: The Jueyin (Greater Yin) Syndrome. “厥” has the meaning of “extreme”. When the disease or syndrome reaches Jueyin, Yin is extremely cold. Therefore, the degree of Yin embodied with "Greater" is similar to that of Yangming.

“霍乱” appears in Chapter 9, Luo translates it as: Huoluan (Cholera). “霍”, has the meaning of “suddenly” and “haste”, “乱” has the meaning of chaos. “霍乱” is an explosive gastrointestinal disease with vomiting and diarrhea as the main clinical manifestations. Traditional Chinese medicine believes that it is mostly caused by the combination of the six pathogenic factors and unhealthy diets. In Western medicine, Cholera is more likely to be an acute diarrheal infectious disease caused by the intake of food and water which is contaminated by Vibrio cholerae. It is not appropriate to have Cholera's literal translation of “霍乱” in Chinese medicine.

“阴阳易差后劳复病” appears in Chapter 10, Luo translated it as: The Recurrence of Disease and Yin Yang Yi Syndrome. This chapter introduces two parts: one is related to Yin Yang Yi, that is, the differentiation and treatment of Yin Yang Yi syndrome caused by patients with typhoid fever when they are not healed or just recovering, giving way to their carnal desires; the other refers to the differentiation and treatment of recurring diseases resulted from that, at the beginning of recovering from an illness or no recovery, patients start to work. In this chapter, Luo does not add interpretations, but directly arranges the free translation and transliteration in a phrase. The language is concise, easy to be accepted and understood by readers, and achieve the purpose of communication between Chinese and Western medicine. As a matter of fact, observations show that Luo's translation is relatively accurate in grasping the prosperities of syndromes, and tends to use free translation to reflect the characteristics of the progress of syndromes. However, Luo still mainly uses transliteration to convey cultural information about Yin and Yang and other Chinese-specific philosophical characters. This method also has drawbacks, that is, the transmission of cultural connotation depends on the degree of such characters’ propagation and the reader’s cultural level. For some readers who are first exposed to Chinese medicine culture, the transliteration is not friendly, which is not conducive to their reception of Chinese specific cultural information.

====3.2 Translation Strategy of Culture-loaded Words of Symptom====
When describing various syndromes in the book, it also points out the symptoms of the patient who is attacked by those disease. Most of the symptoms are described in detail at the beginning, and Chinese medical books are quite different from Western medical books in terms of the degree of language rigor. About Chinese medicine books, they make good use of rhetoric and pay attention to flowery characters and rhyme beauty, which adds a literary flavor to Chinese medicine, while it also causes the ambiguity and non-standardization of the concept of Chinese medicine, which increases the difficulty of translation as well. Examples are as follows.

Example 1：阳浮者，热自发；阴弱者，汗自出。

Translation：Floating at the surface signifies Heat weak in depth signifies spontaneous perspiration.

This sentence is neatly formed and catchy to read. Luo's translation is roughly the same as the original in form. It is worth noting that Luo translates most of the character "热" which refers to heat symptoms caused by an exopathgen as "Heat" or "pathogenic Heat", and capitalized H to distinguish the "heat" from common heat.

Example 2：鼻鸣干呕

Translation：nauseous and with a tendency to snore

In response to “干呕”, Luo uses the adjective “nauseous” to express "disgusting". In fact, the original text “干呕” is closer to “retching”, which refers to only the sound and action of vomiting, but no food or only salivation. This is not the same as complete nausea. “Nauseous” the word chosen by Luo here does not fit the context of Chinese medicine. “鼻鸣” are sounds made when the breath enters and exits due to suffocation in the nasal passages. It is manifested as thick breathing like a squeak, and snoring is the sound of thick breathing after falling asleep. Luo use the translation of “snore” is rather accurate.

Example 3：不下利，但呕者

Translation：……not cause diarrhea, but rather cause nausea and vomiting

“下利” refers to having the trots in Chinese medicine. The literal translation of "diarrhea" here fits the context. Compared with using the previous term nauseous to indicate “干呕”, Luo treats the character “呕” more carefully, using two words nausea and vomit to expresse together. At the same time, ancient Chinese medical writings in classical style tend to use omissions and emphasize parataxis, while English paying more attention to hypotaxis, Luo uses the word “cause” to make sentences more coherent and clearer.

In summary, it can be seen that the translation of symptoms extremely tests the translator's Chinese and English levels and medical understandings, and a slight difference will lead to deviations in meaning. For such culture loaded words, translators also use more literal translation and omission methods, and less transliteration. But there is also a problem, that is, most of the symptom names in Chinese and Western medicine can not completely point to the same content, and this subtle difference may cause doctors to make mistakes in judgment and cause major accidents. Therefore, the translation of symptoms should be more careful, and comments can be added when necessary to help understand.

====3.3 Translation Strategy of Culture-loaded Words of Prescription====
Treatise on Febrile Caused by Cold is the "ancestor of all prescriptions", which contains many culture loaded words related to prescriptions. Chai Hui has carried out research on the English translation of the prescriptions of Treatise on Febrile Caused by Cold, using the transliteration + literal translation + Latin notation of the "three insurances" translation method for prescription names to ensure that the translation is accurate and comprehensive(Chai Hui, 2010:703-704). Luo's translation mainly uses literal translation for such culturally loaded words. Examples are as follows.

Example 1：芍药

Translation：Radix Paeoniae

The translation of medicinal materials needs to pay attention to the phenomenon of different medicines with the same name. For example, in Zhang Zhongjing's book, there is no distinction between white peony and red peony, but in modern times, white peony and red peony are clearly classified as two kinds of medicinal materials. At present, clinical physicians generally believe that white peony’s function is rather tonic and restorative, while that of red peony refers to ejecting or diarrhea, and two medicinal materials need to be used flexibly according to the condition of the disease. Professor Luo uses Radix Paeoniae to translate it in general, without any distinction or explanation.

Example 2：潦水

Translation：rain water

In Chinese medicine, “潦水” refers to rain water. Luo Zhi literally translated it. “潦水” can be used to decoct herbal medicines whose functions are to nourish spleen and stomach and remove the dampness-heat. In fact, the translator can also explain the reasons for the use of rain water in Chinese medicine after the text, which is more conducive for readers to understand the connotation of Chinese medicine.

Example 3：苦酒汤

Translation：decoction of Bitter Wine (Ku Jiu Tang)

"苦酒汤" in Chinese medicine is actually rice vinegar. Luo translates it as "bitter wine", which means wine with a bitter taste, which is not in line with the original meaning and can be misleading.

Through the above analysis, we can find that the names of the prescriptions and the materials used in the book all have specific cultural connotations of traditional Chinese medicine. There are few corresponding words in Western languages, and even if they do, they are different from the original cultural connotations of the word in the West. We need to adopt appropriate methods in translation, which not only preserves the cultural characteristics of Chinese medicine, but also facilitates the understanding of target readers.

====3.4 Translation Strategy of Culture-loaded Words of Philosophy====
The philosophy of Chinese medicine is the ideological basis and theoretical guidance of Chinese medicine, covering Qi, Yin and Yang, and the Five Elements and so on. Among them, the theory of Yin and Yang is the main line of Treatise on Febrile Caused by Cold, which is expressed as two opposite sides of the same thing or two opposite things in a unified way. Jiang Mingde and others have analyzed the polysemous nature of the term "Yin and Yang" in Treatise on Febrile Caused by Cold, and pointed out that Yin and Yang can represent multiple meanings such as pulse location, pulse condition, disease attributes, pathological characteristics, etc(Jiang Mingde, 1992:7-8). The specific meanings in terms vary according to the environment and the translators different. Some examples are analyzed as follows.

Example 1：阴阳自和

Translation：if yin and yang are still in harmony

"阴阳自和" means that after sweating, vomiting, and using the purgation method, the human body achieves Yin-yang harmony and heals through self-regulation. This is an important content of Chinese philosophy. This tends to be a kind of dynamic balance, while Luo Yi's translation of “in harmony” is more inclined to a kind of static stability, which is somewhat different from the original meaning.

Example 2：脉阴阳俱浮

Translation：floating pulse at Yin and Yang

The translations of “阴阳” here are still transliterated as Yin and Yang. As a matter of fact, the two terms here refer to “Cun” and “Chi” (the transliteration of “寸部” “尺部”) appearing as floating features. Cun pulse pertains to Yang, and Chi pulse is to Yin. Professor Luo only uses transliteration, without supplementing background knowledge and relevant contextual information, so that readers in the target language may not understand what exactly they refer to.

Example 3：伤寒阴阳易之为病

Translation：Febrile disease caused by Cold with Yin Yang Yi syndrome

Luo adopts transliteration and free translation. In regard to Yin Yang Yi, Yin and Yang here refer to sexes of male and female, among which Yin Yi is the disease transmitted from female to male; Yang Yi is the diseases transmitted from male to female. After analysis, it can be found that most of philosophical characters such as Yin and Yang are transliterated by Luo, who does not provide additional explanations or supplementary background information. Without pre-connotations, this kind of translation would make the target language readers and feel confused and think that the translated work is obscure.

====3.5 Translation Strategy of Culture-loaded Words of Rhetoric====
The language of Chinese medicine has its unique features, which are mainly manifested in its literariness, rich philosophical thoughts, and good at comparing images and analogies. Various rhetoric techniques can be seen everywhere in the book. While deepening people’s understanding of the original text, it also increases the difficulty of literary translation into English. The correct transmission and translation of the true meaning requires a solid foundation in Chinese medicine and linguistics.

Example 1四肢烦疼：

Translation：the patient feels heavy and painful in the extremities

The "烦" in this phrase, Explanation of Treatise on Febrile Caused by Cold and other books explain it as an annoyance, a kind of feeling for people. The Chinese sentence here is a non-spirited sentence to replace people with limbs. Luo’s version of the translation emphasizes people's feelings. It rather focuses on people's feelings of heavy pain in their limbs, than translates people's feelings of boredom.

Example 2：啬啬恶寒，渐渐恶风，翕翕发热

Translation：The patient feels chill and fears wind, uneasy because of a fever.

Among them, “啬啬” “渐渐” and “翕翕” manifest various kinds of rhetoric techniques. “啬啬” reflects the howling shudder look, expressing that the degree of people’s aversion to cold is severe. And “渐渐” describes the onomatopoeia of mild wind and rain, while “翕翕” describes the appearance of mild fever, but these characters are not translated in Luo's translation, and Luo adopts the omission method.

===4. Conclusion===
''Treatise on Febrile Caused by Cold'' is a classic work of Chinese medicine and a treasure of Chinese medicine culture. The translation and dissemination of this book has extraordinary significance for the promotion of Chinese culture and the connotation of Chinese medicine. The culture loaded words are the condensed form of the unique national culture, and their translation is related to the readability of the entire book. The English translation of culture loaded words in Chinese medical classics is an extremely complex cross-cultural translation activity. It not only takes cultural characteristics into account, but also reflects the characteristics of scientific and technological styles, which is a great test for the level of translators. Professor Luo’s translation of this book is the world's first fully translated English translation of TCM classics. The book was published earlier than most translations. Under the background of that time, Luo Xiwen's translation of Treatise on Febrile Caused by Cold is no doubt of pioneering significance.

The translation strategies Professor Luo chooses are basically literal translation, free translation, omission, and transliteration, with few additional interpretations. Each of these translation strategies has its own advantages and disadvantages. The ultimate goal of translation is for readers to better understand the original text, and there is definitely a great similarity between the two different medical systems of Chinese and Western medicine, which cannot be separated. Literal translation can be used appropriately, and some of Western medicine terms can be used to express some concepts of that of Chinese medicine. Literal translation is a translation method that maintains both the original content and the original form. Generally, when the target language and the original language can express the same content in the same form, we will use literal translation. However, culture loaded words are the difficulties of translation due to the vocabulary vacancy in the target language. The use of literal translation seems to be contradictory. In fact, the choice of literal translation is also for the construction of the concept of TCM culture. Although Chinese medicine culture loaded words are not only a language full of Chinese national characteristics, but also a part of the world's national culture. We should also have full cultural self-confidence. In the translation process, we should dare to retain the national cultural characteristics, express the Chinese medicine culture with the conceptual language of Chinese medicine, and present the pure and natural Chinese medicine culture to Western readers, so as to increase the understanding, recognition and respect of the Chinese medicine culture. This is why Professor Luo extensively use transliteration is his translation, which reflects his care and thought. At the same time, we have to admit that Luo’s translation also has its shortcomings, such as mistranslation or incomplete translation of culture loaded words with multiple meanings, omission of some modifiers, and no supplementary explanations for relatively large differences between Chinese and Western cultures. In the future, Chinese medicine Translation needs to continue to explore, innovate, revise and develop.

All in all, the translation of Chinese medical culture loaded words must not only maintain national cultural characteristics, but also be conducive to the understanding and acceptance of target readers. All major translation strategies are worthy of careful consideration. Only translators familiarize themselves with the original text, master the similarities and differences between the two languages, choose the most appropriate translation strategy in different contexts, and supplement the relevant cultural background when necessary to help readers understand, translations of Traditional Chinese Medicine classics can be rather outstanding.

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Zhang Zhongjing张仲景.伤寒论[M]Treatise on Febrile Caused by Cold.罗希文Luo Xiwen,英译the English Translation,北京Beijing：新世界出版社New World Press.2007.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 14:07, 8 December 2021 (UTC)

=15 陈静 The Translation of Culture-loaded Words From the Perspective of Skopos Theory: A Case Study of ''Xi Jinping: The Governance of China''=
[[Cult_Load_Words_EN_15]]
===Abstract===
The Communist Party of China celebrates its 100th anniversary in 2021. Xi Jinping: The Governance of China (Volume III) was published at a critical juncture. Xi Jinping's political vision is expanded in the third version. This book provides foreign readers with a window into China's leadership and insight into China's unique governance. Hence, the book is critical in assisting foreigners in understanding China's political position in domestic and international affairs. The purpose of this article is to investigate and analyze the translation strategies of culture-loaded words in Xi Jinping: The Governance of China (Volume III) using the framework of the Skopos Theory.

