https://bou.de/u/api.php?action=feedcontributions&feedformat=atom&user=Zhu+Renduo 2026-04-04T12:55:29Z User contributions MediaWiki 1.35.14 https://bou.de/u/index.php?title=20220304_homework&diff=135811 2022-02-27T06:23:21Z

<p>Zhu Renduo: Created page with &quot;==李欣==&quot;</p> <hr /> <div>==李欣==</div>

Zhu Renduo https://bou.de/u/index.php?title=Chinese_Classics_Translation_2022_LIST_OF_HOMEWORKS&diff=135807 2022-02-27T06:19:10Z

<p>Zhu Renduo: </p> <hr /> <div>'''Back to the overview of all homework webpages'''<br /> <br /> <br /> Quicklinks:[[Chinese Classics Translation 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual]<br /> <br /> This homework page shows all translation homework during spring term 2022.<br /> <br /> Please read the translation so far until chapter 59:<br /> [[20220225_homework|1, Feb 25 Chapter 40]], [[20220304_culture|2, Mar 04 Chapters 41-42]], [[20220311_culture|3, Mar 11 Chapters 43-44]], [[20220318_culture|4, Mar 18 Chapters 45-46]], [[20220325_culture|5, Mar 25 Chapters 47-48]], [[20220401_culture|6, Apr 1 Chapters 49-50]], [[20220408_culture|7, Apr 08 Chapters 51-52]] , [[20220415_culture|8, Apr 15 Chapters 53-54]], [[20220422_homework#Hongloumeng|9, for Apr 22 - rest of HLM Chapters 55-56]] [[20220429_homework|10, for Apr 29 - HLM Chapters 57-58]] [[20220506_homework|11, for May 06 - HLM Chapter 59]] [[20220513_homework|12, for May 13 - HLM Chapter ]] etc.<br /> <br /> <br /> *[[20220225_homework|homework of session 1 for session 2 Feb 25]]</div>

Zhu Renduo https://bou.de/u/index.php?title=2022_LIST_OF_HOMEWORKS&diff=135804 2022-02-27T06:15:25Z

<p>Zhu Renduo: </p> <hr /> <div>==英语笔译 卞王倩 Bian Wangqian 202170081563==<br /> jiabaoyu<br /> <br /> revision: --[[User:Li Xin1|Li Xin1]] ([[User talk:Li Xin1|talk]]) 05:59, 27 February 2022 (UTC)<br /> <br /> ==英语笔译 曹姣 Cao Jiao 202170081564==<br /> <br /> ==英语笔译 陈路瑶 Chen Luyao 202170081565==<br /> ==英语笔译 崔晓凡 Cui Xiaofan 202170081566==<br /> ==英语笔译 邓阳林 Deng Yanglin 202170081567==<br /> 英语笔译 高智慧 Gao Zhihui 202170081568<br /> 英语笔译 何丽娜 He Lina 202170081569<br /> 英语笔译 胡良明 Hu Liangming 202170081570<br /> 英语笔译 黄琼 Huang Qiong 202170081571<br /> 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br /> 英语笔译 黎溢佳 Li Yijia 202170081573<br /> 英语笔译 李思敏 Li Simin 202170081574<br /> 英语笔译 李思源 Li Siyuan 202170081575<br /> 英语笔译 李婷 Li Ting 202170081576<br /> 英语笔译 李欣 Li Xin 202170081577<br /> 英语笔译 李颖 Li Ying 202170081578<br /> 英语笔译 李媛 Li Yuan 202170081579<br /> 英语笔译 李梓婕 Li Zijie 202170081580<br /> 英语笔译 梁思婷 Liang Siting 202170081581<br /> 英语笔译 廖诗韵 Liao Shiyun 202170081582<br /> 英语笔译 刘唱 Liu Chang 202170081583<br /> 英语笔译 刘乐乐 Liu Lele 202170081584<br /> 英语笔译 刘双英 Liu Shuangying 202170081585<br /> 英语笔译 刘婷 Liu Ting 202170081586<br /> 英语笔译 刘瑶 Liu Yao 202170081587<br /> 英语笔译 刘珍 Liu Zhen 202170081588<br /> 英语笔译 龙翰良 Long Hanliang 202170081589<br /> 英语笔译 罗姚林 Luo Yaolin 202170081590<br /> 英语笔译 马艳焕 Ma Yanhuan 202170081591<br /> 英语笔译 聂薇 Nie Wei 202170081592<br /> 英语笔译 孙丽君 Sun Lijun 202170081593<br /> 英语笔译 仝雨梦 Tong Yumeng 202170081594<br /> 英语笔译 童略雅 Tong Lueya 202170081595<br /> 英语笔译 庹树梅 Tuo Shumei 202170081596<br /> 英语笔译 王思琪 Wang Siqi 202170081597<br /> 英语笔译 王亚娟 Wang Yajuan 202170081598<br /> 英语笔译 肖冬晴 Xiao Dongqin 202170081599<br /> 英语笔译 肖佳莉 Xiao Jiali 202170081600<br /> 英语笔译 谢晓莹 Xie Xiaoying 202170081601<br /> 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br /> 英语笔译 颜媛 Yan Yuan 202170081603<br /> 英语笔译 杨心怡 Yang Xinyi 202170081604<br /> 英语笔译 杨紫微 Yang Ziwei 202170081605<br /> 英语笔译 张国浩 Zhang Guohao 202170081606<br /> 英语笔译 张姣玲 Zhang Jiaoling 202170081607<br /> 英语笔译 张瑞 Zhang Rui 202170081608<br /> 英语笔译 赵宇翔 Zhao Yuxiang 202170081609<br /> 英语笔译 郑冬琴 Zheng Dongqin 202170081610<br /> 英语笔译 钟青 Zhong Qing 202170081611<br /> 英语笔译 周皓熙 Zhou Haoxi 202170081612<br /> 英语笔译 周哲 Zhou Zhe 202170081613<br /> 英语笔译 朱丽娟 Zhu Lijuan 202170081614<br /> 英语口译 段小蝶 Duan Xiaodie 202170081615<br /> 英语口译 方楚晗 Fang Chuhan 202170081616<br /> 英语口译 胡雯雯 Hu Wenwen 202170081617<br /> 英语口译 黄天琪 Huang Tianqi 202170081618<br /> 英语口译 兰绮 Lan Qi 202170081619<br /> 英语口译 李丹 Li Dan 202170081620<br /> 英语口译 李立飞 Li Lifei 202170081621<br /> 英语口译 莫雨婷 Mo Yuting 202170081622<br /> 英语口译 彭慧璇 Peng Huixuan 202170081623<br /> 英语口译 时友洁 Shi Youjie 202170081624<br /> 英语口译 伍佳惠 Wu Jiahui 202170081625<br /> 英语口译 夏晶 Xia Jing 202170081626<br /> 英语口译 向师琦 Xiang Shiqi 202170081627<br /> 英语口译 向望 Xiang Wang 202170081628<br /> 英语口译 徐舞 Xu Wu 202170081629<br /> 英语口译 张静芝 Zhang Jingzhi 202170081630<br /> 英语口译 张旻丰 Zhang Minfeng 202170081631<br /> 日语笔译 曹梦然 Cao Mengran 202170081632<br /> 日语笔译 胡梦琪 Hu Mengqi 202170081633<br /> 日语笔译 张白鹭 Zhang Bailu 202170081634<br /> 朝鲜语笔译 刘安莉 Liu Anli 202170081635<br /> 朝鲜语笔译 王思佳 Wang Sijia 202170081636<br /> 朝鲜语笔译 徐盖 Xu Gai 202170081638<br /> 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639<br /> 外国语言文学 Akira 202121080009<br /> 外国语言文学 Muhammad Numan 202121080002<br /> 比较文学与跨文化研究 Mahzad 202021080004<br /> 英语语言文学 Nadia 202011080004<br /> 英语语言文学 Mimi 2020GBJ002301<br /> 外国语言文学 Rouabah Soumaya 202121080001<br /> 外国语言文学 Zohaib Chand 202121080005</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=135153 2022-01-03T05:19:37Z

<p>Zhu Renduo: </p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> <br /> 《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China<br /> <br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.<br /> <br /> Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:14, 11 December 2021 (UTC)<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng（2006：124） stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao（2011：189-190）’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang（2012：159-160） analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> <br /> Suggestion:<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> '''--you can use one or two sentences to show the specific status of LOL compared with other games. (most-played #)'''<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> '''--the key point of this part is to show the multicultural concept blended in LOL, so foreignization and domestication should be taken into consideration in the process of translating the leagend's titles. What is important is that you need to add relative research of translation in order to polish this study.''' <br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng '''(# year, page)''' stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s '''(# year, page)''' study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang '''(# year, page)''' analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> Suggestion: put those titles in the appendix, not in the main body of the paper. it is also better to analyze one or two terms in detail.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)<br /> <br /> ===The comparative analyse of examples===<br /> <br /> In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.<br /> <br /> '''Suggestion: it's perhaps better to summarize the translation of terms into 3 types mentioned above and give each one a more detailed analysis.'''--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:42, 11 December 2021 (UTC)<br /> <br /> ====1. The Minotaur====<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ====2. The Dark Child====<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ====5. Grandmaster at Arms====<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ====6 and 8. The Righteous and The Fallen====<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ====7.The Wuju Bladesman====<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ====10.The Rune Mage====<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ====11.The Undead Juggernaut====<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ====16.The Card Master====<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ====17.The Uncaged Wrath of Zaun====<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ====18.The Mad Chemist====<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ====21.The Barbarian King====<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ====22.the Plague Rat====<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ====25.the Terror of the Void====<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ====27. the Armordillo====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ====35. Shard of the Monolith====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ====38. the Curator of the Sands====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ====42. the Bestial Huntress====<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ====43. Keeper of the Hammer====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ====44. the Rabble Rouser====<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ====46. the Iron Revenant====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> ====47. the Prodigal Explorer====<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ====49. the Heart of the Tempest====<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ====50. The Might of Demacia====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ====56. the Crimson Reaper====<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ====58. the Dreadnought====<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ====59. the Bounty Hunter====<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ====60. Maven of the Strings====<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ====63. the Deceiver====<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ====67. The Sheriff of Piltover====<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ====69. the Enlightened One====<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ====71. the Exemplar of Demacia====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ====75. the Mechanized Menace====<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ====77. the Lady of Clockwork====<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ====79. the Radiant Dawn====<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ====83. the Exile====<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ====86. the Half-Dragon====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ====87. the Tidal Trickster====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ====88. the Relentless Storm====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====92. the Hexplosives Expert====<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ====102. Scorn of the Moon====<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ====108. the Tidecaller====<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ====109. the Piltover Enforcer====<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ====115 and 146. the Purifier and the Redeemer====<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ====116. the Loose Cannon====<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ====117 and 150. the Unforgiven and the Unforgotten====<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====119. the Heart of the Freljord====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ====123. the Void Burrower====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ====124. the Wandering Caretaker====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ====127. The Eternal Hunters====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ====129. the Virtuoso====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ====131. the Stoneweaver====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ====133. the Green Father====<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> ====134. the Steel Shadow====<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ====135 and 136. The Charmer and the Rebel====<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ====139. the Aspect of Twilight====<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ====140. Daughter of the Void====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ====141. the Bloodharbor Ripper====<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ====142. the Curious Chameleon====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====147. the Weapon of the Faithful====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====148. the Boss====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ====152. the Starry-Eyed Songstress====<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ====153. the Iron Maiden====<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ====155. The Hallowed Seamstress====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ====156. the Rogue Sentinel====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ===Conclusion===<br /> We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.<br /> <br /> ===References===<br /> *Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/<br /> *Dictionary Editorial Office of Language Institute of Chinese Academy of Social Sciences 中国社会科学院语言研究所词典编辑室. (2016). 现代汉语词典[Modern Chinese Dictionary]. 商务印书馆[The Commercial Press]:Beijing<br /> *Dictionary Research Center of The Commercial Press 商务印书馆辞书研究中心. (2014). 古代汉语词典[Ancient Chinese Dictionary]. 商务印书馆[The Commercial Press]:Beijing<br /> *Lao Zi 老子. (2011). 道德经[Dao De Jing]. 岳麓书社[Yuelu Press]:Changsha<br /> *League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio<br /> *Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. <br /> *Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;page=1&amp;type=ALL&amp;keyword=联盟译事<br /> *Wang Baoqin 汪宝琴. (2012). 从目的论看游戏名称的英译汉策略 [The EtoC tranlastion strategies of names of games from skopo theory]. 海外英语 [Overseas English].<br /> *Xiao Zhiyan 肖志艳. (2011). 游戏名称翻译的目的论视角研究 [A study on the translation of names of games from the approach of skopo theory]. 咸宁学院学报 [Journal of Xianning University].<br /> *Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. <br /> *Zhang Junfang 张君房. (2003). 云笈七签[Complete Taoist Library]. 中华书局[Zhonghua Book Company]:Shanghai<br /> *Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. <br /> *Zheng Guozheng 郑国政. (2006). 软件本地化翻译质量面面观 [The aspects of the quality of the translation of softwares]. 科技资讯 [Science&amp;Technology Information]. <br /> <br /> Suggestion: you can find more prestigious academic journals or books to quote in this paper.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:48, 11 December 2021 (UTC)<br /> <br /> Corrected by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:41, 13 December 2021 (UTC)</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=135152 2022-01-03T04:35:42Z

<p>Zhu Renduo: /* =47. the Prodigal Explorer */</p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> <br /> 《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China<br /> <br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.<br /> <br /> Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:14, 11 December 2021 (UTC)<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng（2006：124） stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao（2011：189-190）’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang（2012：159-160） analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> <br /> Suggestion:<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> '''--you can use one or two sentences to show the specific status of LOL compared with other games. (most-played #)'''<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> '''--the key point of this part is to show the multicultural concept blended in LOL, so foreignization and domestication should be taken into consideration in the process of translating the leagend's titles. What is important is that you need to add relative research of translation in order to polish this study.''' <br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng '''(# year, page)''' stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s '''(# year, page)''' study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang '''(# year, page)''' analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> Suggestion: put those titles in the appendix, not in the main body of the paper. it is also better to analyze one or two terms in detail.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)<br /> <br /> ===The comparative analyse of examples===<br /> <br /> In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.<br /> <br /> '''Suggestion: it's perhaps better to summarize the translation of terms into 3 types mentioned above and give each one a more detailed analysis.'''--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:42, 11 December 2021 (UTC)<br /> <br /> ====1. The Minotaur====<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ====2. The Dark Child====<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ====5. Grandmaster at Arms====<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ====6 and 8. The Righteous and The Fallen====<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ====7.The Wuju Bladesman====<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ====10.The Rune Mage====<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ====11.The Undead Juggernaut====<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ====16.The Card Master====<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ====17.The Uncaged Wrath of Zaun====<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ====18.The Mad Chemist====<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ====21.The Barbarian King====<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ====22.the Plague Rat====<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ====25.the Terror of the Void====<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ====27. the Armordillo====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ====35. Shard of the Monolith====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ====38. the Curator of the Sands====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ====42. the Bestial Huntress====<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ====43. Keeper of the Hammer====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ====44. the Rabble Rouser====<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ====46. the Iron Revenant====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> ====47. the Prodigal Explorer====<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ====49. the Heart of the Tempest====<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ====50. The Might of Demacia====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ====56. the Crimson Reaper====<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ====58. the Dreadnought====<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ====59. the Bounty Hunter====<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ====60. Maven of the Strings====<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ====63. the Deceiver====<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ====67. The Sheriff of Piltover====<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ====69. the Enlightened One====<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ====71. the Exemplar of Demacia====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ====75. the Mechanized Menace====<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ====77. the Lady of Clockwork====<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ====79. the Radiant Dawn====<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ====83. the Exile====<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ====86. the Half-Dragon====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ====87. the Tidal Trickster====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ====88. the Relentless Storm====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====92. the Hexplosives Expert====<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ====102. Scorn of the Moon====<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ====108. the Tidecaller====<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ====109. the Piltover Enforcer====<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ====115 and 146. the Purifier and the Redeemer====<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ====116. the Loose Cannon====<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ====117 and 150. the Unforgiven and the Unforgotten====<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====119. the Heart of the Freljord====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ====123. the Void Burrower====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ====124. the Wandering Caretaker====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ====127. The Eternal Hunters====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ====129. the Virtuoso====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ====131. the Stoneweaver====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ====133. the Green Father====<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> ====134. the Steel Shadow====<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ====135 and 136. The Charmer and the Rebel====<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ====139. the Aspect of Twilight====<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ====140. Daughter of the Void====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ====141. the Bloodharbor Ripper====<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ====142. the Curious Chameleon====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====147. the Weapon of the Faithful====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====148. the Boss====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ====152. the Starry-Eyed Songstress====<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ====153. the Iron Maiden====<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ====155. The Hallowed Seamstress====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ====156. the Rogue Sentinel====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ===Conclusion===<br /> We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.<br /> <br /> ===References===<br /> *Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/<br /> *League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio<br /> *Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. <br /> *Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;page=1&amp;type=ALL&amp;keyword=联盟译事<br /> *Wang Baoqin 汪宝琴. (2012). 从目的论看游戏名称的英译汉策略 [The EtoC tranlastion strategies of names of games from skopo theory]. 海外英语 [Overseas English].<br /> *Xiao Zhiyan 肖志艳. (2011). 游戏名称翻译的目的论视角研究 [A study on the translation of names of games from the approach of skopo theory]. 咸宁学院学报 [Journal of Xianning University].<br /> *Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. <br /> *Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. <br /> *Zheng Guozheng 郑国政. (2006). 软件本地化翻译质量面面观 [The aspects of the quality of the translation of softwares]. 科技资讯 [Science&amp;Technology Information]. <br /> Suggestion: you can find more prestigious academic journals or books to quote in this paper.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:48, 11 December 2021 (UTC)<br /> <br /> Corrected by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:41, 13 December 2021 (UTC)</div>

Zhu Renduo https://bou.de/u/index.php?title=20211229_homework&diff=134236 2021-12-24T19:25:32Z

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

Zhu Renduo https://bou.de/u/index.php?title=20211222_homework&diff=133940 2021-12-19T11:51:02Z

<p>Zhu Renduo: </p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]<br /> <br /> PLEASE READ [[Joint_translation_terms|Joint translation terms]] <br /> <br /> PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> <br /> 闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”<br /> <br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> <br /> 贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081478==<br /> <br /> 宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> <br /> 宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”<br /> <br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> <br /> 宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：<br /> <br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> <br /> ‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”<br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> <br /> 宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> <br /> 黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”<br /> <br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> <br /> 宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> <br /> 吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> <br /> 如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> <br /> 一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> <br /> 你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> <br /> 当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> <br /> 宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> <br /> 每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> <br /> 黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> <br /> 王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> <br /> 除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> <br /> 原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> <br /> 却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> <br /> 是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> <br /> 袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> <br /> 所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> <br /> 若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> <br /> 又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> <br /> 毕竟怎的，下回分解。<br /> <br /> 起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> <br /> 邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> <br /> 承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> <br /> 贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> <br /> 形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。​<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> <br /> 内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> <br /> 若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。<br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> <br /> 高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> <br /> 这里指家庭需要照顾的人或事。​<br /> <br /> 垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> <br /> 超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> <br /> 穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> <br /> “第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> <br /> 鼻腻鹅脂：形容鼻端像鹅脂般光润。​<br /> <br /> “第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> <br /> 倾斜的双肩。古人以为美人肩。<br /> <br /> 长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> <br /> 俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。<br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==<br /> <br /> 见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​<br /> <br /> “第三个”两句──这是对惜春形象的描写。<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> <br /> 形容惜春年纪尚小，身材和容貌都还没有发育成熟。​<br /> <br /> 人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> <br /> 荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> <br /> 窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> <br /> 仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> <br /> 《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> <br /> 又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​<br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> <br /> 鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> <br /> 鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。<br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> <br /> 因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> <br /> 赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> <br /> 明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> <br /> 睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；<br /> <br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> <br /> 狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；<br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> <br /> 屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> <br /> “俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> <br /> 三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；<br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> <br /> 六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；<br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> <br /> 九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> <br /> 文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> <br /> 嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> <br /> 狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”<br /> <br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> <br /> 此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​<br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> <br /> 万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> <br /> 孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> <br /> 典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> <br /> 宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。<br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> <br /> 宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> <br /> “座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> <br /> 黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> <br /> 黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。<br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> <br /> 汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> <br /> 美人觚：因其体长腰细，形似美人，故名。​<br /> <br /> 椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> <br /> 掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。 <br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> <br /> 牙：即“牙子”。器物突出的边沿。​<br /> <br /> 《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> <br /> 宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​<br /> <br /> 抹额：原指束在额上的头巾。其起源似乎很早。<br /> <br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> <br /> 宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> <br /> 禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> <br /> 可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​<br /> <br /> 箭袖──亦称“箭衣”。<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> <br /> 是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。<br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> <br /> 后成为一种服式，不射箭的男子也穿。​<br /> <br /> “倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；<br /> <br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> <br /> 再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​<br /> <br /> ==Nadia 202011080004==<br /> <br /> 请安──这里指的是清代一种见面问好的特殊礼仪：<br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> <br /> 男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；<br /> <br /> ==Mariam Toure 2020GBJ002301==<br /> <br /> 女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。<br /> <br /> ==Rouabah Soumaya 202121080001==<br /> <br /> 寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。<br /> <br /> ==Muhammad Numan 202121080002==<br /> <br /> 面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> <br /> “何平叔(晏)美姿仪，面至白。<br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> <br /> 魏明帝疑其傅粉，正夏月，与热汤饼。<br /> <br /> ==Zohaib Chand 202121080005==<br /> <br /> 既啖，大汗出，以朱衣自拭，色转皎然。”<br /> <br /> ==Jawad Ahmad 202121080006==<br /> <br /> (皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。<br /> <br /> ==Nizam Uddin 202121080007==<br /> <br /> 引申以泛喻男子姿容洁白秀美。<br /> <br /> ==Öncü 202121080008==<br /> <br /> 《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。<br /> <br /> ==Akira Jantarat 202121080009==<br /> <br /> 词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> <br /> 但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。<br /> <br /> ==Asep Budiman 202111080020==<br /> <br /> 故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> <br /> 《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_3&diff=133525 2021-12-15T14:57:01Z

<p>Zhu Renduo: /* A Brief Introduction of the Two Versions of Shijing */</p> <hr /> <div>=Chapter 3:A Comparative Study of Two English Versions of ''Shijing'' from the Perspective of Functional Equivalence Theory=<br /> <br /> 饶金盈，Rao Jinying, Hunan Normal University, China<br /> <br /> ==Abstract==<br /> As the first general collection of poetry in ancient China, ''Shijing'' is unique in style and rich in words and phrases. The translation of Shijing has a history of several hundred years, and scholars at home and abroad have never interrupted the study of ''Shijing'', but the translation study of it is still in an initial stage. Nowadays, the multicultural background of the times highlights the contemporary significance of the study of the English translation of Shijing even more.<br /> <br /> This paper intends to apply Nida’ s functional equivalence theory to analyze the two versions of English translations by Xu Yuanchong and Jame Legge of ''Shijing'' from four perspectives: stylistics, rhythm, diction and imagery. The following conclusion can be drawn according to the analysis: ''Shijing'' has a unique style and rhyme scheme, so the translation should firstly achieve parity with the original text in terms of style and form, and secondly the harmony of sound and rhyme should be focused on, so that readers of the target text and readers of the original text will have a similar impression on the form of Shijing. Therefore, the translators should consider the words and phrases, and strive to reproduce the imagery of the original text or the emotion conveyed by that imagery while ensuring the fluency of the translation in order to achieve content equivalence.<br /> Key Words: ''Shijing'', English Translation, Functional Equivalence Theory<br /> <br /> <br /> ==Key Words==<br /> ''Shijing'', English Translation, Functional Equivalence Theory<br /> <br /> ==中文摘要==<br /> 《诗经》作为我国古代第一步诗歌总集，文体独特，词句丰富。《诗经》的翻译已经有几百年的历史，国内外学者对《诗经》的研究从未中断过，但《诗经》翻译研究仍处于起步阶段。<br /> 现如今，多元文化的时代背景更加突显《诗经》英译研究的当代意义。<br /> <br /> 本文旨在运用奈达的功能对等理论，从诗歌的文体、韵律、用词及意象四个角度，来分别对许渊冲和理雅各的《诗经》英译本进行分析，从而得出了以下结论：《诗经》中的诗歌有独特的文体和押韵方式，翻译时应首先在文体形式上达到与原文对等，其次应注重音韵的和谐，从而让译文读者与原文读者对《诗经》的形式有相似的印象。因此，译者应在词句上仔细斟酌，在确保译文流畅的同时争取再现原文意象或该意象所传达的情感，以达到内容对等。<br /> <br /> ==关键词==<br /> 《诗经》，英译，功能对等理论<br /> <br /> ==Introduction==<br /> Comparative study is of great significance in the study of literary texts in translation, especially in comparing different translation versions of a same literary work. However, it is necessary to first clarify the theoretical framework applied in it before a specific translation comparison analysis can be brought out. <br /> <br /> ==Eugene Nida’ s Functional Equivalence Theory==<br /> This paper in an attempt to analyze the two English versions of ''Shijing'' under the guidance of Eugene Nida’s functional equivalence theory. Functional Equivalence Theory, one of the most important and practical translation theories all around the world, especially in the United States and Germany, was proposed by Eugene A. Nida, the famous American linguist, translator, and translation theorist. This translation theory has affected the western translation field a lot, which led to the result that Eugene Nida is considered as “the patriarch of translation study and a founder of the discipline”(Snell Hornby, 1988).<br /> Originally known as dynamic equivalence and formal theory, the functional equivalence theory is one of the most outstanding contributions that Eugene Nida had made to the field of translation study. The theory was explained as “ translation is the reproduction of the message of the source language from semantics to style in the most appropriate, natural and reciprocal ways”(Nida Eugene, 1964:159), so as to set a standard for the conversion between source and target texts, and narrow the gap between the two. Nevertheless, before the theory was clearly defined in 1969, three stages of its development emerged. Finally, Nida defined the dynamic equivalence in his work The Theory and Practice of Translation as the “quality of a translation in which the message of the original texts has been so transported into the target texts that the response of the receptors is essentially like that of the original receptors”(Nida A. Eugene, Charles R. Tabler, 1969:200).<br /> <br /> Later, Nida realized that the concept of “dynamic equivalence” had been misunderstood. In order to avoid this phenomenon, he put forward the term “functional equivalence” in the book From One Language to Another written together with De Ward in 1986 to replace the dynamic equivalence. Functional equivalence emphasizes not only the equivalence between the function of the source culture in the source text and the equivalence of the target culture in the target text, but also that the “function” is considered to be a property of the text. What's more, the functional equivalence embodies both the equivalence of content and form. In another word, the first principle of functional equivalence is to ensure the target text is precisely equivalent to the source text, at the same time, the equivalence of translation style should also be taken into account by translators. The core of functional equivalence is also reflected in Nida’s definition of translating, “translating consists in reproducing in the receptor language the closest natural equivalence of the source language message, first in terms of meaning and secondly in terms of style”(Nida A. Eugene, Charles R. Tabler, 1982).<br /> <br /> <br /> This paper in an attempt to analyze the two English versions of ''Shijing'' under the guidance of Eugene Nida’s functional equivalence theory. Functional Equivalence Theory has affected the western translation field a lot, which led to the result that Eugene Nida is considered as “the patriarch of translation study and a founder of the discipline”(Snell Hornby, 1988).<br /> Originally known as dynamic equivalence and formal theory, the functional equivalence theory is one of the most outstanding contributions that Eugene Nida had made to the field of translation study. The theory was explained as “ translation is the reproduction of the message of the source language from semantics to style in the most appropriate, natural and reciprocal ways”(Nida Eugene, 1964:159), so as to set a standard for the conversion between source and target texts, and narrow the gap between the two. Nevertheless, before the theory was clearly defined in 1969, three stages of its development emerged. Finally, Nida defined the dynamic equivalence in his work The Theory and Practice of Translation as the “quality of a translation in which the message of the original texts has been so transported into the target texts that the response of the receptors is essentially like that of the original receptors”(Nida A. Eugene, Charles R. Tabler, 1969:200).<br /> <br /> Later, Nida realized that the concept of “dynamic equivalence” had been misunderstood. In order to avoid this phenomenon, he put forward the term “functional equivalence” in the book From One Language to Another written together with De Ward in 1986 to replace the dynamic equivalence. Functional equivalence emphasizes not only the equivalence between the function of the source culture in the source text and the equivalence of the target culture in the target text, but also that the “function” is considered to be a property of the text. What's more, the functional equivalence embodies both the equivalence of content and form. In another word, the first principle of functional equivalence is to ensure the target text is precisely equivalent to the source text, at the same time, the equivalence of translation style should also be taken into account by translators. The core of functional equivalence is also reflected in Nida’s definition of translating, “translating consists in reproducing in the receptor language the closest natural equivalence of the source language message, first in terms of meaning and secondly in terms of style”(Nida A. Eugene, Charles R. Tabler, 1982).--[[User:Zhu Renduo|Zhu Renduo]] ([[User talk:Zhu Renduo|talk]]) 14:49, 15 December 2021 (UTC)<br /> <br /> ==A Brief Introduction of the Two Versions of ''Shijing''==<br /> ''Shijing'', or ''The Book of Poetry'', ''Book of Odes'', is a collection of 305 pieces of poems from the Western Zhou Dynasty to the Eastern Zhou Dynasty. Generally, ''Shijing'' can be divided into three sections: Feng, Ya and Song according to different their contents respectively. One of the remarkable features of ''Shijing'' is the frequent use of simile and metaphor, and the application of “association”, which means starting a poem by drawing forth some images quite irrelevant to the central subjects. What’s more, ''Shijing'' contains a larger number of cultural characteristics, so it is hard to totally reproduce the source text in another language. Both of the following English versions has its own features with a lot of investigation and research by the two translators. <br /> <br /> ===Legge’ s Version===<br /> James Legge, a Scottish missionary, a scholar of sinology and founder of bilingual education system in Hong Kong, was best known as one of the earliest translators of Chinese texts into English. He started his translation including various volumes of Chinese classic texts, such as ''The She King''（《诗经》）, ''The Tao Te Ching''（《道德经》）, ''The Analects''（《论语》）, ''The Work of Mencius''（《孟子》）. Due to his prolificacy in translation, he had translated completely The Four Books and Five Classics, becoming the first western sinologist independently and perfectly translating the Confucian classic texts into European language.<br /> Legge’ s translation acquired its honour for strict faithfulness to the original texts and has been considered as “a standard translation” (李霜, 2004: 9-10). <br /> <br /> As for ''Shijing'', Legge accomplished his verbal version of it when he resided in Hong Kong and had it published in 1987. In this version, Legge applied the translation method of “word for word”, “sentence for sentence”, and “stanza by stanza” (姜燕, 2010:25), which probably prompted Chinese learners or scholars and specialists to attend to explore ancient Chinese culture and understand Chinese academics. Owing to the primary concern focused on the accuracy of concepts and the expectation of a very precise translation of the original text in his translation, other distinct features of Chinese poetry were neglected and not well transformed into the corresponding target text, even if being discussed in the preface. Also, the focus on aesthetics in Legge’ s translation of Shijing is comparatively inadequate.<br /> <br /> ===Xu Yuanchong’ s Version===<br /> Xu Yuanchong, a native Chinese translator, was famous for his translation of ancient Chinese poems into English and French. In 1938, he entered National Southwest Associated University and studied in the Department of Foreign Languages. Later, he was admitted to the Foreign Literature Institute of Tsinghua University. Then he was hired as a professor in English and French, and worked in Peking University from 1983 to 2021. He had translated more than sixty works, making outstanding contribution to Chinese poetry translation field. <br /> <br /> Based on extensive practice and rich experience of poetry translation and inheritance of predecessors’ theories of literature and arts, he puts forward the Three Beauties Principle in translation of poetry, that is, beauty in sense, beauty in sound and beauty in form. He emphasized that a translator should try his best to convert the beauty in sense, sound, and form of the original works into the target works when translating poems (许渊冲, 1990). What’s more, beauty in sense is of first importance among the three principles, followed by beauty in sound and then beauty in form. In addition to the Tree Beauties Principle, Xu proposed that the translation practice is the only criterion for testing translation (许渊冲, 2021:83) under the guidance of “faithfulness” and “expressiveness”.<br /> Xu Yuanchong’ s version of ''Shijing'' is characterized by its capacity to convey the beauty of sound as much as possible. Faced with the controversy of whether rhyme should be omitted in pursuit of the correct expression of meaning, he argued that rhyme might obstacle rhetoric in some cases, but the absence of rhyme would inevitably lead to a loss of beauty in the translation as a whole. So he insists on rhyming to make the work readable, which not only ensures comprehensibility of readers but also delights them.<br /> <br /> <br /> <br /> ===Legge’ s Version===<br /> <br /> As for ''Shijing'', Legge accomplished his verbal version of it when he resided in Hong Kong and had it published in 1987. In this version, Legge applied the translation method of “word for word”, “sentence for sentence”, and “stanza by stanza” (姜燕, 2010:25), which probably prompted Chinese learners or scholars and specialists to attend to explore ancient Chinese culture and understand Chinese academics. Owing to the primary concern focused on the accuracy of concepts and the expectation of a very precise translation of the original text in his translation, other distinct features of Chinese poetry were neglected and not well transformed into the corresponding target text, even if being discussed in the preface. Also, the focus on aesthetics in Legge’ s translation of Shijing is comparatively inadequate.<br /> <br /> ===Xu Yuanchong’ s Version===<br /> <br /> Based on extensive practice and rich experience of poetry translation and inheritance of predecessors’ theories of literature and arts, he puts forward the Three Beauties Principle in translation of poetry, that is, beauty in sense, beauty in sound and beauty in form. He emphasized that a translator should try his best to convert the beauty in sense, sound, and form of the original works into the target works when translating poems (许渊冲, 1990). What’s more, beauty in sense is of first importance among the three principles, followed by beauty in sound and then beauty in form. In addition to the Tree Beauties Principle, Xu proposed that the translation practice is the only criterion for testing translation (许渊冲, 2021:83) under the guidance of “faithfulness” and “expressiveness”.<br /> Xu Yuanchong’ s version of ''Shijing'' is characterized by its capacity to convey the beauty of sound as much as possible. Faced with the controversy of whether rhyme should be omitted in pursuit of the correct expression of meaning, he argued that rhyme might obstacle rhetoric in some cases, but the absence of rhyme would inevitably lead to a loss of beauty in the translation as a whole. So he insists on rhyming to make the work readable, which not only ensures comprehensibility of readers but also delights them.--[[User:Zhu Renduo|Zhu Renduo]] ([[User talk:Zhu Renduo|talk]]) 14:57, 15 December 2021 (UTC)<br /> <br /> ==Literature Review==<br /> This chapter illustrates the previous studies on the English translation of ''Shijing'', including the foreign studies and domestic studies respectively. And also, a brief summary will be made to points out the shortcomings or gaps of previous research and put forward the main contents and innovation of the current study.<br /> <br /> ===Foreign Studies on the English Translation of ''Shijing''===<br /> Due to its historical and cultural importance, ''Shijing'' has been the focus or attention for many sinologists as cultural exchanges between China and the West. As a result, ''Shijing'' has a long history of dissemination in the West, nearly 400 years old. A large number of English versions have been published. Today, ''Shijing'' have spread around the world in dozens of languages, influencing world cultural history and becoming an important cultural heritage for all mankind. The first English-language anthology of ''Shijing'' was completed by Sir William Jones in 1785. He first translated some of the Psalms into Latin prose poetry and rhymed verse. He then translated both versions into English, and in 1876 James Legge retranslated ''Shijing'' in rhymed verse for publication in London. In short, from the end of the 19th century to the beginning of the 20th century, many excellent anthologies of ''Shijing'' translation appeared.<br /> <br /> For a long time, the study of ''Shijing'' has been centered on Europe. With the great cultural value of ''Shijing'' and its influence in the West, an academic boom in the study of ''Shijing'' has gradually spread from Europe the United States. Among the many scholars who have studied the English translation of ''Shijing'', Ezra Pound is an important representative. Although he knew little about Chinese, he had a deep affection for the ancient culture of China and Japan. He published a series of translations based on the culture. The most influential early translation was ''Cathay'', which was published in 1915. In ''Cathay'', he translated a dozen ancient Chinese poems, including some from ''Shijing''. Considering the difficulty of understanding the poems, Pound used the method of adding notes and making annotations. Two different translations of a poem were made to compensate for the difficulty in expressing the content. Moreover, Pound greatly admired the imagery of classical Chinese poetry and he was the first poet to translate ''Shijing'' in free verse style. The main elements of Pound’s theory of Imagism are: poetry should be concrete and avoid abstraction; in form, poetry should be line oriented; language should be refined, etc. It is clear that Pound’s poetry translation emphasizes creativity. <br /> <br /> Research on the English translation of ''Shijing'' continued in the United States into the second half of the 20th century. William McNaughton published a complete English version of ''Shijing''. John. A. Turner (1976) selectively translated several poems from ''Shijing'', which were collected in ''A Golden Treasury of Chinese Poetry''. Burton Watson (1984) also translated some poems from ''Shijing''. A number of poems from ''Shijing'' are also translated in his work, ''The Columbia Book of Chinese Poetry: From Early Times to the Thirteenth Century''.<br /> <br /> ===Domestic Studies on the English Translation of ''Shijing''===<br /> Since the 1980s, with the promotion of economic reform and opening up and the need for cultural exchanges between China and foreign countries, there has been a boom in the translation of Chinese classics into foreign languages. ''Shijing'' have also been included in these classics. There are six versions of English translation of Shijing in China. It can be divided into selected translations and complete translations. The translators who published selected translations of ''Shijing'' include Yang Xiangyi and Gladys Taylor (1983) and Ding Zuxin and Burton Raffel (1986). Xu Yuanchong (1992). Xu Yuanchong (1993), Wang Rongpei and Ren Xihua (1995), and An Zengcai (2000) finished complete version of ''Shijing''. These works have had a great influence on the English translation of ''Shijing'' in China, and the complete edition of ''Shijing'' translated by Xu Yuanchong (1993) is known as one of the most classic versions.<br /> <br /> Although there are few English versions of ''Shijing'' in China, many scholars are engaged in the study of these versions. It can be divided into three main parts to illustrate the history of its development. They are the spread of ''Shijing'' abroad, the three stages of the development of ''Shijing'' in the West, and an overview of the development of the study of ''Shijing'' in Japan. Fan Cunzhong (1981) published a paper on “Chinese Poetry and English Translation” in Foreign Language Journal, which focuses on the theories and ideas of some translators, such as William Jones, Herbert A. Giles, Arthur Waley and other American translators. Zhou Faxiang (1993) provides an overview of the dissemination and study of the ''Shijing'' in the West from both a vertical and horizontal perspective. Shan Qing (1995) briefly summarizes the dissemination and English translation studies of ''Shijing'' in the West. Wang Rongpei (1995) lists some excellent English versions of ''Shijing'' at home and abroad. Xia Chuancai (1997) studied the development of ''Shijing'' abroad. <br /> <br /> In the 21st century, scholars have gradually shifted the focus of their research on the English translation of ''Shijing'' from abroad to at home. At the end of the last century, Chinese translators also published English versions of ''Shijing'', and scholars began to analyze the English translation of ''Shijing'' in conjunction with the domestic English versions. Li Yuliang and Wang Hongyin (2006) reviewed and looked forward to the research on the English version of ''Shijing'' at home and abroad. He believes that the research focuses on five aspects: the study of translation, the study of translators, the study of translation methods, the comparison of editions, and the comprehensive study. He also put forward the problems in the study of ''Shijing'' and suggestions for future research on the translation of it. Wen, Jun, and Hao, Shujie (2011) studied domestic studies of the English versions of ''Shijing'' published from 1980 to 2010. They conducted statistical analysis and discussion on translators, editions, and dissemination. Li Guangwei and Yue Feng (2019) conducted an ephemeral study of English translations and English editions of ''Shijing'' in China and abroad. They analyzed the existing problems and proposed future research prospects. For example, the translation study of ''Shijing'' is integrated with national strategies to promote interdisciplinary research in order to improve the science level of ''Shijing''.<br /> <br /> From the perspective of translation typology, Zuo Yan (2020), in a recently published paper, provides a structural grasp of the English translations of ''Shijing''. He divides these English versions into two major categories: documentary and literary versions. In a word, Scholars have sorted out the sequence of ideas in the study and development of the English translations of ''Shijing'' from an overall macroscopic perspective in accordance with the chronological development, which is conducive to a clearer understanding and grasp of the translation history of ''Shijing''.<br /> <br /> ==A Comparative Study of the Two English Versions==<br /> According to the functional equivalence theory, formal and functional equivalence should be achieved as far as possible so as to make the target readers appreciate the target text in a similar way as the original readers enjoy the original text. This chapter is going to analyze the two English versions of ''Shijing'' from the facets of formal equivalence and functional equivalence. Stylistics and rhyme are more appropriate to be analyzed from the aspect of formal equivalence, because they are obviously exterior elements of poetry. However, the content and meaning of poetry, no matter being more implicit or explicit, are more associated with functional equivalence. In other words, there are four elements of a poem discussed in this paper: stylistics, rhyme, diction and imagery.<br /> <br /> ===Formal Equivalence ===<br /> This paper will make good use of formal equivalence as a fundamental criteria to analyze the two English versions of ''Shijing''. In particular, the analysis is divided into two parts: stylistics and rhyme.<br /> <br /> ====Stylistics====<br /> As demonstrated in the book ''Stylistics: A Resource Book for Students''(Simpson and Paul,2004), stylistics is a method of textual interpretation in which priority is laid on language, and is a study and interpretation of texts concerning their linguistic and tonal style. Therefore, it does not exist as an subset by itself, but can be applied to the comprehension of literary works and also linguistics.<br /> An example from Shijing is as follows:<br /> 相鼠有皮，人而无仪！人而无仪，不死何为？<br /> 相鼠有齿，人而无止！人而无止，不死何俟？<br /> 相鼠有体，人而无礼，人而无礼！胡不遄死？<br /> ——《国风·鄘风·相鼠》<br /> Xu’s: <br /> The rat has skin, you see? <br /> Man must have decency. <br /> If he lacks decency, <br /> Worse than death it would be. <br /> <br /> The rat has teeth, you see? <br /> Man must have dignity. <br /> If he lacks dignity, <br /> For what but death waits he? <br /> <br /> The rat has limbs, you see? <br /> Man must have propriety. <br /> Without propriety, <br /> It’s better dead to be. <br /> <br /> Legges’s: <br /> Look at a rat,—it has its skin; <br /> But a man shall be without dignity of demeanor. <br /> If a man have no dignity of demeanor, <br /> What should he do but die? <br /> <br /> Look at a rat,—it has its teeth; <br /> But a man shall be without any right deportment. <br /> If a man have have not right deportment, <br /> What should he wait for but death? <br /> <br /> Look at a rat,—it has its skin; <br /> But a man shall be without any rules of propriety. <br /> If a man observe no rules of propriety, <br /> Why does he not quickly die?<br /> <br /> Both of the two versions adopted the style of three stanzas with four lines in each stanza, which in line with the original text. Therefore, we can draw the conclusion that formal equivalence is achieved in both versions. Western readers are able to form their first impression that this is a poem, which is exactly the nature of ''Shijing'', not any other genres of literature. And the reaction is similar to Chinese who read ''Shijing'' for the first time. Stylistics of literary works is an exterior element easy for readers to grasp. With the achievement of equivalence in form, both domestic and foreign readers gain similar reaction and feeling, and then the elementary success of translation has been realized. Both translators did a good job on this point.<br /> <br /> ====Rhyme====<br /> A rhyme is the repetition of the same or similar sound in two or more words, usually applied to the final syllables of lines in a stanza or a poem(许渊冲,1990). If two words have the same stressed syllable followed by an unstressed syllable, dependent on the number of syllables included in a rhyme and the position of the final stressed syllable, such as “madness and sadness”, we can name it as a double rhyme. It is obvious that the application of rhyme can make a poem read cadent and sound pleasant and then prompt readers to have a deeper impression on a poem, memorize it more easily and enjoy it more thoroughly.<br /> <br /> As for the analysis of rhyme in poetry, the rhyme scheme is inevitably taken into consider. It is the patterns of rhymes appearing at the end of each line in a poem and analyzed by using letters “a” and “b” to indicate rhyme of lines. In English poetry, the most common rhyme schemes include alternative rhyme, enclosing rhyme and couplet rhyme and so on.<br /> An example from ''Shijing'' is as follows:<br /> 何彼襛矣，唐棣之华！曷不肃雝？王姬之车。 <br /> 何彼襛矣，华如桃李！平王之孙，齐侯之子。 <br /> ——《召南·何彼襛矣》 <br /> Xu’s: <br /> Luxuriant in spring <br /> As plum flowers o/er water, <br /> How are revere the string <br /> Of cabs for the king”s daughter! <br /> <br /> Luxuriant in spring <br /> As the peach flowers red, <br /> The daughter of the king <br /> To a marquis’ son is wed. <br /> <br /> Legge’s:<br /> How great is that luxuriance, <br /> Those flowers of the sparrow-plum! <br /> Are they not expressive of reverence and harmony,— <br /> The carriages of the king’s daughter? <br /> <br /> How great is that luxuriance, <br /> The flowers like those of the peach-tree or the plum! <br /> (See) the grand-daughter of the tranquilizing king, <br /> And the son of the reverent marquis!<br /> <br /> In the two versions of translation, Xu’s adopted alternative rhyme with the first line rhyming the third line and the second line rhyming the forth line in each stanza. The first and forth lines in the first stanza applied a double rhyme [ɔːtə], while the rest lines applied a single rhyme, that is respectively [ed] and [ɪŋ]. By using rhyme, the beauty of sound in the original text can be conserved in the target text, which makes it easier for the western readers to grasp the beauty of ancient Chinese works. <br /> <br /> On the contrary, Legge’s version was presented in a free style, focusing on a strictly precise correspondence between the original text and the target text while lacking the utilization of rhyme. His translation of the poem lacks beauty of sound which results in the failure of presenting the same beauty of sound those readers of the original text can acquire to the western readers.<br /> <br /> ===Functional Equivalence===<br /> Apart from the equivalence of form in translation, Nida also emphasizes the great significance of functional equivalence in his theory. Therefore, equivalence of content and meaning which are bound up with functional equivalence will be discussed in this section. The explicit and implicit meaning are going to be discussed in the part “diction” and “imagery” respectively.<br /> <br /> ====Diction====<br /> The “diction” originally means “a saying, expression, word”, but now it refers to <br /> the writers’ or the speakers’ distinctive vocabulary choices and style of expression in a poem or story(Nida,1969). <br /> An example from ''Shijing'' is as follows:<br /> 关关雎鸠，在河之洲。窈窕淑女，君子好逑。 <br /> ——《周南·关雎》 <br /> Xu’s: <br /> By riverside a pair <br /> Of turtledoves are cooing; <br /> There is a maiden fair <br /> Whom a young man is wooing. <br /> <br /> Legge’s: <br /> Kwan kwan go the ospreys, <br /> On the islet in the river. <br /> The modest , retiring, virtuous, young lady: ─ <br /> For our prince a good mate she.<br /> <br /> In the first line, “关关” can be explained as a kind of bird call or mutual responding between male and female”. Legge’s transliteration “Kwan kwan” is witty enough to focus on bird’s calling for love, but the verb “go” weakens the poetic quality and flavor of the whole verse. Xu’s version adopts “cooing”, which not only rhymes with “wooing”, but also maintains the spirituality of original text. <br /> Another datable issue is the choice of word for translating “淑女” and “君子”. In Legge’s version, “淑女” is understood as an elegant royal “lady”. <br /> However, the verse here presents the contenting wooing and call for love between man and woman. Thus, it is more suitable to consider “淑女” as a young and unmarried girl. Xu’s version adopts “maiden”, which is more in line with the style of poetry. Moreover, “君子” refers to an ordinary man, not an emperor or prince, so the adoption of “a young man” is more close to the original text from the aspect of function equivalence than “prince” in Legge’s version. In other words, the western readers can obtain the same information and feeling as the readers of the original text do by reading Xu’s version of this verse.<br /> <br /> ====Imagery====<br /> Imagery, an important element in literature, means the utilization of vivid and concrete description to attach extensive meanings to the sentences or diction in works(许渊冲,1990). The major types of imagery include auditory imagery, visual imagery and so on. This sector will presents a discussion on the equivalence of imagery between original texts and target texts in the two English versions of ''Shijing''.<br /> An example from ''Shijing'' is as follows:<br /> 桑之未落，其叶沃若。 <br /> 桑之落矣，其黄而陨。 <br /> ——《卫风·氓》<br /> Xu’s: <br /> How fresh were mulberries, <br /> With their fruit on the trees. <br /> The mulberries appear, <br /> With yellow leaves and sear.<br /> <br /> Legge’s: <br /> Before the mulberry tree has shed its leaves, <br /> How rich and glossy are they. <br /> When the mulberry tree sheds its leaves, <br /> They fall yellow on the ground.<br /> <br /> Plants play an important role in implying special meanings in literature, especially for people lived in ancient society. As for this poem, the luxuriant leaves of white mulberry symbolize the woman in her youth, and the blasted leaves symbolize the aging woman. This kind of metaphor is common and universal that both the readers of the original text and the target text can comprehend it if translators reproduce the meanings of imagery to a great extent. <br /> <br /> Legge’s version is loyal to the original text as far as possible, mentioning “mulberry tree” and “leaves”. Nevertheless, Xu describes the fruit of mulberry in his version, which makes the meaning of mature mulberry more explicit. As a result, the reproduction of the meanings of imagery mulberry is more complete in the target text for readers to obtain the similar or the same feeling as readers of the original text do. To summarize, the functional equivalence of imagery mulberry is achieved more thoroughly in Xu’s translation of this poem.<br /> <br /> ==Conclusion==<br /> Under the guidance of the functional equivalence theory, the paper picks up “whether readers of target texts obtain the similar or same feeling as readers of original texts do” as a criteria to analyze Xu Yuanchong’s and James Legge’s English versions of ''Shijing''. Eugene Nida’s functional equivalence theory emphasizes not only the equivalence of form but also function in order to make readers of target texts respond in a way as similar as readers of original texts do. <br /> As an ancient collections of poems in China, ''Shijing'' is characterized by remarkable stylistics and rhymes, which reflects the priority of formal equivalence in the translation process of it. Moreover, based on the construction of form, translators should also take the selection of diction into consideration, promoting target texts to be logical and fluent, and also reproduce the meanings, thoughts and emotions of original texts. Only in this way can readers of target texts gain the similar or same feeling as readers of original texts do, that is, the equivalence of form and function are achieved as far as possible.<br /> <br /> With the rapid development of globalization process, multiple aspects of our life will be integrated into the whole world, especially culture. Thus, the cultural communication between China and other countries is bond to be more direct and frequent. Studies on ancient Chinese classic works, such as ''Shijing'', can build a bridge across China and other countries to push the cultural communication to a further step.<br /> <br /> ==References==<br /> *Forbes Andrew,Henley,David（2012). James Legge——A short biography[M]. 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Amsterdam:John Benjamins.<br /> <br /> *Jiang Yan.姜燕(2010). 理雅各Shijing英译[D]The English Translation Version of Shijing by Legge. 济南:山东大学Jinan:Shandong University,2. <br /> <br /> *Ma Huijuan, Miao Ju.马会娟, 苗菊(2011). 当代西方翻译理论选读[M]The Selection of Contemporary Western Translation Theories. 北京:外语教学与研究出版社Beijing: Foreign Language Teaching and Research Press,5-6. <br /> <br /> *Niu Ting. 牛婷(2014). 文化再现视角下许渊冲及理雅各的''Shijing''英译本研究[D] A Study on the English Versions of Shijing by Xu Yuanchong and James Legge from the Perspective of Cultural Reproduction. 西安:陕西师范大学Xian:Shaanxi Normal University. <br /> <br /> *Wen Jun, Hao Shujie. 文军, 郝淑杰(2011). 国内《诗经》英译研究二十年[J] Twenty Years of Research on the English Translation of Shijing. 外国语言文学Foreigh Language and Literature,(2):93-98.<br /> <br /> *Xu Yuanchong. 许渊冲(2020). Book of Poetry[M]. 北京:五洲传播出版社Beijing:China Intercontinental Press.<br /> <br /> *Xu Yuanchong. 许渊冲(1983). 再谈“意美、音美、形美”[J]The Second Discussion on &quot;beauty of meaning, sound and form&quot;. 外语学刊Foreign Language Journal,04:68. <br /> <br /> *Xu Yuanchong. 许渊冲(1987). 三谈“意美、音美、形美”[J]The Third Discussion on &quot;beauty of meaning, sound and form&quot;. 深圳:深圳大学学报(人文社会科学版)Shen Zhen: Journal of Shenzhen Univeristy(Humanities and Social Science Edition),02:70. <br /> <br /> *Xu Yuanchong. 许渊冲(2012). 再谈中国学派的文学翻译理论[J]The Second Discussion on Literary Translation Theories of Chinese School. 中国翻译Chinese Translators Journal,4:83-90. <br /> <br /> *Xu Yuanchong. 许渊冲(1990). 中诗英韵探胜[M]A Study on the English Rhythm of Chinese Poetry. 北京:北京大学出版社Beijing:Peking University Press.<br /> written by--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:40, 13 December 2021 (UTC)</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_3&diff=133523 2021-12-15T14:56:33Z