===Key words===
Culture-loaded words; Skopos theory; ''Xi Jinping: The Governance of China
''

===Introduction===
this subtitle is repeated I think, you can delete this one. And delete this my sentence as well.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:48, 13 December 2021 (UTC)

===1. Introduction===
====1.1 Research Backgrounds====

Language is a cultural carrier as well as an important means of understanding specific ethnic and national cultures. Each country’s language contains more or less culture-loaded words, and the connotation of these words differs from people’s general cognition of them in the context of globalization, reflecting their own unique culture, national color, and historical context. Because each nation has its own development history, social system, ecological environment, religious beliefs, and so on, the language will inevitably derive a large number of words, allusions, and idioms condensing the national historical and cultural characteristics during the development process of history. With a five-thousand-year-long history, Chinese has amassed a large number of culture-loaded words, and translation of culture-loaded words is an important carrier for cultural readers from other countries to understand Chinese culture without relevant cultural background.

From my perspective, "five-thousand-year-long history" is a little Chinglish, maybe "five-thousand-year history" is better.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:58, 13 December 2021 (UTC)

At the specific practice level, a large number of culture-loaded words will inevitably appear in the text as a material to publicize all aspects of the country. A good example is Xi Jinping: The Governance of China (Volume III). General Secretary Xi Jinping quoted classics and used approachable language in his speech. His use of words infused with Chinese culture made this series of speeches more vivid and appealing to the audience. Through careful text reading, analysis, and summarization, it has been discovered that the culture-loaded words used in Xi Jinping: The Governance of China (Volume III) primarily fall into the following categories: Chinese political words, including political slogans and political characters; a large number of ancient Chinese poems, with cultural connotation primarily reflected in the characters, allusions, and images appearing in poetry; unique Chinese sayings and idioms; and special words with Chinese cultural connotation, such as numbers, etc. The translation of culture-loaded words necessitates translators faithfully conveying the essence and soul of their national culture while accurately and properly understanding the beliefs, customs, and aesthetic values in other national cultures in order to achieve true cultural communication. As a result, in order to achieve the goal of Chinese culture spreading, translators should carefully deal with culture-loaded words and strive to accurately convey the essence of traditional Chinese culture to target language readers.

====1.2 Research Significance====

China’s politics and policies are attracting increasing attention from the outside world as China’s overall national strength and economic development improve. The Communist Party of China celebrates its 100th anniversary in 2021. This is a significant event in Chinese ruling party's historical and political development. ''Xi Jinping: The Governance of China (Volume III)'' was published at a critical juncture. Xi Jinping’s political vision is expanded in the third version. The language in the book is rich and diverse. In addition to general political terms, the book employs rhetorical devices such as exclusion and repetition to improve the language’s persuasion. The books also contain a large number of poems, proverbs, and idioms rich in Chinese cultural heritage. A minor blunder may result in cultural misunderstanding, a negative national image, and an impact on international relations.

According to Gao Fang (2010), in the context of “Chinese culture go out”, the country has taken various measures to strengthen cultural export, but Chinese readers disregard for local literature, western readers of Chinese culture cognition, English world innate discrimination against translation work and translation strategy decisions, which reflects the difficulties in the broadcast of Chinese culture. As a result, it has piqued the interest of the domestic literary circle, the translation circle, and various publishing institutions: how to successfully realize cross-cultural communication of cultural works, how to properly and effectively solve the translation problem?

The paper uses the English translation of culture-load words in ''Xi Jinping: The Governance of China'' as the research content, and attempts to summarize and analyze the translator’s translation strategy and rationality when translating Chinese culture-loaded words from the perspective of Skopos Theory, as well as providing a reference for the English translation of Chinese cultural load words in current publicity materials.

===2. Literature Review ===
====2.1 Culture-loaded Words====

Nida proposed the theory of culture-loaded terms translation for the first time in 1945.

Nida classified culture-loaded terms into five categories, including ecological, material, social, religious, and linguistic culture-loaded terms. Ecological culture-loaded terms are words or phrases that are distinct due to their ecological and environmental conditions, which typically involve animals, plants, and climate. Material culture-loaded terms refer to physical objects that are specific to a culture, such as vehicles, food, or clothing. Social culture-loaded terms encompass a broader range of cultural content, encompassing all aspects of social life such as cultural background, social rules, history, traditions, and so on. Religious beliefs, including myths and fairy tales, are examples of religious culture-loaded terms. Linguistic culture-loaded terms are expressions with rich cultural characteristics, such as specific pronunciation, word, and syntax. From the author’s perspective, Aixela (1996) provided two primary classifications of culture-loaded terms: specialized nouns and common expressions.

Newmark (2001: 70) classified culture-loaded terms into five categories based on Nida’s research: proper names, historical institutional terms, international institutional terms, national institutional terms, and cultural terms. Proper names, according to Newmark (2001: 70), refer to “persons, objects, and processes distinctively owned by an ethnic community with singular references”. Brand names, trademarks, geographical names, names of newspapers, firms, journals, and private institutions, as well as proprietary names, are all examples of proper names, according to Newmark (2001). According to Newmark (2001: 74), historical institutional terms are “token words that give color and flavor to a period”. International institutional terms are words used by international organizations that have an official translation. According to Newmark (2001: 75), national institutional terms are those involving modern politics, finance, administration, and society. The scope of general cultural terms is broader, including ecological terms, loanwords with no specific cultural characteristics, and so on.

Chinese academics also proposed their own classifications of culturally charged terms. Tu Guoyuan (1996) agreed with Nida and Newmark’s classification and defined culture in a broader sense as human society's mental and practical activities. In a broad sense, culture is defined as a community's distinct way of life and how it expresses its ideas. Culture-loaded terms, according to Liao Huihua and Ge Lingling(2010: 101), are words, phrases, and idioms that represent unique items in certain cultures. These terms reflect the distinct activities of specific ethnic groups that have accrued over time and distinguish them from other cultures.

====2.2 The Skopos Theory====
Skopos Theory, the foundation of Functionalist Translation Theory, was proposed by Vermeer, a student of Reiss. According to Skopos Theory, the primary principle determining the translation process is the purpose of translation activities.

There are three types of purposes, according to Vermeer. To begin, there is a broad goal that a translator strives for, such as translating as a source of professional income. Second, a target text's communicative purpose in a target context, such as instructing the audience. Third, the goal of a translation strategy or approach, such as displaying structural characteristics of the source language. The theory views the source text as a "offer of information in a target culture," which is a result of constructivist comprehension theories.

The Skopos Theory states that there are three basic rules.

First and foremost, the Skopos rule. It is the highest-ranking rule for any translation, implying that translation activities are determined by the translation purpose. Each text is written with a specific purpose in mind and should be used for that purpose only. Because translation behavior is determined by the purpose of the translation, the Skopos rule is the primary rule for all types of translation.

The coherence rule is the second. This rule states that the target text must be coherent enough to be understandable given the intended receivers' background and context. At the very least, the translator should ensure that the translation is understandable to people from the target culture. Furthermore, only when the target text meets the standard of being intratextually coherent can it be expected to play a presupposed role in the communicative situation and culture in which it is received, and the audience will understand it without difficulty.

The third is the rule of fidelity. This rule focuses on the intertextual coherence between the translation and the original text, which is not the same thing. The former is thought to be inferior to the latter, and both are subject to the Skopos rule. When the purpose of the function changes, the standard is no longer intertextual coherence with the source language, but adequacy or appropriateness in relation to the purpose (Reiss and Vermeer, 1984). It is critical in translation that there is intertextual coherence between the source and target texts, and the form of this coherence depends on both the translator's understanding of the original text and the translator's translation purpose. There is only one possible intertextual coherence: maximum fidelity to the original text.

Skopos Theory’s three basic rules are intended to guide the translator throughout the translation process. In most cases, the translation cannot meet all three rules at the same time because doing so causes it to deviate from the original intention of the source text. In general, the Skopos rule should be followed by the coherence rule, followed by the fidelity rule, or, to put it another way, the need for loyalty is considered to be subject to intratextual coherence, both of which are subject to the Skopos rule. When a faithful translation of the original text cannot be effectively understood by receivers of the target text, the translator should abandon the fidelity rule and follow the coherence rule, that is, to make the translation meaningful in the target language’s communicative context and culture. If the function changes, the required standard will no longer be intertextual consistency with the source text, but adequacy or appropriateness in terms of the purpose (Nord, 2001). If the purpose necessitates intratextual incoherence, the intratextual coherence criterion is no longer applicable.

====2.3 The Translation Strategies of Culture-loaded Words====

Wang Jianguo (2019) identified four limitations in translating culture-loaded words.

First, culture-loaded words are untranslatable. Culture has a distinguishing feature that sets it apart from the culture of the target language. Culture-loaded words are difficult to translate in certain literary works because they require more explanation and thus have the potential to influence the structural and aesthetic value of the target text. Second, cultural information that is highly relevant to the theme should be translated, and explanatory notes should be included as needed. If the culture-loaded word is unrelated to the source text, the target text will most likely be deleted or omitted. If the target text translated with literal translation can be understood, then literal translation is the most likely translation strategy to be used. Third, cultural values are difficult to convey. As a result, while translating culture-loaded words with Chinese characteristics, western media translation can be borrowed. Gu Hongmin, for example, translated “君子” as “a wise man”. Western culture emphasized wisdom, whereas Chinese culture emphasized benevolence. Gu translated “君子” as “wise man” because he thought the two words were culturally equivalent. Fourth, the principle of economy should be applied in translation. Wang discovered that when culture-loaded terms in the source text have little influence on comprehending the whole article, translators can find culturally equivalent words so that the target text will be more concise.

Wang also classified translation strategies into three categories: literal translation, non-literal translation, and translating words with unique cultural information.

The first strategy is literal translation. When there are words with similar cultural meanings, a literal translation is usually used. One type of literal translation is transliteral translation, which refers to the use of pinyin to translate culturally loaded words. Because transliteral translation preserves more cultural characteristics of the source language, it is frequently used in target text of the Big Breasts and Wide Hips. A translation strategy like this can help to avoid misinterpretation of the source language’s culture.

The second strategy is non-literal translation. This translation strategy is typically used in reader-friendly texts in the target language. Such a translation strategy does not adhere to the source text and overcomes constraints in language structure, which is a widely accepted strategy among targeted readers. Nonliteral translation strategies include explanatory notes both inside and outside the main body, including footnotes and tail notes. Filling-in translation is commonly used with literal translations, but it is also one of the non-literal translation strategies. Deletion refers to the practice of translators removing unnecessary words when the original meaning is unaffected.

The third strategy is to translate words that contain specific cultural information. Wang pointed out that idioms, aphorisms and maxims, two-part allegorical saying, the common saying, idioms and proverbs are the six major categories of idiomatic expressions. In many cases, the target text contains no words or phrases that are completely culturally equivalent to the source text.

===3. Analysis of Translation of Culture-loaded Words in ''Xi Jinping: The Governance of China''===
====3.1 Translation Strategy of Social Culture-loaded Words====

Social culture-loaded words reflect social ideology, which refers to the system in the form of social and economic factors in specific classes or groups. Social culture-loaded words encompass all aspects of social life, such as social activities, historical allusions, and festival customs. Words or phrases containing social culture-loaded words will emerge from a specific social context. As a result, it encompasses a wide range of word collocations. Political terms with Chinese characteristics, Chinese common saying, and rhetoric in Chinese are examples of social culture-loaded terms.

ST: 中国在人类发展史上曾经长期处于领先地位，自古以来逐步形成了一整套包括朝廷制度、郡县制度、土地制度、税赋制度、科举制度、监察制度、军事制度等各方面制度在内的国家制度和国家治理体系。

TT: Over a long period of history China led the world in development. It forged a complete set of state and governance systems covering the court, administration of prefectures and counties, land, taxation, civil service examination, supervision and the military.

“朝廷制度、郡县制度、土地制度、税赋制度、科举制度、监察制度” are institutions in the past of China that international readers may not be familiar with. In this case, the translators use literal translation by looking for words with similar meanings in the target language and the source language while adhering to the fidelity rule. “郡县” is translated into the modern expression of “prefectures and counties”. Such a translation strategy is in accordance with the principle of efficiency in dealing with cultural information. When the cultural information in the source text has limited influence on comprehending the entire passage, most translators will use a common strategy of finding words or phrases with similar meanings. By doing so, the original context's structure is not jeopardized, and the target text can adhere to the original meaning, which meets the fidelity rule’s requirement.

A similar strategy is adopted in translating “税赋” and “土地”. As for“税赋”in ancient China, the feudal land tax and taxation are included. However, the purpose of this excerpt is only to provide context for China's magnificent culture. Translators look for culturally equivalent words so that the target text is more precise and coherent. When translating “税赋”, since feudal land tax is a unique expression of the social system in ancient China and has little influence on the meaning of the whole passage, the translators use deletion and only translate the meaning of “税”. “土地制度” is also translated into the brief version of “land”, also using the strategy of deletion. Instead, inline annotation is used by translators when translating “科举制度”. “科举制度” is a unique examination system for public officials in ancient China, and it is difficult to find culturally equivalent words for it. To avoid misinterpretation from international readers, the translators explain this noun through explanatory notes, employing the Skopos rule to ensure effective cross-cultural communication. The translators take into account the cultural backgrounds of international readers and used culturally equivalent words in the target language. The goal of these two different translation strategies is to make cross-cultural communication easier. The Skopos rule and the coherence rule have been followed as a result of these strategies.

ST: 广大青年要坚定理想信念，志存高远，脚踏实地，勇做时代的弄潮儿，在实现中国梦的生动实践中放飞青春梦想。

TT: To all our young people, you should have firm ideals and convictions, aim high, and have your feet firmly on the ground. You should ride the waves of your day; and in the course of realizing the Chinese Dream, fulfill your youthful dreams.

“弄潮儿” is a common Chinese saying that originally referred to swimmers who swim against the tide but has since come to refer to people who are brave and entrepreneurial. This phrase has Chinese cultural characteristics and comes from a poem written during the Tang dynasty. This phrase was translated literally by the translators in accordance with the fidelity rule. The fidelity rule requires translators to avoid contradicting the original meaning of the source text while making the translation more understandable in light of the cultural differences. In the target text, the translators use literal translation to directly translate “弄潮儿”, implying that people should follow the trend of the times, which also meets President Xi’s extended meaning. Certain cultural information has its uniqueness, making it untranslatable. “弄潮儿” is a distinctive Chinese expression, and “ride the waves” refers to enjoying the advantage or benefit of a particularly successful, popular, fortunate or interesting moment. It can be difficult to find phrases that are completely culturally equivalent, so the translated version restored as much of the original information as possible, demonstrating how the fidelity rule is applied in the target text.

The above-mentioned social culture-loaded terms demonstrate a high level of adherence to the coherence rule and the Skopos rule, most likely due to the fact that social culture-loaded terms vary greatly across cultures. Target readers may find it difficult to interpret translations that strictly adhere to the fidelity rule, whereas translations that adhere to the coherence and Skopos rules can better facilitate cross-cultural communication. According to the appendix’s collected social culture-loaded terms, the majority of social culture-loaded terms used deletion, literal translation, and inline annotation. These three strategies allow international readers with limited knowledge of Chinese society to comprehend China’s policies and read the volume fluently.

====3.2 Translation Strategy of Material Culture-loaded Words====

Material culture-loaded words include material products and technology invented by human beings derived from the development of society. The third volume’s material culture-loaded terms can be divided into four categories: construction, items, literary works, and names. Most material culture-loaded terms use transliteration and amplification strategies when translating literary works and names, as well as substitutions when translating constructions and products. Materials can have a variety of meanings in different cultures. For example, in Chinese culture, the terms “勤务员” and “伙夫” are distinct expressions that may not have equivalent words or phrases in English. While translating these words, translators should be aware of expressions in Western culture with similar meanings.

ST: 中华民族伟大复兴，绝不是轻轻松松、敲锣打鼓就能实现的。

TT: Achieving national rejuvenation will be no walk in the park; it will take more than drum beating and gong clanging to get there.

East and Southeast Asian musical instruments include drums and gongs. Gongs and drums, with their symbolic meaning of hyping up, can be used in times of grand celebrations in Chinese culture. President Xi is emphasizing the difficult efforts that the Chinese people must make in order to achieve national rejuvenation. As a result, the translators use the translation strategy of addition to limit the boundaries the source text may transform so that the readers can have a more precise understanding, as shown in this excerpt by how the Skopos rule is applied. Meanwhile, the translators render the phrase as "drum beating and gong clanging," demonstrating the fidelity rule. The literal translation is used here to restore Chinese cultural connotations. The fidelity rule in translation requires equivalence in meaning and refers to word for word translation. In this case, the translators have kept the names of well-known Chinese musical instruments. At the same time, the translators explain their connotations, in order to maintain the fidelity of the target text to the source text and to improve cross-cultural communication. Understanding and conveying information of “rejuvenation is no easy task” to international readers is facilitated.

ST: 天宫、蛟龙、天眼、悟空、墨子、大飞机等重大科技成果相继问世。

TT: ... with major advances made in science and technology, including the successful launch of space lab Tiangong, the commissioning of the deep-sea manned submersible Jiaolong and of the five-hundred-meter aperture spherical telescope (FAST) Tianyan, the launch of the dark matter probe satellite Wukong and the quantum science satellite Mozi, and the test flight of the airliner C919.

In material culture-loaded terms, the aforementioned Chinese innovations fall under the category of "names." Tiangong, Jiaolong, Tianyan, Wukong, and Mozi are all important cultural figures in China, representing advances in science and technology. The translators use inline annotation to further explain these terms, demonstrating the application of the Skopos rule. This type of explanatory inline annotation takes into account English readers' understanding of Chinese culture-loaded terms. It is a limitation of language form of culturally loaded terms that also facilitates international readers' understanding of Chinese cutting-edge technology. Though the length of the article is longer, semantic conveyance can be realized through the explanation that Tianyan is the five-hundred-meter aperture spherical telescope, and the purpose of the book of showing international readers China’s accomplishments is achieved. The original names are faithfully conveyed through transliteration of these advances in science and technology. On the one hand, international readers can still see Chinese culture embodied in cutting-edge technology. Readers from different cultures, on the other hand, can still understand what these terms are thanks to inline annotation, which follows the Skopos and fidelity rules.

In these examples, the fidelity rule takes precedence over the skopos rule. Material culture-loaded terms are typically objects with Chinese characteristics. In most cases, these objects will have no effect on the coherence of the target text. As a result, fidelity to the original text and facilitation of cross-cultural communication are given top priority. Transliteration and inline annotation are the most widely used methods for translating material culture-loaded terms, demonstrating that translators prioritize preserving cultural information and making target text easily understood by international readers.

====3.3 Translation Strategy of Linguistic Culture-loaded Words====
Linguistic culture-loaded words reflect phonetic meaning of language at the language family level. In contrast to English, Chinese language, particularly idioms, typically uses four-character structures. Linguistic culture-loaded terms can be found in a variety of contexts. Linguistic culture-loaded terms include idioms, classical literary prose, the two-part allegorical saying, proverbs, and so on. Linguistic terms that are culturally loaded are more difficult for international readers to understand. As a result, translators must employ translation strategies that are both effective and skillful in order to facilitate cross-cultural communication.

ST: 鸦片战争后，中国陷入内忧外患的黑暗境地，中国人民经历了战乱频仍、山河破碎、民不聊生的深重苦难。为了民族复兴，无数仁人志士不屈不挠、前仆后继，进行了可歌可泣的斗争。

TT: But with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression; its people, ravaged by war, saw their homeland torn apart, and lived in poverty and despair. With tenacity and heroism, countless dedicated patriots fought, pressed ahead against the odds, and tried every possible means to seek the nation’s salvation.

In this excerpt, “战乱频仍”，“民不聊生”, “仁人志士”, “不屈不挠”, “前仆后继” and “可歌可泣” are Chinese idioms, with distinct national characteristics in language structure and expression. These idioms have a distinct origin in Chinese culture and are inextricably linked to national culture. It is not necessary to find culturally equivalent idioms in English when translating these idioms. The Chinese nation and Western countries share a wide range of values and aesthetics. If too many idioms are used in English translation, the same tired formulas will appear. The translations of these idioms are divided into two categories based on the coherence and fidelity rule. The first is deletion, and the second is literal translation. These idioms are intended to demonstrate that, even in difficult situations, Chinese patriots are willing to press on, which has a low chance of causing cultural misinterpretation for international readers. As a result, “战乱频仍”, “民不聊生”, “不屈不挠” and “前仆后继” adopt literal translations that improved the original meaning and demonstrated how the fidelity rule is applied. “仁人志士” is translated as “dedicated patriots” because, while it originally referred to people who were charitable, its meaning later evolved to patriots, which is also translationally adapted to the context. This translation eliminates ambiguity and allows for a more coherent reading experience. Meanwhile, “可歌可泣” was removed while translators worked from a results-oriented perspective and demonstrated the outcome of their struggle, which is "tried every possible means to seek the nation's salvation." The coherence rule was followed in this case by making the reading process for the target text readers smooth and interrupted.

ST: 应该风雨同舟，荣辱与共，努力把我们生于斯、长于斯的这个星球建成一个和睦的大家庭，把世界各国人民对美好生活的向往变成现实。

TT: We are in the same boat, and we should stick together, share weal and woe, endeavor to build this planet of ours into a single harmonious family, and turn peopled longing for a better life into reality.

The translators used two translation strategies in the passage: literal translation and full implication. These strategies adhere to the Skopos rule. When translating “风雨同舟” and “荣辱与共”，the translators restore the meaning of the two idioms, because these two idioms are an essential part of the source text in the construction of meaning. However, “生于斯、长于斯” has been translated into “the planet of ours", demonstrating the adoption of full implication. “生” and “长” are part of the process, and this process is implicated in the “the planet of ours”, which is a result-oriented structure. The translators omitted the process and presented the end results to international readers, restoring the meaning, by employing various translation strategies. The use of various strategies exemplifies the Skopos rule of facilitating cross-cultural communication.

The examples above show that the coherence rule and the skopos rule can be found frequently in the translation of these linguistic culture-loaded terms. Literal translation, inline annotation, deletion, and full implication are the most common translation strategies used when translating linguistic culture-loaded terms. Linguistic culture loaded terms are words or phrases with distinct Chinese characteristics; thus, most translators adhere to the Skopos of improving cross-cultural communication and use literal translation and inline annotation to preserve cultural value. In some cases, the linguistic culture-loaded terms are too difficult to restore their implication; therefore, the translators used deletion and full implication to improve the reading experience of international readers, demonstrating the importance of the coherence rule in the target text. With the impression that international readers will be unable to fully comprehend the meaning of such cultur3-loaded words unless they have a basic understanding of the Chinese social, ecological, and cultural environment, translators should shoulder the responsibility of selecting different translation strategies under the guidance of the Skopos theory and constructing a bridge between different cultures.

====3.4 Translation Strategy of Ecological Culture-loaded Words====

Ecological culture-loaded words reflect the climatic features, natural environment and geographical conditions in an area. People from various regions have distinct expressions that reflect regional characteristics. There are three major categories of ecological culture-loaded terms: animals, plants, and places. Cows and oxen, for example, are animals that represent diligence and industriousness in China, whereas in Western countries, the expression "work all day like a donkey" is common. As is well known, the geographical environment of China gives rise to an agriculture-based culture with a large vocabulary for animals and plants. It explains why many idioms in Chinese and English have completely different meanings. To help international readers fully understand different cultures, translators should use different strategies when translating ecologically and culturally loaded terms. The following examples will demonstrate the use of translation strategy.

ST: 坚定不移“打虎”、“拍蝇”、“猎狐”

TT: We have taken firm action to “take out tigers”, “swat flies”, and “hunt down foxes”.

In Chinese culture, the tiger is both a revered entity and a hunted beast. Tigers are used as a symbol of vigor and vitality in Chinese idioms such as “虎虎生威” (forge ahead with the vigor and vitality of the tiger) and “生龙活虎” (with furious energy). Nonetheless, there are numerous expressions and literary works in which tigers are portrayed as ferocious villains, such as the stories of Wu Song or Li Kui beating tigers. President Xi Jinping’s expression here is reminiscent of tiger figures in fiction, in which heroes battle tigers. The image of a tiger has various meanings in Western culture as well. On the one hand, it is associated with beauty and power, but it has also been referred to as a man-eater on numerous occasions. Tigers are described as “burning bright” and “dare seize the fire”, but it also appeared in Jim Corbett's adventures in India, where he used to hunt "man-eaters," including tigers. Because the images of tigers are so similar, the translators used literal translation in their translation strategy under the rule of fidelity. To save space, translators will use literal translation when a targeted language has words with the same or similar cultural meaning as the source language. Meanwhile, the ecological culture-loaded term revealed the Skopos theory’s fidelity rule. “打虎”, “拍蝇” and “猎狐” are expressions with Chinese roots. Fighting corruption is like fighting tigers, flies, and foxes. Tigers and flies can refer to corrupt officials at various levels in these expressions, while the original meaning of the source text is preserved. It is difficult to find words in Western culture that are culturally equivalent to these ecologically loaded terms. Therefore, the translators did not change the meaning of source text by using literal translation. Such selection of translation strategy shows how fidelity rule is applied.

ST: 深入开展调查研究，解剖麻雀，发现问题。

TT: We should conduct in-depth research to identify prominent problems.

In Chinese culture, there is an old proverb of “麻雀虽小五脏俱全”, which means “A sparrow may be small but it has all the vital organs”. Sparrows can represent small but vital items, whereas such expressions are difficult to find culturally equivalent terms in Western culture. The similarity between “解剖麻雀” and “发现典型” is understandable in Chinese, but the literal translation of “anatomy of a sparrow” may be difficult to grasp for an international audience. As a result, translators use deletion to make target text more fluent without affecting the original text, and the coherence rule is demonstrated in the translation strategy selection. The translation of “解剖麻雀” is omitted, and the translation of “发现典型” encompasses the extended meaning of “sparrow as the major problems”. If both terms are translated, the English expression will be reductant and not conform to English expressions. According to the coherence rule, the author omitted the explanation of why sparrow means prominent problems to facilitate readers’ reading experience and made the reading uninterrupted.

The example above show that when translating ecological culture-loaded words, translators would consider three rules of the Skopos theory, with the coherence rule taking precedence. It is most likely because most ecological culture-loaded words are names of places or animals, which may be unfamiliar to international readers. To ensure that target readers read in a consistent manner. In translating ecologically loaded terms, the translators use literal translation (including transliteration, implication, and deletion). The mixed-use of translation strategies revealed various rules that are used in translation.

===4. Conclusion===

Since the publication of ''Xi Jinping: The Governance of China (Volume III)'', it has served as the Chinese government's authoritative voice and a window for the rest of the world to understand China's policies. It crystallizes Chinese governance theory and practices and has high research value.This thesis is concerned with the classification of culture-loaded words, their translation strategies, and how these strategies demonstrate the application of three Skopos theory rules.