<p>Zhu Renduo: /* A Brief Introduction of the Two Versions of Shijing */</p> <hr /> <div>=Chapter 3:A Comparative Study of Two English Versions of ''Shijing'' from the Perspective of Functional Equivalence Theory=<br /> <br /> 饶金盈，Rao Jinying, Hunan Normal University, China<br /> <br /> ==Abstract==<br /> As the first general collection of poetry in ancient China, ''Shijing'' is unique in style and rich in words and phrases. The translation of Shijing has a history of several hundred years, and scholars at home and abroad have never interrupted the study of ''Shijing'', but the translation study of it is still in an initial stage. Nowadays, the multicultural background of the times highlights the contemporary significance of the study of the English translation of Shijing even more.<br /> <br /> This paper intends to apply Nida’ s functional equivalence theory to analyze the two versions of English translations by Xu Yuanchong and Jame Legge of ''Shijing'' from four perspectives: stylistics, rhythm, diction and imagery. The following conclusion can be drawn according to the analysis: ''Shijing'' has a unique style and rhyme scheme, so the translation should firstly achieve parity with the original text in terms of style and form, and secondly the harmony of sound and rhyme should be focused on, so that readers of the target text and readers of the original text will have a similar impression on the form of Shijing. Therefore, the translators should consider the words and phrases, and strive to reproduce the imagery of the original text or the emotion conveyed by that imagery while ensuring the fluency of the translation in order to achieve content equivalence.<br /> Key Words: ''Shijing'', English Translation, Functional Equivalence Theory<br /> <br /> <br /> ==Key Words==<br /> ''Shijing'', English Translation, Functional Equivalence Theory<br /> <br /> ==中文摘要==<br /> 《诗经》作为我国古代第一步诗歌总集，文体独特，词句丰富。《诗经》的翻译已经有几百年的历史，国内外学者对《诗经》的研究从未中断过，但《诗经》翻译研究仍处于起步阶段。<br /> 现如今，多元文化的时代背景更加突显《诗经》英译研究的当代意义。<br /> <br /> 本文旨在运用奈达的功能对等理论，从诗歌的文体、韵律、用词及意象四个角度，来分别对许渊冲和理雅各的《诗经》英译本进行分析，从而得出了以下结论：《诗经》中的诗歌有独特的文体和押韵方式，翻译时应首先在文体形式上达到与原文对等，其次应注重音韵的和谐，从而让译文读者与原文读者对《诗经》的形式有相似的印象。因此，译者应在词句上仔细斟酌，在确保译文流畅的同时争取再现原文意象或该意象所传达的情感，以达到内容对等。<br /> <br /> ==关键词==<br /> 《诗经》，英译，功能对等理论<br /> <br /> ==Introduction==<br /> Comparative study is of great significance in the study of literary texts in translation, especially in comparing different translation versions of a same literary work. However, it is necessary to first clarify the theoretical framework applied in it before a specific translation comparison analysis can be brought out. <br /> <br /> ==Eugene Nida’ s Functional Equivalence Theory==<br /> This paper in an attempt to analyze the two English versions of ''Shijing'' under the guidance of Eugene Nida’s functional equivalence theory. Functional Equivalence Theory, one of the most important and practical translation theories all around the world, especially in the United States and Germany, was proposed by Eugene A. Nida, the famous American linguist, translator, and translation theorist. This translation theory has affected the western translation field a lot, which led to the result that Eugene Nida is considered as “the patriarch of translation study and a founder of the discipline”(Snell Hornby, 1988).<br /> Originally known as dynamic equivalence and formal theory, the functional equivalence theory is one of the most outstanding contributions that Eugene Nida had made to the field of translation study. The theory was explained as “ translation is the reproduction of the message of the source language from semantics to style in the most appropriate, natural and reciprocal ways”(Nida Eugene, 1964:159), so as to set a standard for the conversion between source and target texts, and narrow the gap between the two. Nevertheless, before the theory was clearly defined in 1969, three stages of its development emerged. Finally, Nida defined the dynamic equivalence in his work The Theory and Practice of Translation as the “quality of a translation in which the message of the original texts has been so transported into the target texts that the response of the receptors is essentially like that of the original receptors”(Nida A. Eugene, Charles R. Tabler, 1969:200).<br /> <br /> Later, Nida realized that the concept of “dynamic equivalence” had been misunderstood. In order to avoid this phenomenon, he put forward the term “functional equivalence” in the book From One Language to Another written together with De Ward in 1986 to replace the dynamic equivalence. Functional equivalence emphasizes not only the equivalence between the function of the source culture in the source text and the equivalence of the target culture in the target text, but also that the “function” is considered to be a property of the text. What's more, the functional equivalence embodies both the equivalence of content and form. In another word, the first principle of functional equivalence is to ensure the target text is precisely equivalent to the source text, at the same time, the equivalence of translation style should also be taken into account by translators. The core of functional equivalence is also reflected in Nida’s definition of translating, “translating consists in reproducing in the receptor language the closest natural equivalence of the source language message, first in terms of meaning and secondly in terms of style”(Nida A. Eugene, Charles R. Tabler, 1982).<br /> <br /> <br /> This paper in an attempt to analyze the two English versions of ''Shijing'' under the guidance of Eugene Nida’s functional equivalence theory. Functional Equivalence Theory has affected the western translation field a lot, which led to the result that Eugene Nida is considered as “the patriarch of translation study and a founder of the discipline”(Snell Hornby, 1988).<br /> Originally known as dynamic equivalence and formal theory, the functional equivalence theory is one of the most outstanding contributions that Eugene Nida had made to the field of translation study. The theory was explained as “ translation is the reproduction of the message of the source language from semantics to style in the most appropriate, natural and reciprocal ways”(Nida Eugene, 1964:159), so as to set a standard for the conversion between source and target texts, and narrow the gap between the two. Nevertheless, before the theory was clearly defined in 1969, three stages of its development emerged. Finally, Nida defined the dynamic equivalence in his work The Theory and Practice of Translation as the “quality of a translation in which the message of the original texts has been so transported into the target texts that the response of the receptors is essentially like that of the original receptors”(Nida A. Eugene, Charles R. Tabler, 1969:200).<br /> <br /> Later, Nida realized that the concept of “dynamic equivalence” had been misunderstood. In order to avoid this phenomenon, he put forward the term “functional equivalence” in the book From One Language to Another written together with De Ward in 1986 to replace the dynamic equivalence. Functional equivalence emphasizes not only the equivalence between the function of the source culture in the source text and the equivalence of the target culture in the target text, but also that the “function” is considered to be a property of the text. What's more, the functional equivalence embodies both the equivalence of content and form. In another word, the first principle of functional equivalence is to ensure the target text is precisely equivalent to the source text, at the same time, the equivalence of translation style should also be taken into account by translators. The core of functional equivalence is also reflected in Nida’s definition of translating, “translating consists in reproducing in the receptor language the closest natural equivalence of the source language message, first in terms of meaning and secondly in terms of style”(Nida A. Eugene, Charles R. Tabler, 1982).--[[User:Zhu Renduo|Zhu Renduo]] ([[User talk:Zhu Renduo|talk]]) 14:49, 15 December 2021 (UTC)<br /> <br /> ==A Brief Introduction of the Two Versions of ''Shijing''==<br /> ''Shijing'', or ''The Book of Poetry'', ''Book of Odes'', is a collection of 305 pieces of poems from the Western Zhou Dynasty to the Eastern Zhou Dynasty. Generally, ''Shijing'' can be divided into three sections: Feng, Ya and Song according to different their contents respectively. One of the remarkable features of ''Shijing'' is the frequent use of simile and metaphor, and the application of “association”, which means starting a poem by drawing forth some images quite irrelevant to the central subjects. What’s more, ''Shijing'' contains a larger number of cultural characteristics, so it is hard to totally reproduce the source text in another language. Both of the following English versions has its own features with a lot of investigation and research by the two translators. <br /> <br /> ===Legge’ s Version===<br /> James Legge, a Scottish missionary, a scholar of sinology and founder of bilingual education system in Hong Kong, was best known as one of the earliest translators of Chinese texts into English. He started his translation including various volumes of Chinese classic texts, such as ''The She King''（《诗经》）, ''The Tao Te Ching''（《道德经》）, ''The Analects''（《论语》）, ''The Work of Mencius''（《孟子》）. Due to his prolificacy in translation, he had translated completely The Four Books and Five Classics, becoming the first western sinologist independently and perfectly translating the Confucian classic texts into European language.<br /> Legge’ s translation acquired its honour for strict faithfulness to the original texts and has been considered as “a standard translation” (李霜, 2004: 9-10). <br /> <br /> As for ''Shijing'', Legge accomplished his verbal version of it when he resided in Hong Kong and had it published in 1987. In this version, Legge applied the translation method of “word for word”, “sentence for sentence”, and “stanza by stanza” (姜燕, 2010:25), which probably prompted Chinese learners or scholars and specialists to attend to explore ancient Chinese culture and understand Chinese academics. Owing to the primary concern focused on the accuracy of concepts and the expectation of a very precise translation of the original text in his translation, other distinct features of Chinese poetry were neglected and not well transformed into the corresponding target text, even if being discussed in the preface. Also, the focus on aesthetics in Legge’ s translation of Shijing is comparatively inadequate.<br /> <br /> ===Xu Yuanchong’ s Version===<br /> Xu Yuanchong, a native Chinese translator, was famous for his translation of ancient Chinese poems into English and French. In 1938, he entered National Southwest Associated University and studied in the Department of Foreign Languages. Later, he was admitted to the Foreign Literature Institute of Tsinghua University. Then he was hired as a professor in English and French, and worked in Peking University from 1983 to 2021. He had translated more than sixty works, making outstanding contribution to Chinese poetry translation field. <br /> <br /> Based on extensive practice and rich experience of poetry translation and inheritance of predecessors’ theories of literature and arts, he puts forward the Three Beauties Principle in translation of poetry, that is, beauty in sense, beauty in sound and beauty in form. He emphasized that a translator should try his best to convert the beauty in sense, sound, and form of the original works into the target works when translating poems (许渊冲, 1990). What’s more, beauty in sense is of first importance among the three principles, followed by beauty in sound and then beauty in form. In addition to the Tree Beauties Principle, Xu proposed that the translation practice is the only criterion for testing translation (许渊冲, 2021:83) under the guidance of “faithfulness” and “expressiveness”.<br /> Xu Yuanchong’ s version of ''Shijing'' is characterized by its capacity to convey the beauty of sound as much as possible. Faced with the controversy of whether rhyme should be omitted in pursuit of the correct expression of meaning, he argued that rhyme might obstacle rhetoric in some cases, but the absence of rhyme would inevitably lead to a loss of beauty in the translation as a whole. So he insists on rhyming to make the work readable, which not only ensures comprehensibility of readers but also delights them.<br /> <br /> <br /> <br /> Legge’ s Version<br /> <br /> As for ''Shijing'', Legge accomplished his verbal version of it when he resided in Hong Kong and had it published in 1987. In this version, Legge applied the translation method of “word for word”, “sentence for sentence”, and “stanza by stanza” (姜燕, 2010:25), which probably prompted Chinese learners or scholars and specialists to attend to explore ancient Chinese culture and understand Chinese academics. Owing to the primary concern focused on the accuracy of concepts and the expectation of a very precise translation of the original text in his translation, other distinct features of Chinese poetry were neglected and not well transformed into the corresponding target text, even if being discussed in the preface. Also, the focus on aesthetics in Legge’ s translation of Shijing is comparatively inadequate.<br /> <br /> Xu Yuanchong’ s Version<br /> <br /> Based on extensive practice and rich experience of poetry translation and inheritance of predecessors’ theories of literature and arts, he puts forward the Three Beauties Principle in translation of poetry, that is, beauty in sense, beauty in sound and beauty in form. He emphasized that a translator should try his best to convert the beauty in sense, sound, and form of the original works into the target works when translating poems (许渊冲, 1990). What’s more, beauty in sense is of first importance among the three principles, followed by beauty in sound and then beauty in form. In addition to the Tree Beauties Principle, Xu proposed that the translation practice is the only criterion for testing translation (许渊冲, 2021:83) under the guidance of “faithfulness” and “expressiveness”.<br /> Xu Yuanchong’ s version of ''Shijing'' is characterized by its capacity to convey the beauty of sound as much as possible. Faced with the controversy of whether rhyme should be omitted in pursuit of the correct expression of meaning, he argued that rhyme might obstacle rhetoric in some cases, but the absence of rhyme would inevitably lead to a loss of beauty in the translation as a whole. So he insists on rhyming to make the work readable, which not only ensures comprehensibility of readers but also delights them.<br /> <br /> ==Literature Review==<br /> This chapter illustrates the previous studies on the English translation of ''Shijing'', including the foreign studies and domestic studies respectively. And also, a brief summary will be made to points out the shortcomings or gaps of previous research and put forward the main contents and innovation of the current study.<br /> <br /> ===Foreign Studies on the English Translation of ''Shijing''===<br /> Due to its historical and cultural importance, ''Shijing'' has been the focus or attention for many sinologists as cultural exchanges between China and the West. As a result, ''Shijing'' has a long history of dissemination in the West, nearly 400 years old. A large number of English versions have been published. Today, ''Shijing'' have spread around the world in dozens of languages, influencing world cultural history and becoming an important cultural heritage for all mankind. The first English-language anthology of ''Shijing'' was completed by Sir William Jones in 1785. He first translated some of the Psalms into Latin prose poetry and rhymed verse. He then translated both versions into English, and in 1876 James Legge retranslated ''Shijing'' in rhymed verse for publication in London. In short, from the end of the 19th century to the beginning of the 20th century, many excellent anthologies of ''Shijing'' translation appeared.<br /> <br /> For a long time, the study of ''Shijing'' has been centered on Europe. With the great cultural value of ''Shijing'' and its influence in the West, an academic boom in the study of ''Shijing'' has gradually spread from Europe the United States. Among the many scholars who have studied the English translation of ''Shijing'', Ezra Pound is an important representative. Although he knew little about Chinese, he had a deep affection for the ancient culture of China and Japan. He published a series of translations based on the culture. The most influential early translation was ''Cathay'', which was published in 1915. In ''Cathay'', he translated a dozen ancient Chinese poems, including some from ''Shijing''. Considering the difficulty of understanding the poems, Pound used the method of adding notes and making annotations. Two different translations of a poem were made to compensate for the difficulty in expressing the content. Moreover, Pound greatly admired the imagery of classical Chinese poetry and he was the first poet to translate ''Shijing'' in free verse style. The main elements of Pound’s theory of Imagism are: poetry should be concrete and avoid abstraction; in form, poetry should be line oriented; language should be refined, etc. It is clear that Pound’s poetry translation emphasizes creativity. <br /> <br /> Research on the English translation of ''Shijing'' continued in the United States into the second half of the 20th century. William McNaughton published a complete English version of ''Shijing''. John. A. Turner (1976) selectively translated several poems from ''Shijing'', which were collected in ''A Golden Treasury of Chinese Poetry''. Burton Watson (1984) also translated some poems from ''Shijing''. A number of poems from ''Shijing'' are also translated in his work, ''The Columbia Book of Chinese Poetry: From Early Times to the Thirteenth Century''.<br /> <br /> ===Domestic Studies on the English Translation of ''Shijing''===<br /> Since the 1980s, with the promotion of economic reform and opening up and the need for cultural exchanges between China and foreign countries, there has been a boom in the translation of Chinese classics into foreign languages. ''Shijing'' have also been included in these classics. There are six versions of English translation of Shijing in China. It can be divided into selected translations and complete translations. The translators who published selected translations of ''Shijing'' include Yang Xiangyi and Gladys Taylor (1983) and Ding Zuxin and Burton Raffel (1986). Xu Yuanchong (1992). Xu Yuanchong (1993), Wang Rongpei and Ren Xihua (1995), and An Zengcai (2000) finished complete version of ''Shijing''. These works have had a great influence on the English translation of ''Shijing'' in China, and the complete edition of ''Shijing'' translated by Xu Yuanchong (1993) is known as one of the most classic versions.<br /> <br /> Although there are few English versions of ''Shijing'' in China, many scholars are engaged in the study of these versions. It can be divided into three main parts to illustrate the history of its development. They are the spread of ''Shijing'' abroad, the three stages of the development of ''Shijing'' in the West, and an overview of the development of the study of ''Shijing'' in Japan. Fan Cunzhong (1981) published a paper on “Chinese Poetry and English Translation” in Foreign Language Journal, which focuses on the theories and ideas of some translators, such as William Jones, Herbert A. Giles, Arthur Waley and other American translators. Zhou Faxiang (1993) provides an overview of the dissemination and study of the ''Shijing'' in the West from both a vertical and horizontal perspective. Shan Qing (1995) briefly summarizes the dissemination and English translation studies of ''Shijing'' in the West. Wang Rongpei (1995) lists some excellent English versions of ''Shijing'' at home and abroad. Xia Chuancai (1997) studied the development of ''Shijing'' abroad. <br /> <br /> In the 21st century, scholars have gradually shifted the focus of their research on the English translation of ''Shijing'' from abroad to at home. At the end of the last century, Chinese translators also published English versions of ''Shijing'', and scholars began to analyze the English translation of ''Shijing'' in conjunction with the domestic English versions. Li Yuliang and Wang Hongyin (2006) reviewed and looked forward to the research on the English version of ''Shijing'' at home and abroad. He believes that the research focuses on five aspects: the study of translation, the study of translators, the study of translation methods, the comparison of editions, and the comprehensive study. He also put forward the problems in the study of ''Shijing'' and suggestions for future research on the translation of it. Wen, Jun, and Hao, Shujie (2011) studied domestic studies of the English versions of ''Shijing'' published from 1980 to 2010. They conducted statistical analysis and discussion on translators, editions, and dissemination. Li Guangwei and Yue Feng (2019) conducted an ephemeral study of English translations and English editions of ''Shijing'' in China and abroad. They analyzed the existing problems and proposed future research prospects. For example, the translation study of ''Shijing'' is integrated with national strategies to promote interdisciplinary research in order to improve the science level of ''Shijing''.<br /> <br /> From the perspective of translation typology, Zuo Yan (2020), in a recently published paper, provides a structural grasp of the English translations of ''Shijing''. He divides these English versions into two major categories: documentary and literary versions. In a word, Scholars have sorted out the sequence of ideas in the study and development of the English translations of ''Shijing'' from an overall macroscopic perspective in accordance with the chronological development, which is conducive to a clearer understanding and grasp of the translation history of ''Shijing''.<br /> <br /> ==A Comparative Study of the Two English Versions==<br /> According to the functional equivalence theory, formal and functional equivalence should be achieved as far as possible so as to make the target readers appreciate the target text in a similar way as the original readers enjoy the original text. This chapter is going to analyze the two English versions of ''Shijing'' from the facets of formal equivalence and functional equivalence. Stylistics and rhyme are more appropriate to be analyzed from the aspect of formal equivalence, because they are obviously exterior elements of poetry. However, the content and meaning of poetry, no matter being more implicit or explicit, are more associated with functional equivalence. In other words, there are four elements of a poem discussed in this paper: stylistics, rhyme, diction and imagery.<br /> <br /> ===Formal Equivalence ===<br /> This paper will make good use of formal equivalence as a fundamental criteria to analyze the two English versions of ''Shijing''. In particular, the analysis is divided into two parts: stylistics and rhyme.<br /> <br /> ====Stylistics====<br /> As demonstrated in the book ''Stylistics: A Resource Book for Students''(Simpson and Paul,2004), stylistics is a method of textual interpretation in which priority is laid on language, and is a study and interpretation of texts concerning their linguistic and tonal style. Therefore, it does not exist as an subset by itself, but can be applied to the comprehension of literary works and also linguistics.<br /> An example from Shijing is as follows:<br /> 相鼠有皮，人而无仪！人而无仪，不死何为？<br /> 相鼠有齿，人而无止！人而无止，不死何俟？<br /> 相鼠有体，人而无礼，人而无礼！胡不遄死？<br /> ——《国风·鄘风·相鼠》<br /> Xu’s: <br /> The rat has skin, you see? <br /> Man must have decency. <br /> If he lacks decency, <br /> Worse than death it would be. <br /> <br /> The rat has teeth, you see? <br /> Man must have dignity. <br /> If he lacks dignity, <br /> For what but death waits he? <br /> <br /> The rat has limbs, you see? <br /> Man must have propriety. <br /> Without propriety, <br /> It’s better dead to be. <br /> <br /> Legges’s: <br /> Look at a rat,—it has its skin; <br /> But a man shall be without dignity of demeanor. <br /> If a man have no dignity of demeanor, <br /> What should he do but die? <br /> <br /> Look at a rat,—it has its teeth; <br /> But a man shall be without any right deportment. <br /> If a man have have not right deportment, <br /> What should he wait for but death? <br /> <br /> Look at a rat,—it has its skin; <br /> But a man shall be without any rules of propriety. <br /> If a man observe no rules of propriety, <br /> Why does he not quickly die?<br /> <br /> Both of the two versions adopted the style of three stanzas with four lines in each stanza, which in line with the original text. Therefore, we can draw the conclusion that formal equivalence is achieved in both versions. Western readers are able to form their first impression that this is a poem, which is exactly the nature of ''Shijing'', not any other genres of literature. And the reaction is similar to Chinese who read ''Shijing'' for the first time. Stylistics of literary works is an exterior element easy for readers to grasp. With the achievement of equivalence in form, both domestic and foreign readers gain similar reaction and feeling, and then the elementary success of translation has been realized. Both translators did a good job on this point.<br /> <br /> ====Rhyme====<br /> A rhyme is the repetition of the same or similar sound in two or more words, usually applied to the final syllables of lines in a stanza or a poem(许渊冲,1990). If two words have the same stressed syllable followed by an unstressed syllable, dependent on the number of syllables included in a rhyme and the position of the final stressed syllable, such as “madness and sadness”, we can name it as a double rhyme. It is obvious that the application of rhyme can make a poem read cadent and sound pleasant and then prompt readers to have a deeper impression on a poem, memorize it more easily and enjoy it more thoroughly.<br /> <br /> As for the analysis of rhyme in poetry, the rhyme scheme is inevitably taken into consider. It is the patterns of rhymes appearing at the end of each line in a poem and analyzed by using letters “a” and “b” to indicate rhyme of lines. In English poetry, the most common rhyme schemes include alternative rhyme, enclosing rhyme and couplet rhyme and so on.<br /> An example from ''Shijing'' is as follows:<br /> 何彼襛矣，唐棣之华！曷不肃雝？王姬之车。 <br /> 何彼襛矣，华如桃李！平王之孙，齐侯之子。 <br /> ——《召南·何彼襛矣》 <br /> Xu’s: <br /> Luxuriant in spring <br /> As plum flowers o/er water, <br /> How are revere the string <br /> Of cabs for the king”s daughter! <br /> <br /> Luxuriant in spring <br /> As the peach flowers red, <br /> The daughter of the king <br /> To a marquis’ son is wed. <br /> <br /> Legge’s:<br /> How great is that luxuriance, <br /> Those flowers of the sparrow-plum! <br /> Are they not expressive of reverence and harmony,— <br /> The carriages of the king’s daughter? <br /> <br /> How great is that luxuriance, <br /> The flowers like those of the peach-tree or the plum! <br /> (See) the grand-daughter of the tranquilizing king, <br /> And the son of the reverent marquis!<br /> <br /> In the two versions of translation, Xu’s adopted alternative rhyme with the first line rhyming the third line and the second line rhyming the forth line in each stanza. The first and forth lines in the first stanza applied a double rhyme [ɔːtə], while the rest lines applied a single rhyme, that is respectively [ed] and [ɪŋ]. By using rhyme, the beauty of sound in the original text can be conserved in the target text, which makes it easier for the western readers to grasp the beauty of ancient Chinese works. <br /> <br /> On the contrary, Legge’s version was presented in a free style, focusing on a strictly precise correspondence between the original text and the target text while lacking the utilization of rhyme. His translation of the poem lacks beauty of sound which results in the failure of presenting the same beauty of sound those readers of the original text can acquire to the western readers.<br /> <br /> ===Functional Equivalence===<br /> Apart from the equivalence of form in translation, Nida also emphasizes the great significance of functional equivalence in his theory. Therefore, equivalence of content and meaning which are bound up with functional equivalence will be discussed in this section. The explicit and implicit meaning are going to be discussed in the part “diction” and “imagery” respectively.<br /> <br /> ====Diction====<br /> The “diction” originally means “a saying, expression, word”, but now it refers to <br /> the writers’ or the speakers’ distinctive vocabulary choices and style of expression in a poem or story(Nida,1969). <br /> An example from ''Shijing'' is as follows:<br /> 关关雎鸠，在河之洲。窈窕淑女，君子好逑。 <br /> ——《周南·关雎》 <br /> Xu’s: <br /> By riverside a pair <br /> Of turtledoves are cooing; <br /> There is a maiden fair <br /> Whom a young man is wooing. <br /> <br /> Legge’s: <br /> Kwan kwan go the ospreys, <br /> On the islet in the river. <br /> The modest , retiring, virtuous, young lady: ─ <br /> For our prince a good mate she.<br /> <br /> In the first line, “关关” can be explained as a kind of bird call or mutual responding between male and female”. Legge’s transliteration “Kwan kwan” is witty enough to focus on bird’s calling for love, but the verb “go” weakens the poetic quality and flavor of the whole verse. Xu’s version adopts “cooing”, which not only rhymes with “wooing”, but also maintains the spirituality of original text. <br /> Another datable issue is the choice of word for translating “淑女” and “君子”. In Legge’s version, “淑女” is understood as an elegant royal “lady”. <br /> However, the verse here presents the contenting wooing and call for love between man and woman. Thus, it is more suitable to consider “淑女” as a young and unmarried girl. Xu’s version adopts “maiden”, which is more in line with the style of poetry. Moreover, “君子” refers to an ordinary man, not an emperor or prince, so the adoption of “a young man” is more close to the original text from the aspect of function equivalence than “prince” in Legge’s version. In other words, the western readers can obtain the same information and feeling as the readers of the original text do by reading Xu’s version of this verse.<br /> <br /> ====Imagery====<br /> Imagery, an important element in literature, means the utilization of vivid and concrete description to attach extensive meanings to the sentences or diction in works(许渊冲,1990). The major types of imagery include auditory imagery, visual imagery and so on. This sector will presents a discussion on the equivalence of imagery between original texts and target texts in the two English versions of ''Shijing''.<br /> An example from ''Shijing'' is as follows:<br /> 桑之未落，其叶沃若。 <br /> 桑之落矣，其黄而陨。 <br /> ——《卫风·氓》<br /> Xu’s: <br /> How fresh were mulberries, <br /> With their fruit on the trees. <br /> The mulberries appear, <br /> With yellow leaves and sear.<br /> <br /> Legge’s: <br /> Before the mulberry tree has shed its leaves, <br /> How rich and glossy are they. <br /> When the mulberry tree sheds its leaves, <br /> They fall yellow on the ground.<br /> <br /> Plants play an important role in implying special meanings in literature, especially for people lived in ancient society. As for this poem, the luxuriant leaves of white mulberry symbolize the woman in her youth, and the blasted leaves symbolize the aging woman. This kind of metaphor is common and universal that both the readers of the original text and the target text can comprehend it if translators reproduce the meanings of imagery to a great extent. <br /> <br /> Legge’s version is loyal to the original text as far as possible, mentioning “mulberry tree” and “leaves”. Nevertheless, Xu describes the fruit of mulberry in his version, which makes the meaning of mature mulberry more explicit. As a result, the reproduction of the meanings of imagery mulberry is more complete in the target text for readers to obtain the similar or the same feeling as readers of the original text do. To summarize, the functional equivalence of imagery mulberry is achieved more thoroughly in Xu’s translation of this poem.<br /> <br /> ==Conclusion==<br /> Under the guidance of the functional equivalence theory, the paper picks up “whether readers of target texts obtain the similar or same feeling as readers of original texts do” as a criteria to analyze Xu Yuanchong’s and James Legge’s English versions of ''Shijing''. Eugene Nida’s functional equivalence theory emphasizes not only the equivalence of form but also function in order to make readers of target texts respond in a way as similar as readers of original texts do. <br /> As an ancient collections of poems in China, ''Shijing'' is characterized by remarkable stylistics and rhymes, which reflects the priority of formal equivalence in the translation process of it. Moreover, based on the construction of form, translators should also take the selection of diction into consideration, promoting target texts to be logical and fluent, and also reproduce the meanings, thoughts and emotions of original texts. Only in this way can readers of target texts gain the similar or same feeling as readers of original texts do, that is, the equivalence of form and function are achieved as far as possible.<br /> <br /> With the rapid development of globalization process, multiple aspects of our life will be integrated into the whole world, especially culture. Thus, the cultural communication between China and other countries is bond to be more direct and frequent. Studies on ancient Chinese classic works, such as ''Shijing'', can build a bridge across China and other countries to push the cultural communication to a further step.<br /> <br /> ==References==<br /> *Forbes Andrew,Henley,David（2012). James Legge——A short biography[M]. Chiang Mai:Cognoscenti Books,56. <br /> <br /> *James Legge(2011). THE SHE KING[M]. 北京:外语教学与研究出社Beijing:Foreign Language Teaching and Research Press,53-117. <br /> <br /> *Nida Eugene A(1993). Language, Culture and Translating[M]. 上海:上海外语教育出版社Shanghai: Shanghai Foreign Lnaguage Education Press,87. <br /> <br /> *Nida Eugene A, Charles R. Taber(1969). The Theory and Practice of Translation, With Special Reference to Bible Translating[M]. Leiden:Brill,200. <br /> <br /> *Simpson, Paul(2004). Stylistics: A resource book for students[M]. New York:Routledge,2. <br /> <br /> *Snell-Hornby(1988). Translation studies:An integrated approach[M]. Amsterdam:John Benjamins.<br /> <br /> *Jiang Yan.姜燕(2010). 理雅各Shijing英译[D]The English Translation Version of Shijing by Legge. 济南:山东大学Jinan:Shandong University,2. <br /> <br /> *Ma Huijuan, Miao Ju.马会娟, 苗菊(2011). 当代西方翻译理论选读[M]The Selection of Contemporary Western Translation Theories. 北京:外语教学与研究出版社Beijing: Foreign Language Teaching and Research Press,5-6. <br /> <br /> *Niu Ting. 牛婷(2014). 文化再现视角下许渊冲及理雅各的''Shijing''英译本研究[D] A Study on the English Versions of Shijing by Xu Yuanchong and James Legge from the Perspective of Cultural Reproduction. 西安:陕西师范大学Xian:Shaanxi Normal University. <br /> <br /> *Wen Jun, Hao Shujie. 文军, 郝淑杰(2011). 国内《诗经》英译研究二十年[J] Twenty Years of Research on the English Translation of Shijing. 外国语言文学Foreigh Language and Literature,(2):93-98.<br /> <br /> *Xu Yuanchong. 许渊冲(2020). Book of Poetry[M]. 北京:五洲传播出版社Beijing:China Intercontinental Press.<br /> <br /> *Xu Yuanchong. 许渊冲(1983). 再谈“意美、音美、形美”[J]The Second Discussion on &quot;beauty of meaning, sound and form&quot;. 外语学刊Foreign Language Journal,04:68. <br /> <br /> *Xu Yuanchong. 许渊冲(1987). 三谈“意美、音美、形美”[J]The Third Discussion on &quot;beauty of meaning, sound and form&quot;. 深圳:深圳大学学报(人文社会科学版)Shen Zhen: Journal of Shenzhen Univeristy(Humanities and Social Science Edition),02:70. <br /> <br /> *Xu Yuanchong. 许渊冲(2012). 再谈中国学派的文学翻译理论[J]The Second Discussion on Literary Translation Theories of Chinese School. 中国翻译Chinese Translators Journal,4:83-90. <br /> <br /> *Xu Yuanchong. 许渊冲(1990). 中诗英韵探胜[M]A Study on the English Rhythm of Chinese Poetry. 北京:北京大学出版社Beijing:Peking University Press.<br /> written by--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:40, 13 December 2021 (UTC)</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_3&diff=133514 2021-12-15T14:49:41Z

<p>Zhu Renduo: /* Eugene Nida’ s Functional Equivalence Theory */</p> <hr /> <div>=Chapter 3:A Comparative Study of Two English Versions of ''Shijing'' from the Perspective of Functional Equivalence Theory=<br /> <br /> 饶金盈，Rao Jinying, Hunan Normal University, China<br /> <br /> ==Abstract==<br /> As the first general collection of poetry in ancient China, ''Shijing'' is unique in style and rich in words and phrases. The translation of Shijing has a history of several hundred years, and scholars at home and abroad have never interrupted the study of ''Shijing'', but the translation study of it is still in an initial stage. Nowadays, the multicultural background of the times highlights the contemporary significance of the study of the English translation of Shijing even more.<br /> <br /> This paper intends to apply Nida’ s functional equivalence theory to analyze the two versions of English translations by Xu Yuanchong and Jame Legge of ''Shijing'' from four perspectives: stylistics, rhythm, diction and imagery. The following conclusion can be drawn according to the analysis: ''Shijing'' has a unique style and rhyme scheme, so the translation should firstly achieve parity with the original text in terms of style and form, and secondly the harmony of sound and rhyme should be focused on, so that readers of the target text and readers of the original text will have a similar impression on the form of Shijing. Therefore, the translators should consider the words and phrases, and strive to reproduce the imagery of the original text or the emotion conveyed by that imagery while ensuring the fluency of the translation in order to achieve content equivalence.<br /> Key Words: ''Shijing'', English Translation, Functional Equivalence Theory<br /> <br /> <br /> ==Key Words==<br /> ''Shijing'', English Translation, Functional Equivalence Theory<br /> <br /> ==中文摘要==<br /> 《诗经》作为我国古代第一步诗歌总集，文体独特，词句丰富。《诗经》的翻译已经有几百年的历史，国内外学者对《诗经》的研究从未中断过，但《诗经》翻译研究仍处于起步阶段。<br /> 现如今，多元文化的时代背景更加突显《诗经》英译研究的当代意义。<br /> <br /> 本文旨在运用奈达的功能对等理论，从诗歌的文体、韵律、用词及意象四个角度，来分别对许渊冲和理雅各的《诗经》英译本进行分析，从而得出了以下结论：《诗经》中的诗歌有独特的文体和押韵方式，翻译时应首先在文体形式上达到与原文对等，其次应注重音韵的和谐，从而让译文读者与原文读者对《诗经》的形式有相似的印象。因此，译者应在词句上仔细斟酌，在确保译文流畅的同时争取再现原文意象或该意象所传达的情感，以达到内容对等。<br /> <br /> ==关键词==<br /> 《诗经》，英译，功能对等理论<br /> <br /> ==Introduction==<br /> Comparative study is of great significance in the study of literary texts in translation, especially in comparing different translation versions of a same literary work. However, it is necessary to first clarify the theoretical framework applied in it before a specific translation comparison analysis can be brought out. <br /> <br /> ==Eugene Nida’ s Functional Equivalence Theory==<br /> This paper in an attempt to analyze the two English versions of ''Shijing'' under the guidance of Eugene Nida’s functional equivalence theory. Functional Equivalence Theory, one of the most important and practical translation theories all around the world, especially in the United States and Germany, was proposed by Eugene A. Nida, the famous American linguist, translator, and translation theorist. This translation theory has affected the western translation field a lot, which led to the result that Eugene Nida is considered as “the patriarch of translation study and a founder of the discipline”(Snell Hornby, 1988).<br /> Originally known as dynamic equivalence and formal theory, the functional equivalence theory is one of the most outstanding contributions that Eugene Nida had made to the field of translation study. The theory was explained as “ translation is the reproduction of the message of the source language from semantics to style in the most appropriate, natural and reciprocal ways”(Nida Eugene, 1964:159), so as to set a standard for the conversion between source and target texts, and narrow the gap between the two. Nevertheless, before the theory was clearly defined in 1969, three stages of its development emerged. Finally, Nida defined the dynamic equivalence in his work The Theory and Practice of Translation as the “quality of a translation in which the message of the original texts has been so transported into the target texts that the response of the receptors is essentially like that of the original receptors”(Nida A. Eugene, Charles R. Tabler, 1969:200).<br /> <br /> Later, Nida realized that the concept of “dynamic equivalence” had been misunderstood. In order to avoid this phenomenon, he put forward the term “functional equivalence” in the book From One Language to Another written together with De Ward in 1986 to replace the dynamic equivalence. Functional equivalence emphasizes not only the equivalence between the function of the source culture in the source text and the equivalence of the target culture in the target text, but also that the “function” is considered to be a property of the text. What's more, the functional equivalence embodies both the equivalence of content and form. In another word, the first principle of functional equivalence is to ensure the target text is precisely equivalent to the source text, at the same time, the equivalence of translation style should also be taken into account by translators. The core of functional equivalence is also reflected in Nida’s definition of translating, “translating consists in reproducing in the receptor language the closest natural equivalence of the source language message, first in terms of meaning and secondly in terms of style”(Nida A. Eugene, Charles R. Tabler, 1982).<br /> <br /> <br /> This paper in an attempt to analyze the two English versions of ''Shijing'' under the guidance of Eugene Nida’s functional equivalence theory. Functional Equivalence Theory has affected the western translation field a lot, which led to the result that Eugene Nida is considered as “the patriarch of translation study and a founder of the discipline”(Snell Hornby, 1988).<br /> Originally known as dynamic equivalence and formal theory, the functional equivalence theory is one of the most outstanding contributions that Eugene Nida had made to the field of translation study. The theory was explained as “ translation is the reproduction of the message of the source language from semantics to style in the most appropriate, natural and reciprocal ways”(Nida Eugene, 1964:159), so as to set a standard for the conversion between source and target texts, and narrow the gap between the two. Nevertheless, before the theory was clearly defined in 1969, three stages of its development emerged. Finally, Nida defined the dynamic equivalence in his work The Theory and Practice of Translation as the “quality of a translation in which the message of the original texts has been so transported into the target texts that the response of the receptors is essentially like that of the original receptors”(Nida A. Eugene, Charles R. Tabler, 1969:200).<br /> <br /> Later, Nida realized that the concept of “dynamic equivalence” had been misunderstood. In order to avoid this phenomenon, he put forward the term “functional equivalence” in the book From One Language to Another written together with De Ward in 1986 to replace the dynamic equivalence. Functional equivalence emphasizes not only the equivalence between the function of the source culture in the source text and the equivalence of the target culture in the target text, but also that the “function” is considered to be a property of the text. What's more, the functional equivalence embodies both the equivalence of content and form. In another word, the first principle of functional equivalence is to ensure the target text is precisely equivalent to the source text, at the same time, the equivalence of translation style should also be taken into account by translators. The core of functional equivalence is also reflected in Nida’s definition of translating, “translating consists in reproducing in the receptor language the closest natural equivalence of the source language message, first in terms of meaning and secondly in terms of style”(Nida A. Eugene, Charles R. Tabler, 1982).--[[User:Zhu Renduo|Zhu Renduo]] ([[User talk:Zhu Renduo|talk]]) 14:49, 15 December 2021 (UTC)<br /> <br /> ==A Brief Introduction of the Two Versions of ''Shijing''==<br /> ''Shijing'', or ''The Book of Poetry'', ''Book of Odes'', is a collection of 305 pieces of poems from the Western Zhou Dynasty to the Eastern Zhou Dynasty. Generally, ''Shijing'' can be divided into three sections: Feng, Ya and Song according to different their contents respectively. One of the remarkable features of ''Shijing'' is the frequent use of simile and metaphor, and the application of “association”, which means starting a poem by drawing forth some images quite irrelevant to the central subjects. What’s more, ''Shijing'' contains a larger number of cultural characteristics, so it is hard to totally reproduce the source text in another language. Both of the following English versions has its own features with a lot of investigation and research by the two translators. <br /> <br /> ===Legge’ s Version===<br /> James Legge, a Scottish missionary, a scholar of sinology and founder of bilingual education system in Hong Kong, was best known as one of the earliest translators of Chinese texts into English. He started his translation including various volumes of Chinese classic texts, such as ''The She King''（《诗经》）, ''The Tao Te Ching''（《道德经》）, ''The Analects''（《论语》）, ''The Work of Mencius''（《孟子》）. Due to his prolificacy in translation, he had translated completely The Four Books and Five Classics, becoming the first western sinologist independently and perfectly translating the Confucian classic texts into European language.<br /> Legge’ s translation acquired its honour for strict faithfulness to the original texts and has been considered as “a standard translation” (李霜, 2004: 9-10). <br /> <br /> As for ''Shijing'', Legge accomplished his verbal version of it when he resided in Hong Kong and had it published in 1987. In this version, Legge applied the translation method of “word for word”, “sentence for sentence”, and “stanza by stanza” (姜燕, 2010:25), which probably prompted Chinese learners or scholars and specialists to attend to explore ancient Chinese culture and understand Chinese academics. Owing to the primary concern focused on the accuracy of concepts and the expectation of a very precise translation of the original text in his translation, other distinct features of Chinese poetry were neglected and not well transformed into the corresponding target text, even if being discussed in the preface. Also, the focus on aesthetics in Legge’ s translation of Shijing is comparatively inadequate.<br /> <br /> ===Xu Yuanchong’ s Version===<br /> Xu Yuanchong, a native Chinese translator, was famous for his translation of ancient Chinese poems into English and French. In 1938, he entered National Southwest Associated University and studied in the Department of Foreign Languages. Later, he was admitted to the Foreign Literature Institute of Tsinghua University. Then he was hired as a professor in English and French, and worked in Peking University from 1983 to 2021. He had translated more than sixty works, making outstanding contribution to Chinese poetry translation field. <br /> <br /> Based on extensive practice and rich experience of poetry translation and inheritance of predecessors’ theories of literature and arts, he puts forward the Three Beauties Principle in translation of poetry, that is, beauty in sense, beauty in sound and beauty in form. He emphasized that a translator should try his best to convert the beauty in sense, sound, and form of the original works into the target works when translating poems (许渊冲, 1990). What’s more, beauty in sense is of first importance among the three principles, followed by beauty in sound and then beauty in form. In addition to the Tree Beauties Principle, Xu proposed that the translation practice is the only criterion for testing translation (许渊冲, 2021:83) under the guidance of “faithfulness” and “expressiveness”.<br /> Xu Yuanchong’ s version of ''Shijing'' is characterized by its capacity to convey the beauty of sound as much as possible. Faced with the controversy of whether rhyme should be omitted in pursuit of the correct expression of meaning, he argued that rhyme might obstacle rhetoric in some cases, but the absence of rhyme would inevitably lead to a loss of beauty in the translation as a whole. So he insists on rhyming to make the work readable, which not only ensures comprehensibility of readers but also delights them.<br /> <br /> ==Literature Review==<br /> This chapter illustrates the previous studies on the English translation of ''Shijing'', including the foreign studies and domestic studies respectively. And also, a brief summary will be made to points out the shortcomings or gaps of previous research and put forward the main contents and innovation of the current study.<br /> <br /> ===Foreign Studies on the English Translation of ''Shijing''===<br /> Due to its historical and cultural importance, ''Shijing'' has been the focus or attention for many sinologists as cultural exchanges between China and the West. As a result, ''Shijing'' has a long history of dissemination in the West, nearly 400 years old. A large number of English versions have been published. Today, ''Shijing'' have spread around the world in dozens of languages, influencing world cultural history and becoming an important cultural heritage for all mankind. The first English-language anthology of ''Shijing'' was completed by Sir William Jones in 1785. He first translated some of the Psalms into Latin prose poetry and rhymed verse. He then translated both versions into English, and in 1876 James Legge retranslated ''Shijing'' in rhymed verse for publication in London. In short, from the end of the 19th century to the beginning of the 20th century, many excellent anthologies of ''Shijing'' translation appeared.<br /> <br /> For a long time, the study of ''Shijing'' has been centered on Europe. With the great cultural value of ''Shijing'' and its influence in the West, an academic boom in the study of ''Shijing'' has gradually spread from Europe the United States. Among the many scholars who have studied the English translation of ''Shijing'', Ezra Pound is an important representative. Although he knew little about Chinese, he had a deep affection for the ancient culture of China and Japan. He published a series of translations based on the culture. The most influential early translation was ''Cathay'', which was published in 1915. In ''Cathay'', he translated a dozen ancient Chinese poems, including some from ''Shijing''. Considering the difficulty of understanding the poems, Pound used the method of adding notes and making annotations. Two different translations of a poem were made to compensate for the difficulty in expressing the content. Moreover, Pound greatly admired the imagery of classical Chinese poetry and he was the first poet to translate ''Shijing'' in free verse style. The main elements of Pound’s theory of Imagism are: poetry should be concrete and avoid abstraction; in form, poetry should be line oriented; language should be refined, etc. It is clear that Pound’s poetry translation emphasizes creativity. <br /> <br /> Research on the English translation of ''Shijing'' continued in the United States into the second half of the 20th century. William McNaughton published a complete English version of ''Shijing''. John. A. Turner (1976) selectively translated several poems from ''Shijing'', which were collected in ''A Golden Treasury of Chinese Poetry''. Burton Watson (1984) also translated some poems from ''Shijing''. A number of poems from ''Shijing'' are also translated in his work, ''The Columbia Book of Chinese Poetry: From Early Times to the Thirteenth Century''.<br /> <br /> ===Domestic Studies on the English Translation of ''Shijing''===<br /> Since the 1980s, with the promotion of economic reform and opening up and the need for cultural exchanges between China and foreign countries, there has been a boom in the translation of Chinese classics into foreign languages. ''Shijing'' have also been included in these classics. There are six versions of English translation of Shijing in China. It can be divided into selected translations and complete translations. The translators who published selected translations of ''Shijing'' include Yang Xiangyi and Gladys Taylor (1983) and Ding Zuxin and Burton Raffel (1986). Xu Yuanchong (1992). Xu Yuanchong (1993), Wang Rongpei and Ren Xihua (1995), and An Zengcai (2000) finished complete version of ''Shijing''. These works have had a great influence on the English translation of ''Shijing'' in China, and the complete edition of ''Shijing'' translated by Xu Yuanchong (1993) is known as one of the most classic versions.<br /> <br /> Although there are few English versions of ''Shijing'' in China, many scholars are engaged in the study of these versions. It can be divided into three main parts to illustrate the history of its development. They are the spread of ''Shijing'' abroad, the three stages of the development of ''Shijing'' in the West, and an overview of the development of the study of ''Shijing'' in Japan. Fan Cunzhong (1981) published a paper on “Chinese Poetry and English Translation” in Foreign Language Journal, which focuses on the theories and ideas of some translators, such as William Jones, Herbert A. Giles, Arthur Waley and other American translators. Zhou Faxiang (1993) provides an overview of the dissemination and study of the ''Shijing'' in the West from both a vertical and horizontal perspective. Shan Qing (1995) briefly summarizes the dissemination and English translation studies of ''Shijing'' in the West. Wang Rongpei (1995) lists some excellent English versions of ''Shijing'' at home and abroad. Xia Chuancai (1997) studied the development of ''Shijing'' abroad. <br /> <br /> In the 21st century, scholars have gradually shifted the focus of their research on the English translation of ''Shijing'' from abroad to at home. At the end of the last century, Chinese translators also published English versions of ''Shijing'', and scholars began to analyze the English translation of ''Shijing'' in conjunction with the domestic English versions. Li Yuliang and Wang Hongyin (2006) reviewed and looked forward to the research on the English version of ''Shijing'' at home and abroad. He believes that the research focuses on five aspects: the study of translation, the study of translators, the study of translation methods, the comparison of editions, and the comprehensive study. He also put forward the problems in the study of ''Shijing'' and suggestions for future research on the translation of it. Wen, Jun, and Hao, Shujie (2011) studied domestic studies of the English versions of ''Shijing'' published from 1980 to 2010. They conducted statistical analysis and discussion on translators, editions, and dissemination. Li Guangwei and Yue Feng (2019) conducted an ephemeral study of English translations and English editions of ''Shijing'' in China and abroad. They analyzed the existing problems and proposed future research prospects. For example, the translation study of ''Shijing'' is integrated with national strategies to promote interdisciplinary research in order to improve the science level of ''Shijing''.<br /> <br /> From the perspective of translation typology, Zuo Yan (2020), in a recently published paper, provides a structural grasp of the English translations of ''Shijing''. He divides these English versions into two major categories: documentary and literary versions. In a word, Scholars have sorted out the sequence of ideas in the study and development of the English translations of ''Shijing'' from an overall macroscopic perspective in accordance with the chronological development, which is conducive to a clearer understanding and grasp of the translation history of ''Shijing''.<br /> <br /> ==A Comparative Study of the Two English Versions==<br /> According to the functional equivalence theory, formal and functional equivalence should be achieved as far as possible so as to make the target readers appreciate the target text in a similar way as the original readers enjoy the original text. This chapter is going to analyze the two English versions of ''Shijing'' from the facets of formal equivalence and functional equivalence. Stylistics and rhyme are more appropriate to be analyzed from the aspect of formal equivalence, because they are obviously exterior elements of poetry. However, the content and meaning of poetry, no matter being more implicit or explicit, are more associated with functional equivalence. In other words, there are four elements of a poem discussed in this paper: stylistics, rhyme, diction and imagery.<br /> <br /> ===Formal Equivalence ===<br /> This paper will make good use of formal equivalence as a fundamental criteria to analyze the two English versions of ''Shijing''. In particular, the analysis is divided into two parts: stylistics and rhyme.<br /> <br /> ====Stylistics====<br /> As demonstrated in the book ''Stylistics: A Resource Book for Students''(Simpson and Paul,2004), stylistics is a method of textual interpretation in which priority is laid on language, and is a study and interpretation of texts concerning their linguistic and tonal style. Therefore, it does not exist as an subset by itself, but can be applied to the comprehension of literary works and also linguistics.<br /> An example from Shijing is as follows:<br /> 相鼠有皮，人而无仪！人而无仪，不死何为？<br /> 相鼠有齿，人而无止！人而无止，不死何俟？<br /> 相鼠有体，人而无礼，人而无礼！胡不遄死？<br /> ——《国风·鄘风·相鼠》<br /> Xu’s: <br /> The rat has skin, you see? <br /> Man must have decency. <br /> If he lacks decency, <br /> Worse than death it would be. <br /> <br /> The rat has teeth, you see? <br /> Man must have dignity. <br /> If he lacks dignity, <br /> For what but death waits he? <br /> <br /> The rat has limbs, you see? <br /> Man must have propriety. <br /> Without propriety, <br /> It’s better dead to be. <br /> <br /> Legges’s: <br /> Look at a rat,—it has its skin; <br /> But a man shall be without dignity of demeanor. <br /> If a man have no dignity of demeanor, <br /> What should he do but die? <br /> <br /> Look at a rat,—it has its teeth; <br /> But a man shall be without any right deportment. <br /> If a man have have not right deportment, <br /> What should he wait for but death? <br /> <br /> Look at a rat,—it has its skin; <br /> But a man shall be without any rules of propriety. <br /> If a man observe no rules of propriety, <br /> Why does he not quickly die?<br /> <br /> Both of the two versions adopted the style of three stanzas with four lines in each stanza, which in line with the original text. Therefore, we can draw the conclusion that formal equivalence is achieved in both versions. Western readers are able to form their first impression that this is a poem, which is exactly the nature of ''Shijing'', not any other genres of literature. And the reaction is similar to Chinese who read ''Shijing'' for the first time. Stylistics of literary works is an exterior element easy for readers to grasp. With the achievement of equivalence in form, both domestic and foreign readers gain similar reaction and feeling, and then the elementary success of translation has been realized. Both translators did a good job on this point.<br /> <br /> ====Rhyme====<br /> A rhyme is the repetition of the same or similar sound in two or more words, usually applied to the final syllables of lines in a stanza or a poem(许渊冲,1990). If two words have the same stressed syllable followed by an unstressed syllable, dependent on the number of syllables included in a rhyme and the position of the final stressed syllable, such as “madness and sadness”, we can name it as a double rhyme. It is obvious that the application of rhyme can make a poem read cadent and sound pleasant and then prompt readers to have a deeper impression on a poem, memorize it more easily and enjoy it more thoroughly.<br /> <br /> As for the analysis of rhyme in poetry, the rhyme scheme is inevitably taken into consider. It is the patterns of rhymes appearing at the end of each line in a poem and analyzed by using letters “a” and “b” to indicate rhyme of lines. In English poetry, the most common rhyme schemes include alternative rhyme, enclosing rhyme and couplet rhyme and so on.<br /> An example from ''Shijing'' is as follows:<br /> 何彼襛矣，唐棣之华！曷不肃雝？王姬之车。 <br /> 何彼襛矣，华如桃李！平王之孙，齐侯之子。 <br /> ——《召南·何彼襛矣》 <br /> Xu’s: <br /> Luxuriant in spring <br /> As plum flowers o/er water, <br /> How are revere the string <br /> Of cabs for the king”s daughter! <br /> <br /> Luxuriant in spring <br /> As the peach flowers red, <br /> The daughter of the king <br /> To a marquis’ son is wed. <br /> <br /> Legge’s:<br /> How great is that luxuriance, <br /> Those flowers of the sparrow-plum! <br /> Are they not expressive of reverence and harmony,— <br /> The carriages of the king’s daughter? <br /> <br /> How great is that luxuriance, <br /> The flowers like those of the peach-tree or the plum! <br /> (See) the grand-daughter of the tranquilizing king, <br /> And the son of the reverent marquis!<br /> <br /> In the two versions of translation, Xu’s adopted alternative rhyme with the first line rhyming the third line and the second line rhyming the forth line in each stanza. The first and forth lines in the first stanza applied a double rhyme [ɔːtə], while the rest lines applied a single rhyme, that is respectively [ed] and [ɪŋ]. By using rhyme, the beauty of sound in the original text can be conserved in the target text, which makes it easier for the western readers to grasp the beauty of ancient Chinese works. <br /> <br /> On the contrary, Legge’s version was presented in a free style, focusing on a strictly precise correspondence between the original text and the target text while lacking the utilization of rhyme. His translation of the poem lacks beauty of sound which results in the failure of presenting the same beauty of sound those readers of the original text can acquire to the western readers.<br /> <br /> ===Functional Equivalence===<br /> Apart from the equivalence of form in translation, Nida also emphasizes the great significance of functional equivalence in his theory. Therefore, equivalence of content and meaning which are bound up with functional equivalence will be discussed in this section. The explicit and implicit meaning are going to be discussed in the part “diction” and “imagery” respectively.<br /> <br /> ====Diction====<br /> The “diction” originally means “a saying, expression, word”, but now it refers to <br /> the writers’ or the speakers’ distinctive vocabulary choices and style of expression in a poem or story(Nida,1969). <br /> An example from ''Shijing'' is as follows:<br /> 关关雎鸠，在河之洲。窈窕淑女，君子好逑。 <br /> ——《周南·关雎》 <br /> Xu’s: <br /> By riverside a pair <br /> Of turtledoves are cooing; <br /> There is a maiden fair <br /> Whom a young man is wooing. <br /> <br /> Legge’s: <br /> Kwan kwan go the ospreys, <br /> On the islet in the river. <br /> The modest , retiring, virtuous, young lady: ─ <br /> For our prince a good mate she.<br /> <br /> In the first line, “关关” can be explained as a kind of bird call or mutual responding between male and female”. Legge’s transliteration “Kwan kwan” is witty enough to focus on bird’s calling for love, but the verb “go” weakens the poetic quality and flavor of the whole verse. Xu’s version adopts “cooing”, which not only rhymes with “wooing”, but also maintains the spirituality of original text. <br /> Another datable issue is the choice of word for translating “淑女” and “君子”. In Legge’s version, “淑女” is understood as an elegant royal “lady”. <br /> However, the verse here presents the contenting wooing and call for love between man and woman. Thus, it is more suitable to consider “淑女” as a young and unmarried girl. Xu’s version adopts “maiden”, which is more in line with the style of poetry. Moreover, “君子” refers to an ordinary man, not an emperor or prince, so the adoption of “a young man” is more close to the original text from the aspect of function equivalence than “prince” in Legge’s version. In other words, the western readers can obtain the same information and feeling as the readers of the original text do by reading Xu’s version of this verse.<br /> <br /> ====Imagery====<br /> Imagery, an important element in literature, means the utilization of vivid and concrete description to attach extensive meanings to the sentences or diction in works(许渊冲,1990). The major types of imagery include auditory imagery, visual imagery and so on. This sector will presents a discussion on the equivalence of imagery between original texts and target texts in the two English versions of ''Shijing''.<br /> An example from ''Shijing'' is as follows:<br /> 桑之未落，其叶沃若。 <br /> 桑之落矣，其黄而陨。 <br /> ——《卫风·氓》<br /> Xu’s: <br /> How fresh were mulberries, <br /> With their fruit on the trees. <br /> The mulberries appear, <br /> With yellow leaves and sear.<br /> <br /> Legge’s: <br /> Before the mulberry tree has shed its leaves, <br /> How rich and glossy are they. <br /> When the mulberry tree sheds its leaves, <br /> They fall yellow on the ground.<br /> <br /> Plants play an important role in implying special meanings in literature, especially for people lived in ancient society. As for this poem, the luxuriant leaves of white mulberry symbolize the woman in her youth, and the blasted leaves symbolize the aging woman. This kind of metaphor is common and universal that both the readers of the original text and the target text can comprehend it if translators reproduce the meanings of imagery to a great extent. <br /> <br /> Legge’s version is loyal to the original text as far as possible, mentioning “mulberry tree” and “leaves”. Nevertheless, Xu describes the fruit of mulberry in his version, which makes the meaning of mature mulberry more explicit. As a result, the reproduction of the meanings of imagery mulberry is more complete in the target text for readers to obtain the similar or the same feeling as readers of the original text do. To summarize, the functional equivalence of imagery mulberry is achieved more thoroughly in Xu’s translation of this poem.<br /> <br /> ==Conclusion==<br /> Under the guidance of the functional equivalence theory, the paper picks up “whether readers of target texts obtain the similar or same feeling as readers of original texts do” as a criteria to analyze Xu Yuanchong’s and James Legge’s English versions of ''Shijing''. Eugene Nida’s functional equivalence theory emphasizes not only the equivalence of form but also function in order to make readers of target texts respond in a way as similar as readers of original texts do. <br /> As an ancient collections of poems in China, ''Shijing'' is characterized by remarkable stylistics and rhymes, which reflects the priority of formal equivalence in the translation process of it. Moreover, based on the construction of form, translators should also take the selection of diction into consideration, promoting target texts to be logical and fluent, and also reproduce the meanings, thoughts and emotions of original texts. Only in this way can readers of target texts gain the similar or same feeling as readers of original texts do, that is, the equivalence of form and function are achieved as far as possible.<br /> <br /> With the rapid development of globalization process, multiple aspects of our life will be integrated into the whole world, especially culture. Thus, the cultural communication between China and other countries is bond to be more direct and frequent. Studies on ancient Chinese classic works, such as ''Shijing'', can build a bridge across China and other countries to push the cultural communication to a further step.<br /> <br /> ==References==<br /> *Forbes Andrew,Henley,David（2012). James Legge——A short biography[M]. Chiang Mai:Cognoscenti Books,56. <br /> <br /> *James Legge(2011). THE SHE KING[M]. 北京:外语教学与研究出社Beijing:Foreign Language Teaching and Research Press,53-117. <br /> <br /> *Nida Eugene A(1993). Language, Culture and Translating[M]. 上海:上海外语教育出版社Shanghai: Shanghai Foreign Lnaguage Education Press,87. <br /> <br /> *Nida Eugene A, Charles R. Taber(1969). The Theory and Practice of Translation, With Special Reference to Bible Translating[M]. Leiden:Brill,200. <br /> <br /> *Simpson, Paul(2004). Stylistics: A resource book for students[M]. New York:Routledge,2. <br /> <br /> *Snell-Hornby(1988). Translation studies:An integrated approach[M]. Amsterdam:John Benjamins.<br /> <br /> *Jiang Yan.姜燕(2010). 理雅各Shijing英译[D]The English Translation Version of Shijing by Legge. 济南:山东大学Jinan:Shandong University,2. <br /> <br /> *Ma Huijuan, Miao Ju.马会娟, 苗菊(2011). 当代西方翻译理论选读[M]The Selection of Contemporary Western Translation Theories. 北京:外语教学与研究出版社Beijing: Foreign Language Teaching and Research Press,5-6. <br /> <br /> *Niu Ting. 牛婷(2014). 文化再现视角下许渊冲及理雅各的''Shijing''英译本研究[D] A Study on the English Versions of Shijing by Xu Yuanchong and James Legge from the Perspective of Cultural Reproduction. 西安:陕西师范大学Xian:Shaanxi Normal University. <br /> <br /> *Wen Jun, Hao Shujie. 文军, 郝淑杰(2011). 国内《诗经》英译研究二十年[J] Twenty Years of Research on the English Translation of Shijing. 外国语言文学Foreigh Language and Literature,(2):93-98.<br /> <br /> *Xu Yuanchong. 许渊冲(2020). Book of Poetry[M]. 北京:五洲传播出版社Beijing:China Intercontinental Press.<br /> <br /> *Xu Yuanchong. 许渊冲(1983). 再谈“意美、音美、形美”[J]The Second Discussion on &quot;beauty of meaning, sound and form&quot;. 外语学刊Foreign Language Journal,04:68. <br /> <br /> *Xu Yuanchong. 许渊冲(1987). 三谈“意美、音美、形美”[J]The Third Discussion on &quot;beauty of meaning, sound and form&quot;. 深圳:深圳大学学报(人文社会科学版)Shen Zhen: Journal of Shenzhen Univeristy(Humanities and Social Science Edition),02:70. <br /> <br /> *Xu Yuanchong. 许渊冲(2012). 再谈中国学派的文学翻译理论[J]The Second Discussion on Literary Translation Theories of Chinese School. 中国翻译Chinese Translators Journal,4:83-90. <br /> <br /> *Xu Yuanchong. 许渊冲(1990). 中诗英韵探胜[M]A Study on the English Rhythm of Chinese Poetry. 北京:北京大学出版社Beijing:Peking University Press.<br /> written by--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:40, 13 December 2021 (UTC)</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=132166 2021-12-13T14:14:18Z