The Skopos theory, according to the analysis of these examples, can be used as a guiding principle for translating texts similar to those in ''Xi Jinping: The Governance of China (Volume III)''. The Skopos rule states that the translation strategy is determined by the purpose of the target text. The coherence rule, also known as intertextual coherence, requires readability in the target text and will not cause dyslexia in grammar or logic. Using the fidelity rule, the target text should be faithful to the original text. However, the fidelity rule does not require literal word-for-word translations; rather, it necessitates flexibility on the part of the translator.

Following a brief examination, it is discovered that culture-loaded words in ''Xi Jinping: The Governance of China (Volume III)'' can be divided into four major categories, with social and linguistic culture-loaded words accounting for the lion’s share. The coherence rule is frequently demonstrated in the translation of ecological culture-loaded words. Names of places or animals are examples of ecological culture-loaded words. To achieve coherence in the target text, the translators employ literal translation (including transliteration), implication, and deletion strategies when translating ecological culture-loaded words. The fidelity rule and the Skopos rule are frequently seen in target text when translating material culture-loaded words. The majority of material culture-loaded words are objects with Chinese characteristics. Transliteration and inline annotation are the most widely used, demonstrating that translators prioritize being faithful and making target text understandable to international readers. The translation of social culture-loaded words demonstrates a high level of adherence to the coherence and Skopos rules, which is likely due to the fact that social culture-loaded words differ greatly across cultures. The majority of social culture-loaded words were deleted, literal translated, or annotated inline. These three strategies promote coherence in the target text, making it easier to read and comprehend. Linguistic culture-loaded words are words or phrases that have distinct Chinese features. When translating terms of this nature, the translator usually adhered to the coherence and Skopos rules. Literal translation, inline annotation, deletion, and full implication are the most common translation strategies used when translating linguistic culture-loaded words.

To sum up, different translation strategies are very important and indispensable. Different translators would adopt different translation strategies when translating culture-loaded words due to the constraints of history, politics, culture, language and translation objectives. In order to better carry out the translation and transmission of literature and culture, different translation strategies should be used together to supplement each other.

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Cult Load Words EN 8

2021-12-14T05:41:19Z

Zhou Xiaoxue: /* 1.1 Definition of Culture Loaded Words */

=Chapter 8:The Translation of Culture Loaded Words in English and Japanese Versions of Medicine=

'''《药》英日译本中文化负载词的翻译对比研究'''

周小雪 Zhou Xiaoxue, Hunan Normal University, China

===Abstract===
Language is the carrier of culture and closely related to culture. Translation of culture- loaded words has been a difficult problem for translators.The culture behind culture- loaded words made translator hard to find words that are coherent to the original text. For the same culture-loaded word, different languages have different translation methods. This paper takes the novel Medicine as an example exploring the contrast of English and Japanese translation of culture-loaded words in the same text.

Language is an indispensable carrier of culture and closely related to culture. The translation of culture-loaded words has been one of the difficult problems for translators. Rich cultural connotations carried by culture-loaded words make it hard for the translator to find words in the target language that are equivalent to the original text in the source language. The same culture-loaded word may have different translation methods according to different target languages. This paper takes the novel Medicine as the research object, exploring the differences between English and Japanese translation text of the same culture-loaded words in it.--Fu Shiyu (talk) 09:11, 12 December 2021 (UTC)

===Key words===
Culture-loaded Words; Medicine; English and Japanese Translation

=== 题目 ===
《药》英日译本中文化负载词的翻译对比研究
=== 摘要 ===
文化负载词的翻译一直是译者面临的一个难题。文化负载词背后的文化因素使得译者很难找到与之对应的词句。对于同一文化负载词，不同的语言有不同的翻译方法。本文以鲁迅的小说《药》为例，探讨同一文本中文化负载词的英、日翻译对比。

=== 关键词 ===
文化负载词；《药》；英日翻译对比
===Introduction===
Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only get faithfulness, expressiveness and elegance, but also understand the culture concepts behind each word in the original text. Culture-loaded words have always been a difficult problem in translation. Due to cultural differences, it is difficult for translators to find words that are coherent to the original text. In the process of translation, if the translation work in a comparatively mechanical manner, it is hard for us to understand the true meaning of the original text. Therefore, it is very important to do a good job in translating culture loaded words.

Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only follow some principles and strategies to translate in the ways of faithfulness, expressiveness and elegance, but also consider the cultural concepts behind each word in the source text. Culture-loaded words have always been a difficult problem in translation. Due to cross-cultural differences, it is difficult for the translator to find equivalent words in the target language. In the translating process, the translation work done in a comparatively mechanical manner would make it hard for us to understand the true meaning of the source text. Therefore, the translation of culture-loaded words plays a very important role in the translation work.--Fu Shiyu (talk) 09:13, 12 December 2021 (UTC)

===1. Culture-Loaded Words===

===1.1 Definition of Culture Loaded Words===
Language is the carrier of culture and closely related to culture. With the development of cultural communication, more and more scholars begin to study the translation of culture-loaded words. Different people have different definitions of culture-loaded words. Mona Baker put forward the the concept of “culture-specific” .A word in the original language is often different in the target language, which often makes readers from the target language culture at a loss end. Sometimes culture-loaded words are abstract, involving religious beliefs or cultural customs, and sometimes they are specific.Spanish translator Javier Franco Aixela put forward the definition of "cultural-specific item”. It tells us that "There are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no coherent item in the cultural system of the target language.In China, Jin Huikang thought "Culture loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent. "(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of vocabulary vacancy,means that the cultural information carried by the source language vocabulary has no counterpart in the target language. (Bao Huinan, 2004:10) He think that"Every language is the product of the cultural development of a country and nation, and has its long historical background and rich cultural connotation. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, each language has its own specific vocabulary, idioms and allusions Culture loaded words reflect these concepts and things. (Bao Huinan, 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are "Words, phrases and idioms that mark the unique things in a culture.These words reflect the unique activity mode gradually accumulated by a specific nation in the long historical process, which is different from other nations."(Liao Qiyi 2000:230)Language reflects different living conditions and religious differences, which lead to different modes of thinking, values, aesthetic standards and moral differences. (Wang Chuanmei, 2008:5) Culture-bearing words are closely related to culture and have rich cultural significance. These words are closely related to cultural, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotion and subjective judgments. so some words are endowed with special meanings, which are rooted in the culture of a country or a nation and reflects the cultural characteristics.(Wu Xiaodan, 2015:19)

Language is an indispensable carrier of culture and closely related to culture. With the development of cross-cultural communication, more and more scholars begin to study with the translation of culture-loaded words. Different people have different definitions about culture-loaded words. Mona Baker put forward the the concept of “culture-specific” that one word in the source language is always different in the target language, which makes readers from the target language culture confused. There are not only abstract culture-loaded words involving religious beliefs or cultural customs, but also specific ones. Spanish translator Javier Franco Aixela put forward the definition of "cultural-specific item”. It holds that “there are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no equvalent item in the cultural system of the target language.In China, Jin Huikang thought “culture-loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent word. "(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of lexical gaps, meaning that the cultural information carried by one word in the source language has no counterpart in the target language. (Bao Huinan, 2004:10) He thinks that “every language is the product in the cultural development of one country and nation, and has its long historical background and rich cultural connotations. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, different language has its own specific vocabulary, idioms and allusions and culture-loaded words reflect such concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are "Words, phrases and idioms marking the unique things in its culture. These words reflect the unique activity mode gradually accumulated by one nation in the long historical process, which is different from other nations."(Liao Qiyi 2000:230) Language reflects different living conditions and religious beliefs, which lead to different thinking modes, moral values, and aesthetic standards. (Wang Chuanmei, 2008:5) Culture-loaded words are closely related to culture and have rich cultural significance. These words are closely related to cultural both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics.(Wu Xiaodan, 2015:19)--Fu Shiyu (talk) 09:14, 12 December 2021 (UTC)

===1.2 Classification of Culture-loaded Words===
Nida believes that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is very challenging. Nida divided culture-loaded words into the following five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refer to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words the main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as buildings, food, clothing and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior. The words that reflect the characteristics of these fields are called social cultural loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Russian versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs.Therefore, in order to better understand the culture of a nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious belief and cultural tradition of a nation or nation. The difference of religious culture between countries is a big obstacle for readers to understand the words embodied in the religious culture

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words. Its visual effect and linguistic effect are the biggest characteristics of this kind of words.

In the development history of a nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, including a certain cultural background and other characteristics are language culture-loaded words. There are a lot of culture-loaded words in the novel medicine.

Nida points out that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is a challenging question for study or discussion. Nida divided culture-loaded words intoß five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refers to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words The main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as costume, architecture, cuisine and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries.

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior patterns. The words reflecting the characteristics of these fields are called social cultural-loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Japanese versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs. Therefore, in order to have a better understand of the culture of one nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious beliefs and cultural tradition of one nation or people. The difference of religious culture between countries makes it hard for readers to understand the words embodied in the religious culture.

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words, whose visual and linguistic effects are the biggest characteristics of this kind of words.

In the development history of one nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, and a certain cultural background or other characteristics are linguistic culture-loaded words. There are a lot of culture-loaded words in the novel Medicine.--Fu Shiyu (talk) 09:15, 12 December 2021 (UTC)

===2.Introduction of Medicine===
Lu Xun was a great writer and thinker in modern China. His articles reflected the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, these cultural loaded words truly reflect the national culture of the times in the novel. At this point, the thesis chooses the masterpiece, Medicine as the typical representative of LuXun, the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.

Lu Xun was a great writer and thinker in modern China. His articles reflect the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, truly reflecting the national culture of that time in the novel. At this point, this thesis chooses the masterpiece Medicine as the research object, witch is the typical representative of LuXun and the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.--Fu Shiyu (talk) 09:19, 12 December 2021 (UTC)

===3.The Comparison of Culture-loaded words'Translation between English and Japanese of Medicine===
Lu Xun's novel Medicine contains a great deal of cultural load Words, and rich connotation.The research uses the English translation of Yang Hsien-yi in 1960 and the Japanese translation done by Inoue Kōbai in 1931 as the examples discussing the different translation strategies of culture-loaded words in English and Japanese version.

3.1 Ecological Culture-loaded Words （1）茶馆的两间屋子里，便弥漫了青白的光。 Yang:which shed a ghostly light over the two rooms of the tea-house. Inoue :青白い光は茶館の中のに満ちた。 “茶馆”means a place for drinking tea and is an important place in the novel. Chinese has the habit of drinking tea, so teahouse is a unique place in China, which is translated into English as tea-house, translated Japanese as “茶館”. （2）西关外靠着城根的地面，本是一块官地。　 Yang:Originally, the land adjacent to the city wall outside the West Gate had been public land. Inoue :西関外の城の根元にる地面はもとからの官有地で Both Yang and Inoue used free translation to translate “官地”,which are simple and easy for readers to understand. （3）老栓正在专心走路，忽然吃了一惊，远远里看见一条丁字街，明明白白横着。 Yang:Old Chuan was startled when he saw distinctly the cross-road ahead of him. Inoue :老栓はひたすら歩みを続けているうちにたちまち物に驚かされた。そこは一条の丁字街がありありと眼前に横たわっていたのだ。 Yang adopted the domesticating method, translating“丁字街” as “cross-road”,Inoue adopted the foreignizing method, translating“丁字街” as “丁字街”. The translation of Yang makes it easier for readers to understand what “丁字街”is,while the translation of Inoue will give readers a sense of freshnes.

3.2 Material Culture-loaded Words （1）衣服前后一个大白圆圈，远地里也看的清楚。走过面前的，并且看出号衣上暗红色的镶边。 Yang:The large white circles on their uniforms, both in front and behind, were clear even at a distance; and as they drew nearer, he saw the dark red border too. Inoue :近寄って来ると、その白い円いものはの上の染め抜きで、のふちぬいの中にあることを知った。 The meaning of “号衣”is the marked garment worn by soldiers, officers, etc. in old times and marked with the words "soldier" or "brave". Yang translated it as a “uniform”, while Wang translates it as “のふちぬい”.Both adopted domesticating method. （2）便点上灯笼，吹媳灯盏，走向里屋去了。 Yang:then lighting a paper lantern and blowing out the lamp went into the inner room. Inoue :そこで彼はに火を移し、燈盞を吹き消して裏部屋の方へ行った。 Yang translated “灯笼” as“paper lantern” , while Inoue used Chinese words directly. （3）华大妈在枕头底下掏了半天，掏出一包洋钱，交给老栓。 Yang:After some fumbling under the pillow his wife produced a packet of silver dollars which she handed over. Old Chuan pocketed it nervously, patted his pocket twice Inoue :華大媽は枕の下をさぐって一包みの銀貨を取出し、老栓に手渡す。 The foreign currency used in China at that time was called “洋钱”.Yang adopted the domesticating method, translating“洋钱” as “silver dollars”.Because the meaning of “銀貨” in Japanese is similar to the meaning of “洋钱”in Chinese,so Inoue adopted translated“洋钱” as “銀貨”.But neither Yang nor Wang translated the meaning of foreign coins （4）那人一只大手，向他摊着；一只手却撮着一个鲜红的馒头，那红的还是一点一点的往下滴。 Yang:This man thrust one huge extended hand towards him, while in the other he held a roll of steamed bread, from which crimson drops were dripping to the ground. Inoue :その人は老栓の方に大きな手をひろげ、片ッぽの手に赤いをんでいたが、赤い汁は饅頭の上からぼたぼた落ちていた。 Because of bread is more common in the West, so Yang translated “馒头” into “a roll of steamed bread”. In Japan, they also have “馒头”,so Inoue translated “馒头” into “饅頭”. But it should be noted that “饅頭” are a little different from “馒头”. Both Yang and Inoue adopted foreignizing method. （5）小路上又来了一个女人,也是半百头发，褴褛的衣裙；提一个破旧的朱漆圆篮，外挂一串纸锭，三步一歇的走。 Yang:Another woman came down the path, grey-haired and in rags. Carrying an old, round, red-lacquered basket with a string of paper money hanging from it, she walked haltingly. Inoue :の上にまた一人、女が来た。これもの頭での著物の下に襤褸のをつけ、壊れかかったの丸籠を提げて、外へ銀紙のお宝を吊し、とぼとぼと力なく歩いて来た。 “纸锭” are made of tin foil paste silver ingot-like ghost money. Superstition holds that incineration is given to the dead so that they can be used as money. Both Yang and Inoue adopted the way of literal translation.