<p>Zhu Renduo: /* References */</p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> <br /> 《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China<br /> <br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.<br /> <br /> Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:14, 11 December 2021 (UTC)<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng（2006：124） stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao（2011：189-190）’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang（2012：159-160） analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> <br /> Suggestion:<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> '''--you can use one or two sentences to show the specific status of LOL compared with other games. (most-played #)'''<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> '''--the key point of this part is to show the multicultural concept blended in LOL, so foreignization and domestication should be taken into consideration in the process of translating the leagend's titles. What is important is that you need to add relative research of translation in order to polish this study.''' <br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng '''(# year, page)''' stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s '''(# year, page)''' study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang '''(# year, page)''' analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> Suggestion: put those titles in the appendix, not in the main body of the paper. it is also better to analyze one or two terms in detail.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)<br /> <br /> ===The comparative analyse of examples===<br /> <br /> In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.<br /> <br /> '''Suggestion: it's perhaps better to summarize the translation of terms into 3 types mentioned above and give each one a more detailed analysis.'''--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:42, 11 December 2021 (UTC)<br /> <br /> ====1. The Minotaur====<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ====2. The Dark Child====<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ====5. Grandmaster at Arms====<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ====6 and 8. The Righteous and The Fallen====<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ====7.The Wuju Bladesman====<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ====10.The Rune Mage====<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ====11.The Undead Juggernaut====<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ====16.The Card Master====<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ====17.The Uncaged Wrath of Zaun====<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ====18.The Mad Chemist====<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ====21.The Barbarian King====<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ====22.the Plague Rat====<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ====25.the Terror of the Void====<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ====27. the Armordillo====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ====35. Shard of the Monolith====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ====38. the Curator of the Sands====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ====42. the Bestial Huntress====<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ====43. Keeper of the Hammer====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ====44. the Rabble Rouser====<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ====46. the Iron Revenant====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> =====47. the Prodigal Explorer====<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ====49. the Heart of the Tempest====<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ====50. The Might of Demacia====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ====56. the Crimson Reaper====<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ====58. the Dreadnought====<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ====59. the Bounty Hunter====<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ====60. Maven of the Strings====<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ====63. the Deceiver====<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ====67. The Sheriff of Piltover====<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ====69. the Enlightened One====<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ====71. the Exemplar of Demacia====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ====75. the Mechanized Menace====<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ====77. the Lady of Clockwork====<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ====79. the Radiant Dawn====<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ====83. the Exile====<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ====86. the Half-Dragon====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ====87. the Tidal Trickster====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ====88. the Relentless Storm====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====92. the Hexplosives Expert====<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ====102. Scorn of the Moon====<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ====108. the Tidecaller====<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ====109. the Piltover Enforcer====<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ====115 and 146. the Purifier and the Redeemer====<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ====116. the Loose Cannon====<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ====117 and 150. the Unforgiven and the Unforgotten====<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====119. the Heart of the Freljord====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ====123. the Void Burrower====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ====124. the Wandering Caretaker====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ====127. The Eternal Hunters====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ====129. the Virtuoso====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ====131. the Stoneweaver====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ====133. the Green Father====<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> ====134. the Steel Shadow====<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ====135 and 136. The Charmer and the Rebel====<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ====139. the Aspect of Twilight====<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ====140. Daughter of the Void====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ====141. the Bloodharbor Ripper====<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ====142. the Curious Chameleon====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====147. the Weapon of the Faithful====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====148. the Boss====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ====152. the Starry-Eyed Songstress====<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ====153. the Iron Maiden====<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ====155. The Hallowed Seamstress====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ====156. the Rogue Sentinel====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ===Conclusion===<br /> We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.<br /> <br /> ===References===<br /> *Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/<br /> *League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio<br /> *Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. <br /> *Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;page=1&amp;type=ALL&amp;keyword=联盟译事<br /> *Wang Baoqin 汪宝琴. (2012). 从目的论看游戏名称的英译汉策略 [The EtoC tranlastion strategies of names of games from skopo theory]. 海外英语 [Overseas English].<br /> *Xiao Zhiyan 肖志艳. (2011). 游戏名称翻译的目的论视角研究 [A study on the translation of names of games from the approach of skopo theory]. 咸宁学院学报 [Journal of Xianning University].<br /> *Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. <br /> *Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. <br /> *Zheng Guozheng 郑国政. (2006). 软件本地化翻译质量面面观 [The aspects of the quality of the translation of softwares]. 科技资讯 [Science&amp;Technology Information]. <br /> Suggestion: you can find more prestigious academic journals or books to quote in this paper.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:48, 11 December 2021 (UTC)</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=131553 2021-12-13T09:26:44Z

<p>Zhu Renduo: /* References */</p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> <br /> 《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China<br /> <br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.<br /> <br /> Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:14, 11 December 2021 (UTC)<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng（2006：124） stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao（2011：189-190）’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang（2012：159-160） analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> <br /> Suggestion:<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> '''--you can use one or two sentences to show the specific status of LOL compared with other games. (most-played #)'''<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> '''--the key point of this part is to show the multicultural concept blended in LOL, so foreignization and domestication should be taken into consideration in the process of translating the leagend's titles. What is important is that you need to add relative research of translation in order to polish this study.''' <br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng '''(# year, page)''' stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s '''(# year, page)''' study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang '''(# year, page)''' analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> Suggestion: put those titles in the appendix, not in the main body of the paper. it is also better to analyze one or two terms in detail.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)<br /> <br /> ===The comparative analyse of examples===<br /> <br /> In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.<br /> <br /> '''Suggestion: it's perhaps better to summarize the translation of terms into 3 types mentioned above and give each one a more detailed analysis.'''--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:42, 11 December 2021 (UTC)<br /> <br /> ====1. The Minotaur====<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ====2. The Dark Child====<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ====5. Grandmaster at Arms====<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ====6 and 8. The Righteous and The Fallen====<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ====7.The Wuju Bladesman====<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ====10.The Rune Mage====<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ====11.The Undead Juggernaut====<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ====16.The Card Master====<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ====17.The Uncaged Wrath of Zaun====<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ====18.The Mad Chemist====<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ====21.The Barbarian King====<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ====22.the Plague Rat====<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ====25.the Terror of the Void====<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ====27. the Armordillo====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ====35. Shard of the Monolith====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ====38. the Curator of the Sands====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ====42. the Bestial Huntress====<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ====43. Keeper of the Hammer====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ====44. the Rabble Rouser====<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ====46. the Iron Revenant====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> =====47. the Prodigal Explorer====<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ====49. the Heart of the Tempest====<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ====50. The Might of Demacia====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ====56. the Crimson Reaper====<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ====58. the Dreadnought====<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ====59. the Bounty Hunter====<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ====60. Maven of the Strings====<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ====63. the Deceiver====<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ====67. The Sheriff of Piltover====<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ====69. the Enlightened One====<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ====71. the Exemplar of Demacia====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ====75. the Mechanized Menace====<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ====77. the Lady of Clockwork====<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ====79. the Radiant Dawn====<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ====83. the Exile====<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ====86. the Half-Dragon====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ====87. the Tidal Trickster====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ====88. the Relentless Storm====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====92. the Hexplosives Expert====<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ====102. Scorn of the Moon====<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ====108. the Tidecaller====<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ====109. the Piltover Enforcer====<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ====115 and 146. the Purifier and the Redeemer====<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ====116. the Loose Cannon====<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ====117 and 150. the Unforgiven and the Unforgotten====<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====119. the Heart of the Freljord====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ====123. the Void Burrower====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ====124. the Wandering Caretaker====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ====127. The Eternal Hunters====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ====129. the Virtuoso====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ====131. the Stoneweaver====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ====133. the Green Father====<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> ====134. the Steel Shadow====<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ====135 and 136. The Charmer and the Rebel====<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ====139. the Aspect of Twilight====<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ====140. Daughter of the Void====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ====141. the Bloodharbor Ripper====<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ====142. the Curious Chameleon====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====147. the Weapon of the Faithful====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====148. the Boss====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ====152. the Starry-Eyed Songstress====<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ====153. the Iron Maiden====<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ====155. The Hallowed Seamstress====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ====156. the Rogue Sentinel====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ===Conclusion===<br /> We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.<br /> <br /> ===References===<br /> *Zheng Guozheng 郑国政. (2006). 软件本地化翻译质量面面观 [The aspects of the quality of the translation of softwares]. 科技资讯 [Science&amp;Technology Information]. <br /> *Wang Baoqin 汪宝琴. (2012). 从目的论看游戏名称的英译汉策略 [The EtoC tranlastion strategies of names of games from skopo theory]. 海外英语 [Overseas English]<br /> *Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. <br /> *Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. <br /> *Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. <br /> *Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/<br /> *Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;page=1&amp;type=ALL&amp;keyword=联盟译事<br /> *League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio<br /> <br /> Suggestion: you can find more prestigious academic journals or books to quote in this paper.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:48, 11 December 2021 (UTC)</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=131548 2021-12-13T09:17:33Z

<p>Zhu Renduo: /* Introduction */</p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> <br /> 《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China<br /> <br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.<br /> <br /> Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:14, 11 December 2021 (UTC)<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng（2006：124） stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao（2011：189-190）’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang（2012：159-160） analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> <br /> Suggestion:<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> '''--you can use one or two sentences to show the specific status of LOL compared with other games. (most-played #)'''<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> '''--the key point of this part is to show the multicultural concept blended in LOL, so foreignization and domestication should be taken into consideration in the process of translating the leagend's titles. What is important is that you need to add relative research of translation in order to polish this study.''' <br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng '''(# year, page)''' stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s '''(# year, page)''' study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang '''(# year, page)''' analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> Suggestion: put those titles in the appendix, not in the main body of the paper. it is also better to analyze one or two terms in detail.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)<br /> <br /> ===The comparative analyse of examples===<br /> <br /> In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.<br /> <br /> '''Suggestion: it's perhaps better to summarize the translation of terms into 3 types mentioned above and give each one a more detailed analysis.'''--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:42, 11 December 2021 (UTC)<br /> <br /> ====1. The Minotaur====<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ====2. The Dark Child====<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ====5. Grandmaster at Arms====<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ====6 and 8. The Righteous and The Fallen====<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ====7.The Wuju Bladesman====<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ====10.The Rune Mage====<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ====11.The Undead Juggernaut====<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ====16.The Card Master====<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ====17.The Uncaged Wrath of Zaun====<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ====18.The Mad Chemist====<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ====21.The Barbarian King====<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ====22.the Plague Rat====<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ====25.the Terror of the Void====<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ====27. the Armordillo====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ====35. Shard of the Monolith====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ====38. the Curator of the Sands====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ====42. the Bestial Huntress====<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ====43. Keeper of the Hammer====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ====44. the Rabble Rouser====<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ====46. the Iron Revenant====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> =====47. the Prodigal Explorer====<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ====49. the Heart of the Tempest====<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ====50. The Might of Demacia====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ====56. the Crimson Reaper====<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ====58. the Dreadnought====<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ====59. the Bounty Hunter====<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ====60. Maven of the Strings====<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ====63. the Deceiver====<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ====67. The Sheriff of Piltover====<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ====69. the Enlightened One====<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ====71. the Exemplar of Demacia====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ====75. the Mechanized Menace====<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ====77. the Lady of Clockwork====<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ====79. the Radiant Dawn====<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ====83. the Exile====<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ====86. the Half-Dragon====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ====87. the Tidal Trickster====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ====88. the Relentless Storm====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====92. the Hexplosives Expert====<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ====102. Scorn of the Moon====<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ====108. the Tidecaller====<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ====109. the Piltover Enforcer====<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ====115 and 146. the Purifier and the Redeemer====<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ====116. the Loose Cannon====<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ====117 and 150. the Unforgiven and the Unforgotten====<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====119. the Heart of the Freljord====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ====123. the Void Burrower====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ====124. the Wandering Caretaker====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ====127. The Eternal Hunters====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ====129. the Virtuoso====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ====131. the Stoneweaver====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ====133. the Green Father====<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> ====134. the Steel Shadow====<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ====135 and 136. The Charmer and the Rebel====<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ====139. the Aspect of Twilight====<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ====140. Daughter of the Void====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ====141. the Bloodharbor Ripper====<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ====142. the Curious Chameleon====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====147. the Weapon of the Faithful====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====148. the Boss====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ====152. the Starry-Eyed Songstress====<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ====153. the Iron Maiden====<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ====155. The Hallowed Seamstress====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ====156. the Rogue Sentinel====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ===Conclusion===<br /> We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.<br /> <br /> ===References===<br /> *Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. <br /> *Dai Jie 代婕. (2019). 浅析跨文化交际翻译视角下的游戏翻译 [A brief analysis of the tranlations of games in the approach of translation for intercultural communication]. 现代交际 [Modern Communication]. <br /> *Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. <br /> *Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. <br /> *Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/<br /> *Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;page=1&amp;type=ALL&amp;keyword=联盟译事<br /> *League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio<br /> <br /> Suggestion: you can find more prestigious academic journals or books to quote in this paper.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:48, 11 December 2021 (UTC)</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=131025 2021-12-11T10:09:04Z

<p>Zhu Renduo: /* 133. the Green Father */</p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> <br /> 《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China<br /> <br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> ===The comparative analyse of examples===<br /> <br /> In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.<br /> <br /> ====1. The Minotaur====<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ====2. The Dark Child====<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ====5. Grandmaster at Arms====<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ====6 and 8. The Righteous and The Fallen====<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ====7.The Wuju Bladesman====<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ====10.The Rune Mage====<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ====11.The Undead Juggernaut====<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ====16.The Card Master====<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ====17.The Uncaged Wrath of Zaun====<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ====18.The Mad Chemist====<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ====21.The Barbarian King====<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ====22.the Plague Rat====<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ====25.the Terror of the Void====<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ====27. the Armordillo====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ====35. Shard of the Monolith====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ====38. the Curator of the Sands====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ====42. the Bestial Huntress====<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ====43. Keeper of the Hammer====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ====44. the Rabble Rouser====<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ====46. the Iron Revenant====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> =====47. the Prodigal Explorer====<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ====49. the Heart of the Tempest====<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ====50. The Might of Demacia====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ====56. the Crimson Reaper====<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ====58. the Dreadnought====<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ====59. the Bounty Hunter====<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ====60. Maven of the Strings====<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ====63. the Deceiver====<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ====67. The Sheriff of Piltover====<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ====69. the Enlightened One====<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ====71. the Exemplar of Demacia====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ====75. the Mechanized Menace====<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ====77. the Lady of Clockwork====<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ====79. the Radiant Dawn====<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ====83. the Exile====<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ====86. the Half-Dragon====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ====87. the Tidal Trickster====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ====88. the Relentless Storm====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====92. the Hexplosives Expert====<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ====102. Scorn of the Moon====<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ====108. the Tidecaller====<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ====109. the Piltover Enforcer====<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ====115 and 146. the Purifier and the Redeemer====<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ====116. the Loose Cannon====<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ====117 and 150. the Unforgiven and the Unforgotten====<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====119. the Heart of the Freljord====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ====123. the Void Burrower====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ====124. the Wandering Caretaker====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ====127. The Eternal Hunters====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ====129. the Virtuoso====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ====131. the Stoneweaver====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ====133. the Green Father====<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> ====134. the Steel Shadow====<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ====135 and 136. The Charmer and the Rebel====<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ====139. the Aspect of Twilight====<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ====140. Daughter of the Void====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ====141. the Bloodharbor Ripper====<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ====142. the Curious Chameleon====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====147. the Weapon of the Faithful====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====148. the Boss====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ====152. the Starry-Eyed Songstress====<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ====153. the Iron Maiden====<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ====155. The Hallowed Seamstress====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ====156. the Rogue Sentinel====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ===Conclusion===<br /> We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.<br /> <br /> ===References===<br /> *Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. <br /> *Dai Jie 代婕. (2019). 浅析跨文化交际翻译视角下的游戏翻译 [A brief analysis of the tranlations of games in the approach of translation for intercultural communication]. 现代交际 [Modern Communication]. <br /> *Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. <br /> *Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. <br /> *Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/<br /> *Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;page=1&amp;type=ALL&amp;keyword=联盟译事<br /> *League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=131024 2021-12-11T10:08:35Z

<p>Zhu Renduo: </p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> <br /> 《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China<br /> <br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> ===The comparative analyse of examples===<br /> <br /> In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.<br /> <br /> ====1. The Minotaur====<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ====2. The Dark Child====<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ====5. Grandmaster at Arms====<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ====6 and 8. The Righteous and The Fallen====<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ====7.The Wuju Bladesman====<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ====10.The Rune Mage====<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ====11.The Undead Juggernaut====<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ====16.The Card Master====<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ====17.The Uncaged Wrath of Zaun====<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ====18.The Mad Chemist====<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ====21.The Barbarian King====<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ====22.the Plague Rat====<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ====25.the Terror of the Void====<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ====27. the Armordillo====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ====35. Shard of the Monolith====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ====38. the Curator of the Sands====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ====42. the Bestial Huntress====<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ====43. Keeper of the Hammer====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ====44. the Rabble Rouser====<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ====46. the Iron Revenant====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> =====47. the Prodigal Explorer====<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ====49. the Heart of the Tempest====<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ====50. The Might of Demacia====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ====56. the Crimson Reaper====<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ====58. the Dreadnought====<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ====59. the Bounty Hunter====<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ====60. Maven of the Strings====<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ====63. the Deceiver====<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ====67. The Sheriff of Piltover====<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ====69. the Enlightened One====<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ====71. the Exemplar of Demacia====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ====75. the Mechanized Menace====<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ====77. the Lady of Clockwork====<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ====79. the Radiant Dawn====<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ====83. the Exile====<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ====86. the Half-Dragon====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ====87. the Tidal Trickster====<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ====88. the Relentless Storm====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====92. the Hexplosives Expert====<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ====102. Scorn of the Moon====<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ====108. the Tidecaller====<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ====109. the Piltover Enforcer====<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ====115 and 146. the Purifier and the Redeemer====<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ====116. the Loose Cannon====<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ====117 and 150. the Unforgiven and the Unforgotten====<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====119. the Heart of the Freljord====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ====123. the Void Burrower====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ====124. the Wandering Caretaker====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ====127. The Eternal Hunters====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ====129. the Virtuoso====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ====131. the Stoneweaver====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ====133. the Green Father====<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> <br /> ====134. the Steel Shadow====<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ====135 and 136. The Charmer and the Rebel====<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ====139. the Aspect of Twilight====<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ====140. Daughter of the Void====<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ====141. the Bloodharbor Ripper====<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ====142. the Curious Chameleon====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====147. the Weapon of the Faithful====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ====148. the Boss====<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ====152. the Starry-Eyed Songstress====<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ====153. the Iron Maiden====<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ====155. The Hallowed Seamstress====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ====156. the Rogue Sentinel====<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ===Conclusion===<br /> We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.<br /> <br /> ===References===<br /> *Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. <br /> *Dai Jie 代婕. (2019). 浅析跨文化交际翻译视角下的游戏翻译 [A brief analysis of the tranlations of games in the approach of translation for intercultural communication]. 现代交际 [Modern Communication]. <br /> *Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. <br /> *Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. <br /> *Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/<br /> *Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;page=1&amp;type=ALL&amp;keyword=联盟译事<br /> *League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=131023 2021-12-11T10:05:11Z

<p>Zhu Renduo: </p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> <br /> 《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China<br /> <br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> ===The comparative analyse of examples===<br /> <br /> In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.<br /> <br /> ==1. The Minotaur==<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ==2. The Dark Child==<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ==5. Grandmaster at Arms==<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ==6 and 8. The Righteous and The Fallen==<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ==7.The Wuju Bladesman==<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ==10.The Rune Mage==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ==11.The Undead Juggernaut==<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ==16.The Card Master==<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ==17.The Uncaged Wrath of Zaun==<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ==18.The Mad Chemist==<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ==21.The Barbarian King==<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ==22.the Plague Rat==<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ==25.the Terror of the Void==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ==27. the Armordillo==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ==35. Shard of the Monolith==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ==38. the Curator of the Sands==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ==42. the Bestial Huntress==<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ==43. Keeper of the Hammer==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ==44. the Rabble Rouser==<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ==46. the Iron Revenant==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> ==47. the Prodigal Explorer==<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ==49. the Heart of the Tempest==<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ==50. The Might of Demacia==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ==56. the Crimson Reaper==<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ==58. the Dreadnought==<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ==59. the Bounty Hunter==<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ==60. Maven of the Strings==<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ==63. the Deceiver==<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ==67. The Sheriff of Piltover==<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ==69. the Enlightened One==<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ==71. the Exemplar of Demacia==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ==75. the Mechanized Menace==<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ==77. the Lady of Clockwork==<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ==79. the Radiant Dawn==<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ==83. the Exile==<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ==86. the Half-Dragon==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ==87. the Tidal Trickster==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ==88. the Relentless Storm==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==92. the Hexplosives Expert==<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ==102. Scorn of the Moon==<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ==108. the Tidecaller==<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ==109. the Piltover Enforcer==<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ==115 and 146. the Purifier and the Redeemer==<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ==116. the Loose Cannon==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ==117 and 150. the Unforgiven and the Unforgotten==<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==119. the Heart of the Freljord==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ==123. the Void Burrower==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ==124. the Wandering Caretaker==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ==127. The Eternal Hunters==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ==129. the Virtuoso==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ==131. the Stoneweaver==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ==133. the Green Father==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> <br /> ==134. the Steel Shadow==<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ==135 and 136. The Charmer and the Rebel==<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ==139. the Aspect of Twilight==<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ==140. Daughter of the Void==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ==141. the Bloodharbor Ripper==<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ==142. the Curious Chameleon==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==147. the Weapon of the Faithful==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==148. the Boss==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ==152. the Starry-Eyed Songstress==<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ==153. the Iron Maiden==<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ==155. The Hallowed Seamstress==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ==156. the Rogue Sentinel==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ===Conclusion===<br /> We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.<br /> <br /> ===References===<br /> *Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. <br /> *Dai Jie 代婕. (2019). 浅析跨文化交际翻译视角下的游戏翻译 [A brief analysis of the tranlations of games in the approach of translation for intercultural communication]. 现代交际 [Modern Communication]. <br /> *Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. <br /> *Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. <br /> *Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/<br /> *Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;page=1&amp;type=ALL&amp;keyword=联盟译事<br /> *League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=131022 2021-12-11T09:41:17Z

<p>Zhu Renduo: </p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> <br /> 《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China<br /> <br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> =The comparative analyse of examples=<br /> <br /> In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.<br /> <br /> ==1. The Minotaur==<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ==2. The Dark Child==<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ==5. Grandmaster at Arms==<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ==6 and 8. The Righteous and The Fallen==<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ==7.The Wuju Bladesman==<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ==10.The Rune Mage==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ==11.The Undead Juggernaut==<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ==16.The Card Master==<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ==17.The Uncaged Wrath of Zaun==<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ==18.The Mad Chemist==<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ==21.The Barbarian King==<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ==22.the Plague Rat==<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ==25.the Terror of the Void==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ==27. the Armordillo==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ==35. Shard of the Monolith==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ==38. the Curator of the Sands==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ==42. the Bestial Huntress==<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ==43. Keeper of the Hammer==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ==44. the Rabble Rouser==<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ==46. the Iron Revenant==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> ==47. the Prodigal Explorer==<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ==49. the Heart of the Tempest==<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ==50. The Might of Demacia==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ==56. the Crimson Reaper==<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ==58. the Dreadnought==<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ==59. the Bounty Hunter==<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ==60. Maven of the Strings==<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ==63. the Deceiver==<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ==67. The Sheriff of Piltover==<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ==69. the Enlightened One==<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ==71. the Exemplar of Demacia==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ==75. the Mechanized Menace==<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ==77. the Lady of Clockwork==<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ==79. the Radiant Dawn==<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ==83. the Exile==<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ==86. the Half-Dragon==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ==87. the Tidal Trickster==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ==88. the Relentless Storm==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==92. the Hexplosives Expert==<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ==102. Scorn of the Moon==<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ==108. the Tidecaller==<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ==109. the Piltover Enforcer==<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ==115 and 146. the Purifier and the Redeemer==<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ==116. the Loose Cannon==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ==117 and 150. the Unforgiven and the Unforgotten==<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==119. the Heart of the Freljord==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ==123. the Void Burrower==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ==124. the Wandering Caretaker==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ==127. The Eternal Hunters==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ==129. the Virtuoso==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ==131. the Stoneweaver==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ==133. the Green Father==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> <br /> ==134. the Steel Shadow==<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ==135 and 136. The Charmer and the Rebel==<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ==139. the Aspect of Twilight==<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ==140. Daughter of the Void==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ==141. the Bloodharbor Ripper==<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ==142. the Curious Chameleon==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==147. the Weapon of the Faithful==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==148. the Boss==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ==152. the Starry-Eyed Songstress==<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ==153. the Iron Maiden==<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ==155. The Hallowed Seamstress==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ==156. the Rogue Sentinel==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ===Conclusion===<br /> We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.<br /> <br /> ===References===<br /> *Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. <br /> *Dai Jie 代婕. (2019). 浅析跨文化交际翻译视角下的游戏翻译 [A brief analysis of the tranlations of games in the approach of translation for intercultural communication]. 现代交际 [Modern Communication]. <br /> *Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. <br /> *Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. <br /> *Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/<br /> *Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;page=1&amp;type=ALL&amp;keyword=联盟译事</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=131012 2021-12-11T08:36:27Z

<p>Zhu Renduo: </p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> <br /> 《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China<br /> <br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to summarize these points and to analyze some specific examples, finally get to know the discipline with in both languages.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> =The comparative analyse of examples=<br /> <br /> In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.<br /> <br /> ==1. The Minotaur==<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ==2. The Dark Child==<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ==5. Grandmaster at Arms==<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ==6 and 8. The Righteous and The Fallen==<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ==7.The Wuju Bladesman==<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ==10.The Rune Mage==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ==11.The Undead Juggernaut==<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ==16.The Card Master==<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ==17.The Uncaged Wrath of Zaun==<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ==18.The Mad Chemist==<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ==21.The Barbarian King==<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ==22.the Plague Rat==<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ==25.the Terror of the Void==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ==27. the Armordillo==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ==35. Shard of the Monolith==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ==38. the Curator of the Sands==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ==42. the Bestial Huntress==<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ==43. Keeper of the Hammer==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ==44. the Rabble Rouser==<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ==46. the Iron Revenant==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> ==47. the Prodigal Explorer==<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ==49. the Heart of the Tempest==<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ==50. The Might of Demacia==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ==56. the Crimson Reaper==<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ==58. the Dreadnought==<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ==59. the Bounty Hunter==<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ==60. Maven of the Strings==<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ==63. the Deceiver==<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ==67. The Sheriff of Piltover==<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ==69. the Enlightened One==<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ==71. the Exemplar of Demacia==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ==75. the Mechanized Menace==<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ==77. the Lady of Clockwork==<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ==79. the Radiant Dawn==<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ==83. the Exile==<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ==86. the Half-Dragon==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ==87. the Tidal Trickster==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ==88. the Relentless Storm==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==92. the Hexplosives Expert==<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ==102. Scorn of the Moon==<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ==108. the Tidecaller==<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ==109. the Piltover Enforcer==<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ==115 and 146. the Purifier and the Redeemer==<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ==116. the Loose Cannon==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ==117 and 150. the Unforgiven and the Unforgotten==<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==119. the Heart of the Freljord==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ==123. the Void Burrower==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ==124. the Wandering Caretaker==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ==127. The Eternal Hunters==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ==129. the Virtuoso==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ==131. the Stoneweaver==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ==133. the Green Father==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> <br /> ==134. the Steel Shadow==<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ==135 and 136. The Charmer and the Rebel==<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ==139. the Aspect of Twilight==<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ==140. Daughter of the Void==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ==141. the Bloodharbor Ripper==<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ==142. the Curious Chameleon==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==147. the Weapon of the Faithful==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==148. the Boss==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ==152. the Starry-Eyed Songstress==<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ==153. the Iron Maiden==<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ==155. The Hallowed Seamstress==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ==156. the Rogue Sentinel==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=131009 2021-12-11T08:33:45Z

<p>Zhu Renduo: /* 133. the Father */</p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> <br /> 《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China<br /> <br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to summarize these points and to analyze some specific examples, finally get to know the discipline with in both languages.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> =The comparative analyse of examples=<br /> <br /> In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.<br /> <br /> ==1. The Minotaur==<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ==2. The Dark Child==<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ==5. Grandmaster at Arms==<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ==6 and 8. The Righteous and The Fallen==<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ==7.The Wuju Bladesman==<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ==10.The Rune Mage==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ==11.The Undead Juggernaut==<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ==16.The Card Master==<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ==17.The Uncaged Wrath of Zaun==<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ==18.The Mad Chemist==<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ==21.The Barbarian King==<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ==22.the Plague Rat==<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ==25.the Terror of the Void==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ==27. the Armordillo==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ==35. Shard of the Monolith==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ==38. the Curator of the Sands==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ==42. the Bestial Huntress==<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ==43. Keeper of the Hammer==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ==44. the Rabble Rouser==<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ==46. the Iron Revenant==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> ==47. the Prodigal Explorer==<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ==49. the Heart of the Tempest==<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ==50. The Might of Demacia==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ==56. the Crimson Reaper==<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ==58. the Dreadnought==<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ==59. the Bounty Hunter==<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ==60. Maven of the Strings==<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ==63. the Deceiver==<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ==67. The Sheriff of Piltover==<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ==69. the Enlightened One==<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ==71. the Exemplar of Demacia==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ==75. the Mechanized Menace==<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ==77. the Lady of Clockwork==<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ==79. the Radiant Dawn==<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ==83. the Exile==<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ==86. the Half-Dragon==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ==87. the Tidal Trickster==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ==88. the Relentless Storm==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==92. the Hexplosives Expert==<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ==102. Scorn of the Moon==<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ==108. the Tidecaller==<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ==109. the Piltover Enforcer==<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ==115 and 146. the Purifier and the Redeemer==<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ==116. the Loose Cannon==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ==117 and 150. the Unforgiven and the Unforgotten==<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==119. the Heart of the Freljord==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ==123. the Void Burrower==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ==124. the Wandering Caretaker==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ==127. The Eternal Hunters==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ==129. the Virtuoso==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ==131. the Stoneweaver==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ==133. the Green Father==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=131007 2021-12-11T08:32:27Z

<p>Zhu Renduo: </p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> <br /> 《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China<br /> <br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to summarize these points and to analyze some specific examples, finally get to know the discipline with in both languages.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> =The comparative analyse of examples=<br /> <br /> In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.<br /> <br /> ==1. The Minotaur==<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ==2. The Dark Child==<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ==5. Grandmaster at Arms==<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ==6 and 8. The Righteous and The Fallen==<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ==7.The Wuju Bladesman==<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ==10.The Rune Mage==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ==11.The Undead Juggernaut==<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ==16.The Card Master==<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ==17.The Uncaged Wrath of Zaun==<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ==18.The Mad Chemist==<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ==21.The Barbarian King==<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ==22.the Plague Rat==<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ==25.the Terror of the Void==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ==27. the Armordillo==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ==35. Shard of the Monolith==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ==38. the Curator of the Sands==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ==42. the Bestial Huntress==<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ==43. Keeper of the Hammer==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ==44. the Rabble Rouser==<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ==46. the Iron Revenant==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> ==47. the Prodigal Explorer==<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ==49. the Heart of the Tempest==<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ==50. The Might of Demacia==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ==56. the Crimson Reaper==<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ==58. the Dreadnought==<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ==59. the Bounty Hunter==<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ==60. Maven of the Strings==<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ==63. the Deceiver==<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ==67. The Sheriff of Piltover==<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ==69. the Enlightened One==<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ==71. the Exemplar of Demacia==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ==75. the Mechanized Menace==<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ==77. the Lady of Clockwork==<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ==79. the Radiant Dawn==<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ==83. the Exile==<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ==86. the Half-Dragon==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ==87. the Tidal Trickster==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ==88. the Relentless Storm==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==92. the Hexplosives Expert==<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ==102. Scorn of the Moon==<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ==108. the Tidecaller==<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ==109. the Piltover Enforcer==<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ==115 and 146. the Purifier and the Redeemer==<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ==116. the Loose Cannon==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ==117 and 150. the Unforgiven and the Unforgotten==<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==119. the Heart of the Freljord==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ==123. the Void Burrower==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ==124. the Wandering Caretaker==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ==127. The Eternal Hunters==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ==129. the Virtuoso==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ==131. the Stoneweaver==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ==133. the Father==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ st</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=131006 2021-12-11T08:27:47Z

<p>Zhu Renduo: /* The comparative analyse of examples */</p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to summarize these points and to analyze some specific examples, finally get to know the discipline with in both languages.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> =The comparative analyse of examples=<br /> <br /> In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.<br /> <br /> ==1. The Minotaur==<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ==2. The Dark Child==<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ==5. Grandmaster at Arms==<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ==6 and 8. The Righteous and The Fallen==<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ==7.The Wuju Bladesman==<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ==10.The Rune Mage==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ==11.The Undead Juggernaut==<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ==16.The Card Master==<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ==17.The Uncaged Wrath of Zaun==<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ==18.The Mad Chemist==<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ==21.The Barbarian King==<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ==22.the Plague Rat==<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ==25.the Terror of the Void==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ==27. the Armordillo==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ==35. Shard of the Monolith==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ==38. the Curator of the Sands==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ==42. the Bestial Huntress==<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ==43. Keeper of the Hammer==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ==44. the Rabble Rouser==<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ==46. the Iron Revenant==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> ==47. the Prodigal Explorer==<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ==49. the Heart of the Tempest==<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ==50. The Might of Demacia==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ==56. the Crimson Reaper==<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ==58. the Dreadnought==<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ==59. the Bounty Hunter==<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ==60. Maven of the Strings==<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ==63. the Deceiver==<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ==67. The Sheriff of Piltover==<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ==69. the Enlightened One==<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ==71. the Exemplar of Demacia==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ==75. the Mechanized Menace==<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ==77. the Lady of Clockwork==<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ==79. the Radiant Dawn==<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ==83. the Exile==<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ==86. the Half-Dragon==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ==87. the Tidal Trickster==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ==88. the Relentless Storm==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==92. the Hexplosives Expert==<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ==102. Scorn of the Moon==<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ==108. the Tidecaller==<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ==109. the Piltover Enforcer==<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ==115 and 146. the Purifier and the Redeemer==<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ==116. the Loose Cannon==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ==117 and 150. the Unforgiven and the Unforgotten==<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==119. the Heart of the Freljord==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ==123. the Void Burrower==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ==124. the Wandering Caretaker==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ==127. The Eternal Hunters==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ==129. the Virtuoso==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ==131. the Stoneweaver==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ==133. the Father==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> ==134.the Steel Shadow==<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ==135 and 136. The Charmer and the Rebel==<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ==139.the Aspect of Twilight==<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ==140.Daughter of the Void==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ==141. the Bloodharbor Ripper==<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ==142. the Curious Chameleon==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==147. the Weapon of the Faithful==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==148. the Boss==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ==152. the Starry-Eyed Songstress==<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ==153. the Iron Maiden==<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ==155. The Hallowed Seamstress==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ==156.the Rogue Sentinel==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=131004 2021-12-11T08:27:10Z

<p>Zhu Renduo: /* The comparative analyse of examples */</p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to summarize these points and to analyze some specific examples, finally get to know the discipline with in both languages.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> =The comparative analyse of examples=<br /> <br /> In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If on part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.<br /> <br /> ==1. The Minotaur==<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ==2. The Dark Child==<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ==5. Grandmaster at Arms==<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ==6 and 8. The Righteous and The Fallen==<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ==7.The Wuju Bladesman==<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ==10.The Rune Mage==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ==11.The Undead Juggernaut==<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ==16.The Card Master==<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ==17.The Uncaged Wrath of Zaun==<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ==18.The Mad Chemist==<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ==21.The Barbarian King==<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ==22.the Plague Rat==<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ==25.the Terror of the Void==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ==27. the Armordillo==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ==35. Shard of the Monolith==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ==38. the Curator of the Sands==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ==42. the Bestial Huntress==<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ==43. Keeper of the Hammer==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ==44. the Rabble Rouser==<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ==46. the Iron Revenant==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> ==47. the Prodigal Explorer==<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ==49. the Heart of the Tempest==<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ==50. The Might of Demacia==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ==56. the Crimson Reaper==<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ==58. the Dreadnought==<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ==59. the Bounty Hunter==<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ==60. Maven of the Strings==<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ==63. the Deceiver==<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ==67. The Sheriff of Piltover==<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ==69. the Enlightened One==<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ==71. the Exemplar of Demacia==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ==75. the Mechanized Menace==<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ==77. the Lady of Clockwork==<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ==79. the Radiant Dawn==<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ==83. the Exile==<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ==86. the Half-Dragon==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ==87. the Tidal Trickster==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ==88. the Relentless Storm==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==92. the Hexplosives Expert==<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ==102. Scorn of the Moon==<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ==108. the Tidecaller==<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ==109. the Piltover Enforcer==<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ==115 and 146. the Purifier and the Redeemer==<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ==116. the Loose Cannon==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ==117 and 150. the Unforgiven and the Unforgotten==<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==119. the Heart of the Freljord==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ==123. the Void Burrower==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ==124. the Wandering Caretaker==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ==127. The Eternal Hunters==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ==129. the Virtuoso==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ==131. the Stoneweaver==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ==133. the Father==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> ==134.the Steel Shadow==<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ==135 and 136. The Charmer and the Rebel==<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ==139.the Aspect of Twilight==<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ==140.Daughter of the Void==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ==141. the Bloodharbor Ripper==<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ==142. the Curious Chameleon==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==147. the Weapon of the Faithful==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==148. the Boss==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ==152. the Starry-Eyed Songstress==<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ==153. the Iron Maiden==<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ==155. The Hallowed Seamstress==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ==156.the Rogue Sentinel==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=131000 2021-12-11T08:20:45Z

<p>Zhu Renduo: /* Generality of the translation in China and Japan */</p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to summarize these points and to analyze some specific examples, finally get to know the discipline with in both languages.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> =The comparative analyse of examples=<br /> <br /> ==1. The Minotaur==<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ==2. The Dark Child==<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ==5. Grandmaster at Arms==<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ==6 and 8. The Righteous and The Fallen==<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ==7.The Wuju Bladesman==<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ==10.The Rune Mage==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ==11.The Undead Juggernaut==<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ==16.The Card Master==<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ==17.The Uncaged Wrath of Zaun==<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ==18.The Mad Chemist==<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ==21.The Barbarian King==<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ==22.the Plague Rat==<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ==25.the Terror of the Void==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ==27. the Armordillo==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ==35. Shard of the Monolith==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ==38. the Curator of the Sands==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ==42. the Bestial Huntress==<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ==43. Keeper of the Hammer==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ==44. the Rabble Rouser==<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ==46. the Iron Revenant==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> ==47. the Prodigal Explorer==<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ==49. the Heart of the Tempest==<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ==50. The Might of Demacia==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ==56. the Crimson Reaper==<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ==58. the Dreadnought==<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ==59. the Bounty Hunter==<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ==60. Maven of the Strings==<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ==63. the Deceiver==<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ==67. The Sheriff of Piltover==<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ==69. the Enlightened One==<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ==71. the Exemplar of Demacia==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ==75. the Mechanized Menace==<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ==77. the Lady of Clockwork==<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ==79. the Radiant Dawn==<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ==83. the Exile==<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ==86. the Half-Dragon==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ==87. the Tidal Trickster==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ==88. the Relentless Storm==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==92. the Hexplosives Expert==<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ==102. Scorn of the Moon==<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ==108. the Tidecaller==<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ==109. the Piltover Enforcer==<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ==115 and 146. the Purifier and the Redeemer==<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ==116. the Loose Cannon==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ==117 and 150. the Unforgiven and the Unforgotten==<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==119. the Heart of the Freljord==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ==123. the Void Burrower==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ==124. the Wandering Caretaker==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ==127. The Eternal Hunters==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ==129. the Virtuoso==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ==131. the Stoneweaver==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ==133. the Father==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> ==134.the Steel Shadow==<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ==135 and 136. The Charmer and the Rebel==<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ==139.the Aspect of Twilight==<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ==140.Daughter of the Void==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ==141. the Bloodharbor Ripper==<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ==142. the Curious Chameleon==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==147. the Weapon of the Faithful==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==148. the Boss==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ==152. the Starry-Eyed Songstress==<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ==153. the Iron Maiden==<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ==155. The Hallowed Seamstress==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ==156.the Rogue Sentinel==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=130971 2021-12-11T07:19:27Z

<p>Zhu Renduo: </p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to summarize these points and to analyze some specific examples, finally get to know the discipline with in both languages.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> =The comparative analyse of examples=<br /> <br /> ==1. The Minotaur==<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ==2. The Dark Child==<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ==5. Grandmaster at Arms==<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ==6 and 8. The Righteous and The Fallen==<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ==7.The Wuju Bladesman==<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ==10.The Rune Mage==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ==11.The Undead Juggernaut==<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ==16.The Card Master==<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ==17.The Uncaged Wrath of Zaun==<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ==18.The Mad Chemist==<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ==21.The Barbarian King==<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ==22.the Plague Rat==<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ==25.the Terror of the Void==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ==27. the Armordillo==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ==35. Shard of the Monolith==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ==38. the Curator of the Sands==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ==42. the Bestial Huntress==<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ==43. Keeper of the Hammer==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ==44. the Rabble Rouser==<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ==46. the Iron Revenant==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> ==47. the Prodigal Explorer==<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ==49. the Heart of the Tempest==<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ==50. The Might of Demacia==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ==56. the Crimson Reaper==<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ==58. the Dreadnought==<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ==59. the Bounty Hunter==<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ==60. Maven of the Strings==<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ==63. the Deceiver==<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ==67. The Sheriff of Piltover==<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ==69. the Enlightened One==<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ==71. the Exemplar of Demacia==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ==75. the Mechanized Menace==<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ==77. the Lady of Clockwork==<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ==79. the Radiant Dawn==<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ==83. the Exile==<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ==86. the Half-Dragon==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ==87. the Tidal Trickster==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ==88. the Relentless Storm==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==92. the Hexplosives Expert==<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ==102. Scorn of the Moon==<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ==108. the Tidecaller==<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ==109. the Piltover Enforcer==<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ==115 and 146. the Purifier and the Redeemer==<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ==116. the Loose Cannon==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ==117 and 150. the Unforgiven and the Unforgotten==<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==119. the Heart of the Freljord==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ==123. the Void Burrower==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ==124. the Wandering Caretaker==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ==127. The Eternal Hunters==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ==129. the Virtuoso==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ==131. the Stoneweaver==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ==133. the Father==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> ==134.the Steel Shadow==<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ==135 and 136. The Charmer and the Rebel==<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ==139.the Aspect of Twilight==<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ==140.Daughter of the Void==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ==141. the Bloodharbor Ripper==<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ==142. the Curious Chameleon==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==147. the Weapon of the Faithful==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==148. the Boss==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ==152. the Starry-Eyed Songstress==<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ==153. the Iron Maiden==<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ==155. The Hallowed Seamstress==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ==156.the Rogue Sentinel==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=130965 2021-12-11T07:12:29Z