3.3 Social Culture Culture-loaded Words （1）老栓候他平静下去，才低低的叫道，“小栓……你不要起来。……店么？你娘会安排的。 Yang:Old Chuan called softly: "Son! . . Don't you get up! . . . Your mother will see to the shop." Inoue :老栓はそののおさまるのを待って、静かに口をひらいた。「お前は起きないでいい。店はお母さんがいいにする」 Chinese people are used to calling older people “小~”younger people “小~”. Yang adopted domesticating transliteration strategy translating “老栓” as “Old Chuan”. , Inoue adopted foreignizing method using“老栓”directly. （2）老栓倒觉爽快，仿佛一旦变了少年，得了神通，有给人生命的本领似的，跨步格外高远。而且路也愈走愈分明，天也愈走愈亮了。 Yang:It was much colder than indoors, yet Old Chuan's spirits rose, as if he had grown suddenly younger and possessed some miraculous life-giving power. He lengthened his stride. And the road became increasingly clear, the sky increasingly bright. Inoue :天気は室内よりもよほど冷やかで老栓は爽快に感じた。何だか今日は子供の昔に還って、神通を得て人の命の本体を掴みにゆくような気がして、歩いているうちにも馬鹿に気高くなってしまった。行けば行くほど路がハッキリして来た。行けば行くほど空が亮るくなって来た。 The meaning of “神通”is getting magical powers.Yang adopted domesticating translation strategy,while Inoue adopted foreignizing method using“神通”directly. （3）仿佛抱着一个十世单传的婴儿。 Yang:as if it were the sole heir to an ancient house. Inoue :さながらの十世単伝の一人子を抱いているようなものであった。 The author refers to the preciousness of "human blood steamed bread" through the "十世单传". Yang adopted free translation strategy,while Inoue adopted literal translation strategy.However, both Yang and Inoue did not attach too much importance to the status of the only child, so readers cannot perceive the author's metaphorical meaning through this source area. （4）“谁的？不就是夏四奶奶的儿子么？ Yang:"Who? Son of Widow Hsia, of course! Young rascal! Inoue :「誰って、きまってまさ。夏四奶奶の子さ。あの餓鬼め」 Neither English nor Japanese can convey the meaning of the original text well. Yang Widow translated “夏四奶奶”into “Son of Widow Hsia”by free translation. Inoue adopted transliteration using“夏四奶奶”directly that will make people misunderstanding about the original text. （5）康大叔见众人都耸起耳朵听他，便格外高兴。 Yang:Seeing how they all hung on his words, Mr. Kang's spirits rose even higher. Inoue :康おじさんはみんながを引立てているのを見て、に得意になって瘤のがハチ切れそうな声を出した。 "叔" is the title of the father's younger brother. Now "叔" also refers to an older adult man, or a man more than 20 years older than oneself. In English, "uncle" does not mean blood relationship. "Mr. Kang" does not show the relationship between people.Both Yang and Inoue used domesticating method. （6）第一要算我们栓叔运气；第二是夏三爷赏了二十五两雪白的银子，独子落腰包，一文不花。 Yang:Our Old Chuan was luckiest, and after him Third Uncle Hsia. He pocketed the whole reward—twenty-five taels of bright silver—and didn't have to spend a cent!" Inoue :「第一は栓じいさんの運気を取逃がさねえためだ。第二は夏三爺から出る二十五両のの銀をそっくりのの中に納めて一文もつかわねえ算段だ」 Yang Widow translated “夏三爷”into “Third Uncle Hsia”by free translation. Inoue adopted transliteration using“夏三爺”directly. （7）夏三爷真是乖角儿，要是他不先告官，连他满门抄斩。 Yang:Third Uncle Hsia is really smart. If he hadn't informed, even his family would have been executed, and their property confiscated. Inoue :夏三爺はすばしッこいね。もし前に訴え出がなければ今頃はどんな風になるのだろう。一家一門は皆殺されているぜ。 “乖角儿” in Chinese means a clever and intelligent person. “满门抄斩” is an ancient Chinese punishment, which means to confiscate property and kill the whole family. Both Yang and Inoue used domesticating method. （8）“义哥是一手好拳棒，这两下，一定够他受用了。” Yang:Red-eye is a good boxer. Those slaps must have hurt!" Inoue :義哥は棒使いの名人だ。二つも食ったら参っちまうぜ It was difficult to understand the local dialect.Both Yang and Inoue used domesticating method. （9）他这贱骨头打不怕，还要说可怜可怜哩。 Yang:"The rotter was not afraid of being beaten. He even said how sorry he was." Inoue :「ところがあの馬の骨め、打たれても平気で、そうだ。そうだ、と抜かしやがるんだ」 "贱骨头" is a common saying often used by Chinese people to scold people. It was difficult for translators to translate it. So both Yang and Inoue used domesticating method and free translation. （10）这一年的清明，分外寒冷。 Yang:The Ching Ming Festival that year was unusually cold. Inoue :今年の清明節は殊の外寒く “清明” is a traditional Chinese festival. It is also one of the most important sacrificial festivals. It is also the day for ancestor worship and tomb sweeping. Influenced by Chinese culture, in Japan,they also have “清明”. so it can be directly translated as Japan’s “清明節” .Because the western countries do not have this holiday, so Yang translated it as “The Ching Ming Festival”by foreignizing method.

3.4 Linguistic Culture-loaded Words （1）只有小栓坐在里牌的桌前吃饭，大粒的汗，从额上滚下，夹袄也贴住了脊心，两块肩胛骨高高凸出印成一个阳文的”八”字。 Yang:Only his son sat eating at a table by the wall. Beads of sweat stood out on his forehead, his lined jacket clung to his spine, and his shoulder blades stuck out so sharply, an inverted V seemed stamped there. Inoue :見ると額の上から大粒の汗がころげ落ち、左右の肩骨が近頃めっきり高くなって、背中にピタリとついている夾襖の上に、八字の皺が浮紋のように飛び出していた。 “阳文”is the pattern printed on some utensils. It describes the bony appearance of Xiao Shuan. Lu Xun used the character "eight" to tell readers that Xiao Shuan is thin and weak, which is very vivid and clear to us. However, it is difficult for foreign language readers to understand. The inverted English letter "V" is very similar to the Chinese letter "八".so Yang translated it to "V". And since Japan also has the word "八", so Inoue used it directly. （2）还要老虎头上搔痒，便给他两个嘴巴！ Yang:and then the young fool would 'scratch the tiger's head,' so he gave him a couple of slaps." Inoue :あいつが虎の頭を掻いたから堪らない。たちまちポカポカと二つほど頂戴したぜ "老虎头上搔痒" is a allegory of boldness, recklessness and overreach. It can also be extended to mean "seeking death" or "not afraid of death". both Yang and Inoue adopted literal translation.

===Conclusion===
Culture-loaded words are closely related to culture and have rich cultural meanings. These words are closely related to cultural relations, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication and communication. On the other hand, people living in different social contexts may have different cognitive concepts, emotional colors and subjective judgments. Because of this, some words are endowed with special meanings, which are rooted in the culture of a country or a nation. Deeply reflects the cultural characteristics.The biggest difficulty in translation is not the language itself, but the cultural implications that language carries.Medicine, as a national literary work, contains a large number of culture-loaded words. the culture-loaded words in Medicine are classified On the basis of classification, we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. Due to the great differences between eastern and Western cultures, it is difficult to find a complete equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method and free translation. Since Japan and China have had a lot of communication since ancient times and were greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation and transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have similar culture and both use Chinese characters. foreignizing translation and domestication translation, literal translation, free translation, transliteration are not in isolation, Sometimes they need to be combined to play a better role in the translation of culture-loaded words. the translation of culture-loaded word involves all aspects of culture, is a complex and worthy of further discussion. Only by fully understanding the culture of the original text and accurately interpreting the author's intention, can we better convey the cultural information of culture-loaded words to readers.

Culture-loaded words are closely related to culture and have rich cultural conceptions. These words are closely related to cultural relations, both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics. The biggest difficulty in translation is not the language itself, but the cultural conceptions that language carries. Medicine, as one national literary work, contains a large number of culture-loaded words. The culture-loaded words in Medicine are classified on the basis of classification, and we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. The great differences between eastern and Western cultures make it difficult to achieve a perfect equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method or free translation. While China and Japan have had a long communication history since ancient times and Japanese culture has been greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation or transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have some similar culture and also use Chinese characters. In addition, foreignizing translation, domestication translation, literal translation, free translation, and transliteration are not isolated from each other, sometimes they need to be combined to play a better role in the translation of culture-loaded words. The translation of culture-loaded word involves all aspects of culture and is a complex process needing further discussion. Only by fully understanding the cultural concepts of the source text and accurately interpreting the author's intention, can the translation better convey the cultural information of culture-loaded words to readers.--Fu Shiyu (talk) 09:39, 12 December 2021 (UTC)

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Bao Huinan包惠南(2001),《文化语境与语言翻译》[Cultural context and language translation]。北京：中国对外翻译岀版公司 Beijing: China International Translation & Publication Company.

Guo Shuai郭帅(2019).《边城》英俄译本文化负载词翻译策略研究 The Translation of Culture-Loaded Words in English and Russian Versions of ''Border Town''[D].北京外国语大学 Beijing Foreign Studies University.

Gao Zhaohui,Li Guihua高照慧,李桂华(2019). 《红高粱》中文化负载词的日译研究——基于翻译转换理论[Japanese Translation of Cultural-Load Words in ''Red Sorghum'': Based on the Theory of Translation Shift][J]. 兰州教育学院学报 Jouenal of Lanzhou Institute of Education,148-150.

Jin Huikang金惠康(2003),跨文化交际翻译 Cross-cultural communication translation［Ｍ］.中国对外翻译出版公司 China International Translation and Publishing Corporation.

Li Ying(2017). Chinese-English Translation of Culture-loaded Words from the Perspective of Interpretation Theory: A Case Study of Simultaneous Interpretation of Important Chinese Leaders'Conference. Journal of Liaoning University of Engineering and Technology (Social Science Edition),19 (04): 419-424.

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LuXun鲁迅(2015)，呐喊[Outcry]［Ｍ］.南京：江苏人民出版社 Nanjing:Jiangsu People's Publishing House.

Ni Xiaopeng倪晓鹏(2014). 《阿Q正传》中的文化负载词日译研究 Japanese Translation of Cultural Load Words In Ah Q Zhengzhuan [D].广东外语外贸大学 Guangdong University of Foreign Studies.

Wang Chuanmei王传梅(2008),鲁迅小说中文化负载词的翻译 Translation of cultural-loaded words in Lu Xun's novels［Ｄ］.中国海洋大学 Ocean University of China.

Wu Xiaodan吴晓丹（2015）.从目的论看《药》文化负载词英译研究 A Study on the Cultural-Load Words in ''Medicine'': From the Perspective of Skopostheorie[D].福建师范大学 Fujian normal university.

Xiang Chunyan(2016).On Translation Strategies of Chinese Culture-Loaded Words Canadian Social Science.Canadian Academy of Oriental and Occidental Culture.Vol.12,No.6, 2016, pp.69-74

Xie Wenjie谢雯洁(2019). 认知隐喻视角下小说中文化负载词的英译研究—以鲁迅小说《狂人日记》和《药》为例 Research on the English Translation of Cultural-Load Words in Novels from Cognitive Metaphor [J]. 怀化学院学报,38(06):116-119.

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Cult Load Words EN 8

2021-12-14T05:37:20Z

Zhou Xiaoxue: /* References */

=Chapter 8:The Translation of Culture Loaded Words in English and Japanese Versions of Medicine=

'''《药》英日译本中文化负载词的翻译对比研究'''

周小雪 Zhou Xiaoxue, Hunan Normal University, China

===Abstract===
Language is the carrier of culture and closely related to culture. Translation of culture- loaded words has been a difficult problem for translators.The culture behind culture- loaded words made translator hard to find words that are coherent to the original text. For the same culture-loaded word, different languages have different translation methods. This paper takes the novel Medicine as an example exploring the contrast of English and Japanese translation of culture-loaded words in the same text.

Language is an indispensable carrier of culture and closely related to culture. The translation of culture-loaded words has been one of the difficult problems for translators. Rich cultural connotations carried by culture-loaded words make it hard for the translator to find words in the target language that are equivalent to the original text in the source language. The same culture-loaded word may have different translation methods according to different target languages. This paper takes the novel Medicine as the research object, exploring the differences between English and Japanese translation text of the same culture-loaded words in it.--Fu Shiyu (talk) 09:11, 12 December 2021 (UTC)

===Key words===
Culture-loaded Words; Medicine; English and Japanese Translation

=== 题目 ===
《药》英日译本中文化负载词的翻译对比研究
=== 摘要 ===
文化负载词的翻译一直是译者面临的一个难题。文化负载词背后的文化因素使得译者很难找到与之对应的词句。对于同一文化负载词，不同的语言有不同的翻译方法。本文以鲁迅的小说《药》为例，探讨同一文本中文化负载词的英、日翻译对比。

=== 关键词 ===
文化负载词；《药》；英日翻译对比
===Introduction===
Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only get faithfulness, expressiveness and elegance, but also understand the culture concepts behind each word in the original text. Culture-loaded words have always been a difficult problem in translation. Due to cultural differences, it is difficult for translators to find words that are coherent to the original text. In the process of translation, if the translation work in a comparatively mechanical manner, it is hard for us to understand the true meaning of the original text. Therefore, it is very important to do a good job in translating culture loaded words.

Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only follow some principles and strategies to translate in the ways of faithfulness, expressiveness and elegance, but also consider the cultural concepts behind each word in the source text. Culture-loaded words have always been a difficult problem in translation. Due to cross-cultural differences, it is difficult for the translator to find equivalent words in the target language. In the translating process, the translation work done in a comparatively mechanical manner would make it hard for us to understand the true meaning of the source text. Therefore, the translation of culture-loaded words plays a very important role in the translation work.--Fu Shiyu (talk) 09:13, 12 December 2021 (UTC)

===1. Culture-Loaded Words===

===1.1 Definition of Culture Loaded Words===
Language is the carrier of culture and closely related to culture. With the development of cultural communication, more and more scholars begin to study the translation of culture-loaded words. Different people have different definitions of culture-loaded words. Mona Baker put forward the the concept of “culture-specific” .A word in the original language is often different in the target language, which often makes readers from the target language culture at a loss end. Sometimes culture-loaded words are abstract, involving religious beliefs or cultural customs, and sometimes they are specific.Spanish translator Javier Franco Aixela put forward the definition of "cultural-specific item”. It tells us that "There are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no coherent item in the cultural system of the target language.In China, Jin Huikang thought "Culture loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent. "(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of vocabulary vacancy,means that the cultural information carried by the source language vocabulary has no counterpart in the target language. (Bao Huinan, 2004:10) He think that"Every language is the product of the cultural development of a country and nation, and has its long historical background and rich cultural connotation. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, each language has its own specific vocabulary, idioms and allusions Culture loaded words reflect these concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are "Words, phrases and idioms that mark the unique things in a culture.These words reflect the unique activity mode gradually accumulated by a specific nation in the long historical process, which is different from other nations."(Liao Qiyi 2000:230)Language reflects different living conditions and religious differences, which lead to different modes of thinking, values, aesthetic standards and moral differences. (Wang Chuanmei, 2008:5) Culture-bearing words are closely related to culture and have rich cultural significance. These words are closely related to cultural, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotion and subjective judgments. so some words are endowed with special meanings, which are rooted in the culture of a country or a nation and reflects the cultural characteristics.(Wu Xiaodan:2015)

Language is an indispensable carrier of culture and closely related to culture. With the development of cross-cultural communication, more and more scholars begin to study with the translation of culture-loaded words. Different people have different definitions about culture-loaded words. Mona Baker put forward the the concept of “culture-specific” that one word in the source language is always different in the target language, which makes readers from the target language culture confused. There are not only abstract culture-loaded words involving religious beliefs or cultural customs, but also specific ones. Spanish translator Javier Franco Aixela put forward the definition of "cultural-specific item”. It holds that “there are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no equvalent item in the cultural system of the target language.In China, Jin Huikang thought “culture-loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent word. "(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of lexical gaps, meaning that the cultural information carried by one word in the source language has no counterpart in the target language. (Bao Huinan, 2004:10) He thinks that “every language is the product in the cultural development of one country and nation, and has its long historical background and rich cultural connotations. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, different language has its own specific vocabulary, idioms and allusions and culture-loaded words reflect such concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are "Words, phrases and idioms marking the unique things in its culture. These words reflect the unique activity mode gradually accumulated by one nation in the long historical process, which is different from other nations."(Liao Qiyi 2000:230) Language reflects different living conditions and religious beliefs, which lead to different thinking modes, moral values, and aesthetic standards. (Wang Chuanmei, 2008:5) Culture-loaded words are closely related to culture and have rich cultural significance. These words are closely related to cultural both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics.(Wu Xiaodan:2015)--Fu Shiyu (talk) 09:14, 12 December 2021 (UTC)
===1.2 Classification of Culture-loaded Words===
Nida believes that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is very challenging. Nida divided culture-loaded words into the following five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refer to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words the main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as buildings, food, clothing and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior. The words that reflect the characteristics of these fields are called social cultural loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Russian versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs.Therefore, in order to better understand the culture of a nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious belief and cultural tradition of a nation or nation. The difference of religious culture between countries is a big obstacle for readers to understand the words embodied in the religious culture

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words. Its visual effect and linguistic effect are the biggest characteristics of this kind of words.

In the development history of a nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, including a certain cultural background and other characteristics are language culture-loaded words. There are a lot of culture-loaded words in the novel medicine.

Nida points out that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is a challenging question for study or discussion. Nida divided culture-loaded words intoß five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refers to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words The main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as costume, architecture, cuisine and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries.

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior patterns. The words reflecting the characteristics of these fields are called social cultural-loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Japanese versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs. Therefore, in order to have a better understand of the culture of one nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious beliefs and cultural tradition of one nation or people. The difference of religious culture between countries makes it hard for readers to understand the words embodied in the religious culture.

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words, whose visual and linguistic effects are the biggest characteristics of this kind of words.

In the development history of one nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, and a certain cultural background or other characteristics are linguistic culture-loaded words. There are a lot of culture-loaded words in the novel Medicine.--Fu Shiyu (talk) 09:15, 12 December 2021 (UTC)

===2.Introduction of Medicine===
Lu Xun was a great writer and thinker in modern China. His articles reflected the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, these cultural loaded words truly reflect the national culture of the times in the novel. At this point, the thesis chooses the masterpiece, Medicine as the typical representative of LuXun, the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.

Lu Xun was a great writer and thinker in modern China. His articles reflect the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, truly reflecting the national culture of that time in the novel. At this point, this thesis chooses the masterpiece Medicine as the research object, witch is the typical representative of LuXun and the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.--Fu Shiyu (talk) 09:19, 12 December 2021 (UTC)

===3.The Comparison of Culture-loaded words'Translation between English and Japanese of Medicine===
Lu Xun's novel Medicine contains a great deal of cultural load Words, and rich connotation.The research uses the English translation of Yang Hsien-yi in 1960 and the Japanese translation done by Inoue Kōbai in 1931 as the examples discussing the different translation strategies of culture-loaded words in English and Japanese version.

3.1 Ecological Culture-loaded Words （1）茶馆的两间屋子里，便弥漫了青白的光。 Yang:which shed a ghostly light over the two rooms of the tea-house. Inoue :青白い光は茶館の中のに満ちた。 “茶馆”means a place for drinking tea and is an important place in the novel. Chinese has the habit of drinking tea, so teahouse is a unique place in China, which is translated into English as tea-house, translated Japanese as “茶館”. （2）西关外靠着城根的地面，本是一块官地。　 Yang:Originally, the land adjacent to the city wall outside the West Gate had been public land. Inoue :西関外の城の根元にる地面はもとからの官有地で Both Yang and Inoue used free translation to translate “官地”,which are simple and easy for readers to understand. （3）老栓正在专心走路，忽然吃了一惊，远远里看见一条丁字街，明明白白横着。 Yang:Old Chuan was startled when he saw distinctly the cross-road ahead of him. Inoue :老栓はひたすら歩みを続けているうちにたちまち物に驚かされた。そこは一条の丁字街がありありと眼前に横たわっていたのだ。 Yang adopted the domesticating method, translating“丁字街” as “cross-road”,Inoue adopted the foreignizing method, translating“丁字街” as “丁字街”. The translation of Yang makes it easier for readers to understand what “丁字街”is,while the translation of Inoue will give readers a sense of freshnes.

3.2 Material Culture-loaded Words （1）衣服前后一个大白圆圈，远地里也看的清楚。走过面前的，并且看出号衣上暗红色的镶边。 Yang:The large white circles on their uniforms, both in front and behind, were clear even at a distance; and as they drew nearer, he saw the dark red border too. Inoue :近寄って来ると、その白い円いものはの上の染め抜きで、のふちぬいの中にあることを知った。 The meaning of “号衣”is the marked garment worn by soldiers, officers, etc. in old times and marked with the words "soldier" or "brave". Yang translated it as a “uniform”, while Wang translates it as “のふちぬい”.Both adopted domesticating method. （2）便点上灯笼，吹媳灯盏，走向里屋去了。 Yang:then lighting a paper lantern and blowing out the lamp went into the inner room. Inoue :そこで彼はに火を移し、燈盞を吹き消して裏部屋の方へ行った。 Yang translated “灯笼” as“paper lantern” , while Inoue used Chinese words directly. （3）华大妈在枕头底下掏了半天，掏出一包洋钱，交给老栓。 Yang:After some fumbling under the pillow his wife produced a packet of silver dollars which she handed over. Old Chuan pocketed it nervously, patted his pocket twice Inoue :華大媽は枕の下をさぐって一包みの銀貨を取出し、老栓に手渡す。 The foreign currency used in China at that time was called “洋钱”.Yang adopted the domesticating method, translating“洋钱” as “silver dollars”.Because the meaning of “銀貨” in Japanese is similar to the meaning of “洋钱”in Chinese,so Inoue adopted translated“洋钱” as “銀貨”.But neither Yang nor Wang translated the meaning of foreign coins （4）那人一只大手，向他摊着；一只手却撮着一个鲜红的馒头，那红的还是一点一点的往下滴。 Yang:This man thrust one huge extended hand towards him, while in the other he held a roll of steamed bread, from which crimson drops were dripping to the ground. Inoue :その人は老栓の方に大きな手をひろげ、片ッぽの手に赤いをんでいたが、赤い汁は饅頭の上からぼたぼた落ちていた。 Because of bread is more common in the West, so Yang translated “馒头” into “a roll of steamed bread”. In Japan, they also have “馒头”,so Inoue translated “馒头” into “饅頭”. But it should be noted that “饅頭” are a little different from “馒头”. Both Yang and Inoue adopted foreignizing method. （5）小路上又来了一个女人,也是半百头发，褴褛的衣裙；提一个破旧的朱漆圆篮，外挂一串纸锭，三步一歇的走。 Yang:Another woman came down the path, grey-haired and in rags. Carrying an old, round, red-lacquered basket with a string of paper money hanging from it, she walked haltingly. Inoue :の上にまた一人、女が来た。これもの頭での著物の下に襤褸のをつけ、壊れかかったの丸籠を提げて、外へ銀紙のお宝を吊し、とぼとぼと力なく歩いて来た。 “纸锭” are made of tin foil paste silver ingot-like ghost money. Superstition holds that incineration is given to the dead so that they can be used as money. Both Yang and Inoue adopted the way of literal translation.

3.3 Social Culture Culture-loaded Words （1）老栓候他平静下去，才低低的叫道，“小栓……你不要起来。……店么？你娘会安排的。 Yang:Old Chuan called softly: "Son! . . Don't you get up! . . . Your mother will see to the shop." Inoue :老栓はそののおさまるのを待って、静かに口をひらいた。「お前は起きないでいい。店はお母さんがいいにする」 Chinese people are used to calling older people “小~”younger people “小~”. Yang adopted domesticating transliteration strategy translating “老栓” as “Old Chuan”. , Inoue adopted foreignizing method using“老栓”directly. （2）老栓倒觉爽快，仿佛一旦变了少年，得了神通，有给人生命的本领似的，跨步格外高远。而且路也愈走愈分明，天也愈走愈亮了。 Yang:It was much colder than indoors, yet Old Chuan's spirits rose, as if he had grown suddenly younger and possessed some miraculous life-giving power. He lengthened his stride. And the road became increasingly clear, the sky increasingly bright. Inoue :天気は室内よりもよほど冷やかで老栓は爽快に感じた。何だか今日は子供の昔に還って、神通を得て人の命の本体を掴みにゆくような気がして、歩いているうちにも馬鹿に気高くなってしまった。行けば行くほど路がハッキリして来た。行けば行くほど空が亮るくなって来た。 The meaning of “神通”is getting magical powers.Yang adopted domesticating translation strategy,while Inoue adopted foreignizing method using“神通”directly. （3）仿佛抱着一个十世单传的婴儿。 Yang:as if it were the sole heir to an ancient house. Inoue :さながらの十世単伝の一人子を抱いているようなものであった。 The author refers to the preciousness of "human blood steamed bread" through the "十世单传". Yang adopted free translation strategy,while Inoue adopted literal translation strategy.However, both Yang and Inoue did not attach too much importance to the status of the only child, so readers cannot perceive the author's metaphorical meaning through this source area. （4）“谁的？不就是夏四奶奶的儿子么？ Yang:"Who? Son of Widow Hsia, of course! Young rascal! Inoue :「誰って、きまってまさ。夏四奶奶の子さ。あの餓鬼め」 Neither English nor Japanese can convey the meaning of the original text well. Yang Widow translated “夏四奶奶”into “Son of Widow Hsia”by free translation. Inoue adopted transliteration using“夏四奶奶”directly that will make people misunderstanding about the original text. （5）康大叔见众人都耸起耳朵听他，便格外高兴。 Yang:Seeing how they all hung on his words, Mr. Kang's spirits rose even higher. Inoue :康おじさんはみんながを引立てているのを見て、に得意になって瘤のがハチ切れそうな声を出した。 "叔" is the title of the father's younger brother. Now "叔" also refers to an older adult man, or a man more than 20 years older than oneself. In English, "uncle" does not mean blood relationship. "Mr. Kang" does not show the relationship between people.Both Yang and Inoue used domesticating method. （6）第一要算我们栓叔运气；第二是夏三爷赏了二十五两雪白的银子，独子落腰包，一文不花。 Yang:Our Old Chuan was luckiest, and after him Third Uncle Hsia. He pocketed the whole reward—twenty-five taels of bright silver—and didn't have to spend a cent!" Inoue :「第一は栓じいさんの運気を取逃がさねえためだ。第二は夏三爺から出る二十五両のの銀をそっくりのの中に納めて一文もつかわねえ算段だ」 Yang Widow translated “夏三爷”into “Third Uncle Hsia”by free translation. Inoue adopted transliteration using“夏三爺”directly. （7）夏三爷真是乖角儿，要是他不先告官，连他满门抄斩。 Yang:Third Uncle Hsia is really smart. If he hadn't informed, even his family would have been executed, and their property confiscated. Inoue :夏三爺はすばしッこいね。もし前に訴え出がなければ今頃はどんな風になるのだろう。一家一門は皆殺されているぜ。 “乖角儿” in Chinese means a clever and intelligent person. “满门抄斩” is an ancient Chinese punishment, which means to confiscate property and kill the whole family. Both Yang and Inoue used domesticating method. （8）“义哥是一手好拳棒，这两下，一定够他受用了。” Yang:Red-eye is a good boxer. Those slaps must have hurt!" Inoue :義哥は棒使いの名人だ。二つも食ったら参っちまうぜ It was difficult to understand the local dialect.Both Yang and Inoue used domesticating method. （9）他这贱骨头打不怕，还要说可怜可怜哩。 Yang:"The rotter was not afraid of being beaten. He even said how sorry he was." Inoue :「ところがあの馬の骨め、打たれても平気で、そうだ。そうだ、と抜かしやがるんだ」 "贱骨头" is a common saying often used by Chinese people to scold people. It was difficult for translators to translate it. So both Yang and Inoue used domesticating method and free translation. （10）这一年的清明，分外寒冷。 Yang:The Ching Ming Festival that year was unusually cold. Inoue :今年の清明節は殊の外寒く “清明” is a traditional Chinese festival. It is also one of the most important sacrificial festivals. It is also the day for ancestor worship and tomb sweeping. Influenced by Chinese culture, in Japan,they also have “清明”. so it can be directly translated as Japan’s “清明節” .Because the western countries do not have this holiday, so Yang translated it as “The Ching Ming Festival”by foreignizing method.