<p>Zhu Renduo: </p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to summarize these points and to analyze some specific examples, finally get to know the discipline with in both languages.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese translation and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> =1. The Minotaur=<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> =2. The Dark Child=<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> =5. Grandmaster at Arms=<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ==6 and 8. The Righteous and The Fallen==<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ==7.The Wuju Bladesman==<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ==10.The Rune Mage==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ==11.The Undead Juggernaut==<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ==16.The Card Master==<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ==17.The Uncaged Wrath of Zaun==<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ==18.The Mad Chemist==<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ==21.The Barbarian King==<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ==22.the Plague Rat==<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ==25.the Terror of the Void==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ==27. the Armordillo==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ==35. Shard of the Monolith==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ==38. the Curator of the Sands==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ==42. the Bestial Huntress==<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ==43. Keeper of the Hammer==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ==44. the Rabble Rouser==<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ==46. the Iron Revenant==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> ==47. the Prodigal Explorer==<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ==49. the Heart of the Tempest==<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ==50. The Might of Demacia==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ==56. the Crimson Reaper==<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ==58. the Dreadnought==<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ==59. the Bounty Hunter==<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ==60. Maven of the Strings==<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ==63. the Deceiver==<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ==67. The Sheriff of Piltover==<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ==69. the Enlightened One==<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ==71. the Exemplar of Demacia==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ==75. the Mechanized Menace==<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ==77. the Lady of Clockwork==<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ==79. the Radiant Dawn==<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ==83. the Exile==<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ==86. the Half-Dragon==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ==87. the Tidal Trickster==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ==88. the Relentless Storm==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==92. the Hexplosives Expert==<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ==102. Scorn of the Moon==<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ==108. the Tidecaller==<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ==109. the Piltover Enforcer==<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ==115 and 146. the Purifier and the Redeemer==<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ==116. the Loose Cannon==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ==117 and 150. the Unforgiven and the Unforgotten==<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==119. the Heart of the Freljord==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ==123. the Void Burrower==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ==124. the Wandering Caretaker==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ==127. The Eternal Hunters==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ==129. the Virtuoso==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ==131. the Stoneweaver==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ==133. the Father==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> ==134.the Steel Shadow==<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ==135 and 136. The Charmer and the Rebel==<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ==139.the Aspect of Twilight==<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ==140.Daughter of the Void==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ==141. the Bloodharbor Ripper==<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ==142. the Curious Chameleon==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==147. the Weapon of the Faithful==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==148. the Boss==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ==152. the Starry-Eyed Songstress==<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ==153. the Iron Maiden==<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ==155. The Hallowed Seamstress==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ==156.the Rogue Sentinel==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.</div>

Zhu Renduo https://bou.de/u/index.php?title=20211215_homework&diff=130963 2021-12-11T07:07:25Z

<p>Zhu Renduo: </p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> <br /> 鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​<br /> <br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> <br /> 抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081478==<br /> <br /> 事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> <br /> (宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。<br /> <br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> <br /> 武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​<br /> <br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> <br /> 致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。 <br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> <br /> 格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> <br /> 周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。<br /> <br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> <br /> 这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> <br /> 王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> <br /> 王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> <br /> 刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> <br /> 倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> <br /> 卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> <br /> 成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> <br /> 出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> <br /> 此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> <br /> 退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> <br /> 典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> <br /> 后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。<br /> <br /> 第三回<br /> <br /> 托内兄如海荐西宾 接外孙贾母惜孤女<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> <br /> 却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> <br /> 雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> <br /> 因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> <br /> 即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> <br /> 二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> <br /> 如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> <br /> 一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> <br /> 便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同。<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> <br /> 他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> <br /> 又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> <br /> 又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> <br /> 至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> <br /> 厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”<br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> <br /> 黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> <br /> 贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> <br /> 不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> <br /> 第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> <br /> 今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> <br /> 因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> <br /> 他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> <br /> 如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”<br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==<br /> <br /> 心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> <br /> 下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> <br /> 黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，学名叫做王熙凤。黛玉忙陪笑见礼，以“嫂”呼之。<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> <br /> 这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> <br /> 只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> <br /> 熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> <br /> 要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”<br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> <br /> 说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> <br /> 因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”<br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> <br /> 王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> <br /> 贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> <br /> 拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> <br /> 进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。<br /> <br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> <br /> 一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”<br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> <br /> 黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> <br /> 邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> <br /> 众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。<br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> <br /> 进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。<br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> <br /> 地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> <br /> 于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> <br /> 地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> <br /> 黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。<br /> <br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> <br /> 茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。<br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> <br /> 正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> <br /> 黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> <br /> 只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> <br /> 你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”<br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> <br /> 今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> <br /> 况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> <br /> 若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> <br /> 忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。<br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> <br /> 王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> <br /> 于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> <br /> 贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。<br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> <br /> 旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> <br /> 今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”<br /> <br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> <br /> 王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> <br /> 一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> <br /> 一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> <br /> 虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”<br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> <br /> 即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；<br /> <br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> <br /> 下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。<br /> <br /> ==Nadia 202011080004==<br /> <br /> 后人有《西江月》二词批的极确，词曰：<br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> <br /> 无故寻愁觅恨，有时似傻如狂。<br /> <br /> ==Mariam toure 2020GBJ002301==<br /> <br /> 纵然生得好皮囊，腹内原来草莽。<br /> <br /> ==Rouabah Soumaya 202121080001==<br /> <br /> 潦倒不通庶务，愚顽怕读文章。<br /> <br /> ==Muhammad Numan 202121080002==<br /> <br /> 行为偏僻性乖张，那管世人诽谤。<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> <br /> 又曰：富贵不知乐业，贫穷难耐凄凉。<br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> <br /> 可怜辜负好时光，于国于家无望。<br /> <br /> ==Zohaib Chand 202121080005==<br /> <br /> 天下无能第一，古今不肖无双。<br /> <br /> ==Jawad Ahmad 202121080006==<br /> <br /> 寄言纨袴与膏粱，莫效此儿形状。<br /> <br /> ==Nizam Uddin 202121080007==<br /> <br /> 却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”<br /> <br /> ==Öncü 202121080008==<br /> <br /> 宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。<br /> <br /> ==Akira Jantarat 202121080009==<br /> <br /> 归了坐细看时，真是与众各别。<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> <br /> 只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。<br /> <br /> ==Asep Budiman 202111080020==<br /> <br /> 态生两靥之愁，娇袭一身之病。<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> <br /> 泪光点点，娇喘微微。</div>

Zhu Renduo https://bou.de/u/index.php?title=Introduction_to_Translation_Studies_2021&diff=130937 2021-12-11T06:03:42Z

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

Zhu Renduo https://bou.de/u/index.php?title=Introduction_to_Translation_Studies_2021&diff=130936 2021-12-11T06:02:36Z

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

Zhu Renduo https://bou.de/u/index.php?title=File:Skopos_Theory_and_its_application_by_Jawad_and_Liu_Peiting.pptx&diff=130935 2021-12-11T06:01:12Z

<p>Zhu Renduo: Zhu Renduo uploaded a new version of &amp;quot;File:Skopos Theory and its application by Jawad and Liu Peiting.pptx&amp;quot;</p> <hr /> <div></div>

Zhu Renduo https://bou.de/u/index.php?title=File:Skopos_Theory_and_its_application_by_Jawad_and_Liu_Peiting.pptx&diff=130934 2021-12-11T06:00:17Z

<p>Zhu Renduo: </p> <hr /> <div></div>

Zhu Renduo https://bou.de/u/index.php?title=Introduction_to_Translation_Studies_2021&diff=130933 2021-12-11T06:00:01Z

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

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=130765 2021-12-09T16:33:07Z

<p>Zhu Renduo: /* The compare of Chinese translation and Japanese translations */</p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to summarize these points and to analyze some specific examples, finally get to know the discipline with in both languages.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese translation and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> <br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> <br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> <br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> <br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> <br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> <br /> 6. the Righteous 正义天使 天空の正義<br /> <br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> <br /> 8. the Fallen 堕落天使 堕天の高潔<br /> <br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> <br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> <br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> <br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> <br /> 13. the Starchild 众星之子 星の子<br /> <br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> <br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> <br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> <br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> <br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> <br /> 19. the Chronokeeper 时光守护者 時の番人<br /> <br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> <br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> <br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> <br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> <br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> <br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> <br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> <br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> <br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> <br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> <br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> <br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> <br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> <br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> <br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> <br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> <br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> <br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> <br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> <br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> <br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> <br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> <br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> <br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> <br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> <br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> <br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> <br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> <br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> <br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> <br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> <br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> <br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> <br /> 53. the Berserker 狂战士 狂戦士<br /> <br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> <br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> <br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> <br /> 57. the Colossus 正义巨像 伝説の巨像<br /> <br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> <br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> <br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> <br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> <br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> <br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> <br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> <br /> 65. the Troll King 巨魔之王 トロールキング<br /> <br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> <br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> <br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> <br /> 69. the Enlightened One 天启者 目覚めし者<br /> <br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> <br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> <br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> <br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> <br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> <br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> <br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> <br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> <br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> <br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> <br /> 80. the Monkey King 齐天大圣 美猴王<br /> <br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> <br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> <br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> <br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> <br /> 85. the Outlaw 法外狂徒 無法者<br /> <br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> <br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> <br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> <br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> <br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> <br /> 91. Fury of the North 北地之怒 極北の激憤<br /> <br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> <br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> <br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> <br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> <br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> <br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> <br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> <br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> <br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> <br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> <br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> <br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> <br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> <br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> <br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> <br /> 107. the Master of Shadows 影流之主 影の頭領<br /> <br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> <br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> <br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> <br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> <br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> <br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> <br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> <br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> <br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> <br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> <br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> <br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> <br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> <br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> <br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> <br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> <br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> <br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> <br /> 126. The River King 河流之王 川の王様<br /> <br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> <br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> <br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> <br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> <br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> <br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> <br /> 133. the Green Father 翠神 豊緑の神秘<br /> <br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> <br /> 135. The Charmer 幻翎 魅惑の翼<br /> <br /> 136. the Rebel 逆羽 反逆の刃<br /> <br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> <br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> <br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> <br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> <br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> <br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> <br /> 143. the Unshackled 解脱者 解き放たれし者<br /> <br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> <br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> <br /> 146. the Redeemer 涤魂圣枪 救済者<br /> <br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> <br /> 148. the Boss 腕豪 ザ・ボス<br /> <br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> <br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> <br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> <br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> <br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> <br /> 154. The Ruined King 破败之王 滅びの王<br /> <br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> <br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> <br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> ==1. The Minotaur==<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ==2. The Dark Child==<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ==5. Grandmaster at Arms==<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ==6 and 8. The Righteous and The Fallen==<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ==7.The Wuju Bladesman==<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ==10.The Rune Mage==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ==11.The Undead Juggernaut==<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ==16.The Card Master==<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ==17.The Uncaged Wrath of Zaun==<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ==18.The Mad Chemist==<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ==21.The Barbarian King==<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ==22.the Plague Rat==<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ==25.the Terror of the Void==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ==27. the Armordillo==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ==35. Shard of the Monolith==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ==38. the Curator of the Sands==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ==42. the Bestial Huntress==<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ==43. Keeper of the Hammer==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ==44. the Rabble Rouser==<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ==46. the Iron Revenant==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> ==47. the Prodigal Explorer==<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ==49. the Heart of the Tempest==<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ==50. The Might of Demacia==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ==56. the Crimson Reaper==<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ==58. the Dreadnought==<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ==59. the Bounty Hunter==<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ==60. Maven of the Strings==<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ==63. the Deceiver==<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ==67. The Sheriff of Piltover==<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ==69. the Enlightened One==<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ==71. the Exemplar of Demacia==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ==75. the Mechanized Menace==<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ==77. the Lady of Clockwork==<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ==79. the Radiant Dawn==<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ==83. the Exile==<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ==86. the Half-Dragon==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ==87. the Tidal Trickster==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ==88. the Relentless Storm==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==92. the Hexplosives Expert==<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ==102. Scorn of the Moon==<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ==108. the Tidecaller==<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ==109. the Piltover Enforcer==<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ==115 and 146. the Purifier and the Redeemer==<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ==116. the Loose Cannon==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ==117 and 150. the Unforgiven and the Unforgotten==<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==119. the Heart of the Freljord==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ==123. the Void Burrower==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ==124. the Wandering Caretaker==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ==127. The Eternal Hunters==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ==129. the Virtuoso==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ==131. the Stoneweaver==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ==133. the Father==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> ==134.the Steel Shadow==<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ==135 and 136. The Charmer and the Rebel==<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ==139.the Aspect of Twilight==<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ==140.Daughter of the Void==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ==141. the Bloodharbor Ripper==<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ==142. the Curious Chameleon==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==147. the Weapon of the Faithful==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==148. the Boss==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ==152. the Starry-Eyed Songstress==<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ==153. the Iron Maiden==<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ==155. The Hallowed Seamstress==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ==156.the Rogue Sentinel==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=130764 2021-12-09T16:31:25Z

<p>Zhu Renduo: </p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to summarize these points and to analyze some specific examples, finally get to know the discipline with in both languages.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.<br /> <br /> ===Generality of the translation in China and Japan===<br /> Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. <br /> <br /> With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.<br /> <br /> ===The compare of Chinese translation and Japanese translations===<br /> No. English titles Simplified Chinese Japanese<br /> 1. the Minotaur 牛头酋长 ミノタウロスの戦士<br /> 2. the Dark Child 黑暗之女 闇の申し子<br /> 3. the Frost Archer 寒冰射手 氷の射手<br /> 4. the Ancient Fear 远古恐惧 古の恐怖<br /> 5. Grandmaster at Arms 武器大师 最強の武器使い<br /> 6. the Righteous 正义天使 天空の正義<br /> 7. the Wuju Bladesman 无极剑圣 ウージューの剣客<br /> 8. the Fallen 堕落天使 堕天の高潔<br /> 9. the Boy and His Yeti 雪原双子 少年とイエティ<br /> 10. the Rune Mage 符文法师 ルーンの魔導師<br /> 11. The Undead Juggernaut 亡灵战神 不死身の重戦車<br /> 12. the Battle Mistress 战争女神 戦場の女王<br /> 13. the Starchild 众星之子 星の子<br /> 14. the Swift Scout 迅捷斥候 俊足の斥候<br /> 15. the Yordle Gunner 麦林炮手 ヨードルの主砲<br /> 16. the Card Master 卡牌大师 不敗のイカサマ師<br /> 17. the Uncaged Wrath of Zaun 祖安怒兽 解き放たれたゾウンの激憤<br /> 18. the Mad Chemist 炼金术士 マッドケミスト<br /> 19. the Chronokeeper 时光守护者 時の番人<br /> 20. Agony's Embrace 痛苦之拥 苦悶の抱擁<br /> 21. the Barbarian King 蛮族之王 孤高の蛮王<br /> 22. the Plague Rat 瘟疫之源 黒死のドブネズミ<br /> 23. the Deathsinger 死亡颂唱者 死を歌う者<br /> 24. the Sad Mummy 殇之木乃伊 めそめそミイラ<br /> 25. the Terror of the Void 虚空恐惧 未知なる恐怖<br /> 26. the Cryophoenix 冰晶凤凰 氷の不死鳥<br /> 27. the Armordillo 披甲龙龟 アーマージロ<br /> 28. the Tiny Master of Evil 邪恶小法师 小さき大魔王<br /> 29. the Void Walker 虚空行者 ヴォイドを歩む者<br /> 30. the Saltwater Scourge 海洋之灾 大海原の大災厄<br /> 31. the Shield of Valoran 瓦罗兰之盾 ヴァロランの守護者<br /> 32. the Great Steam Golem 蒸汽机器人 偉大なるスチームゴーレム<br /> 33. the Madman of Zaun 祖安狂人 ゾウンの狂人<br /> 34. the Storm's Fury 风暴之怒 嵐の怒り<br /> 35. Shard of the Monolith 熔岩巨兽 モノリスの欠片<br /> 36. the Daring Bombardier 英勇投弹手 豪気の爆撃手<br /> 37. the Sinister Blade 不祥之刃 凶兆の刃<br /> 38. the Curator of the Sands 沙漠死神 砂漠の司書<br /> 39. the Revered Inventor 大发明家 誉れ高き発明王<br /> 40. the Demon Jester 恶魔小丑 悪魔の道化師<br /> 41. the Spirit Walker 兽灵行者 精霊と歩む者<br /> 42. the Bestial Huntress 狂野女猎手 半獣の狩人<br /> 43. Keeper of the Hammer 圣锤之毅 大鎚の守護者<br /> 44. the Rabble Rouser 酒桶 騒乱の飲んだくれ<br /> 45. the Unbreakable Spear 不屈之枪 砕けぬ槍<br /> 46. the Iron Revenant 铁铠冥魂 鋼の魂奪者<br /> 47. the Prodigal Explorer 探险家 光の冒険心<br /> 48. the Eye of Twilight 暮光之眼 黄昏の瞳<br /> 49. the Heart of the Tempest 狂暴之心 雷雲の担い手<br /> 50. The Might of Demacia 德玛西亚之力 デマーシアの勇士<br /> 51. the Rogue Assassin 离群之刺 主なき暗殺者<br /> 52. the Prophet of the Void 虚空先知 ヴォイドの予言者<br /> 53. the Berserker 狂战士 狂戦士<br /> 54. the Mouth of the Abyss 深渊巨口 深淵のアギト<br /> 55. the Seneschal of Demacia 德邦总管 デマーシアの家令長<br /> 56. the Crimson Reaper 猩红收割者 真紅の死神<br /> 57. the Colossus 正义巨像 伝説の巨像<br /> 58. the Dreadnought 无畏战车 ドレッドノート<br /> 59. the Bounty Hunter 赏金猎人 美貌の賞金稼ぎ<br /> 60. Maven of the Strings 琴瑟仙女 沈黙の弦奏師<br /> 61. the Noxian Grand General 诺克萨斯统领 ノクサス帝国元帥<br /> 62. the Lady of Luminosity 光辉女郎 光の才女<br /> 63. the Deceiver 诡术妖姬 幻惑の奇術師<br /> 64. the Blade Dancer 刀锋舞者 飛刃の舞い手<br /> 65. the Troll King 巨魔之王 トロールキング<br /> 66. the Serpent's Embrace 魔蛇之拥 毒蛇の抱擁<br /> 67. the Sheriff of Piltover 皮城女警 ピルトーヴァーの保安官<br /> 68. the Butcher of the Sands 荒漠屠夫 砂漠の解体屋<br /> 69. the Enlightened One 天启者 目覚めし者<br /> 70. the Twisted Treant 扭曲树精 歪みし樹人<br /> 71. the Exemplar of Demacia 德玛西亚皇子 デマーシアの儀範<br /> 72. the Eternal Nightmare 永恒梦魇 終わりなき悪夢<br /> 73. the Blind Monk 盲僧 盲目の修行僧<br /> 74. the Burning Vengeance 复仇焰魂 復讐の炎<br /> 75. the Mechanized Menace 机械公敌 戦慄の機甲兵<br /> 76. the Night Hunter 暗夜猎手 ナイトハンター<br /> 77. the Lady of Clockwork 发条魔灵 時計仕掛けの舞姫<br /> 78. the Shepherd of Souls 牧魂人 魂の導き手<br /> 79. the Radiant Dawn 曙光女神 暁光の戦士<br /> 80. the Monkey King 齐天大圣 美猴王<br /> 81. the Crystal Vanguard 水晶先锋 水晶の尖兵<br /> 82. the Blade's Shadow 刀锋之影 将軍の懐刀<br /> 83. the Exile 放逐之刃 贖罪の追放者<br /> 84. the Magus Ascendant 远古巫灵 超越魔神<br /> 85. the Outlaw 法外狂徒 無法者<br /> 86. the Half-Dragon 龙血武姬 半龍人<br /> 87. the Tidal Trickster 潮汐海灵 波間のトリックスター<br /> 88. the Relentless Storm 不灭狂雷 無慈悲の嵐<br /> 89. the Nine-Tailed Fox 九尾妖狐 九尾の狐<br /> 90. the Machine Herald 机械先驱 機械文明の先触れ<br /> 91. Fury of the North 北地之怒 極北の激憤<br /> 92. the Hexplosives Expert 爆破鬼才 ヘクス爆薬のエキスパート<br /> 93. the Titan of the Depths 深海泰坦 深海の巨人<br /> 94. the Grand Duelist 无双剑姬 高潔なるデュエリスト<br /> 95. the Fae Sorceress 仙灵女巫 森の妖精使い<br /> 96. the Shadow of War 战争之影 戦場の幻影<br /> 97. the Arrow of Retribution 惩戒之箭 報復の一矢<br /> 98. the Hand of Noxus 诺克萨斯之手 ノクサスの戦斧<br /> 99. the Glorious Executioner 荣耀行刑官 栄光ある処刑人<br /> 100. the Defender of Tomorrow 未来守护者 未来への希望<br /> 101. Rise of the Thorns 荆棘之兴 茨の目覚め<br /> 102. Scorn of the Moon 皎月女神 嘲りの月<br /> 103. the Pridestalker 傲之追猎者 孤高のハンター<br /> 104. the Dark Sovereign 暗黑元首 暗黒の女王<br /> 105. the Voidreaver 虚空掠夺者 ヴォイドの捕食者<br /> 106. the Spider Queen 蜘蛛女皇 蜘蛛の女帝<br /> 107. the Master of Shadows 影流之主 影の頭領<br /> 108. the Tidecaller 唤潮鲛姬 潮呼びの巫女<br /> 109. the Piltover Enforcer 皮城执法官 ピルトーヴァーの用心棒<br /> 110. the Chain Warden 魂锁典狱长 縛鎖の看守<br /> 111. Demacia's Wings 德玛西亚之翼 デマーシアの両翼<br /> 112. the Secret Weapon 生化魔人 親愛なる秘密兵器<br /> 113. the Ice Witch 冰霜女巫 氷の魔女<br /> 114. the Darkin Blade 暗裔剑魔 ダーキンの暴剣<br /> 115. the Purifier 圣枪游侠 不浄殲滅者<br /> 116. the Loose Cannon 暴走萝莉 暴走パンクガール<br /> 117. the Unforgiven 疾风剑豪 赦されざる者<br /> 118. the Eye of the Void 虚空之眼 ヴォイドの瞳<br /> 119. the Heart of the Freljord 弗雷尔卓德之心 フレヨルドの漢気<br /> 120. the Missing Link 迷失之牙 ミッシングリンク<br /> 121. the Emperor of the Sands 沙漠皇帝 砂塵の皇帝<br /> 122. the Spear of Vengeance 复仇之矛 復讐の槍<br /> 123. the Void Burrower 虚空遁地兽 地底の恐怖<br /> 124. the Wandering Caretaker 星界游神 流離いの庇護者<br /> 125. the Boy Who Shattered Time 时间刺客 砕けた時を渡る少年<br /> 126. The River King 河流之王 川の王様<br /> 127. The Eternal Hunters 永猎双子 永遠なる狩人<br /> 128. the Kraken Priestess 海兽祭司 海の女司祭<br /> 129. the Virtuoso 戏命师 孤高の芸術家<br /> 130. The Star Forger 铸星龙王 星を創りし者<br /> 131. the Stoneweaver 岩雀 ストーンウィーバー<br /> 132. the Cantankerous Cavalier 暴怒骑士 狂乱の騎兵<br /> 133. the Green Father 翠神 豊緑の神秘<br /> 134. the Steel Shadow 青钢影 スチールシャドウ<br /> 135. The Charmer 幻翎 魅惑の翼<br /> 136. the Rebel 逆羽 反逆の刃<br /> 137. the Shadow Reaper 影流之镰 無情の影<br /> 138. The Fire below the Mountain 山隐之焰 山の下の焔<br /> 139. the Aspect of Twilight 暮光星灵 超常の遊び<br /> 140. Daughter of the Void 虚空之女 虚無を知る娘<br /> 141. the Bloodharbor Ripper 血港鬼影 ブラッドハーバーの殺戮鬼<br /> 142. the Curious Chameleon 万花通灵 不思議のカメレオン<br /> 143. the Unshackled 解脱者 解き放たれし者<br /> 144. the Magical Cat 魔法猫咪 マジカルキャット<br /> 145. Empress of the Elements 元素女皇 エレメントの女帝<br /> 146. the Redeemer 涤魂圣枪 救済者<br /> 147. the Weapon of the Faithful 残月之肃 信ずる者の武器<br /> 148. the Boss 腕豪 ザ・ボス<br /> 149. the Bashful Bloom 含羞蓓蕾 はにかみ屋の花<br /> 150. the Unforgotten 封魔剑魂 忘られざる者<br /> 151. the Desert Rose 沙漠玫瑰 砂漠の薔薇<br /> 152. the Starry-Eyed Songstress 星籁歌姬 希望のメロディー<br /> 153. the Iron Maiden 镕铁少女 鋼鉄の乙女<br /> 154. The Ruined King 破败之王 滅びの王<br /> 155. The Hallowed Seamstress 灵罗娃娃 聖なるお針子<br /> 156. the Rogue Sentinel 影哨 流浪の番人<br /> 157. the Gloomist 愁云使者 終わりなき憂鬱<br /> <br /> ==1. The Minotaur==<br /> Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.<br /> <br /> ==2. The Dark Child==<br /> On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.<br /> <br /> ==5. Grandmaster at Arms==<br /> On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.<br /> <br /> ==6 and 8. The Righteous and The Fallen==<br /> These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.<br /> <br /> ==7.The Wuju Bladesman==<br /> The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.<br /> <br /> ==10.The Rune Mage==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.<br /> <br /> ==11.The Undead Juggernaut==<br /> Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.<br /> <br /> ==16.The Card Master==<br /> On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.<br /> <br /> ==17.The Uncaged Wrath of Zaun==<br /> On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.<br /> <br /> ==18.The Mad Chemist==<br /> On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.<br /> <br /> ==21.The Barbarian King==<br /> On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. <br /> <br /> ==22.the Plague Rat==<br /> This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.<br /> <br /> ==25.the Terror of the Void==<br /> We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.<br /> <br /> ==27. the Armordillo==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> <br /> ==35. Shard of the Monolith==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.<br /> <br /> ==38. the Curator of the Sands==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.<br /> <br /> ==42. the Bestial Huntress==<br /> On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.<br /> <br /> ==43. Keeper of the Hammer==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.<br /> <br /> ==44. the Rabble Rouser==<br /> The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.<br /> <br /> ==46. the Iron Revenant==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.<br /> <br /> ==47. the Prodigal Explorer==<br /> On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.<br /> <br /> ==49. the Heart of the Tempest==<br /> The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.<br /> <br /> ==50. The Might of Demacia==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘ 勇士’.<br /> <br /> ==56. the Crimson Reaper==<br /> Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.<br /> <br /> ==58. the Dreadnought==<br /> The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.<br /> <br /> ==59. the Bounty Hunter==<br /> We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.<br /> <br /> ==60. Maven of the Strings==<br /> The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.<br /> <br /> ==63. the Deceiver==<br /> The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.<br /> <br /> ==67. The Sheriff of Piltover==<br /> ‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. <br /> We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.<br /> Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.<br /> <br /> ==69. the Enlightened One==<br /> Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.<br /> <br /> ==71. the Exemplar of Demacia==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.<br /> <br /> ==75. the Mechanized Menace==<br /> The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.<br /> <br /> ==77. the Lady of Clockwork==<br /> In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.<br /> <br /> ==79. the Radiant Dawn==<br /> Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.<br /> <br /> ==83. the Exile==<br /> On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.<br /> <br /> ==86. the Half-Dragon==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.<br /> <br /> ==87. the Tidal Trickster==<br /> On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.<br /> <br /> ==88. the Relentless Storm==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==92. the Hexplosives Expert==<br /> ‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.<br /> <br /> ==102. Scorn of the Moon==<br /> On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’<br /> <br /> ==108. the Tidecaller==<br /> On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.<br /> <br /> ==109. the Piltover Enforcer==<br /> We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.<br /> <br /> ==115 and 146. the Purifier and the Redeemer==<br /> The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.<br /> <br /> ==116. the Loose Cannon==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). <br /> <br /> ==117 and 150. the Unforgiven and the Unforgotten==<br /> On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==119. the Heart of the Freljord==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase <br /> <br /> ==123. the Void Burrower==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.<br /> <br /> ==124. the Wandering Caretaker==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.<br /> <br /> ==127. The Eternal Hunters==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.<br /> <br /> ==129. the Virtuoso==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. <br /> <br /> ==131. the Stoneweaver==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.<br /> <br /> ==133. the Father==<br /> On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.<br /> <br /> ==134.the Steel Shadow==<br /> On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.<br /> <br /> ==135 and 136. The Charmer and the Rebel==<br /> These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. <br /> <br /> ==139.the Aspect of Twilight==<br /> The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.<br /> <br /> ==140.Daughter of the Void==<br /> On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.<br /> <br /> ==141. the Bloodharbor Ripper==<br /> On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.<br /> <br /> ==142. the Curious Chameleon==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==147. the Weapon of the Faithful==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.<br /> <br /> ==148. the Boss==<br /> On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.<br /> <br /> ==152. the Starry-Eyed Songstress==<br /> On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’<br /> <br /> ==153. the Iron Maiden==<br /> ‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.<br /> <br /> ==155. The Hallowed Seamstress==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.<br /> <br /> ==156.the Rogue Sentinel==<br /> On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.</div>

Zhu Renduo https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&diff=130744 2021-12-09T14:40:29Z