3.4 Linguistic Culture-loaded Words （1）只有小栓坐在里牌的桌前吃饭，大粒的汗，从额上滚下，夹袄也贴住了脊心，两块肩胛骨高高凸出印成一个阳文的”八”字。 Yang:Only his son sat eating at a table by the wall. Beads of sweat stood out on his forehead, his lined jacket clung to his spine, and his shoulder blades stuck out so sharply, an inverted V seemed stamped there. Inoue :見ると額の上から大粒の汗がころげ落ち、左右の肩骨が近頃めっきり高くなって、背中にピタリとついている夾襖の上に、八字の皺が浮紋のように飛び出していた。 “阳文”is the pattern printed on some utensils. It describes the bony appearance of Xiao Shuan. Lu Xun used the character "eight" to tell readers that Xiao Shuan is thin and weak, which is very vivid and clear to us. However, it is difficult for foreign language readers to understand. The inverted English letter "V" is very similar to the Chinese letter "八".so Yang translated it to "V". And since Japan also has the word "八", so Inoue used it directly. （2）还要老虎头上搔痒，便给他两个嘴巴！ Yang:and then the young fool would 'scratch the tiger's head,' so he gave him a couple of slaps." Inoue :あいつが虎の頭を掻いたから堪らない。たちまちポカポカと二つほど頂戴したぜ "老虎头上搔痒" is a allegory of boldness, recklessness and overreach. It can also be extended to mean "seeking death" or "not afraid of death". both Yang and Inoue adopted literal translation.

===Conclusion===
Culture-loaded words are closely related to culture and have rich cultural meanings. These words are closely related to cultural relations, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication and communication. On the other hand, people living in different social contexts may have different cognitive concepts, emotional colors and subjective judgments. Because of this, some words are endowed with special meanings, which are rooted in the culture of a country or a nation. Deeply reflects the cultural characteristics.The biggest difficulty in translation is not the language itself, but the cultural implications that language carries.Medicine, as a national literary work, contains a large number of culture-loaded words. the culture-loaded words in Medicine are classified On the basis of classification, we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. Due to the great differences between eastern and Western cultures, it is difficult to find a complete equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method and free translation. Since Japan and China have had a lot of communication since ancient times and were greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation and transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have similar culture and both use Chinese characters. foreignizing translation and domestication translation, literal translation, free translation, transliteration are not in isolation, Sometimes they need to be combined to play a better role in the translation of culture-loaded words. the translation of culture-loaded word involves all aspects of culture, is a complex and worthy of further discussion. Only by fully understanding the culture of the original text and accurately interpreting the author's intention, can we better convey the cultural information of culture-loaded words to readers.

Culture-loaded words are closely related to culture and have rich cultural conceptions. These words are closely related to cultural relations, both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics. The biggest difficulty in translation is not the language itself, but the cultural conceptions that language carries. Medicine, as one national literary work, contains a large number of culture-loaded words. The culture-loaded words in Medicine are classified on the basis of classification, and we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. The great differences between eastern and Western cultures make it difficult to achieve a perfect equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method or free translation. While China and Japan have had a long communication history since ancient times and Japanese culture has been greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation or transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have some similar culture and also use Chinese characters. In addition, foreignizing translation, domestication translation, literal translation, free translation, and transliteration are not isolated from each other, sometimes they need to be combined to play a better role in the translation of culture-loaded words. The translation of culture-loaded word involves all aspects of culture and is a complex process needing further discussion. Only by fully understanding the cultural concepts of the source text and accurately interpreting the author's intention, can the translation better convey the cultural information of culture-loaded words to readers.--Fu Shiyu (talk) 09:39, 12 December 2021 (UTC)

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Cult Load Words EN 8

2021-12-14T05:32:22Z

Zhou Xiaoxue: /* References */

=Chapter 8:The Translation of Culture Loaded Words in English and Japanese Versions of Medicine=

'''《药》英日译本中文化负载词的翻译对比研究'''

周小雪 Zhou Xiaoxue, Hunan Normal University, China

===Abstract===
Language is the carrier of culture and closely related to culture. Translation of culture- loaded words has been a difficult problem for translators.The culture behind culture- loaded words made translator hard to find words that are coherent to the original text. For the same culture-loaded word, different languages have different translation methods. This paper takes the novel Medicine as an example exploring the contrast of English and Japanese translation of culture-loaded words in the same text.

Language is an indispensable carrier of culture and closely related to culture. The translation of culture-loaded words has been one of the difficult problems for translators. Rich cultural connotations carried by culture-loaded words make it hard for the translator to find words in the target language that are equivalent to the original text in the source language. The same culture-loaded word may have different translation methods according to different target languages. This paper takes the novel Medicine as the research object, exploring the differences between English and Japanese translation text of the same culture-loaded words in it.--Fu Shiyu (talk) 09:11, 12 December 2021 (UTC)

===Key words===
Culture-loaded Words; Medicine; English and Japanese Translation

=== 题目 ===
《药》英日译本中文化负载词的翻译对比研究
=== 摘要 ===
文化负载词的翻译一直是译者面临的一个难题。文化负载词背后的文化因素使得译者很难找到与之对应的词句。对于同一文化负载词，不同的语言有不同的翻译方法。本文以鲁迅的小说《药》为例，探讨同一文本中文化负载词的英、日翻译对比。

=== 关键词 ===
文化负载词；《药》；英日翻译对比
===Introduction===
Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only get faithfulness, expressiveness and elegance, but also understand the culture concepts behind each word in the original text. Culture-loaded words have always been a difficult problem in translation. Due to cultural differences, it is difficult for translators to find words that are coherent to the original text. In the process of translation, if the translation work in a comparatively mechanical manner, it is hard for us to understand the true meaning of the original text. Therefore, it is very important to do a good job in translating culture loaded words.

Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only follow some principles and strategies to translate in the ways of faithfulness, expressiveness and elegance, but also consider the cultural concepts behind each word in the source text. Culture-loaded words have always been a difficult problem in translation. Due to cross-cultural differences, it is difficult for the translator to find equivalent words in the target language. In the translating process, the translation work done in a comparatively mechanical manner would make it hard for us to understand the true meaning of the source text. Therefore, the translation of culture-loaded words plays a very important role in the translation work.--Fu Shiyu (talk) 09:13, 12 December 2021 (UTC)

===1. Culture-Loaded Words===

===1.1 Definition of Culture Loaded Words===
Language is the carrier of culture and closely related to culture. With the development of cultural communication, more and more scholars begin to study the translation of culture-loaded words. Different people have different definitions of culture-loaded words. Mona Baker put forward the the concept of “culture-specific” .A word in the original language is often different in the target language, which often makes readers from the target language culture at a loss end. Sometimes culture-loaded words are abstract, involving religious beliefs or cultural customs, and sometimes they are specific.Spanish translator Javier Franco Aixela put forward the definition of "cultural-specific item”. It tells us that "There are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no coherent item in the cultural system of the target language.In China, Jin Huikang thought "Culture loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent. "(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of vocabulary vacancy,means that the cultural information carried by the source language vocabulary has no counterpart in the target language. (Bao Huinan, 2004:10) He think that"Every language is the product of the cultural development of a country and nation, and has its long historical background and rich cultural connotation. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, each language has its own specific vocabulary, idioms and allusions Culture loaded words reflect these concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are "Words, phrases and idioms that mark the unique things in a culture.These words reflect the unique activity mode gradually accumulated by a specific nation in the long historical process, which is different from other nations."(Liao Qiyi 2000:230)Language reflects different living conditions and religious differences, which lead to different modes of thinking, values, aesthetic standards and moral differences. (Wang Chuanmei, 2008:5) Culture-bearing words are closely related to culture and have rich cultural significance. These words are closely related to cultural, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotion and subjective judgments. so some words are endowed with special meanings, which are rooted in the culture of a country or a nation and reflects the cultural characteristics.(Wu Xiaodan:2015)

Language is an indispensable carrier of culture and closely related to culture. With the development of cross-cultural communication, more and more scholars begin to study with the translation of culture-loaded words. Different people have different definitions about culture-loaded words. Mona Baker put forward the the concept of “culture-specific” that one word in the source language is always different in the target language, which makes readers from the target language culture confused. There are not only abstract culture-loaded words involving religious beliefs or cultural customs, but also specific ones. Spanish translator Javier Franco Aixela put forward the definition of "cultural-specific item”. It holds that “there are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no equvalent item in the cultural system of the target language.In China, Jin Huikang thought “culture-loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent word. "(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of lexical gaps, meaning that the cultural information carried by one word in the source language has no counterpart in the target language. (Bao Huinan, 2004:10) He thinks that “every language is the product in the cultural development of one country and nation, and has its long historical background and rich cultural connotations. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, different language has its own specific vocabulary, idioms and allusions and culture-loaded words reflect such concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are "Words, phrases and idioms marking the unique things in its culture. These words reflect the unique activity mode gradually accumulated by one nation in the long historical process, which is different from other nations."(Liao Qiyi 2000:230) Language reflects different living conditions and religious beliefs, which lead to different thinking modes, moral values, and aesthetic standards. (Wang Chuanmei, 2008:5) Culture-loaded words are closely related to culture and have rich cultural significance. These words are closely related to cultural both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics.(Wu Xiaodan:2015)--Fu Shiyu (talk) 09:14, 12 December 2021 (UTC)
===1.2 Classification of Culture-loaded Words===
Nida believes that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is very challenging. Nida divided culture-loaded words into the following five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refer to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words the main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as buildings, food, clothing and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior. The words that reflect the characteristics of these fields are called social cultural loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Russian versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs.Therefore, in order to better understand the culture of a nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious belief and cultural tradition of a nation or nation. The difference of religious culture between countries is a big obstacle for readers to understand the words embodied in the religious culture

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words. Its visual effect and linguistic effect are the biggest characteristics of this kind of words.

In the development history of a nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, including a certain cultural background and other characteristics are language culture-loaded words. There are a lot of culture-loaded words in the novel medicine.

Nida points out that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is a challenging question for study or discussion. Nida divided culture-loaded words intoß five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.

1.2.1.Ecological Culture-loaded Words Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refers to plants, animals, monsoon, hills and other related words in a specific region.

1.2.2.Material Culture-loaded Words The main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as costume, architecture, cuisine and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries.

1.2.3.Social Culture-loaded Words In the long history, different countries have formed their own customs, lifestyles and behavior patterns. The words reflecting the characteristics of these fields are called social cultural-loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Japanese versions.

1.2.4.Religious Culture-loaded Words In the long history of development, different countries and nations have formed their own religious beliefs. Therefore, in order to have a better understand of the culture of one nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious beliefs and cultural tradition of one nation or people. The difference of religious culture between countries makes it hard for readers to understand the words embodied in the religious culture.

1.2.5.Linguistic Culture-loaded Words The grammatical, phonetic and constitutive characteristics of culture-loaded words, whose visual and linguistic effects are the biggest characteristics of this kind of words.

In the development history of one nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, and a certain cultural background or other characteristics are linguistic culture-loaded words. There are a lot of culture-loaded words in the novel Medicine.--Fu Shiyu (talk) 09:15, 12 December 2021 (UTC)

===2.Introduction of Medicine===
Lu Xun was a great writer and thinker in modern China. His articles reflected the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, these cultural loaded words truly reflect the national culture of the times in the novel. At this point, the thesis chooses the masterpiece, Medicine as the typical representative of LuXun, the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.