<p>Zhu Renduo: Undo revision 130608 by Kuang Yanli (talk)</p> <hr /> <div>'''Translation types, strategies, styles, methods'''<br /> <br /> [[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do List]]<br /> <br /> =阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= <br /> <br /> [[Trans_Type_EN_1]]<br /> <br /> ==Abstract==<br /> ''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.<br /> <br /> ==Key Words==<br /> Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation<br /> <br /> ==Introduction==<br /> The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.<br /> Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. <br /> However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.<br /> <br /> ==Literature Review==<br /> <br /> ===Previous studies in Subtitle Tranlation abroad===<br /> In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.<br /> <br /> In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).<br /> <br /> In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).<br /> <br /> In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).<br /> <br /> ===Previous studies on Subtitle translation at home===<br /> The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.<br /> <br /> The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.<br /> <br /> Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.<br /> <br /> In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.<br /> <br /> However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.<br /> <br /> ==Subtitle translation features==<br /> <br /> ===Subtitle translation needs to be brief and comprehensive===<br /> Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.<br /> <br /> Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.<br /> <br /> If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.<br /> <br /> ===Subtitling translation requires natural equivalence===<br /> The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.<br /> <br /> Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.<br /> <br /> ===Subtitle translation needs to be easy to understand===<br /> The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.<br /> <br /> ==Theory of Domestication and Foreignization==<br /> In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:<br /> <br /> ===Domestication===<br /> The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.<br /> <br /> ===Foreignization===<br /> The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &quot;the translator should not disturb the author as much as possible to make the reader close to the author&quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. <br /> <br /> Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.<br /> <br /> ==Case Study==<br /> <br /> <br /> ===Translation Methods under Foreignizing Strategy===<br /> The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.<br /> <br /> ====Literal Translation====<br /> Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:<br /> <br /> Example 1<br /> <br /> Chinese version：嬛嬛一袅楚宫腰。<br /> <br /> American version：the slim waist of the concubines of the Chu palace.<br /> <br /> For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &quot;Chu palace&quot; here means can be omitted.<br /> <br /> Example 2<br /> <br /> Chinese version：一片冰心在玉壶<br /> <br /> American version：A jade vessel is the symbol of a pure heart.<br /> <br /> “Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.<br /> <br /> The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &quot;booster&quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:<br /> <br /> Example 3<br /> <br /> Chinese version：“赏你一丈红”<br /> <br /> American version：Then I will award Attendant Xia the Scarlet Red.<br /> <br /> In the original subtitle of example 3, “一丈红” (yi zhang hong, literally “two-meter-long red”) is used to punish a palace maid or a concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out. Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. <br /> <br /> In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &quot;red&quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.<br /> <br /> In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.<br /> <br /> ====Zero Translation====<br /> The so-called &quot;zero translation&quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.<br /> <br /> In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &quot;贵妃&quot;, &quot;妃&quot;, &quot;嫔&quot;, &quot;贵人&quot;, &quot;常在&quot; and &quot;答应&quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:<br /> <br /> Example 4<br /> <br /> 熹贵妃——Noble Consort Xi 华妃——Consort Hua<br /> <br /> 莞嫔 ——Concubine Huan 沈贵人——Lady Shen<br /> <br /> 夏常在——Attendant Xia 小主——Young Mistress<br /> <br /> 敦亲王：Prince Dun 舒太妃：Consort Dowager Shu<br /> <br /> Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture<br /> <br /> However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.<br /> <br /> Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.<br /> <br /> ===Translation Methods under Domesticating Strategy===<br /> Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). <br /> <br /> The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.<br /> <br /> ====Omission====<br /> Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &quot;hypotaxis&quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &quot;parataxis&quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.<br /> <br /> Example 1<br /> <br /> Chinese version:“先敬罗衣后敬人。” <br /> <br /> American version: “The clothing completes the person.”<br /> <br /> This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &quot;complete&quot; expresses the idea that &quot;clothes make the man&quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”<br /> <br /> Example 2<br /> <br /> Chinese version: “花开堪折直须折，莫待无花空折枝。” <br /> <br /> American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.<br /> <br /> There are three Chinese characters for &quot;折&quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &quot;fold&quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &quot;折&quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&quot;.<br /> <br /> ====Addition====<br /> Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.<br /> <br /> Example 1<br /> <br /> Chinese version:“他不忍叫你明珠暗投。” <br /> <br /> American version:&quot;You will not be granted an ordinary life when you can live an extraordinary one.<br /> <br /> In this example, the translator adopted Addition method to make a explanatory translation for &quot;明珠暗投&quot; , the translation of &quot;be granted an ordinary life when you can live an extraordinary one.&quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &quot; 明珠暗投&quot;&quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.<br /> <br /> Example 2<br /> <br /> Chinese version：“臣妾一与社稷无功，二与龙脉无助。” <br /> <br /> American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.<br /> <br /> In example 2, the translator interprets &quot;社稷&quot; as &quot;nation&quot; for readers to understand.&quot;社稷&quot; has always been a synonym for &quot;nation&quot; in Chinese, just as &quot;White House&quot; is a synonym for &quot;America&quot;. In addition, there is no English equivalent for &quot;nation&quot;, so it is appropriate for the translator to use &quot;nation&quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &quot;dragon vein&quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &quot;children&quot;, which is often thrown around.<br /> <br /> ==Conclusion==<br /> The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.<br /> <br /> As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.<br /> <br /> ==Reference==<br /> [１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. <br /> <br /> [２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. <br /> <br /> [３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. <br /> <br /> [４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116. <br /> <br /> [５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.<br /> <br /> [６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. <br /> <br /> [７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.<br /> <br /> =2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=<br /> [[Trans_Type_EN_2]]<br /> <br /> ===Abstract===<br /> With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.<br /> <br /> ===Key Words===<br /> Translation strategy and translation methods; Peter Newmark; Tourism texts<br /> <br /> ===Introduction===<br /> <br /> This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references. This chapter mainly introduces the background information and significance of the report, and the domestic research status.<br /> <br /> ====Research background====<br /> <br /> With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.<br /> <br /> However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.<br /> <br /> Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.<br /> <br /> ====Research significance====<br /> <br /> In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.<br /> Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.<br /> <br /> ====Literature review====<br /> <br /> Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.<br /> <br /> From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.<br /> <br /> ===Tourism Texts===<br /> <br /> ====General Introduction====<br /> <br /> Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. <br /> <br /> In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.<br /> <br /> ====Introduction to the ''Everglades National Park, Florida (Excerpt)''====<br /> <br /> Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.<br /> <br /> ''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.<br /> <br /> ===Newmark's Translation Theory===<br /> <br /> ====General introduction of Peter Newmark's translation theories====<br /> <br /> Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.<br /> <br /> According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.<br /> <br /> After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).<br /> <br /> In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)<br /> <br /> In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.<br /> <br /> ====Semantic translation and communicative translation====<br /> <br /> Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.<br /> <br /> With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).<br /> <br /> In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. <br /> <br /> Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. <br /> <br /> To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.<br /> <br /> ===Case Study===<br /> <br /> The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.<br /> <br /> Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.<br /> <br /> ====At Lexical Level====<br /> <br /> Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.<br /> <br /> 1)Conversion of part of speech<br /> <br /> Example 1:<br /> <br /> ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''<br /> <br /> TT: 个人、团体或家庭都能在这找到适合的户外活动。<br /> <br /> Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. <br /> <br /> The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.<br /> <br /> Example 2:<br /> <br /> ST: ''Accessibility: No immediate trails.''<br /> <br /> TT: 如何前往：没有路径可直接到达。<br /> <br /> Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.<br /> <br /> 2)Public signs<br /> <br /> Example 3 &amp; 4:<br /> <br /> ST: ''Things To Do'' <br /> <br /> TT: 活动介绍<br /> <br /> ST: ''What you can do''<br /> <br /> TT: 解决措施<br /> <br /> Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.<br /> <br /> Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.<br /> <br /> Example 5 &amp; 6:<br /> <br /> ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''<br /> <br /> TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。<br /> <br /> ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''<br /> <br /> TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。<br /> <br /> Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. <br /> Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.<br /> <br /> ====At Syntactical Level====<br /> <br /> Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.<br /> <br /> 1)Change of subjects and passive voice<br /> <br /> Example 7:<br /> <br /> ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''<br /> <br /> TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。<br /> <br /> Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.<br /> Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.<br /> <br /> Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. <br /> <br /> Example 8 &amp; 9: <br /> <br /> ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''<br /> <br /> TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。<br /> <br /> ST: ''In the summer, fewer programs are offered.''<br /> <br /> TT: 夏季提供的项目较少。<br /> <br /> Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. <br /> In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.<br /> <br /> 2)Punctuation<br /> <br /> Example 10:<br /> <br /> ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''<br /> <br /> TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。<br /> <br /> Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. <br /> <br /> So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.<br /> <br /> Example 11:<br /> <br /> ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''<br /> <br /> TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。<br /> <br /> Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.<br /> <br /> ====At Textual Level====<br /> <br /> Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.<br /> <br /> Example 12:<br /> <br /> ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''<br /> <br /> TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。<br /> <br /> Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. <br /> <br /> In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.<br /> <br /> Example 13:<br /> <br /> ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''<br /> <br /> TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。<br /> <br /> Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.<br /> <br /> In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.<br /> <br /> ===Conclusion===<br /> <br /> ====Major findings====<br /> For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. <br /> <br /> Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.<br /> <br /> ====Limitations====<br /> <br /> Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. <br /> <br /> Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.<br /> <br /> ===References===<br /> <br /> [1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. <br /> <br /> [2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. <br /> <br /> [3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)<br /> <br /> [4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. <br /> <br /> [5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.<br /> <br /> [6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. <br /> <br /> [7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.<br /> <br /> [8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.<br /> <br /> [9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.<br /> <br /> [10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.<br /> <br /> [11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. <br /> <br /> [12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.<br /> <br /> [13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.<br /> <br /> =3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=<br /> [[Trans_Type_EN_3]]<br /> <br /> ===Abstract===<br /> There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &quot;innocent people&quot; and &quot;the goat family&quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &quot;family&quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.<br /> <br /> ===Keywords===<br /> Communicative translation theory; Korean novels; Translation methods and strategies<br /> <br /> ===Introduction===<br /> <br /> ===The emergence and development of communicative translation===<br /> According to the function of language, that is, the purpose of language use, Newmark proposed the following three text types: Expression function, information function, Vocative function.<br /> The core of the expressive function is that the speaker or author uses some words to express his thoughts and feelings. The author's unique form of language is as important as its content.<br /> Expressive functional texts emphasize the authority of the original author, and translation should follow the principle of &quot;original author first&quot;, which should be faithful to both the ideological content expressed by the original author and the language style of the original author, without considering the reaction of the target readers.The core of the information function is the external situation, that is, all the information about a topic, or the reality beyond words. The core of informational text is the &quot;authenticity&quot; of the content, and the author's language is secondary. The principle of &quot;authenticity first&quot; should be followed in translation.Vocative text emphasizes reader-centered, with the purpose of &quot;calling on readers to act, think and feel&quot;. Translation should follow the principle of &quot;reader first&quot; and put the target language readers in the first place. The translator can make full use of the advantages of the target language and not stick to the way of expression of the original text, so that the target language can achieve the same effect as the original language.<br /> <br /> On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark said that communicative translation theory focuses on the understanding and response of the recipient and focuses on the reader of the target text, paying more attention to the effect of the expression of the target text than the content. Translators can give full play to the advantages of the target language and introduce foreign elements into the target language culture, which has the advantages of naturalization, free translation and idiomatic translation. Semantic translation attaches great importance to the original text, focuses on the semantic content of the original text, strives to preserve the culture of the source language, and has the advantages of word-for-word translation, literal translation and faithful translation. Communicative translation applies to informative and appealing texts, such as autobiographies, personal emotional venting, important political statements (or other statements), most non-literary articles, news, intellectual articles and books, textbooks, reports, scientific and technological literature, official correspondence, propaganda, advertisements, bulletins, popular novels. His communicative translation and semantic translation have enriched the theoretical study of translation to a great extent, and also influenced the field of translation.<br /> <br /> ===The applicability of communicative translation theory to the translation of popular novels===<br /> First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.<br /> <br /> Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.<br /> <br /> The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.<br /> <br /> If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.<br /> <br /> === Case study under the guidance of communicative translation theory===<br /> Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &quot;The Innocent Man&quot; and &quot;The Goat Family&quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.<br /> <br /> === The application of communicative translation theory at lexical level===<br /> '''Transliteration'''<br /> <br /> The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.<br /> <br /> The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.<br /> <br /> Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.<br /> First translation：那一刻我觉得孩子不像老人，而像少年家长。<br /> Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。<br /> <br /> &quot;소 년 가 장&quot; is a noun, the author looked up Chinese dictionary, found &quot;소 년 가 장&quot; in Korean means &quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&quot;, at the beginning of translation, in accordance with the original literal translation is &quot;young parents&quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &quot;소 년 가 장&quot; and Chinese proverb &quot;the poor children early master&quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &quot;소 년 가 장&quot; divided &quot;소 년&quot; and &quot;가 장&quot; two nouns, and the term &quot;가 장&quot; translated into adjectives &quot;world&quot;, the &quot;소 년&quot; translated into &quot;children&quot;, both to convey the meaning of the original, and can make readers easily understand the content.<br /> <br /> Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.<br /> Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。<br /> In the original text 비 난&quot; is a noun, the author according to the original text in translation translated into &quot;document and is accused of child, father didn't want to see him the accused, so not to support&quot;, at the same time with the two accused, groundwork or at the back of the verb &quot;blame&quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &quot;비 project-oriented&quot; is translated into the verb &quot;blame&quot;, so that the translation is easy to understand.<br /> <br /> '''Extension of meaning<br /> Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.<br /> <br /> Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.<br /> ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.<br /> Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。<br /> ②母亲就“唉！”长长地叹了一口气。<br /> <br /> The author by looking up the dictionary, in the original &quot;내 밷 다&quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &quot;vomit, and said,&quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &quot;내 밷 다&quot; translated into &quot;fun&quot; and &quot;sigh&quot;, not only conforms to the present context, and in accordance with the Chinese language habits.<br /> <br /> Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는<br /> 것이리라.<br /> ②형이 옆구리를 툭 치며.<br /> ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라.<br /> Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。<br /> ②大哥用胳膊肘戳了我一下。<br /> ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。<br /> <br /> The verb &quot;치&quot; would give many different meanings with different words, such as ①&quot;beating, beating, beating, playing&quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &quot;치 다&quot; translated into &quot;blocking&quot;, &quot;stamp&quot;, &quot;and&quot; verb, such as to conform to the Chinese habits of expression.<br /> <br /> ===The expression of communicative translation theory at the sentence level===<br /> Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.<br /> <br /> '''Interpretation method'''<br /> <br /> Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.<br /> <br /> Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.<br /> First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。<br /> Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。<br /> <br /> The author at the beginning of the translation of &quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&quot;, literal translation is &quot;I may already have noticed what&quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &quot;I&quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &quot;money&quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &quot;I perceived that the&quot; content &quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.<br /> <br /> Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?<br /> First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？<br /> Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。<br /> <br /> Early in the translation of &quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&quot;, the corresponding Chinese literal translation is &quot;only do oneself should do can do a aboveboard person&quot;, but &quot;할 도 리&quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &quot;up 도 wish to be good&quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &quot;Remember what aunt said&quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.<br /> <br /> '''demolition syntax'''<br /> Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.<br /> <br /> However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.<br /> <br /> Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.<br /> First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。<br /> Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。<br /> <br /> The original text Is a long sentence, &quot;는 데&quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &quot;dragged&quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.<br /> <br /> '''Cotranslation'''<br /> Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.<br /> <br /> Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.<br /> First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。<br /> Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。<br /> <br /> Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &quot;big sister&quot; &quot;big brother&quot; &quot;sister&quot; &quot;second brother&quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &quot;brothers and sisters&quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.<br /> <br /> ===The embodiment of communicative translation at the rhetorical level===<br /> Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.<br /> <br /> '''Addition'''<br /> <br /> Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.<br /> <br /> Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.<br /> First Translation：我把孩子爸爸的钱称为“那么点儿钱”。<br /> Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。<br /> <br /> &quot;그깟&quot; is a contraction of &quot;그까짓&quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &quot;그 깟 돈&quot; translated into accord with the readers expression habit &quot;for all of the money&quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.<br /> <br /> '''Repetition'''<br /> <br /> Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.<br /> <br /> Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.<br /> First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！<br /> Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！<br /> <br /> The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &quot;알 다&quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.<br /> <br /> === conclusion===<br /> This paper selected the south Korean writer Kong Shanyu stories &quot;well bead film&quot; in the two novel &quot;pure people&quot; and &quot;the goat family&quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &quot;family&quot; and the simple social atmosphere, which are gradually forgotten by Koreans.<br /> <br /> The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.<br /> <br /> From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.<br /> From the statement level analysis, &quot;innocent people&quot; and &quot;the goat family&quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.<br /> <br /> Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.<br /> <br /> ===Reference===<br /> '''English Literature:'''<br /> <br /> [1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).<br /> <br /> [2]. LI xin, ZHANG zhe. On Peter Newmark’s Semanic Translation &amp; Communicative Translation[J]. Overseas English, 2015（03）.<br /> <br /> [3]. JIAN fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).<br /> <br /> '''Korean literature:'''<br /> <br /> [4]. 강영미. 1970-1980 년대 노래운동에 대한 예비적 고찰 [J]. 정신문화연구41(3), 2018.(09).<br /> <br /> [5]. 공선옥. 80 년대와 나의 문학 광주,그리고 내인생의 수난기 [J]. 역사비평사,1995(08)<br /> <br /> [6]. 김영희. 근대체험과 여성--박완서ㆍ김인숙ㆍ공선옥의 소설 [J]. 창작과비평23(3),1995(09).<br /> <br /> [7]. 오순방. 中國 近代의 小說 飜譯과 中韓小說의 雙方向 飜譯 硏究 [J]. 서울 :숭실대학교 출판부,2008.<br /> <br /> '''Chinese Literature:'''<br /> <br /> [8] 冯庆华.实用翻译教程[M].上海：上海外语教育出版社，2002.<br /> <br /> [9] 芒迪（著），李德凤（译）.《翻译学导论：理论与应用》[M].北京：外语教学与研究出版社，2018.<br /> <br /> [10] 张敏.《韩国语翻译概论》[M].北京：外语教学与研究出版社，2017.<br /> <br /> [11] 蔡萍.纽马克翻译理论浅析[J].电子科技大学学报(社科版)，2009(06)：78-81.<br /> <br /> [12] 陈琳.尤金A·奈达和彼得·纽马克翻译理论之比较[J].湘潭大学学报(社会科学版)，1994,(08)：87-91.<br /> <br /> =毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s ''Pleasures of Ignorance'' as an example=<br /> [[Trans_Type_EN_4]]<br /> <br /> ===Abstract===<br /> <br /> Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.<br /> <br /> ===Key Words===<br /> <br /> ''Pleasures of Ignorance''; Chinese translation of English prose; translation strategies; translation methods; translation techniques<br /> <br /> ===Introduction===<br /> <br /> This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.<br /> <br /> '''Research Background and Significance'''<br /> <br /> In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.<br /> Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.<br /> <br /> '''Methodology and Structure'''<br /> <br /> This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work ''Pleasures of Ignorance'' as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.<br /> <br /> ===Literature Review===<br /> <br /> This part will draw into the domestic previous studies on Chinese translation of English prose.<br /> <br /> With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.<br /> <br /> First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.<br /> <br /> Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.<br /> <br /> Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.<br /> <br /> ===Overview of English Prose===<br /> <br /> Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.<br /> <br /> '''Distinctive Features of English Prose'''<br /> <br /> As an independent literary genre, English prose has its own distinctive characteristics.<br /> <br /> The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.<br /> <br /> Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.<br /> <br /> Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.<br /> <br /> '''Linguistic Features of English Prose'''<br /> <br /> Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.<br /> <br /> First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.<br /> <br /> Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.<br /> <br /> Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.<br /> <br /> '''Principles of English Prose Translation'''<br /> <br /> The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.<br /> <br /> Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.<br /> <br /> Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.<br /> <br /> Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.<br /> <br /> ===Case Study of Chinese Translation of ''Pleasures of Ignorance''===<br /> <br /> The selected source text is ''The Pleasures of Ignorance'', written by Robert Lynd. <br /> <br /> Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.<br /> <br /> This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.<br /> <br /> The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.<br /> <br /> There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.<br /> <br /> ====Translation Methods under Foreignizing Strategy====<br /> <br /> Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&quot; to have alien reading experience. (Venuti, 1995: 20) The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.<br /> <br /> =====Literal Translation=====<br /> <br /> Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, <br /> <br /> (1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.<br /> <br /> 同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。<br /> <br /> (2)This ignorance, however, is not altogether miserable.<br /> <br /> 不过，这种无知也并非全然不幸。<br /> <br /> (3)But your and my ignorance is not confined to cuckoos.<br /> <br /> 但是，你我的无知并不仅限于杜鹃这一方面。<br /> <br /> (4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.<br /> <br /> 一个外国人问一位当代英国小说家，英国最重要的农作物是什么。<br /> <br /> The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.<br /> <br /> The use of literal translation, especially the retaining of the personal pronouns, like &quot;we&quot; and &quot;you and I&quot;, conveys the style of the original text, showing friendliness and intimacy.<br /> <br /> =====Zero-Translation=====<br /> <br /> Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,<br /> <br /> Omission of the expletives ''It'' and ''There'':<br /> <br /> (5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.<br /> <br /> 任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。<br /> <br /> (6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.<br /> <br /> 这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。<br /> <br /> Omission of English articles:<br /> <br /> (7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.<br /> <br /> 成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。<br /> <br /> Omission of pronouns:<br /> <br /> (8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.<br /> <br /> 把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。<br /> <br /> The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.<br /> <br /> =====Transliteration=====<br /> <br /> Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.<br /> <br /> In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,<br /> <br /> (9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)<br /> <br /> Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. For example, in the translation in case study. For example, in the translation in case study,<br /> <br /> (10)Montaigne 蒙田 (not 蒙泰涅)<br /> <br /> Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.<br /> <br /> The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.<br /> <br /> ====Translation Methods under Domesticating Strategy====<br /> <br /> Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&quot; (Venuti, 1995: 20). In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', free translation method and imitation method under domestication are used and displayed in several translation techniques.<br /> <br /> =====Free Translation=====<br /> <br /> Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &quot;spirit&quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound 'foreign&quot; (Shuttleworth &amp; Cowie, 1997: 151). Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,<br /> <br /> (11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.<br /> <br /> 在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。<br /> <br /> (12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.<br /> <br /> 所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。<br /> <br /> (13)When in the oak’s green arms the cuckoo ''sings'', <br /> <br /> And first delights men in the ''lovely springs''.<br /> <br /> 杜鹃在橡树的绿色怀抱里''啭啼''，<br /> <br /> 第一个为人们带来''欢欣、美好的春意''。<br /> <br /> In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &quot;the exception&quot; and &quot;have not noticed&quot; to Chinese idioms &quot;凤毛麟角&quot; (that describes rare and precious items) and &quot;习焉不察&quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &quot;sings&quot; is transferred to &quot;啭啼&quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &quot;the lovely springs&quot; is transferred to &quot;欢欣、美好的春意&quot; (a joyful and wonderful feeling brought by the spring) through abstraction.<br /> Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.<br /> <br /> =====Imitation=====<br /> <br /> With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance,<br /> <br /> (14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.<br /> <br /> 成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。<br /> <br /> In the translation of this sentence, a variety of translation techniques are employed. <br /> <br /> ①　Conversion:<br /> <br /> The translator uses conversion to alter the syntactic structure of the original sentence. <br /> <br /> The predicate &quot;live and die&quot; is converted into the preposition phrase &quot;从生到死&quot; as the adverbial in Chinese.<br /> <br /> And the adverbial preposition phrase in the source text &quot;without knowing&quot; is converted into the predicate in Chinese translation.<br /> <br /> ②　Division:<br /> <br /> In accordance with the need of Chinese expression, &quot;without knowing&quot; is divided into two verb phrases &quot;说不出&quot; and &quot;听不出&quot; in Chinese as the predicate.<br /> <br /> ③　Addition:<br /> <br /> With the addition of the expression &quot;一辈子&quot;, the translator highlights the long time between life and death.<br /> <br /> ④　Repetition:<br /> <br /> The plural form &quot;men and women&quot; is translated into the reiterative locution &quot;男男女女&quot; by repetition. <br /> <br /> The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator's superb handling of the original text.<br /> <br /> (15)...we are all the ''more'' delighted ''at the spectacle of'' its runaway flight as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...<br /> <br /> 一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。<br /> <br /> In this example, there are also various translation techniques used.<br /> <br /> ①　Conversion:<br /> <br /> Firstly, the preposition phrase &quot;at the spectacle of&quot; is converted into the verb &quot;看见&quot; in Chinese. <br /> <br /> Secondly, the noun phrase &quot;runaway flight&quot; is converted into Chinese verbs &quot;飞&quot; (fly) and &quot;逃&quot; (escape). <br /> <br /> Besides, the verb &quot;hurries&quot; (that means to move quickly in a particular direction) is converted into &quot;惶惶不安地&quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &quot;飞&quot; and &quot;逃&quot;, which endows the subject cuckoo with somewhat human characteristic.<br /> <br /> ②　Repetition:<br /> <br /> The adjective &quot;more&quot; is translated into the reiterative locution &quot;大大&quot;, a Chinese adverb equivalent to &quot;very&quot; or &quot;extremely&quot; in English to modify the adjective &quot;delighted&quot;.<br /> <br /> In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &quot;惶惶不安&quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &quot;惶惶&quot; and &quot;大大&quot;.<br /> <br /> (16)I have myself a ''capricious'' and ''leaking'' memory.<br /> <br /> 我自己的记忆力也是''漏洞百出''、''不听使唤''。<br /> <br /> Although this is a short sentence, it still contains the flexible use of translation techniques.<br /> <br /> ①　Conversion:<br /> <br /> At first, the original object &quot;memory&quot; is converted to the subject in the Chinese translation.<br /> <br /> And then, the subject &quot;I&quot; with its appositive &quot;myself&quot; is converted into the attribute &quot;我自己的&quot; to modify the subject in the translation &quot;记忆&quot;.<br /> <br /> ②　Addition:<br /> <br /> On account of the conversion of the subject and the verb, the original predicate &quot;have&quot; is inappropriate. The addition of &quot;也是&quot; that is equivalent to the verb &quot;be&quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.<br /> <br /> ③　Diction:<br /> <br /> The two vivid adjective &quot;capricious&quot; and &quot;leaking&quot; are translated as &quot;不听使唤&quot; and &quot;漏洞百出&quot; respectively which are typical Chinese four-character structures. The Chinese adjective &quot;漏洞百出(的)&quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &quot;不听使唤(的)&quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.<br /> <br /> In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.<br /> <br /> (17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.<br /> <br /> 另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''<br /> <br /> This is a typical example of the imitation method embodied in the use of diverse translation techniques.<br /> <br /> ①　Conversion:<br /> <br /> Regarding the conversion of word classes, the noun &quot;blossom&quot; is converted into the Chinese verb &quot;开花&quot;.<br /> <br /> Concerning the conversion of sentence members, the object in the clause &quot;apple-tree&quot; is converted into the subject &quot;苹果树&quot; in the Chinese translation. And the attribute &quot;May&quot; is converted into the adverbial in Chinese as &quot;五月一旦到来&quot;.<br /> <br /> Considering the conversion of sentence patterns, the negative sentence &quot;this does not lessen our amazement at...&quot; is converted into a interrogative sentence &quot;我们不是仍然惊为奇观吗？&quot;.<br /> <br /> ②　Negation:<br /> <br /> The negative form &quot;not succeeds&quot; in English is translated into the affirmative form &quot;后结果&quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.<br /> <br /> ③　Division:<br /> <br /> The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &quot;chronicle style&quot; of Chinese language with frequent use of shorter or composite structures.<br /> <br /> ④　Addition:<br /> <br /> Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &quot;先&quot;, &quot;后&quot;, &quot;一旦&quot; and &quot;仍然&quot; render the translation more smooth and expressive.<br /> <br /> In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.<br /> <br /> (18)Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields.<br /> <br /> 那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我''目不暇接''，''心迷神醉''。<br /> <br /> As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.<br /> <br /> ①　Division:<br /> <br /> The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.<br /> <br /> ②　Addition:<br /> <br /> The addition of the Chinese set phrase &quot;目不暇接&quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &quot;see&quot; and &quot;the eyes&quot; in the preceding and connects the &quot;painted fields&quot; in the following that greet the author's eyes and take his breath away.<br /> <br /> ③　Diction:<br /> <br /> The verb &quot;see&quot; is translated into &quot;放眼四望” (to look around), the noun phrase &quot;breath taken away with surprise&quot; into &quot;心醉神迷&quot; (to be thrown into ecstasies), and the adjective &quot;painted&quot; into &quot;五彩缤纷&quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.<br /> <br /> ④　Conversion:<br /> <br /> The original clause &quot;my breath taken away with surprise by the painted fields&quot; is in passive voice, and is converted into the active voice in Chinese translation &quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &quot;被&quot; is traditionally felt to be an &quot;inflictive voice&quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. <br /> <br /> The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.<br /> <br /> ===Conclusion===<br /> <br /> This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.<br /> <br /> ====Major Findings====<br /> <br /> Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.<br /> <br /> In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.<br /> <br /> But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.<br /> <br /> In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.<br /> <br /> With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.<br /> <br /> At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.<br /> <br /> At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.<br /> <br /> The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.<br /> <br /> ====Limitations and Suggestions====<br /> <br /> There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.<br /> <br /> ===References===<br /> <br /> [1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.<br /> <br /> [2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. 上海: 上海教育出版社, 2004: 7-25.<br /> <br /> [3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 59-163.<br /> <br /> [4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 96-118.<br /> <br /> [5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.<br /> <br /> [6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》 为例 [D]. 南昌: 南昌大学, 2018.<br /> <br /> [7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 67-262,<br /> <br /> [8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.<br /> <br /> [9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.<br /> <br /> [10] 张保红. 文学翻译 [M]. 北京: 外语教学与研究出版社, 2011: 28-88.<br /> <br /> [11] 朱明炬. 英汉名篇名译 [M]. 南京: 译林出版社, 2007: 319-328.<br /> <br /> ===Appendix===<br /> <br /> (The original text:)<br /> <br /> The Pleasures of Ignorance<br /> <br /> By Robert Lynd<br /> <br /> It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:<br /> <br /> When in the oak's green arms the cuckoo sings, <br /> <br /> And first delights men in the lovely springs.<br /> <br /> This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.<br /> <br /> And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.<br /> <br /> If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.<br /> <br /> At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.<br /> <br /> And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &quot;Rye&quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing.<br /> <br /> (Liu Bingshan's Chinese translation:)<br /> <br /> 无知常乐<br /> <br /> 刘炳善 译<br /> <br /> 同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶<br /> <br /> 杜鹃在橡树的绿色怀抱里啭啼，<br /> <br /> 第一个为人们带来欢欣、美好的春意。<br /> <br /> 不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。<br /> <br /> 说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。<br /> <br /> 我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？<br /> <br /> 倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。<br /> <br /> 既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。<br /> <br /> =5 毛优 Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =<br /> [[Trans_Type_EN_5]]<br /> <br /> ==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==<br /> '''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''<br /> <br /> [[Trans_Type_EN_6]]<br /> <br /> 彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China<br /> <br /> ==Abstract==<br /> <br /> 从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。 <br /> <br /> Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.<br /> <br /> <br /> ==Key Words==<br /> <br /> Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding<br /> 翻译风格，巴黎的忧郁，郭宏安，亚丁<br /> <br /> <br /> ==Introduction==<br /> <br /> The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.<br /> <br /> Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.<br /> <br /> <br /> ==Liu Miqing’s theory of translation style==<br /> <br /> Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.<br /> <br /> Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.<br /> <br /> In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.<br /> <br /> <br /> ==Form Markers==<br /> <br /> According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.<br /> <br /> <br /> ===Register Markers===<br /> <br /> “Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.<br /> <br /> The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.<br /> <br /> <br /> '''Eg. (a)'''<br /> <br /> Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?<br /> Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”<br /> Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？<br /> <br /> Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.<br /> Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”<br /> Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。<br /> <br /> Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.<br /> Guo’s translation：“您用了一个词，我至今还不知道它的含义。”<br /> Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。<br /> <br /> Original text：– Je le hais comme vous haïssez Dieu.<br /> Guo’s translation：“我恨它，一如您恨上帝。”<br /> Ya’s translation：——我恨它，就像您恨上帝一样。<br /> <br /> Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?<br /> Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”<br /> Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！<br /> <br /> <br /> This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.<br /> <br /> <br /> ===Lexical Markers===<br /> <br /> Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.<br /> <br /> <br /> '''Eg. (b)'''<br /> <br /> <br /> Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.<br /> <br /> Guo’s translation：我问其中一个人，他们这是往哪里去。<br /> <br /> Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。<br /> <br /> <br /> The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.<br /> <br /> <br /> Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;<br /> <br /> Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；<br /> <br /> Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。<br /> <br /> <br /> In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.<br /> <br /> <br /> Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.<br /> <br /> Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。<br /> <br /> Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。<br /> <br /> <br /> The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&quot; is a common subject-verb-object construction, with the subject and object being &quot;visages, témoignaient, désespoir&quot;. Guo's translation is similar, with &quot;faces, expressions, despair&quot; and he translates &quot;tous...ne&quot; as &quot;没有&quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &quot;tous...ne&quot; as &quot;没有一张&quot;.<br /> <br /> In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&quot;, Guo adds two definite articles before &quot;尘土&quot;, Guo adds the definite article &quot;和天空一样惨淡的&quot; and &quot;大地的&quot;. For &quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&quot;, Guo translates the noun “神情” which is preceded by three &quot;的&quot;, &quot;带着注定要永远希望的&quot; modifies &quot;人&quot;, &quot;带着注定要永远希望的人的&quot; and &quot;无可如何的&quot; modifying “神情”; and &quot;cheminaient&quot; is singled out and placed at the end of the sentence, translated as &quot;走着&quot;. This is a very subtle way of structuring the sentence. &quot;The word &quot;走&quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &quot;走&quot;. The &quot;走着，&quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &quot;cheminaient&quot; ahead-- &quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&quot;. There are two &quot;的&quot; before &quot;神情&quot;, but he separates the two determiners with a comma, &quot;可奈何的，被注定要永远地希望下去的&quot;.<br /> <br /> <br /> Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.<br /> <br /> Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。<br /> <br /> Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。<br /> <br /> <br /> For &quot;s'enfonça dans l'atmosphère de l'horizon&quot;, Guo translates it as &quot;没入天际&quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.<br /> <br /> <br /> Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.<br /> <br /> Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。<br /> <br /> Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。<br /> <br /> <br /> Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &quot;pendant quelques instants&quot; &quot;mais bientôt&quot; is translated as &quot;好长时间，&quot;&quot;可是不久，&quot;. And the Ya Ding the conjunction &quot;于是&quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &quot;我&quot; as the subject. Guo translates &quot;j'en fus plus lourdement accablé&quot; as &quot;被沉重地压倒&quot;, while the Asian translation uses &quot;more fatigued &quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &quot;疲劳&quot; are slightly inadequate.<br /> <br /> As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &quot;的&quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.<br /> <br /> <br /> ==Non-formal Markers==<br /> <br /> The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &quot; (Liu 2005:249)#.<br /> <br /> Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &quot;fundamentally dependent on imagination and creativity&quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.<br /> <br /> According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &quot;writer&quot; into the &quot;translator&quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.<br /> <br /> Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. <br /> <br /> The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.<br /> <br /> <br /> ==Conclusion==<br /> <br /> The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &quot;awakened men&quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.<br /> <br /> Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.<br /> <br /> Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &quot;lexical symbols&quot; and &quot;register symbols&quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.<br /> <br /> <br /> ==References==<br /> <br /> [1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;start=0&amp;num=50&amp;index=FullIndex&amp;outputFormat=HTML&amp;encoding=UTF-8&amp;maxLeftLength=30&amp;maxRightLength=30&amp;orderStyle=score&amp;LastQuery=&amp;dir=gudai&amp;scopestr=, [2021-11-17]<br /> <br /> [2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;start=0&amp;num=50&amp;index=FullIndex&amp;outputFormat=HTML&amp;encoding=UTF-8&amp;maxLeftLength=30&amp;maxRightLength=30&amp;orderStyle=score&amp;LastQuery=&amp;dir=gudai&amp;scopestr=, [2021-11-17]<br /> <br /> [3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp; Publishing Corporation, 2005.<br /> <br /> [4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.<br /> <br /> [5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.<br /> <br /> =秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=<br /> [[Trans_Type_EN_7]]<br /> ===Abstract===<br /> Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.<br /> <br /> ===Key Words===<br /> Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method<br /> <br /> ===Introduction===<br /> This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.<br /> <br /> '''Research Background and Significance'''<br /> <br /> As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. <br /> <br /> ''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.<br /> <br /> '''Methodology'''<br /> <br /> In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.<br /> <br /> '''Literature Review'''<br /> <br /> As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.<br /> <br /> Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.<br /> <br /> === Theoretical Framework: Nida’s Functional Equivalence Theory ===<br /> ==== Introduction of Functional Equivalence Theory ==== <br /> ===== The Original of Functional Equivalence Theory =====<br /> <br /> Nida's main academic activities unfold around the translation of the Bible. In the process of &quot;Bible&quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.<br /> <br /> =====The Development of Functional Equivalence Theory =====<br /> <br /> The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.<br /> <br /> The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.<br /> <br /> The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.<br /> <br /> On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &quot;''Language, Culture, and Translation''&quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.<br /> <br /> Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.<br /> <br /> ==== Basics of Functional Equivalence Theory ==== <br /> =====Receptor’s Response =====<br /> <br /> In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.<br /> <br /> Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &quot;The theory emphasizes the importance of the reader's role in text understanding.&quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. <br /> <br /> There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.<br /> <br /> ===== Principles for Producing Functional Equivalence =====<br /> <br /> To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:<br /> <br /> 1. When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.<br /> <br /> 2. When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.<br /> <br /> 3. When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.<br /> <br /> 4. When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.<br /> <br /> 5. The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.<br /> <br /> 6. A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).<br /> <br /> === Introduction to Lu Xun and ''Kong I-Ch''i === <br /> ==== Lu Xun and the values of ''Kong I-Chi'' ====<br /> <br /> To read and translate Kong I-Chi, you must first understand its author-Lu Xun.<br /> <br /> Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. <br /> Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.<br /> <br /> Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.<br /> <br /> From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.<br /> <br /> ==== Study on the Translation of ''Kong I-Chi'' ====<br /> <br /> ''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &quot;''Italic text''New Youth&quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. <br /> <br /> So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &quot;Yang Translation&quot;) (Yang &amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).<br /> <br /> This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.<br /> <br /> <br /> === Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence === <br /> ==== Lexical Analysis ====<br /> <br /> There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.<br /> <br /> In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.<br /> The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &quot;之乎&quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.<br /> <br /> Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.<br /> <br /> ==== Syntax Analysis ====<br /> <br /> In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &quot;reconstruction&quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &quot;Reconstruction&quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.<br /> <br /> In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.<br /> <br /> Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &quot;what’s the innocence&quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.<br /> <br /> When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.<br /> <br /> ==== Semantic Analysis ====<br /> <br /> How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.<br /> <br /> In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. <br /> <br /> Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.<br /> <br /> ===Conclusion===<br /> <br /> This article selects Yang’s translation of &quot;''Kong I-Chi''&quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.<br /> <br /> At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &quot; ''Kong I-Chi'' &quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. <br /> <br /> At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &quot; ''Kong I-Chi'' &quot;, the translator adopts literal translation and annotations. <br /> <br /> In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.<br /> <br /> This article believes that the success of Yang’s English translation of &quot;''Kong I-Chi''&quot; lies in its fluent, natural language and exotic flavor. The author and translator of &quot; ''Kong I-Chi'' &quot; are both famous artists. The translation case from the English translation of &quot;''Kong I-Chi''&quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.<br /> <br /> ===Reference===<br /> [1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. <br /> <br /> [2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. <br /> <br /> [3]Nida, Eugene A.&amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill<br /> <br /> [4]鲁迅.鲁迅全集(第一卷)[M].北京:人民文学出版社,1982.<br /> <br /> [5]谭载喜．新编奈达论翻译[M]．北京：中国对外翻译出版公司，1999.<br /> <br /> [6]杨坚定，孙鸿仁．鲁迅小说英译版本综述[J]．鲁迅研究月刊，2021(4)．<br /> <br /> [7]伊塞尔．本文中的读者［Ａ］．二十世纪西方美学名著选（下）［Ｃ］．上海：复旦大学出版社,1998.<br /> <br /> [8]杨宪益,戴乃迭译.鲁迅选集英文版(一)[M].北京:外文出版社, 1980.<br /> <br /> [9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin<br /> <br /> [10]https://www.zhihu.com/question/29965932<br /> <br /> =颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=<br /> <br /> [[Trans_Type_EN_8]]<br /> ===Abstract===<br /> The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves<br /> <br /> ===Key Words===<br /> Autobiographical Literature; Black female slaves; Translation methods and Strategies<br /> <br /> ===Introduction===<br /> <br /> This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.<br /> <br /> This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &quot;cage&quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.<br /> Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.<br /> <br /> === Text background===<br /> From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.<br /> <br /> ===Research Purpose and Significance===<br /> This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.<br /> <br /> === Translation theory and case analysis===<br /> <br /> 3.1 functional equivalence theory<br /> This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &quot;functional equivalence&quot;. In this theory, he pointed out that &quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.<br /> <br /> The core of Nida's functional equivalence theory is &quot;content is greater than form&quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.<br /> <br /> 3.2 translation skills and case analysis<br /> When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.<br /> <br /> === Translation skills, methods and case studies===<br /> Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.<br /> <br /> 1. Literal translation <br /> Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.<br /> The example 1:<br /> “Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”<br /> Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.<br /> <br /> 2. Free translation<br /> Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &quot;preaching its spirit&quot; rather than &quot;retaining its shape&quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.<br /> The example 2:<br /> I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.<br /> literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。<br /> free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。<br /> Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &quot;I&quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &quot;me&quot;.<br /> <br /> Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.<br /> <br /> 3. Additional translation<br /> The example 4:<br /> One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. <br /> <br /> 一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。<br /> Analysis: A mother literally means &quot;一个母亲&quot;, but the following clause is translated into &quot;哭得声嘶力竭让一个母亲的心里流血&quot;. The emotion of the translation is weak. In this article, &quot;I&quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &quot;任何一个母亲&quot;<br /> <br /> 4. Omission <br /> The example 5:<br /> The doctor stamped his foot at him in a rage, and exclaimed, &quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&quot;<br /> translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”<br /> <br /> Analysis: Dr. flint twice went to the north to pursue the fugitive slave &quot;I&quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &quot;stamped his foot at him in a rage, and exclaimed&quot; and translates it into &quot;stamp his foot angrily and say&quot; you little damned rascal!!! &quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &quot;you&quot; and translates it into &quot;他妈的小坏蛋&quot;.<br /> <br /> The example 6:<br /> But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.<br /> translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。<br /> <br /> Analysis: My fear of snakes is literally translated as &quot;我对蛇的恐惧&quot;, and the subject of the following clause is &quot;我&quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.<br /> <br /> Case 3: The stylistic style of the original text is reproduced by positive and negative translation.<br /> 5.The Positive and Negative Translation<br /> The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.<br /> translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。<br /> translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。<br /> <br /> Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &quot;没有人尊重抛弃孩子的母亲&quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &quot;being despised&quot; can better express the speaker's (my grandmother's) eagerness to oppose &quot;I&quot; to escape.<br /> <br /> Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language<br /> There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &quot;topic description&quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.<br /> <br /> 5.Recasting<br /> The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.<br /> translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。<br /> <br /> Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.<br /> <br /> 6.Sentence-combining<br /> The example 8: There was joy and there was sadness in the sound. It made my tears flow.<br /> translated text：无论是哭声还是笑声都会让我泪流满面。<br /> <br /> Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.<br /> <br /> <br /> 7.Dismantle the syntactic<br /> The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.<br /> translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！ <br /> <br /> Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.<br /> <br /> Case 5: Stylistic equivalence<br /> The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.<br /> The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.<br /> The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.<br /> In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.<br /> <br /> The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. <br /> translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。<br /> <br /> Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &quot;a chip of the old block.&quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]<br /> <br /> ===Conclusion===<br /> <br /> Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:<br /> The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.<br /> The author has two experiences in maintaining problem awareness in the translation process. <br /> <br /> First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. <br /> <br /> Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.<br /> At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.<br /> <br /> Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.<br /> <br /> ===Reference===<br /> [1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&quot; MELUS 24 (1999): 37-58.<br /> <br /> [2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&quot; Languages &amp;Literature 15(2001):314-336.<br /> <br /> [3]Incidents in Life of a Slave Girl chapters 16 to 30<br /> <br /> [4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.<br /> <br /> [5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p<br /> <br /> [6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.<br /> <br /> [7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.<br /> <br /> =邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=<br /> [[Trans_Type_EN_9]]<br /> ===Abstract===<br /> ''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.<br /> <br /> ===Keywords===<br /> Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong<br /> <br /> ===Introduction===<br /> <br /> ''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.<br /> <br /> ''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. <br /> <br /> This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.<br /> <br /> ===Overview on the Theory of Fusion of Horizons===<br /> <br /> The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.<br /> <br /> ====Fusion of Hrizons====<br /> <br /> Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)<br /> <br /> It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) <br /> <br /> Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.<br /> <br /> ====Fusion of Horizons in translation study====<br /> <br /> In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)<br /> <br /> To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)<br /> <br /> During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)<br /> <br /> ===Overview on the Translations of ''Lun Yu''===<br /> <br /> The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.<br /> <br /> ====The history of translations of ''Lun Yu====<br /> <br /> ''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) <br /> <br /> In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) <br /> <br /> ====Different angles of the study on the translations of ''Lun Yu''====<br /> In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) <br /> <br /> From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)<br /> <br /> From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”. Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)<br /> <br /> === The Translation of ''Lun Yu'' from Fusion of Horizons===<br /> ''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.<br /> <br /> ====Horizon of the original text====<br /> Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. <br /> ''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. <br /> <br /> ====Horizon of the original text====<br /> <br /> Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. <br /> ''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) <br /> <br /> ====Horizon of the translator====<br /> <br /> Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)<br /> <br /> When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)<br /> <br /> Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)<br /> <br /> ====Horizon of the target language culture====<br /> The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)<br /> <br /> ===Contrastive Analysis===<br /> <br /> As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.<br /> <br /> ====Description of key conceptual words====<br /> <br /> ''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. <br /> “''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)<br /> <br /> “''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)<br /> <br /> “''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)<br /> <br /> ====Different translations of key conceptual words====<br /> <br /> Different translators will have different translation. <br /> <br /> “Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:<br /> 子曰：“巧言令色，鲜矣仁！”《学而》<br /> Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” <br /> Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.<br /> From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)<br /> <br /> “Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, <br /> 道之以道，齐之以礼，有耻且格 。（《为政》）<br /> Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. <br /> Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. <br /> Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)<br /> <br /> “Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,<br /> 人不知，而不愠，不亦君子乎？（《学而》）<br /> Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.<br /> Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?<br /> According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)<br /> <br /> ===Conclusion===<br /> In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. <br /> <br /> However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)<br /> <br /> ===Reference===<br /> <br /> Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.<br /> <br /> Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.<br /> <br /> Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.<br /> <br /> Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.<br /> <br /> Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau) 2001: 15-17.<br /> <br /> Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.<br /> <br /> Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.<br /> <br /> Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.<br /> <br /> Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458<br /> <br /> Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,<br /> <br /> Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&lt;论语&gt;》[M]. [The Discourses And Sayings of Confucius] 2011<br /> <br /> Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.<br /> <br /> =杨柳青 Bian Zhilin's Literary Translation Theories and Practice ——Take His Translation of Romantic Poems as examples=<br /> [[Trans_Type_EN_10]]<br /> <br /> ===Abstract===<br /> <br /> Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &quot;faithfulness, similarity and translation&quot; from the perspective of literary translation. Specifically, &quot;Replacing foot with dun&quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.<br /> <br /> ===Key words===<br /> <br /> &quot;Faithfulness, Similarity and Translation&quot;; &quot;Replacing Foot with Dun&quot;; Romantic Poetry<br /> <br /> ===题目===<br /> <br /> 卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例<br /> <br /> ===摘要===<br /> <br /> 卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。<br /> <br /> ===关键词===<br /> <br /> “信、似、译”；“以顿代步”；浪漫主义诗歌<br /> <br /> ===Chapter 1 Introduction of Bian Zhilin and Romanticism===<br /> ====Introduction of Bian Zhilin====<br /> Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &quot;the master of Poetry and the leading scholar in translation in China&quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.<br /> <br /> ====Introduction of Romanticism====<br /> Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. <br /> <br /> Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &quot;lake poets&quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.<br /> <br /> ===Chapter 2 Bian Zhilin's Literary Translation Theories===<br /> ====&quot;Faithfulness, Similarity and Translation&quot;====<br /> Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &quot;faithfulness, similarity and translation&quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.<br /> <br /> =====Faithfulness=====<br /> It is well-known that &quot;faithfulness, expressiveness and elegance&quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &quot;faithfulness, expressive and elegance&quot;. However, &quot;faithfulness&quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. <br /> <br /> ======Yan Fu's &quot;Faithfulness, Expressiveness and Elegance&quot;======<br /> According to Yan Fu, &quot;faithfulness&quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &quot;Expressiveness&quot; means a translation should be fluent and articulate. &quot;Elegance&quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. <br /> <br /> ======Debates around Yan Fu's &quot;Faithfulness, Expressiveness and Elegance&quot;======<br /> Many speakers thought highly of Yan Fu's &quot;faithfulness, expressiveness and elegance&quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.<br /> <br /> Though &quot;Faithfulness, expressiveness and elegance&quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &quot;faithfulness,expressiveness and elegance&quot;, but they doubted &quot;elegance&quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &quot;elegance&quot; because she thought &quot;faithfulness and expressiveness&quot; is quite enough for non-literary works and &quot;elegance&quot; is not necessary. Even for literary works, &quot;elegance&quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). <br /> <br /> However, though these opinions are different they have one thing in common: all these opinions divide &quot;faithfulness, expressiveness and elegance&quot; up and judge them separately. <br /> <br /> ======Bian Zhilin's &quot;faithfulness&quot;======<br /> Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &quot;faithfulness, expressiveness and elegance&quot;, that is &quot;faithfulness&quot;. According to Bian Zhilin, &quot;faithfulness&quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. <br /> <br /> Firstly, Bian Zhilin doesn't totally deny the value of &quot;faithfulness, expressiveness and elegance&quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &quot;faithfulness, expressiveness and elegance&quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. <br /> <br /> Secondly, Bian Zhilin opposed the artificial separation of &quot;faithfulness, expressiveness and elegance&quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &quot;faithfulness&quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &quot;faithfulness, expressiveness and elegance&quot; as a whole and &quot;faithfulness&quot; includes &quot;expressiveness&quot; and &quot;elegance&quot;. Therefore, his faithfulness is comprehensive: both &quot;expressiveness&quot; and &quot;elegance&quot; are internalized in &quot;faithfulness&quot;.<br /> <br /> Thirdly, Bian Zhilin believes &quot;faithfulness&quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &quot;faithfulness&quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &quot;spirit&quot; of the original so as to make translation vivid and expressive.<br /> <br /> All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &quot;faithfulness, expressiveness and elegance&quot;. At the same time, he admits &quot;faithfulness&quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.<br /> <br /> =====Similarity=====<br /> ======Formal Similarity and Spiritual Similarity======<br /> Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. <br /> <br /> Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.<br /> <br /> ======Debates around Formal Similarity and Spiritual Similarity======<br /> In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &quot;faithfulness&quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &quot;spirit&quot; of the original. Spirit translation, however, is the exact way to convey the &quot;spirit&quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).<br /> ======Bian Zhilin's &quot;Similarity&quot;======<br /> Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&quot;Similarity&quot;. Bian Zhilin holds that literary work is a unity of content and form; &quot;form&quot; and &quot;spirit&quot; in literary translation is complementary. On the one hand, &quot;form&quot; is the basis of &quot;spirit&quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &quot;spirit&quot; is the life of &quot;form&quot; which means literary works without &quot;spirit&quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).<br /> <br /> &quot;Similarity&quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.<br /> <br /> =====Translation=====<br /> ======Literal Translation and Free Translation======<br /> Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.<br /> <br /> ======Debates around Literal Translation and Free Translation======<br /> The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &quot;word for word translation&quot; (literal translation) which was deemed as &quot;interpreter's translation&quot; and advocated &quot;sense for sense translation&quot; (free translation) which was deemed as &quot;orator's translation&quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).<br /> <br /> ======Bian Zhilin's Translation======<br /> Bian Zhilin thinks only &quot;translation&quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).<br /> <br /> Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.<br /> <br /> Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.<br /> <br /> ====Bian Zhilin's Poetry Translation Strategies====<br /> Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &quot;faithfulness, similarity and translation&quot;.<br /> =====Translating Poetry in A Poetical and Metrical Way=====<br /> Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &quot;faithfulness, similarity and translation&quot;.<br /> <br /> Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. <br /> <br /> Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.<br /> <br /> =====Replacing Foot with Dun=====<br /> The key to the metrical problem of poetry translation is what is the metrical unit of the line, &quot;word&quot; (a syllable) as a unit or &quot;dun&quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &quot;duns&quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &quot;dun&quot; in most cases, one character at least as a &quot;dun&quot; and four characters at most as a &quot;dun&quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &quot;duns&quot;. Therefore, &quot;dun&quot; is the natural rhythmic units of Chinese poetry and reveals poems' &quot;inherent music-like rhythm and beat&quot;.<br /> <br /> However, that &quot;dun&quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.<br /> <br /> ===Chapter 3 Analyses of Bian Zhilin's Translation Practice===<br /> Bian Zhilin put his literary translation theories of &quot;faithfulness, similarity and translation&quot; and poetry translation strategies of &quot;replacing foot with dun&quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.<br /> <br /> ====William Blake's ''The Tiger'' in ''Songs of Experience''====<br /> William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &quot;the great prophet&quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:<br /> <br /> <br /> Tiger! Tiger! Burning bright<br /> <br /> In the forests of the night,<br /> <br /> What immortal hand or eye<br /> <br /> Could frame thy fearful symmetry?<br /> <br /> <br /> '''Bian Zhilin's Translation:'''<br /> <br /> 老虎！|老虎！|火一样的辉煌，<br /> <br /> 烧穿了|黑夜的|森林和|草莽，<br /> <br /> 什么样|非凡的|手和|眼睛<br /> <br /> 能塑造|你一身|惊人的|匀称？<br /> <br /> (Annotation: The symbol &quot;|&quot; in the translation means the division of dun.)<br /> <br /> The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. <br /> <br /> Bian Zhilin translates the poem on the guidance of his theory of &quot;faithfulness, similarity and translation&quot;. In the first line of the excerpt, the use of &quot;Tiger&quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &quot;老虎！老虎！&quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically. <br /> <br /> Bian Zhilin also makes his translation according to his theory of &quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.<br /> <br /> ====William Wordsworth's ''The“Lucy”Series''====<br /> William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &quot;Poetry is the spontaneous overflow of powerful feelings&quot;. The following excerpt is taken from his &quot;Lucy&quot; series:<br /> <br /> <br /> A slumber did my spirit seal<br /> <br /> I had no human fears<br /> <br /> She seemed a thing that could not feel<br /> <br /> The touch of earthly years <br /> <br /> <br /> No motion has she now, no force<br /> <br /> She neither hears nor sees<br /> <br /> Rolled round in earth's diurnal course<br /> <br /> With rocks, and stones, and trees.<br /> <br /> <br /> '''Bian Zhilin's translation:'''<br /> <br /> <br /> 迷糊|封住了|我的|精神；<br /> <br /> 我没有|人世的|忧惶：<br /> <br /> 她似乎|超然|物外，|不可能<br /> <br /> 感觉到|岁月的|影响。<br /> <br /> <br /> 现在|她无力了，|也不能|动弹；<br /> <br /> 她不再|耳闻|目睹；<br /> <br /> 卷在|地球的|日程里|滚转，<br /> <br /> 混同了|岩石、|树木。<br /> <br /> (Annotation: The symbol &quot;|&quot; in the translation means the division of duns.)<br /> <br /> The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &quot;Slumber&quot; in the first line of the original is translated into &quot;迷糊&quot; rather than &quot;沉睡&quot;, which gives readers a sense of &quot;lazy charm&quot;. And &quot;fears&quot; in the second line was translated into &quot;忧惶&quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &quot;a-b-a-b, c-d-c-d&quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.<br /> <br /> ====Percy Bysshe Shelley's ''Song to the Men of England''====<br /> Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &quot;complete revolutionary&quot; by Marx. And Song to the Men of England was written by Shelley after &quot;Peterloo incident&quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:<br /> <br /> <br /> Men of England, wherefore plough<br /> <br /> For the lords who lay ye low?<br /> <br /> Wherefore weave with toil and care<br /> <br /> The rich robes your tyrants wear?<br /> <br /> <br /> Wherefore feed and clothe and save<br /> <br /> From the cradle to the grave<br /> <br /> Those ungrateful drones who would<br /> <br /> Drain your sweat——nay, drink your blood?<br /> <br /> <br /> '''Bian Zhilin's Translation:'''<br /> <br /> <br /> 英国的|人民，|为什么|犁地<br /> <br /> 报答|老爷们|踩你们|成泥？<br /> <br /> 为什么|辛勤|劳苦|去织布，<br /> <br /> 让那些|恶霸|穿华丽|衣服？<br /> <br /> <br /> 为什么|你们|从摇篮|到坟冢<br /> <br /> 尽供给|和保养|那许多|雄峰？<br /> <br /> 他们|不感激，|还非常|坚决，<br /> <br /> 要喝干|你们的汗|——再加|血；<br /> <br /> (Annotation: The symbol &quot;|&quot; in the translation means the division of duns.)<br /> <br /> This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. <br /> <br /> Bian Zhilin practices his poetry translation strategies of &quot;translating poetry in metrical way&quot; and &quot;replacing foot with dun&quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &quot;a-a-b-b, a-a-b-b&quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.<br /> <br /> Bian Zhilin translate the poem faithfully and vividly. For example, he translates &quot;lay ye low&quot; into &quot;踩你们成泥&quot; which well preserves the images of the original work. And &quot;tyrants&quot; in the fourth line of the first stanza is translated into &quot;恶霸&quot; which is concise and accurate. In the second stanza, &quot;From the cradle to the grave&quot; modifies &quot;the men of England&quot; rather than those &quot;ungrateful drones&quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &quot;你们从摇篮到坟冢&quot;. &quot;坟冢&quot; is more formal than &quot;坟墓&quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &quot;再加&quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &quot;faithfulness, similarity and translation&quot;.<br /> <br /> ===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===<br /> There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &quot;faithfulness, similarity and translation&quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.<br /> <br /> Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &quot;replacing foot with dun&quot; not advisable in many cases.<br /> <br /> Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &quot;Replacing foot with dun&quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &quot;translating poetry in metrical way&quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.<br /> <br /> ===Chapter 5 Conclusion===<br /> Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &quot;faithfulness, similarity and translation&quot; and &quot;translating poems in a poetical and metrical way&quot; and &quot;replacing foot with dun&quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.<br /> <br /> ===References===<br /> <br /> Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.<br /> <br /> Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.<br /> <br /> Nabokov, Vladimir. &quot;Forward&quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp; Kegan Paul, 1964/1975, p.viii.<br /> <br /> Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.<br /> <br /> Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.<br /> <br /> Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.<br /> <br /> Bian Zhilin卞之琳(1994).《从&lt;西窗集&gt;到&lt;西窗小书&gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.<br /> <br /> Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.<br /> <br /> Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.<br /> <br /> Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.<br /> <br /> Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.<br /> <br /> Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.<br /> <br /> Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.<br /> <br /> Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.<br /> <br /> Yan Fu严复(1984).《&lt;天演论&gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.<br /> <br /> =Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= <br /> <br /> ===Abstract===<br /> This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. <br /> <br /> ===Key Words===<br /> The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark <br /> <br /> ===Introduction===<br /> 1. Overview <br /> Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. <br /> <br /> Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. <br /> <br /> Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. <br /> <br /> The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. <br /> <br /> This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. <br /> <br /> ===Translation and Culture===<br /> <br /> ===Types of Translation ===<br /> <br /> ===Translation Strategies ===<br /> <br /> ===Cultural Categories ===<br /> <br /> ===Translation Procedure ===<br /> <br /> ===Analysis and Discussion ===<br /> <br /> ===Conclusion and Recommendations===<br /> <br /> === References ===<br /> ===Abstract===<br /> ===Abstract===</div>

Zhu Renduo https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&diff=130742 2021-12-09T14:37:19Z

<p>Zhu Renduo: Undo revision 130734 by Yang Ye (talk)</p> <hr /> <div>'''Translation types, strategies, styles, methods'''<br /> <br /> [[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do List]]<br /> <br /> =阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= <br /> <br /> [[Trans_Type_EN_1]]<br /> <br /> ==Abstract==<br /> ''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.<br /> <br /> ==Key Words==<br /> Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation<br /> <br /> ==Introduction==<br /> The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.<br /> Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. <br /> However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.<br /> <br /> ==Literature Review==<br /> <br /> ===Previous studies in Subtitle Tranlation abroad===<br /> In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.<br /> <br /> In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).<br /> <br /> In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).<br /> <br /> In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).<br /> <br /> ===Previous studies on Subtitle translation at home===<br /> The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.<br /> <br /> The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.<br /> <br /> Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.<br /> <br /> In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.<br /> <br /> However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.<br /> <br /> ==Subtitle translation features==<br /> <br /> ===Subtitle translation needs to be brief and comprehensive===<br /> Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.<br /> <br /> Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.<br /> <br /> If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.<br /> <br /> ===Subtitling translation requires natural equivalence===<br /> The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.<br /> <br /> Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.<br /> <br /> ===Subtitle translation needs to be easy to understand===<br /> The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.<br /> <br /> ==Theory of Domestication and Foreignization==<br /> In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:<br /> <br /> ===Domestication===<br /> The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.<br /> <br /> ===Foreignization===<br /> The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &quot;the translator should not disturb the author as much as possible to make the reader close to the author&quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. <br /> <br /> Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.<br /> <br /> ==Case Study==<br /> <br /> <br /> ===Translation Methods under Foreignizing Strategy===<br /> The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.<br /> <br /> ====Literal Translation====<br /> Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:<br /> <br /> Example 1<br /> <br /> Chinese version：嬛嬛一袅楚宫腰。<br /> <br /> American version：the slim waist of the concubines of the Chu palace.<br /> <br /> For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &quot;Chu palace&quot; here means can be omitted.<br /> <br /> Example 2<br /> <br /> Chinese version：一片冰心在玉壶<br /> <br /> American version：A jade vessel is the symbol of a pure heart.<br /> <br /> “Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.<br /> <br /> The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &quot;booster&quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:<br /> <br /> Example 3<br /> <br /> Chinese version：“赏你一丈红”<br /> <br /> American version：Then I will award Attendant Xia the Scarlet Red.<br /> <br /> In the original subtitle of example 3, “一丈红” (yi zhang hong, literally “two-meter-long red”) is used to punish a palace maid or a concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out. Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. <br /> <br /> In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &quot;red&quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.<br /> <br /> In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.<br /> <br /> ====Zero Translation====<br /> The so-called &quot;zero translation&quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.<br /> <br /> In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &quot;贵妃&quot;, &quot;妃&quot;, &quot;嫔&quot;, &quot;贵人&quot;, &quot;常在&quot; and &quot;答应&quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:<br /> <br /> Example 4<br /> <br /> 熹贵妃——Noble Consort Xi 华妃——Consort Hua<br /> <br /> 莞嫔 ——Concubine Huan 沈贵人——Lady Shen<br /> <br /> 夏常在——Attendant Xia 小主——Young Mistress<br /> <br /> 敦亲王：Prince Dun 舒太妃：Consort Dowager Shu<br /> <br /> Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture<br /> <br /> However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.<br /> <br /> Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.<br /> <br /> ===Translation Methods under Domesticating Strategy===<br /> Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). <br /> <br /> The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.<br /> <br /> ====Omission====<br /> Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &quot;hypotaxis&quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &quot;parataxis&quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.<br /> <br /> Example 1<br /> <br /> Chinese version:“先敬罗衣后敬人。” <br /> <br /> American version: “The clothing completes the person.”<br /> <br /> This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &quot;complete&quot; expresses the idea that &quot;clothes make the man&quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”<br /> <br /> Example 2<br /> <br /> Chinese version: “花开堪折直须折，莫待无花空折枝。” <br /> <br /> American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.<br /> <br /> There are three Chinese characters for &quot;折&quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &quot;fold&quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &quot;折&quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&quot;.<br /> <br /> ====Addition====<br /> Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.<br /> <br /> Example 1<br /> <br /> Chinese version:“他不忍叫你明珠暗投。” <br /> <br /> American version:&quot;You will not be granted an ordinary life when you can live an extraordinary one.<br /> <br /> In this example, the translator adopted Addition method to make a explanatory translation for &quot;明珠暗投&quot; , the translation of &quot;be granted an ordinary life when you can live an extraordinary one.&quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &quot; 明珠暗投&quot;&quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.<br /> <br /> Example 2<br /> <br /> Chinese version：“臣妾一与社稷无功，二与龙脉无助。” <br /> <br /> American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.<br /> <br /> In example 2, the translator interprets &quot;社稷&quot; as &quot;nation&quot; for readers to understand.&quot;社稷&quot; has always been a synonym for &quot;nation&quot; in Chinese, just as &quot;White House&quot; is a synonym for &quot;America&quot;. In addition, there is no English equivalent for &quot;nation&quot;, so it is appropriate for the translator to use &quot;nation&quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &quot;dragon vein&quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &quot;children&quot;, which is often thrown around.<br /> <br /> ==Conclusion==<br /> The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.<br /> <br /> As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.<br /> <br /> ==Reference==<br /> [１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. <br /> <br /> [２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. <br /> <br /> [３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. <br /> <br /> [４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116. <br /> <br /> [５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.<br /> <br /> [６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. <br /> <br /> [７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.<br /> <br /> =2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=<br /> [[Trans_Type_EN_2]]<br /> <br /> ===Abstract===<br /> With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.<br /> <br /> ===Key Words===<br /> Translation strategy and translation methods; Peter Newmark; Tourism texts<br /> <br /> ===Introduction===<br /> <br /> This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references. This chapter mainly introduces the background information and significance of the report, and the domestic research status.<br /> <br /> ====Research background====<br /> <br /> With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.<br /> <br /> However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.<br /> <br /> Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.<br /> <br /> ====Research significance====<br /> <br /> In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.<br /> Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.<br /> <br /> ====Literature review====<br /> <br /> Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.<br /> <br /> From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.<br /> <br /> ===Tourism Texts===<br /> <br /> ====General Introduction====<br /> <br /> Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. <br /> <br /> In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.<br /> <br /> ====Introduction to the ''Everglades National Park, Florida (Excerpt)''====<br /> <br /> Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.<br /> <br /> ''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.<br /> <br /> ===Newmark's Translation Theory===<br /> <br /> ====General introduction of Peter Newmark's translation theories====<br /> <br /> Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.<br /> <br /> According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.<br /> <br /> After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).<br /> <br /> In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)<br /> <br /> In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.<br /> <br /> ====Semantic translation and communicative translation====<br /> <br /> Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.<br /> <br /> With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).<br /> <br /> In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. <br /> <br /> Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. <br /> <br /> To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.<br /> <br /> ===Case Study===<br /> <br /> The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.<br /> <br /> Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.<br /> <br /> ====At Lexical Level====<br /> <br /> Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.<br /> <br /> 1)Conversion of part of speech<br /> <br /> Example 1:<br /> <br /> ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''<br /> <br /> TT: 个人、团体或家庭都能在这找到适合的户外活动。<br /> <br /> Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. <br /> <br /> The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.<br /> <br /> Example 2:<br /> <br /> ST: ''Accessibility: No immediate trails.''<br /> <br /> TT: 如何前往：没有路径可直接到达。<br /> <br /> Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.<br /> <br /> 2)Public signs<br /> <br /> Example 3 &amp; 4:<br /> <br /> ST: ''Things To Do'' <br /> <br /> TT: 活动介绍<br /> <br /> ST: ''What you can do''<br /> <br /> TT: 解决措施<br /> <br /> Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.<br /> <br /> Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.<br /> <br /> Example 5 &amp; 6:<br /> <br /> ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''<br /> <br /> TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。<br /> <br /> ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''<br /> <br /> TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。<br /> <br /> Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. <br /> Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.<br /> <br /> ====At Syntactical Level====<br /> <br /> Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.<br /> <br /> 1)Change of subjects and passive voice<br /> <br /> Example 7:<br /> <br /> ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''<br /> <br /> TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。<br /> <br /> Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.<br /> Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.<br /> <br /> Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. <br /> <br /> Example 8 &amp; 9: <br /> <br /> ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''<br /> <br /> TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。<br /> <br /> ST: ''In the summer, fewer programs are offered.''<br /> <br /> TT: 夏季提供的项目较少。<br /> <br /> Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. <br /> In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.<br /> <br /> 2)Punctuation<br /> <br /> Example 10:<br /> <br /> ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''<br /> <br /> TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。<br /> <br /> Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. <br /> <br /> So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.<br /> <br /> Example 11:<br /> <br /> ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''<br /> <br /> TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。<br /> <br /> Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.<br /> <br /> ====At Textual Level====<br /> <br /> Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.<br /> <br /> Example 12:<br /> <br /> ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''<br /> <br /> TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。<br /> <br /> Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. <br /> <br /> In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.<br /> <br /> Example 13:<br /> <br /> ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''<br /> <br /> TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。<br /> <br /> Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.<br /> <br /> In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.<br /> <br /> ===Conclusion===<br /> <br /> ====Major findings====<br /> For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. <br /> <br /> Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.<br /> <br /> ====Limitations====<br /> <br /> Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. <br /> <br /> Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.<br /> <br /> ===References===<br /> <br /> [1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. <br /> <br /> [2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. <br /> <br /> [3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)<br /> <br /> [4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. <br /> <br /> [5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.<br /> <br /> [6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. <br /> <br /> [7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.<br /> <br /> [8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.<br /> <br /> [9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.<br /> <br /> [10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.<br /> <br /> [11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. <br /> <br /> [12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.<br /> <br /> [13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.<br /> <br /> =3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=<br /> [[Trans_Type_EN_3]]<br /> <br /> ===Abstract===<br /> There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &quot;innocent people&quot; and &quot;the goat family&quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &quot;family&quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.<br /> <br /> ===Keywords===<br /> Communicative translation theory; Korean novels; Translation methods and strategies<br /> <br /> ===Introduction===<br /> <br /> ===The emergence and development of communicative translation===<br /> According to the function of language, that is, the purpose of language use, Newmark proposed the following three text types: Expression function, information function, Vocative function.<br /> The core of the expressive function is that the speaker or author uses some words to express his thoughts and feelings. The author's unique form of language is as important as its content.<br /> Expressive functional texts emphasize the authority of the original author, and translation should follow the principle of &quot;original author first&quot;, which should be faithful to both the ideological content expressed by the original author and the language style of the original author, without considering the reaction of the target readers.The core of the information function is the external situation, that is, all the information about a topic, or the reality beyond words. The core of informational text is the &quot;authenticity&quot; of the content, and the author's language is secondary. The principle of &quot;authenticity first&quot; should be followed in translation.Vocative text emphasizes reader-centered, with the purpose of &quot;calling on readers to act, think and feel&quot;. Translation should follow the principle of &quot;reader first&quot; and put the target language readers in the first place. The translator can make full use of the advantages of the target language and not stick to the way of expression of the original text, so that the target language can achieve the same effect as the original language.<br /> <br /> On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark said that communicative translation theory focuses on the understanding and response of the recipient and focuses on the reader of the target text, paying more attention to the effect of the expression of the target text than the content. Translators can give full play to the advantages of the target language and introduce foreign elements into the target language culture, which has the advantages of naturalization, free translation and idiomatic translation. Semantic translation attaches great importance to the original text, focuses on the semantic content of the original text, strives to preserve the culture of the source language, and has the advantages of word-for-word translation, literal translation and faithful translation. Communicative translation applies to informative and appealing texts, such as autobiographies, personal emotional venting, important political statements (or other statements), most non-literary articles, news, intellectual articles and books, textbooks, reports, scientific and technological literature, official correspondence, propaganda, advertisements, bulletins, popular novels. His communicative translation and semantic translation have enriched the theoretical study of translation to a great extent, and also influenced the field of translation.<br /> <br /> ===The applicability of communicative translation theory to the translation of popular novels===<br /> First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.<br /> <br /> Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.<br /> <br /> The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.<br /> <br /> If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.<br /> <br /> === Case study under the guidance of communicative translation theory===<br /> Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &quot;The Innocent Man&quot; and &quot;The Goat Family&quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.<br /> <br /> === The application of communicative translation theory at lexical level===<br /> '''Transliteration'''<br /> <br /> The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.<br /> <br /> The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.<br /> <br /> Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.<br /> First translation：那一刻我觉得孩子不像老人，而像少年家长。<br /> Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。<br /> <br /> &quot;소 년 가 장&quot; is a noun, the author looked up Chinese dictionary, found &quot;소 년 가 장&quot; in Korean means &quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&quot;, at the beginning of translation, in accordance with the original literal translation is &quot;young parents&quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &quot;소 년 가 장&quot; and Chinese proverb &quot;the poor children early master&quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &quot;소 년 가 장&quot; divided &quot;소 년&quot; and &quot;가 장&quot; two nouns, and the term &quot;가 장&quot; translated into adjectives &quot;world&quot;, the &quot;소 년&quot; translated into &quot;children&quot;, both to convey the meaning of the original, and can make readers easily understand the content.<br /> <br /> Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.<br /> Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。<br /> In the original text 비 난&quot; is a noun, the author according to the original text in translation translated into &quot;document and is accused of child, father didn't want to see him the accused, so not to support&quot;, at the same time with the two accused, groundwork or at the back of the verb &quot;blame&quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &quot;비 project-oriented&quot; is translated into the verb &quot;blame&quot;, so that the translation is easy to understand.<br /> <br /> '''Extension of meaning<br /> Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.<br /> <br /> Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.<br /> ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.<br /> Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。<br /> ②母亲就“唉！”长长地叹了一口气。<br /> <br /> The author by looking up the dictionary, in the original &quot;내 밷 다&quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &quot;vomit, and said,&quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &quot;내 밷 다&quot; translated into &quot;fun&quot; and &quot;sigh&quot;, not only conforms to the present context, and in accordance with the Chinese language habits.<br /> <br /> Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는<br /> 것이리라.<br /> ②형이 옆구리를 툭 치며.<br /> ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라.<br /> Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。<br /> ②大哥用胳膊肘戳了我一下。<br /> ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。<br /> <br /> The verb &quot;치&quot; would give many different meanings with different words, such as ①&quot;beating, beating, beating, playing&quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &quot;치 다&quot; translated into &quot;blocking&quot;, &quot;stamp&quot;, &quot;and&quot; verb, such as to conform to the Chinese habits of expression.<br /> <br /> ===The expression of communicative translation theory at the sentence level===<br /> Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.<br /> <br /> '''Interpretation method'''<br /> <br /> Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.<br /> <br /> Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.<br /> First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。<br /> Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。<br /> <br /> The author at the beginning of the translation of &quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&quot;, literal translation is &quot;I may already have noticed what&quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &quot;I&quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &quot;money&quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &quot;I perceived that the&quot; content &quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.<br /> <br /> Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?<br /> First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？<br /> Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。<br /> <br /> Early in the translation of &quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&quot;, the corresponding Chinese literal translation is &quot;only do oneself should do can do a aboveboard person&quot;, but &quot;할 도 리&quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &quot;up 도 wish to be good&quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &quot;Remember what aunt said&quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.<br /> <br /> '''demolition syntax'''<br /> Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.<br /> <br /> However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.<br /> <br /> Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.<br /> First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。<br /> Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。<br /> <br /> The original text Is a long sentence, &quot;는 데&quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &quot;dragged&quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.<br /> <br /> '''Cotranslation'''<br /> Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.<br /> <br /> Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.<br /> First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。<br /> Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。<br /> <br /> Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &quot;big sister&quot; &quot;big brother&quot; &quot;sister&quot; &quot;second brother&quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &quot;brothers and sisters&quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.<br /> <br /> ===The embodiment of communicative translation at the rhetorical level===<br /> Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.<br /> <br /> '''Addition'''<br /> <br /> Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.<br /> <br /> Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.<br /> First Translation：我把孩子爸爸的钱称为“那么点儿钱”。<br /> Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。<br /> <br /> &quot;그깟&quot; is a contraction of &quot;그까짓&quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &quot;그 깟 돈&quot; translated into accord with the readers expression habit &quot;for all of the money&quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.<br /> <br /> '''Repetition'''<br /> <br /> Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.<br /> <br /> Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.<br /> First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！<br /> Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！<br /> <br /> The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &quot;알 다&quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.<br /> <br /> === conclusion===<br /> This paper selected the south Korean writer Kong Shanyu stories &quot;well bead film&quot; in the two novel &quot;pure people&quot; and &quot;the goat family&quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &quot;family&quot; and the simple social atmosphere, which are gradually forgotten by Koreans.<br /> <br /> The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.<br /> <br /> From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.<br /> From the statement level analysis, &quot;innocent people&quot; and &quot;the goat family&quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.<br /> <br /> Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.<br /> <br /> ===Reference===<br /> '''English Literature:'''<br /> <br /> [1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).<br /> <br /> [2]. LI xin, ZHANG zhe. On Peter Newmark’s Semanic Translation &amp; Communicative Translation[J]. Overseas English, 2015（03）.<br /> <br /> [3]. JIAN fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).<br /> <br /> '''Korean literature:'''<br /> <br /> [4]. 강영미. 1970-1980 년대 노래운동에 대한 예비적 고찰 [J]. 정신문화연구41(3), 2018.(09).<br /> <br /> [5]. 공선옥. 80 년대와 나의 문학 광주,그리고 내인생의 수난기 [J]. 역사비평사,1995(08)<br /> <br /> [6]. 김영희. 근대체험과 여성--박완서ㆍ김인숙ㆍ공선옥의 소설 [J]. 창작과비평23(3),1995(09).<br /> <br /> [7]. 오순방. 中國 近代의 小說 飜譯과 中韓小說의 雙方向 飜譯 硏究 [J]. 서울 :숭실대학교 출판부,2008.<br /> <br /> '''Chinese Literature:'''<br /> <br /> [8] 冯庆华.实用翻译教程[M].上海：上海外语教育出版社，2002.<br /> <br /> [9] 芒迪（著），李德凤（译）.《翻译学导论：理论与应用》[M].北京：外语教学与研究出版社，2018.<br /> <br /> [10] 张敏.《韩国语翻译概论》[M].北京：外语教学与研究出版社，2017.<br /> <br /> [11] 蔡萍.纽马克翻译理论浅析[J].电子科技大学学报(社科版)，2009(06)：78-81.<br /> <br /> [12] 陈琳.尤金A·奈达和彼得·纽马克翻译理论之比较[J].湘潭大学学报(社会科学版)，1994,(08)：87-91.<br /> <br /> =毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s ''Pleasures of Ignorance'' as an example=<br /> [[Trans_Type_EN_4]]<br /> <br /> ===Abstract===<br /> <br /> Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.<br /> <br /> ===Key Words===<br /> <br /> ''Pleasures of Ignorance''; Chinese translation of English prose; translation strategies; translation methods; translation techniques<br /> <br /> ===Introduction===<br /> <br /> This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.<br /> <br /> '''Research Background and Significance'''<br /> <br /> In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.<br /> Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.<br /> <br /> '''Methodology and Structure'''<br /> <br /> This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work ''Pleasures of Ignorance'' as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.<br /> <br /> ===Literature Review===<br /> <br /> This part will draw into the domestic previous studies on Chinese translation of English prose.<br /> <br /> With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.<br /> <br /> First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.<br /> <br /> Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.<br /> <br /> Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.<br /> <br /> ===Overview of English Prose===<br /> <br /> Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.<br /> <br /> '''Distinctive Features of English Prose'''<br /> <br /> As an independent literary genre, English prose has its own distinctive characteristics.<br /> <br /> The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.<br /> <br /> Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.<br /> <br /> Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.<br /> <br /> '''Linguistic Features of English Prose'''<br /> <br /> Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.<br /> <br /> First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.<br /> <br /> Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.<br /> <br /> Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.<br /> <br /> '''Principles of English Prose Translation'''<br /> <br /> The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.<br /> <br /> Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.<br /> <br /> Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.<br /> <br /> Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.<br /> <br /> ===Case Study of Chinese Translation of ''Pleasures of Ignorance''===<br /> <br /> The selected source text is ''The Pleasures of Ignorance'', written by Robert Lynd. <br /> <br /> Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.<br /> <br /> This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.<br /> <br /> The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.<br /> <br /> There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.<br /> <br /> ====Translation Methods under Foreignizing Strategy====<br /> <br /> Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&quot; to have alien reading experience. (Venuti, 1995: 20) The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.<br /> <br /> =====Literal Translation=====<br /> <br /> Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, <br /> <br /> (1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.<br /> <br /> 同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。<br /> <br /> (2)This ignorance, however, is not altogether miserable.<br /> <br /> 不过，这种无知也并非全然不幸。<br /> <br /> (3)But your and my ignorance is not confined to cuckoos.<br /> <br /> 但是，你我的无知并不仅限于杜鹃这一方面。<br /> <br /> (4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.<br /> <br /> 一个外国人问一位当代英国小说家，英国最重要的农作物是什么。<br /> <br /> The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.<br /> <br /> The use of literal translation, especially the retaining of the personal pronouns, like &quot;we&quot; and &quot;you and I&quot;, conveys the style of the original text, showing friendliness and intimacy.<br /> <br /> =====Zero-Translation=====<br /> <br /> Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,<br /> <br /> Omission of the expletives ''It'' and ''There'':<br /> <br /> (5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.<br /> <br /> 任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。<br /> <br /> (6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.<br /> <br /> 这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。<br /> <br /> Omission of English articles:<br /> <br /> (7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.<br /> <br /> 成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。<br /> <br /> Omission of pronouns:<br /> <br /> (8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.<br /> <br /> 把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。<br /> <br /> The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.<br /> <br /> =====Transliteration=====<br /> <br /> Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.<br /> <br /> In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,<br /> <br /> (9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)<br /> <br /> Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. For example, in the translation in case study. For example, in the translation in case study,<br /> <br /> (10)Montaigne 蒙田 (not 蒙泰涅)<br /> <br /> Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.<br /> <br /> The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.<br /> <br /> ====Translation Methods under Domesticating Strategy====<br /> <br /> Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&quot; (Venuti, 1995: 20). In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', free translation method and imitation method under domestication are used and displayed in several translation techniques.<br /> <br /> =====Free Translation=====<br /> <br /> Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &quot;spirit&quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound 'foreign&quot; (Shuttleworth &amp; Cowie, 1997: 151). Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,<br /> <br /> (11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.<br /> <br /> 在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。<br /> <br /> (12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.<br /> <br /> 所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。<br /> <br /> (13)When in the oak’s green arms the cuckoo ''sings'', <br /> <br /> And first delights men in the ''lovely springs''.<br /> <br /> 杜鹃在橡树的绿色怀抱里''啭啼''，<br /> <br /> 第一个为人们带来''欢欣、美好的春意''。<br /> <br /> In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &quot;the exception&quot; and &quot;have not noticed&quot; to Chinese idioms &quot;凤毛麟角&quot; (that describes rare and precious items) and &quot;习焉不察&quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &quot;sings&quot; is transferred to &quot;啭啼&quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &quot;the lovely springs&quot; is transferred to &quot;欢欣、美好的春意&quot; (a joyful and wonderful feeling brought by the spring) through abstraction.<br /> Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.<br /> <br /> =====Imitation=====<br /> <br /> With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance,<br /> <br /> (14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.<br /> <br /> 成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。<br /> <br /> In the translation of this sentence, a variety of translation techniques are employed. <br /> <br /> ①　Conversion:<br /> <br /> The translator uses conversion to alter the syntactic structure of the original sentence. <br /> <br /> The predicate &quot;live and die&quot; is converted into the preposition phrase &quot;从生到死&quot; as the adverbial in Chinese.<br /> <br /> And the adverbial preposition phrase in the source text &quot;without knowing&quot; is converted into the predicate in Chinese translation.<br /> <br /> ②　Division:<br /> <br /> In accordance with the need of Chinese expression, &quot;without knowing&quot; is divided into two verb phrases &quot;说不出&quot; and &quot;听不出&quot; in Chinese as the predicate.<br /> <br /> ③　Addition:<br /> <br /> With the addition of the expression &quot;一辈子&quot;, the translator highlights the long time between life and death.<br /> <br /> ④　Repetition:<br /> <br /> The plural form &quot;men and women&quot; is translated into the reiterative locution &quot;男男女女&quot; by repetition. <br /> <br /> The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator's superb handling of the original text.<br /> <br /> (15)...we are all the ''more'' delighted ''at the spectacle of'' its runaway flight as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...<br /> <br /> 一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。<br /> <br /> In this example, there are also various translation techniques used.<br /> <br /> ①　Conversion:<br /> <br /> Firstly, the preposition phrase &quot;at the spectacle of&quot; is converted into the verb &quot;看见&quot; in Chinese. <br /> <br /> Secondly, the noun phrase &quot;runaway flight&quot; is converted into Chinese verbs &quot;飞&quot; (fly) and &quot;逃&quot; (escape). <br /> <br /> Besides, the verb &quot;hurries&quot; (that means to move quickly in a particular direction) is converted into &quot;惶惶不安地&quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &quot;飞&quot; and &quot;逃&quot;, which endows the subject cuckoo with somewhat human characteristic.<br /> <br /> ②　Repetition:<br /> <br /> The adjective &quot;more&quot; is translated into the reiterative locution &quot;大大&quot;, a Chinese adverb equivalent to &quot;very&quot; or &quot;extremely&quot; in English to modify the adjective &quot;delighted&quot;.<br /> <br /> In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &quot;惶惶不安&quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &quot;惶惶&quot; and &quot;大大&quot;.<br /> <br /> (16)I have myself a ''capricious'' and ''leaking'' memory.<br /> <br /> 我自己的记忆力也是''漏洞百出''、''不听使唤''。<br /> <br /> Although this is a short sentence, it still contains the flexible use of translation techniques.<br /> <br /> ①　Conversion:<br /> <br /> At first, the original object &quot;memory&quot; is converted to the subject in the Chinese translation.<br /> <br /> And then, the subject &quot;I&quot; with its appositive &quot;myself&quot; is converted into the attribute &quot;我自己的&quot; to modify the subject in the translation &quot;记忆&quot;.<br /> <br /> ②　Addition:<br /> <br /> On account of the conversion of the subject and the verb, the original predicate &quot;have&quot; is inappropriate. The addition of &quot;也是&quot; that is equivalent to the verb &quot;be&quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.<br /> <br /> ③　Diction:<br /> <br /> The two vivid adjective &quot;capricious&quot; and &quot;leaking&quot; are translated as &quot;不听使唤&quot; and &quot;漏洞百出&quot; respectively which are typical Chinese four-character structures. The Chinese adjective &quot;漏洞百出(的)&quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &quot;不听使唤(的)&quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.<br /> <br /> In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.<br /> <br /> (17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.<br /> <br /> 另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''<br /> <br /> This is a typical example of the imitation method embodied in the use of diverse translation techniques.<br /> <br /> ①　Conversion:<br /> <br /> Regarding the conversion of word classes, the noun &quot;blossom&quot; is converted into the Chinese verb &quot;开花&quot;.<br /> <br /> Concerning the conversion of sentence members, the object in the clause &quot;apple-tree&quot; is converted into the subject &quot;苹果树&quot; in the Chinese translation. And the attribute &quot;May&quot; is converted into the adverbial in Chinese as &quot;五月一旦到来&quot;.<br /> <br /> Considering the conversion of sentence patterns, the negative sentence &quot;this does not lessen our amazement at...&quot; is converted into a interrogative sentence &quot;我们不是仍然惊为奇观吗？&quot;.<br /> <br /> ②　Negation:<br /> <br /> The negative form &quot;not succeeds&quot; in English is translated into the affirmative form &quot;后结果&quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.<br /> <br /> ③　Division:<br /> <br /> The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &quot;chronicle style&quot; of Chinese language with frequent use of shorter or composite structures.<br /> <br /> ④　Addition:<br /> <br /> Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &quot;先&quot;, &quot;后&quot;, &quot;一旦&quot; and &quot;仍然&quot; render the translation more smooth and expressive.<br /> <br /> In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.<br /> <br /> (18)Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields.<br /> <br /> 那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我''目不暇接''，''心迷神醉''。<br /> <br /> As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.<br /> <br /> ①　Division:<br /> <br /> The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.<br /> <br /> ②　Addition:<br /> <br /> The addition of the Chinese set phrase &quot;目不暇接&quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &quot;see&quot; and &quot;the eyes&quot; in the preceding and connects the &quot;painted fields&quot; in the following that greet the author's eyes and take his breath away.<br /> <br /> ③　Diction:<br /> <br /> The verb &quot;see&quot; is translated into &quot;放眼四望” (to look around), the noun phrase &quot;breath taken away with surprise&quot; into &quot;心醉神迷&quot; (to be thrown into ecstasies), and the adjective &quot;painted&quot; into &quot;五彩缤纷&quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.<br /> <br /> ④　Conversion:<br /> <br /> The original clause &quot;my breath taken away with surprise by the painted fields&quot; is in passive voice, and is converted into the active voice in Chinese translation &quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &quot;被&quot; is traditionally felt to be an &quot;inflictive voice&quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. <br /> <br /> The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.<br /> <br /> ===Conclusion===<br /> <br /> This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.<br /> <br /> ====Major Findings====<br /> <br /> Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.<br /> <br /> In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.<br /> <br /> But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.<br /> <br /> In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.<br /> <br /> With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.<br /> <br /> At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.<br /> <br /> At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.<br /> <br /> The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.<br /> <br /> ====Limitations and Suggestions====<br /> <br /> There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.<br /> <br /> ===References===<br /> <br /> [1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.<br /> <br /> [2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. 上海: 上海教育出版社, 2004: 7-25.<br /> <br /> [3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 59-163.<br /> <br /> [4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 96-118.<br /> <br /> [5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.<br /> <br /> [6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》 为例 [D]. 南昌: 南昌大学, 2018.<br /> <br /> [7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 67-262,<br /> <br /> [8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.<br /> <br /> [9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.<br /> <br /> [10] 张保红. 文学翻译 [M]. 北京: 外语教学与研究出版社, 2011: 28-88.<br /> <br /> [11] 朱明炬. 英汉名篇名译 [M]. 南京: 译林出版社, 2007: 319-328.<br /> <br /> ===Appendix===<br /> <br /> (The original text:)<br /> <br /> The Pleasures of Ignorance<br /> <br /> By Robert Lynd<br /> <br /> It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:<br /> <br /> When in the oak's green arms the cuckoo sings, <br /> <br /> And first delights men in the lovely springs.<br /> <br /> This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.<br /> <br /> And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.<br /> <br /> If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.<br /> <br /> At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.<br /> <br /> And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &quot;Rye&quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing.<br /> <br /> (Liu Bingshan's Chinese translation:)<br /> <br /> 无知常乐<br /> <br /> 刘炳善 译<br /> <br /> 同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶<br /> <br /> 杜鹃在橡树的绿色怀抱里啭啼，<br /> <br /> 第一个为人们带来欢欣、美好的春意。<br /> <br /> 不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。<br /> <br /> 说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。<br /> <br /> 我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？<br /> <br /> 倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。<br /> <br /> 既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。<br /> <br /> =5 毛优 Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =<br /> [[Trans_Type_EN_5]]<br /> <br /> ==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==<br /> '''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''<br /> <br /> [[Trans_Type_EN_6]]<br /> <br /> 彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China<br /> <br /> ==Abstract==<br /> <br /> 从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。 <br /> <br /> Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.<br /> <br /> <br /> ==Key Words==<br /> <br /> Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding<br /> 翻译风格，巴黎的忧郁，郭宏安，亚丁<br /> <br /> <br /> ==Introduction==<br /> <br /> The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.<br /> <br /> Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.<br /> <br /> <br /> ==Liu Miqing’s theory of translation style==<br /> <br /> Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.<br /> <br /> Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.<br /> <br /> In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.<br /> <br /> <br /> ==Form Markers==<br /> <br /> According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.<br /> <br /> <br /> ===Register Markers===<br /> <br /> “Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.<br /> <br /> The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.<br /> <br /> <br /> '''Eg. (a)'''<br /> <br /> Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?<br /> Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”<br /> Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？<br /> <br /> Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.<br /> Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”<br /> Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。<br /> <br /> Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.<br /> Guo’s translation：“您用了一个词，我至今还不知道它的含义。”