Lu Xun was a great writer and thinker in modern China. His articles reflect the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, truly reflecting the national culture of that time in the novel. At this point, this thesis chooses the masterpiece Medicine as the research object, witch is the typical representative of LuXun and the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.--Fu Shiyu (talk) 09:19, 12 December 2021 (UTC)

===3.The Comparison of Culture-loaded words'Translation between English and Japanese of Medicine===
Lu Xun's novel Medicine contains a great deal of cultural load Words, and rich connotation.The research uses the English translation of Yang Hsien-yi in 1960 and the Japanese translation done by Inoue Kōbai in 1931 as the examples discussing the different translation strategies of culture-loaded words in English and Japanese version.

3.1 Ecological Culture-loaded Words （1）茶馆的两间屋子里，便弥漫了青白的光。 Yang:which shed a ghostly light over the two rooms of the tea-house. Inoue :青白い光は茶館の中のに満ちた。 “茶馆”means a place for drinking tea and is an important place in the novel. Chinese has the habit of drinking tea, so teahouse is a unique place in China, which is translated into English as tea-house, translated Japanese as “茶館”. （2）西关外靠着城根的地面，本是一块官地。　 Yang:Originally, the land adjacent to the city wall outside the West Gate had been public land. Inoue :西関外の城の根元にる地面はもとからの官有地で Both Yang and Inoue used free translation to translate “官地”,which are simple and easy for readers to understand. （3）老栓正在专心走路，忽然吃了一惊，远远里看见一条丁字街，明明白白横着。 Yang:Old Chuan was startled when he saw distinctly the cross-road ahead of him. Inoue :老栓はひたすら歩みを続けているうちにたちまち物に驚かされた。そこは一条の丁字街がありありと眼前に横たわっていたのだ。 Yang adopted the domesticating method, translating“丁字街” as “cross-road”,Inoue adopted the foreignizing method, translating“丁字街” as “丁字街”. The translation of Yang makes it easier for readers to understand what “丁字街”is,while the translation of Inoue will give readers a sense of freshnes.

3.2 Material Culture-loaded Words （1）衣服前后一个大白圆圈，远地里也看的清楚。走过面前的，并且看出号衣上暗红色的镶边。 Yang:The large white circles on their uniforms, both in front and behind, were clear even at a distance; and as they drew nearer, he saw the dark red border too. Inoue :近寄って来ると、その白い円いものはの上の染め抜きで、のふちぬいの中にあることを知った。 The meaning of “号衣”is the marked garment worn by soldiers, officers, etc. in old times and marked with the words "soldier" or "brave". Yang translated it as a “uniform”, while Wang translates it as “のふちぬい”.Both adopted domesticating method. （2）便点上灯笼，吹媳灯盏，走向里屋去了。 Yang:then lighting a paper lantern and blowing out the lamp went into the inner room. Inoue :そこで彼はに火を移し、燈盞を吹き消して裏部屋の方へ行った。 Yang translated “灯笼” as“paper lantern” , while Inoue used Chinese words directly. （3）华大妈在枕头底下掏了半天，掏出一包洋钱，交给老栓。 Yang:After some fumbling under the pillow his wife produced a packet of silver dollars which she handed over. Old Chuan pocketed it nervously, patted his pocket twice Inoue :華大媽は枕の下をさぐって一包みの銀貨を取出し、老栓に手渡す。 The foreign currency used in China at that time was called “洋钱”.Yang adopted the domesticating method, translating“洋钱” as “silver dollars”.Because the meaning of “銀貨” in Japanese is similar to the meaning of “洋钱”in Chinese,so Inoue adopted translated“洋钱” as “銀貨”.But neither Yang nor Wang translated the meaning of foreign coins （4）那人一只大手，向他摊着；一只手却撮着一个鲜红的馒头，那红的还是一点一点的往下滴。 Yang:This man thrust one huge extended hand towards him, while in the other he held a roll of steamed bread, from which crimson drops were dripping to the ground. Inoue :その人は老栓の方に大きな手をひろげ、片ッぽの手に赤いをんでいたが、赤い汁は饅頭の上からぼたぼた落ちていた。 Because of bread is more common in the West, so Yang translated “馒头” into “a roll of steamed bread”. In Japan, they also have “馒头”,so Inoue translated “馒头” into “饅頭”. But it should be noted that “饅頭” are a little different from “馒头”. Both Yang and Inoue adopted foreignizing method. （5）小路上又来了一个女人,也是半百头发，褴褛的衣裙；提一个破旧的朱漆圆篮，外挂一串纸锭，三步一歇的走。 Yang:Another woman came down the path, grey-haired and in rags. Carrying an old, round, red-lacquered basket with a string of paper money hanging from it, she walked haltingly. Inoue :の上にまた一人、女が来た。これもの頭での著物の下に襤褸のをつけ、壊れかかったの丸籠を提げて、外へ銀紙のお宝を吊し、とぼとぼと力なく歩いて来た。 “纸锭” are made of tin foil paste silver ingot-like ghost money. Superstition holds that incineration is given to the dead so that they can be used as money. Both Yang and Inoue adopted the way of literal translation.

3.3 Social Culture Culture-loaded Words （1）老栓候他平静下去，才低低的叫道，“小栓……你不要起来。……店么？你娘会安排的。 Yang:Old Chuan called softly: "Son! . . Don't you get up! . . . Your mother will see to the shop." Inoue :老栓はそののおさまるのを待って、静かに口をひらいた。「お前は起きないでいい。店はお母さんがいいにする」 Chinese people are used to calling older people “小~”younger people “小~”. Yang adopted domesticating transliteration strategy translating “老栓” as “Old Chuan”. , Inoue adopted foreignizing method using“老栓”directly. （2）老栓倒觉爽快，仿佛一旦变了少年，得了神通，有给人生命的本领似的，跨步格外高远。而且路也愈走愈分明，天也愈走愈亮了。 Yang:It was much colder than indoors, yet Old Chuan's spirits rose, as if he had grown suddenly younger and possessed some miraculous life-giving power. He lengthened his stride. And the road became increasingly clear, the sky increasingly bright. Inoue :天気は室内よりもよほど冷やかで老栓は爽快に感じた。何だか今日は子供の昔に還って、神通を得て人の命の本体を掴みにゆくような気がして、歩いているうちにも馬鹿に気高くなってしまった。行けば行くほど路がハッキリして来た。行けば行くほど空が亮るくなって来た。 The meaning of “神通”is getting magical powers.Yang adopted domesticating translation strategy,while Inoue adopted foreignizing method using“神通”directly. （3）仿佛抱着一个十世单传的婴儿。 Yang:as if it were the sole heir to an ancient house. Inoue :さながらの十世単伝の一人子を抱いているようなものであった。 The author refers to the preciousness of "human blood steamed bread" through the "十世单传". Yang adopted free translation strategy,while Inoue adopted literal translation strategy.However, both Yang and Inoue did not attach too much importance to the status of the only child, so readers cannot perceive the author's metaphorical meaning through this source area. （4）“谁的？不就是夏四奶奶的儿子么？ Yang:"Who? Son of Widow Hsia, of course! Young rascal! Inoue :「誰って、きまってまさ。夏四奶奶の子さ。あの餓鬼め」 Neither English nor Japanese can convey the meaning of the original text well. Yang Widow translated “夏四奶奶”into “Son of Widow Hsia”by free translation. Inoue adopted transliteration using“夏四奶奶”directly that will make people misunderstanding about the original text. （5）康大叔见众人都耸起耳朵听他，便格外高兴。 Yang:Seeing how they all hung on his words, Mr. Kang's spirits rose even higher. Inoue :康おじさんはみんながを引立てているのを見て、に得意になって瘤のがハチ切れそうな声を出した。 "叔" is the title of the father's younger brother. Now "叔" also refers to an older adult man, or a man more than 20 years older than oneself. In English, "uncle" does not mean blood relationship. "Mr. Kang" does not show the relationship between people.Both Yang and Inoue used domesticating method. （6）第一要算我们栓叔运气；第二是夏三爷赏了二十五两雪白的银子，独子落腰包，一文不花。 Yang:Our Old Chuan was luckiest, and after him Third Uncle Hsia. He pocketed the whole reward—twenty-five taels of bright silver—and didn't have to spend a cent!" Inoue :「第一は栓じいさんの運気を取逃がさねえためだ。第二は夏三爺から出る二十五両のの銀をそっくりのの中に納めて一文もつかわねえ算段だ」 Yang Widow translated “夏三爷”into “Third Uncle Hsia”by free translation. Inoue adopted transliteration using“夏三爺”directly. （7）夏三爷真是乖角儿，要是他不先告官，连他满门抄斩。 Yang:Third Uncle Hsia is really smart. If he hadn't informed, even his family would have been executed, and their property confiscated. Inoue :夏三爺はすばしッこいね。もし前に訴え出がなければ今頃はどんな風になるのだろう。一家一門は皆殺されているぜ。 “乖角儿” in Chinese means a clever and intelligent person. “满门抄斩” is an ancient Chinese punishment, which means to confiscate property and kill the whole family. Both Yang and Inoue used domesticating method. （8）“义哥是一手好拳棒，这两下，一定够他受用了。” Yang:Red-eye is a good boxer. Those slaps must have hurt!" Inoue :義哥は棒使いの名人だ。二つも食ったら参っちまうぜ It was difficult to understand the local dialect.Both Yang and Inoue used domesticating method. （9）他这贱骨头打不怕，还要说可怜可怜哩。 Yang:"The rotter was not afraid of being beaten. He even said how sorry he was." Inoue :「ところがあの馬の骨め、打たれても平気で、そうだ。そうだ、と抜かしやがるんだ」 "贱骨头" is a common saying often used by Chinese people to scold people. It was difficult for translators to translate it. So both Yang and Inoue used domesticating method and free translation. （10）这一年的清明，分外寒冷。 Yang:The Ching Ming Festival that year was unusually cold. Inoue :今年の清明節は殊の外寒く “清明” is a traditional Chinese festival. It is also one of the most important sacrificial festivals. It is also the day for ancestor worship and tomb sweeping. Influenced by Chinese culture, in Japan,they also have “清明”. so it can be directly translated as Japan’s “清明節” .Because the western countries do not have this holiday, so Yang translated it as “The Ching Ming Festival”by foreignizing method.

3.4 Linguistic Culture-loaded Words （1）只有小栓坐在里牌的桌前吃饭，大粒的汗，从额上滚下，夹袄也贴住了脊心，两块肩胛骨高高凸出印成一个阳文的”八”字。 Yang:Only his son sat eating at a table by the wall. Beads of sweat stood out on his forehead, his lined jacket clung to his spine, and his shoulder blades stuck out so sharply, an inverted V seemed stamped there. Inoue :見ると額の上から大粒の汗がころげ落ち、左右の肩骨が近頃めっきり高くなって、背中にピタリとついている夾襖の上に、八字の皺が浮紋のように飛び出していた。 “阳文”is the pattern printed on some utensils. It describes the bony appearance of Xiao Shuan. Lu Xun used the character "eight" to tell readers that Xiao Shuan is thin and weak, which is very vivid and clear to us. However, it is difficult for foreign language readers to understand. The inverted English letter "V" is very similar to the Chinese letter "八".so Yang translated it to "V". And since Japan also has the word "八", so Inoue used it directly. （2）还要老虎头上搔痒，便给他两个嘴巴！ Yang:and then the young fool would 'scratch the tiger's head,' so he gave him a couple of slaps." Inoue :あいつが虎の頭を掻いたから堪らない。たちまちポカポカと二つほど頂戴したぜ "老虎头上搔痒" is a allegory of boldness, recklessness and overreach. It can also be extended to mean "seeking death" or "not afraid of death". both Yang and Inoue adopted literal translation.

===Conclusion===
Culture-loaded words are closely related to culture and have rich cultural meanings. These words are closely related to cultural relations, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication and communication. On the other hand, people living in different social contexts may have different cognitive concepts, emotional colors and subjective judgments. Because of this, some words are endowed with special meanings, which are rooted in the culture of a country or a nation. Deeply reflects the cultural characteristics.The biggest difficulty in translation is not the language itself, but the cultural implications that language carries.Medicine, as a national literary work, contains a large number of culture-loaded words. the culture-loaded words in Medicine are classified On the basis of classification, we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. Due to the great differences between eastern and Western cultures, it is difficult to find a complete equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method and free translation. Since Japan and China have had a lot of communication since ancient times and were greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation and transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have similar culture and both use Chinese characters. foreignizing translation and domestication translation, literal translation, free translation, transliteration are not in isolation, Sometimes they need to be combined to play a better role in the translation of culture-loaded words. the translation of culture-loaded word involves all aspects of culture, is a complex and worthy of further discussion. Only by fully understanding the culture of the original text and accurately interpreting the author's intention, can we better convey the cultural information of culture-loaded words to readers.

Culture-loaded words are closely related to culture and have rich cultural conceptions. These words are closely related to cultural relations, both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics. The biggest difficulty in translation is not the language itself, but the cultural conceptions that language carries. Medicine, as one national literary work, contains a large number of culture-loaded words. The culture-loaded words in Medicine are classified on the basis of classification, and we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. The great differences between eastern and Western cultures make it difficult to achieve a perfect equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method or free translation. While China and Japan have had a long communication history since ancient times and Japanese culture has been greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation or transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have some similar culture and also use Chinese characters. In addition, foreignizing translation, domestication translation, literal translation, free translation, and transliteration are not isolated from each other, sometimes they need to be combined to play a better role in the translation of culture-loaded words. The translation of culture-loaded word involves all aspects of culture and is a complex process needing further discussion. Only by fully understanding the cultural concepts of the source text and accurately interpreting the author's intention, can the translation better convey the cultural information of culture-loaded words to readers.--Fu Shiyu (talk) 09:39, 12 December 2021 (UTC)

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