<br /> Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。<br /> <br /> Original text：– Je le hais comme vous haïssez Dieu.<br /> Guo’s translation：“我恨它，一如您恨上帝。”<br /> Ya’s translation：——我恨它，就像您恨上帝一样。<br /> <br /> Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?<br /> Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”<br /> Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！<br /> <br /> <br /> This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.<br /> <br /> <br /> ===Lexical Markers===<br /> <br /> Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.<br /> <br /> <br /> '''Eg. (b)'''<br /> <br /> <br /> Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.<br /> <br /> Guo’s translation：我问其中一个人，他们这是往哪里去。<br /> <br /> Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。<br /> <br /> <br /> The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.<br /> <br /> <br /> Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;<br /> <br /> Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；<br /> <br /> Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。<br /> <br /> <br /> In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.<br /> <br /> <br /> Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.<br /> <br /> Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。<br /> <br /> Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。<br /> <br /> <br /> The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&quot; is a common subject-verb-object construction, with the subject and object being &quot;visages, témoignaient, désespoir&quot;. Guo's translation is similar, with &quot;faces, expressions, despair&quot; and he translates &quot;tous...ne&quot; as &quot;没有&quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &quot;tous...ne&quot; as &quot;没有一张&quot;.<br /> <br /> In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&quot;, Guo adds two definite articles before &quot;尘土&quot;, Guo adds the definite article &quot;和天空一样惨淡的&quot; and &quot;大地的&quot;. For &quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&quot;, Guo translates the noun “神情” which is preceded by three &quot;的&quot;, &quot;带着注定要永远希望的&quot; modifies &quot;人&quot;, &quot;带着注定要永远希望的人的&quot; and &quot;无可如何的&quot; modifying “神情”; and &quot;cheminaient&quot; is singled out and placed at the end of the sentence, translated as &quot;走着&quot;. This is a very subtle way of structuring the sentence. &quot;The word &quot;走&quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &quot;走&quot;. The &quot;走着，&quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &quot;cheminaient&quot; ahead-- &quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&quot;. There are two &quot;的&quot; before &quot;神情&quot;, but he separates the two determiners with a comma, &quot;可奈何的，被注定要永远地希望下去的&quot;.<br /> <br /> <br /> Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.<br /> <br /> Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。<br /> <br /> Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。<br /> <br /> <br /> For &quot;s'enfonça dans l'atmosphère de l'horizon&quot;, Guo translates it as &quot;没入天际&quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.<br /> <br /> <br /> Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.<br /> <br /> Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。<br /> <br /> Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。<br /> <br /> <br /> Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &quot;pendant quelques instants&quot; &quot;mais bientôt&quot; is translated as &quot;好长时间，&quot;&quot;可是不久，&quot;. And the Ya Ding the conjunction &quot;于是&quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &quot;我&quot; as the subject. Guo translates &quot;j'en fus plus lourdement accablé&quot; as &quot;被沉重地压倒&quot;, while the Asian translation uses &quot;more fatigued &quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &quot;疲劳&quot; are slightly inadequate.<br /> <br /> As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &quot;的&quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.<br /> <br /> <br /> ==Non-formal Markers==<br /> <br /> The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &quot; (Liu 2005:249)#.<br /> <br /> Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &quot;fundamentally dependent on imagination and creativity&quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.<br /> <br /> According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &quot;writer&quot; into the &quot;translator&quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.<br /> <br /> Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. <br /> <br /> The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.<br /> <br /> <br /> ==Conclusion==<br /> <br /> The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &quot;awakened men&quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.<br /> <br /> Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.<br /> <br /> Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &quot;lexical symbols&quot; and &quot;register symbols&quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.<br /> <br /> <br /> ==References==<br /> <br /> [1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;start=0&amp;num=50&amp;index=FullIndex&amp;outputFormat=HTML&amp;encoding=UTF-8&amp;maxLeftLength=30&amp;maxRightLength=30&amp;orderStyle=score&amp;LastQuery=&amp;dir=gudai&amp;scopestr=, [2021-11-17]<br /> <br /> [2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;start=0&amp;num=50&amp;index=FullIndex&amp;outputFormat=HTML&amp;encoding=UTF-8&amp;maxLeftLength=30&amp;maxRightLength=30&amp;orderStyle=score&amp;LastQuery=&amp;dir=gudai&amp;scopestr=, [2021-11-17]<br /> <br /> [3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp; Publishing Corporation, 2005.<br /> <br /> [4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.<br /> <br /> [5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.<br /> <br /> =秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=<br /> [[Trans_Type_EN_7]]<br /> ===Abstract===<br /> Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.<br /> <br /> ===Key Words===<br /> Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method<br /> <br /> ===Introduction===<br /> This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.<br /> <br /> '''Research Background and Significance'''<br /> <br /> As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. <br /> <br /> ''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.<br /> <br /> '''Methodology'''<br /> <br /> In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.<br /> <br /> '''Literature Review'''<br /> <br /> As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.<br /> <br /> Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.<br /> <br /> === Theoretical Framework: Nida’s Functional Equivalence Theory ===<br /> ==== Introduction of Functional Equivalence Theory ==== <br /> ===== The Original of Functional Equivalence Theory =====<br /> <br /> Nida's main academic activities unfold around the translation of the Bible. In the process of &quot;Bible&quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.<br /> <br /> =====The Development of Functional Equivalence Theory =====<br /> <br /> The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.<br /> <br /> The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.<br /> <br /> The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.<br /> <br /> On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &quot;''Language, Culture, and Translation''&quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.<br /> <br /> Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.<br /> <br /> ==== Basics of Functional Equivalence Theory ==== <br /> =====Receptor’s Response =====<br /> <br /> In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.<br /> <br /> Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &quot;The theory emphasizes the importance of the reader's role in text understanding.&quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. <br /> <br /> There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.<br /> <br /> ===== Principles for Producing Functional Equivalence =====<br /> <br /> To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:<br /> <br /> 1. When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.<br /> <br /> 2. When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.<br /> <br /> 3. When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.<br /> <br /> 4. When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.<br /> <br /> 5. The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.<br /> <br /> 6. A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).<br /> <br /> === Introduction to Lu Xun and ''Kong I-Ch''i === <br /> ==== Lu Xun and the values of ''Kong I-Chi'' ====<br /> <br /> To read and translate Kong I-Chi, you must first understand its author-Lu Xun.<br /> <br /> Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. <br /> Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.<br /> <br /> Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.<br /> <br /> From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.<br /> <br /> ==== Study on the Translation of ''Kong I-Chi'' ====<br /> <br /> ''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &quot;''Italic text''New Youth&quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. <br /> <br /> So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &quot;Yang Translation&quot;) (Yang &amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).<br /> <br /> This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.<br /> <br /> <br /> === Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence === <br /> ==== Lexical Analysis ====<br /> <br /> There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.<br /> <br /> In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.<br /> The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &quot;之乎&quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.<br /> <br /> Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.<br /> <br /> ==== Syntax Analysis ====<br /> <br /> In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &quot;reconstruction&quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &quot;Reconstruction&quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.<br /> <br /> In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.<br /> <br /> Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &quot;what’s the innocence&quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.<br /> <br /> When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.<br /> <br /> ==== Semantic Analysis ====<br /> <br /> How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.<br /> <br /> In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. <br /> <br /> Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.<br /> <br /> ===Conclusion===<br /> <br /> This article selects Yang’s translation of &quot;''Kong I-Chi''&quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.<br /> <br /> At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &quot; ''Kong I-Chi'' &quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. <br /> <br /> At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &quot; ''Kong I-Chi'' &quot;, the translator adopts literal translation and annotations. <br /> <br /> In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.<br /> <br /> This article believes that the success of Yang’s English translation of &quot;''Kong I-Chi''&quot; lies in its fluent, natural language and exotic flavor. The author and translator of &quot; ''Kong I-Chi'' &quot; are both famous artists. The translation case from the English translation of &quot;''Kong I-Chi''&quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.<br /> <br /> ===Reference===<br /> [1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. <br /> <br /> [2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. <br /> <br /> [3]Nida, Eugene A.&amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill<br /> <br /> [4]鲁迅.鲁迅全集(第一卷)[M].北京:人民文学出版社,1982.<br /> <br /> [5]谭载喜．新编奈达论翻译[M]．北京：中国对外翻译出版公司，1999.<br /> <br /> [6]杨坚定，孙鸿仁．鲁迅小说英译版本综述[J]．鲁迅研究月刊，2021(4)．<br /> <br /> [7]伊塞尔．本文中的读者［Ａ］．二十世纪西方美学名著选（下）［Ｃ］．上海：复旦大学出版社,1998.<br /> <br /> [8]杨宪益,戴乃迭译.鲁迅选集英文版(一)[M].北京:外文出版社, 1980.<br /> <br /> [9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin<br /> <br /> [10]https://www.zhihu.com/question/29965932<br /> <br /> =颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=<br /> <br /> [[Trans_Type_EN_8]]<br /> ===Abstract===<br /> The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves<br /> <br /> ===Key Words===<br /> Autobiographical Literature; Black female slaves; Translation methods and Strategies<br /> <br /> ===Introduction===<br /> <br /> This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.<br /> <br /> This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &quot;cage&quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.<br /> Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.<br /> <br /> === Text background===<br /> From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.<br /> <br /> ===Research Purpose and Significance===<br /> This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.<br /> <br /> === Translation theory and case analysis===<br /> <br /> 3.1 functional equivalence theory<br /> This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &quot;functional equivalence&quot;. In this theory, he pointed out that &quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.<br /> <br /> The core of Nida's functional equivalence theory is &quot;content is greater than form&quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.<br /> <br /> 3.2 translation skills and case analysis<br /> When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.<br /> <br /> === Translation skills, methods and case studies===<br /> Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.<br /> <br /> 1. Literal translation <br /> Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.<br /> The example 1:<br /> “Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”<br /> Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.<br /> <br /> 2. Free translation<br /> Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &quot;preaching its spirit&quot; rather than &quot;retaining its shape&quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.<br /> The example 2:<br /> I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.<br /> literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。<br /> free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。<br /> Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &quot;I&quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &quot;me&quot;.<br /> <br /> Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.<br /> <br /> 3. Additional translation<br /> The example 4:<br /> One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. <br /> <br /> 一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。<br /> Analysis: A mother literally means &quot;一个母亲&quot;, but the following clause is translated into &quot;哭得声嘶力竭让一个母亲的心里流血&quot;. The emotion of the translation is weak. In this article, &quot;I&quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &quot;任何一个母亲&quot;<br /> <br /> 4. Omission <br /> The example 5:<br /> The doctor stamped his foot at him in a rage, and exclaimed, &quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&quot;<br /> translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”<br /> <br /> Analysis: Dr. flint twice went to the north to pursue the fugitive slave &quot;I&quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &quot;stamped his foot at him in a rage, and exclaimed&quot; and translates it into &quot;stamp his foot angrily and say&quot; you little damned rascal!!! &quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &quot;you&quot; and translates it into &quot;他妈的小坏蛋&quot;.<br /> <br /> The example 6:<br /> But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.<br /> translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。<br /> <br /> Analysis: My fear of snakes is literally translated as &quot;我对蛇的恐惧&quot;, and the subject of the following clause is &quot;我&quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.<br /> <br /> Case 3: The stylistic style of the original text is reproduced by positive and negative translation.<br /> 5.The Positive and Negative Translation<br /> The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.<br /> translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。<br /> translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。<br /> <br /> Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &quot;没有人尊重抛弃孩子的母亲&quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &quot;being despised&quot; can better express the speaker's (my grandmother's) eagerness to oppose &quot;I&quot; to escape.<br /> <br /> Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language<br /> There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &quot;topic description&quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.<br /> <br /> 5.Recasting<br /> The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.<br /> translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。<br /> <br /> Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.<br /> <br /> 6.Sentence-combining<br /> The example 8: There was joy and there was sadness in the sound. It made my tears flow.<br /> translated text：无论是哭声还是笑声都会让我泪流满面。<br /> <br /> Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.<br /> <br /> <br /> 7.Dismantle the syntactic<br /> The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.<br /> translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！ <br /> <br /> Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.<br /> <br /> Case 5: Stylistic equivalence<br /> The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.<br /> The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.<br /> The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.<br /> In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.<br /> <br /> The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. <br /> translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。<br /> <br /> Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &quot;a chip of the old block.&quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]<br /> <br /> ===Conclusion===<br /> <br /> Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:<br /> The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.<br /> The author has two experiences in maintaining problem awareness in the translation process. <br /> <br /> First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. <br /> <br /> Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.<br /> At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.<br /> <br /> Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.<br /> <br /> ===Reference===<br /> [1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&quot; MELUS 24 (1999): 37-58.<br /> <br /> [2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&quot; Languages &amp;Literature 15(2001):314-336.<br /> <br /> [3]Incidents in Life of a Slave Girl chapters 16 to 30<br /> <br /> [4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.<br /> <br /> [5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p<br /> <br /> [6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.<br /> <br /> [7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.<br /> <br /> =邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=<br /> [[Trans_Type_EN_9]]<br /> ===Abstract===<br /> ''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.<br /> <br /> ===Keywords===<br /> Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong<br /> <br /> ===Introduction===<br /> <br /> ''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.<br /> <br /> ''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. <br /> <br /> This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.<br /> <br /> ===Overview on the Theory of Fusion of Horizons===<br /> <br /> The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.<br /> <br /> ====Fusion of Hrizons====<br /> <br /> Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)<br /> <br /> It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) <br /> <br /> Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.<br /> <br /> ====Fusion of Horizons in translation study====<br /> <br /> In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)<br /> <br /> To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)<br /> <br /> During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)<br /> <br /> ===Overview on the Translations of ''Lun Yu''===<br /> <br /> The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.<br /> <br /> ====The history of translations of ''Lun Yu====<br /> <br /> ''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) <br /> <br /> In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) <br /> <br /> ====Different angles of the study on the translations of ''Lun Yu''====<br /> In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) <br /> <br /> From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)<br /> <br /> From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”. Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)<br /> <br /> === The Translation of ''Lun Yu'' from Fusion of Horizons===<br /> <br /> ''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) <br /> <br /> In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43)<br /> <br /> ====Horizon of the original text====<br /> <br /> Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. <br /> ''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) <br /> <br /> ====Horizon of the translator====<br /> <br /> Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)<br /> <br /> When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)<br /> <br /> Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)<br /> <br /> ====Horizon of the target language culture====<br /> The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)<br /> <br /> ===Contrastive Analysis===<br /> <br /> As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.<br /> <br /> ====Description of key conceptual words====<br /> <br /> ''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. <br /> “''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)<br /> <br /> “''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)<br /> <br /> “''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)<br /> <br /> ====Different translations of key conceptual words====<br /> <br /> Different translators will have different translation. <br /> <br /> “Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:<br /> 子曰：“巧言令色，鲜矣仁！”《学而》<br /> Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” <br /> Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.<br /> From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)<br /> <br /> “Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, <br /> 道之以道，齐之以礼，有耻且格 。（《为政》）<br /> Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. <br /> Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. <br /> Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)<br /> <br /> “Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,<br /> 人不知，而不愠，不亦君子乎？（《学而》）<br /> Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.<br /> Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?<br /> According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)<br /> <br /> ===Conclusion===<br /> In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. <br /> <br /> However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)<br /> <br /> ===Reference===<br /> <br /> Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.<br /> <br /> Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.<br /> <br /> Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.<br /> <br /> Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.<br /> <br /> Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau) 2001: 15-17.<br /> <br /> Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.<br /> <br /> Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.<br /> <br /> Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.<br /> <br /> Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458<br /> <br /> Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,<br /> <br /> Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&lt;论语&gt;》[M]. [The Discourses And Sayings of Confucius] 2011<br /> <br /> Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.<br /> <br /> =杨柳青 Bian Zhilin's Literary Translation Theories and Practice ——Take His Translation of Romantic Poems as examples=<br /> [[Trans_Type_EN_10]]<br /> <br /> ===Abstract===<br /> <br /> Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &quot;faithfulness, similarity and translation&quot; from the perspective of literary translation. Specifically, &quot;Replacing foot with dun&quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.<br /> <br /> ===Key words===<br /> <br /> &quot;Faithfulness, Similarity and Translation&quot;; &quot;Replacing Foot with Dun&quot;; Romantic Poetry<br /> <br /> ===题目===<br /> <br /> 卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例<br /> <br /> ===摘要===<br /> <br /> 卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。<br /> <br /> ===关键词===<br /> <br /> “信、似、译”；“以顿代步”；浪漫主义诗歌<br /> <br /> ===Chapter 1 Introduction of Bian Zhilin and Romanticism===<br /> ====Introduction of Bian Zhilin====<br /> Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &quot;the master of Poetry and the leading scholar in translation in China&quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.<br /> <br /> ====Introduction of Romanticism====<br /> Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. <br /> <br /> Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &quot;lake poets&quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.<br /> <br /> ===Chapter 2 Bian Zhilin's Literary Translation Theories===<br /> ====&quot;Faithfulness, Similarity and Translation&quot;====<br /> Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &quot;faithfulness, similarity and translation&quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.<br /> <br /> =====Faithfulness=====<br /> It is well-known that &quot;faithfulness, expressiveness and elegance&quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &quot;faithfulness, expressive and elegance&quot;. However, &quot;faithfulness&quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. <br /> <br /> ======Yan Fu's &quot;Faithfulness, Expressiveness and Elegance&quot;======<br /> According to Yan Fu, &quot;faithfulness&quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &quot;Expressiveness&quot; means a translation should be fluent and articulate. &quot;Elegance&quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. <br /> <br /> ======Debates around Yan Fu's &quot;Faithfulness, Expressiveness and Elegance&quot;======<br /> Many speakers thought highly of Yan Fu's &quot;faithfulness, expressiveness and elegance&quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.<br /> <br /> Though &quot;Faithfulness, expressiveness and elegance&quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &quot;faithfulness,expressiveness and elegance&quot;, but they doubted &quot;elegance&quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &quot;elegance&quot; because she thought &quot;faithfulness and expressiveness&quot; is quite enough for non-literary works and &quot;elegance&quot; is not necessary. Even for literary works, &quot;elegance&quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). <br /> <br /> However, though these opinions are different they have one thing in common: all these opinions divide &quot;faithfulness, expressiveness and elegance&quot; up and judge them separately. <br /> <br /> ======Bian Zhilin's &quot;faithfulness&quot;======<br /> Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &quot;faithfulness, expressiveness and elegance&quot;, that is &quot;faithfulness&quot;. According to Bian Zhilin, &quot;faithfulness&quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. <br /> <br /> Firstly, Bian Zhilin doesn't totally deny the value of &quot;faithfulness, expressiveness and elegance&quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &quot;faithfulness, expressiveness and elegance&quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. <br /> <br /> Secondly, Bian Zhilin opposed the artificial separation of &quot;faithfulness, expressiveness and elegance&quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &quot;faithfulness&quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &quot;faithfulness, expressiveness and elegance&quot; as a whole and &quot;faithfulness&quot; includes &quot;expressiveness&quot; and &quot;elegance&quot;. Therefore, his faithfulness is comprehensive: both &quot;expressiveness&quot; and &quot;elegance&quot; are internalized in &quot;faithfulness&quot;.<br /> <br /> Thirdly, Bian Zhilin believes &quot;faithfulness&quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &quot;faithfulness&quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &quot;spirit&quot; of the original so as to make translation vivid and expressive.<br /> <br /> All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &quot;faithfulness, expressiveness and elegance&quot;. At the same time, he admits &quot;faithfulness&quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.<br /> <br /> =====Similarity=====<br /> ======Formal Similarity and Spiritual Similarity======<br /> Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. <br /> <br /> Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.<br /> <br /> ======Debates around Formal Similarity and Spiritual Similarity======<br /> In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &quot;faithfulness&quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &quot;spirit&quot; of the original. Spirit translation, however, is the exact way to convey the &quot;spirit&quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).<br /> ======Bian Zhilin's &quot;Similarity&quot;======<br /> Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&quot;Similarity&quot;. Bian Zhilin holds that literary work is a unity of content and form; &quot;form&quot; and &quot;spirit&quot; in literary translation is complementary. On the one hand, &quot;form&quot; is the basis of &quot;spirit&quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &quot;spirit&quot; is the life of &quot;form&quot; which means literary works without &quot;spirit&quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).<br /> <br /> &quot;Similarity&quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.<br /> <br /> =====Translation=====<br /> ======Literal Translation and Free Translation======<br /> Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.<br /> <br /> ======Debates around Literal Translation and Free Translation======<br /> The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &quot;word for word translation&quot; (literal translation) which was deemed as &quot;interpreter's translation&quot; and advocated &quot;sense for sense translation&quot; (free translation) which was deemed as &quot;orator's translation&quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).<br /> <br /> ======Bian Zhilin's Translation======<br /> Bian Zhilin thinks only &quot;translation&quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).<br /> <br /> Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.<br /> <br /> Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.<br /> <br /> ====Bian Zhilin's Poetry Translation Strategies====<br /> Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &quot;faithfulness, similarity and translation&quot;.<br /> =====Translating Poetry in A Poetical and Metrical Way=====<br /> Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &quot;faithfulness, similarity and translation&quot;.<br /> <br /> Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. <br /> <br /> Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.<br /> <br /> =====Replacing Foot with Dun=====<br /> The key to the metrical problem of poetry translation is what is the metrical unit of the line, &quot;word&quot; (a syllable) as a unit or &quot;dun&quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &quot;duns&quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &quot;dun&quot; in most cases, one character at least as a &quot;dun&quot; and four characters at most as a &quot;dun&quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &quot;duns&quot;. Therefore, &quot;dun&quot; is the natural rhythmic units of Chinese poetry and reveals poems' &quot;inherent music-like rhythm and beat&quot;.<br /> <br /> However, that &quot;dun&quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.<br /> <br /> ===Chapter 3 Analyses of Bian Zhilin's Translation Practice===<br /> Bian Zhilin put his literary translation theories of &quot;faithfulness, similarity and translation&quot; and poetry translation strategies of &quot;replacing foot with dun&quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.<br /> <br /> ====William Blake's ''The Tiger'' in ''Songs of Experience''====<br /> William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &quot;the great prophet&quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:<br /> <br /> <br /> Tiger! Tiger! Burning bright<br /> <br /> In the forests of the night,<br /> <br /> What immortal hand or eye<br /> <br /> Could frame thy fearful symmetry?<br /> <br /> <br /> '''Bian Zhilin's Translation:'''<br /> <br /> 老虎！|老虎！|火一样的辉煌，<br /> <br /> 烧穿了|黑夜的|森林和|草莽，<br /> <br /> 什么样|非凡的|手和|眼睛<br /> <br /> 能塑造|你一身|惊人的|匀称？<br /> <br /> (Annotation: The symbol &quot;|&quot; in the translation means the division of dun.)<br /> <br /> The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. <br /> <br /> Bian Zhilin translates the poem on the guidance of his theory of &quot;faithfulness, similarity and translation&quot;. In the first line of the excerpt, the use of &quot;Tiger&quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &quot;老虎！老虎！&quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically. <br /> <br /> Bian Zhilin also makes his translation according to his theory of &quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.<br /> <br /> ====William Wordsworth's ''The“Lucy”Series''====<br /> William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &quot;Poetry is the spontaneous overflow of powerful feelings&quot;. The following excerpt is taken from his &quot;Lucy&quot; series:<br /> <br /> <br /> A slumber did my spirit seal<br /> <br /> I had no human fears<br /> <br /> She seemed a thing that could not feel<br /> <br /> The touch of earthly years <br /> <br /> <br /> No motion has she now, no force<br /> <br /> She neither hears nor sees<br /> <br /> Rolled round in earth's diurnal course<br /> <br /> With rocks, and stones, and trees.<br /> <br /> <br /> '''Bian Zhilin's translation:'''<br /> <br /> <br /> 迷糊|封住了|我的|精神；<br /> <br /> 我没有|人世的|忧惶：<br /> <br /> 她似乎|超然|物外，|不可能<br /> <br /> 感觉到|岁月的|影响。<br /> <br /> <br /> 现在|她无力了，|也不能|动弹；<br /> <br /> 她不再|耳闻|目睹；<br /> <br /> 卷在|地球的|日程里|滚转，<br /> <br /> 混同了|岩石、|树木。<br /> <br /> (Annotation: The symbol &quot;|&quot; in the translation means the division of duns.)<br /> <br /> The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &quot;Slumber&quot; in the first line of the original is translated into &quot;迷糊&quot; rather than &quot;沉睡&quot;, which gives readers a sense of &quot;lazy charm&quot;. And &quot;fears&quot; in the second line was translated into &quot;忧惶&quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &quot;a-b-a-b, c-d-c-d&quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.<br /> <br /> ====Percy Bysshe Shelley's ''Song to the Men of England''====<br /> Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &quot;complete revolutionary&quot; by Marx. And Song to the Men of England was written by Shelley after &quot;Peterloo incident&quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:<br /> <br /> <br /> Men of England, wherefore plough<br /> <br /> For the lords who lay ye low?<br /> <br /> Wherefore weave with toil and care<br /> <br /> The rich robes your tyrants wear?<br /> <br /> <br /> Wherefore feed and clothe and save<br /> <br /> From the cradle to the grave<br /> <br /> Those ungrateful drones who would<br /> <br /> Drain your sweat——nay, drink your blood?<br /> <br /> <br /> '''Bian Zhilin's Translation:'''<br /> <br /> <br /> 英国的|人民，|为什么|犁地<br /> <br /> 报答|老爷们|踩你们|成泥？<br /> <br /> 为什么|辛勤|劳苦|去织布，<br /> <br /> 让那些|恶霸|穿华丽|衣服？<br /> <br /> <br /> 为什么|你们|从摇篮|到坟冢<br /> <br /> 尽供给|和保养|那许多|雄峰？<br /> <br /> 他们|不感激，|还非常|坚决，<br /> <br /> 要喝干|你们的汗|——再加|血；<br /> <br /> (Annotation: The symbol &quot;|&quot; in the translation means the division of duns.)<br /> <br /> This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. <br /> <br /> Bian Zhilin practices his poetry translation strategies of &quot;translating poetry in metrical way&quot; and &quot;replacing foot with dun&quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &quot;a-a-b-b, a-a-b-b&quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.<br /> <br /> Bian Zhilin translate the poem faithfully and vividly. For example, he translates &quot;lay ye low&quot; into &quot;踩你们成泥&quot; which well preserves the images of the original work. And &quot;tyrants&quot; in the fourth line of the first stanza is translated into &quot;恶霸&quot; which is concise and accurate. In the second stanza, &quot;From the cradle to the grave&quot; modifies &quot;the men of England&quot; rather than those &quot;ungrateful drones&quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &quot;你们从摇篮到坟冢&quot;. &quot;坟冢&quot; is more formal than &quot;坟墓&quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &quot;再加&quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &quot;faithfulness, similarity and translation&quot;.<br /> <br /> ===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===<br /> There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &quot;faithfulness, similarity and translation&quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.<br /> <br /> Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &quot;replacing foot with dun&quot; not advisable in many cases.<br /> <br /> Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &quot;Replacing foot with dun&quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &quot;translating poetry in metrical way&quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.<br /> <br /> ===Chapter 5 Conclusion===<br /> Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &quot;faithfulness, similarity and translation&quot; and &quot;translating poems in a poetical and metrical way&quot; and &quot;replacing foot with dun&quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.<br /> <br /> ===References===<br /> <br /> Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.<br /> <br /> Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.<br /> <br /> Nabokov, Vladimir. &quot;Forward&quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp; Kegan Paul, 1964/1975, p.viii.<br /> <br /> Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.<br /> <br /> Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.<br /> <br /> Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.<br /> <br /> Bian Zhilin卞之琳(1994).《从&lt;西窗集&gt;到&lt;西窗小书&gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.<br /> <br /> Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.<br /> <br /> Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.<br /> <br /> Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.<br /> <br /> Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.<br /> <br /> Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.<br /> <br /> Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.<br /> <br /> Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.<br /> <br /> Yan Fu严复(1984).《&lt;天演论&gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.<br /> <br /> =Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= <br /> <br /> ===Abstract===<br /> This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. <br /> <br /> ===Key Words===<br /> The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark <br /> <br /> ===Introduction===<br /> 1. Overview <br /> Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. <br /> <br /> Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. <br /> <br /> Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. <br /> <br /> The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. <br /> <br /> This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. <br /> <br /> ===Translation and Culture===<br /> <br /> ===Types of Translation ===<br /> <br /> ===Translation Strategies ===<br /> <br /> ===Cultural Categories ===<br /> <br /> ===Translation Procedure ===<br /> <br /> ===Analysis and Discussion ===<br /> <br /> ===Conclusion and Recommendations===<br /> <br /> === References ===<br /> ===Abstract===<br /> ===Abstract===</div>

Zhu Renduo https://bou.de/u/index.php?title=20211201_homework&diff=130665 2021-12-09T05:51:38Z

<p>Zhu Renduo: Undo revision 130399 by Muhammad saqib Mehran (talk)</p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> <br /> 因本书即记述女娲炼石补天所剩的那块“顽石”幻化为贾宝玉在人间经历的故事，故称。饫(yù玉)甘餍(yàn厌)肥──意谓饱食美味佳肴。饫、餍：均为饱食之意。<br /> The book records the legend that Precious Jade originate from the stone which was left after Nyvwa smelted rocks to patch up heaven(the traditional Chinese folk tale), thus getting its title. Yuganyanfei in Chinese means enjoying delicious food. Both Yu and Yan means enjoy.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 15:15, 5 December 2021 (UTC)<br /> <br /> This book is named because it describes the story of Jia Baoyu's experience in the world. “ Yu Gan Yan Fei ”in Chinese - it means to eat delicious food. Both Yu and Yan means satiety.<br /> <br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 15:21, 5 December 2021 (UTC)<br /> <br /> ==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==<br /> <br /> 甘、肥：均指精美食品。蓬牖(yǒu友)茅椽(chuán船)──即茅草房屋。形容住屋简陋，生活清贫。<br /> <br /> Sweet and fat: both refer to exquisite food. Canopies and rafters-- thatched house. It describes poor housing and hard life.<br /> <br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 14:44, 28 November 2021 (UTC)<br /> <br /> Sweet and fat both refer to exquisite food. Canopies and rafters-- that is, thatched house, which describes poor housing and hard life.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:01, 30 November 2021 (UTC)Chen Huini<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> <br /> 蓬、茅：都是野草。 牖：窗户。椽：纵向固定于檩条之上以支撑屋顶的木杠。绳床瓦灶──形容用具简陋，生活清贫。<br /> <br /> The tached cottage are weeds. You refers to windows. Rafters are wooden bars fixed longitudinally over purlins to support the roof. Rope bed tile stove ── describes simple appliance and poor life.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:10, 30 November 2021 (UTC)Chen Huini<br /> Thetached cottage are weeds. You refer to windows. Rafters are wooden bars fixed longitudinally over purlins to support the roof. Rope bed tile stove ── describes simple appliance and poor life.<br /> wooden bar that is fixed on the purlin to support the roof. Rope bed tile stove--Describes simple appliances. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 01:07, 1 December 2021 (UTC)<br /> <br /> <br /> &quot;Peng&quot; and &quot;Mao&quot; are all weeds. &quot;You&quot; refers to windows. &quot;Yuan&quot; are wooden bars fixed longitudinally over purlins to support the roof. Rope bed tile stove are used to describe simple appliance and poor life.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 09:02, 1 December 2021 (UTC)<br /> <br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> <br /> 绳床：是一种用绳子将木板穿连而成并可折叠的简单坐具，故又称“交床”、“交椅”。以其学自胡人(古代中原人对北方游牧民族的称谓)，故亦称“胡床”。这里只是形容床铺简陋，并非实指绳床。<br /> <br /> Rope bed is a kind of collapsible sitting equipment being simply made of rope and wood. It was also called “connection bed” or “connection chair” because people used to connect rope and planks to make it. Besides，that kind of way was learned from Hu （nomadic people lived in northern ancient China） ，so it was called“Hu bed” too. In this place，“Hu ded” is only an adjective to describe the shabby bed rather than a real bed.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 06:26, 29 November 2021 (UTC)<br /> <br /> Rope bed: It is a kind of simple sitting apparatus that can be folded by stringing the wooden boards together, so it is also called &quot;cross bed&quot; and &quot;cross chair&quot;. Learned from the Hu (ancient Chinese people to the northern nomads), it is also known as &quot;Hu bed&quot;. Here is only to describe the bed is simple, not the actual rope bed.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 07:08, 29 November 2021 (UTC)<br /> <br /> <br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> <br /> 瓦灶：烧饭用的粗陶器和土灶台。女娲(wā蛙)氏炼石补天——上古神话传说，事见《列子·汤问》、《淮南子·览冥训》、《太平御览·卷七八·女娲氏》，略谓：相传女娲是伏羲之妹，兄妹结为夫妻，产生人类；<br /> <br /> Tile stove: a rough pottery and earthen stove used for burning rice. Nuwa legend’s refining stone to mend the sky - an ancient myth and legend, see ''Lie Zi - Tang Wen'', ''Huai Nan Zi - Lan Ming Xun'', ''Taiping Yu Lan - Volume 78 - Nuwa legend’s'', it is said that Nuwa was the younger sister of Fuxi, and the brother and sister became a couple to produce human beings.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 07:03, 29 November 2021 (UTC)<br /> Tile stove: a rough pottery and earthen stove used for cooking rice. Nuwa refining stone to mend the sky - an ancient myth and legend, presents in ''Lie Zi - Tang Wen'', ''Huai Nan Zi - Lan Ming Xun'', ''Taiping Yu Lan - Volume 78 - Nuwa''. Itis said that Nuwa was the younger sister of Fuxi, and they became a couple to produce human beings.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 10:02, 1 December 2021 (UTC)<br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> <br /> 女娲又以黄土造人，使人类大量增加。不料天崩地裂，大火熊熊，洪水泛滥，野兽横行，生民面临灭顶之灾。于是女娲挺身而出，炼五色石以补苍天，折四条鳌足以为天柱，才避免了这场浩劫。<br /> Nuwa also made human beings out of loess, which greatly increased the number of human beings. Unexpectedly, the sky collapsed, the fire raging, the flood, wild animals rampant, the living people faced extinction. So Nuwa came forward and refined the five-color stone to mend the sky, and folded the four feet of a huge legendary turtle to be the pillar of heaven, and finally avoided the catastrophe.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 10:07, 1 December 2021 (UTC)<br /> <br /> In addition, Nuwa made human beings out of loess, which greatly increased the population of human beings. Unexpectedly, the sky collapsing, the fire raging, the flood and wild animals rampant, people were faced with extinction. So Nuwa came forward, refined the five-color stone to mend the sky, folded the four feet of a huge legendary turtle to be the pillar of heaven and finally avoided the catastrophe. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:28, 4 December 2021 (UTC)<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> <br /> 大荒山──或本《山海经·大荒西经》：“大荒之中，有山名曰大荒之山，日月所出入……是谓大荒之野。”无稽崖──曹雪芹杜撰的地名。“大荒山无稽崖”寓荒诞无稽之谈。<br /> <br /> The Barren Mountain or ''The Classic of Mountains and Seas•Wild West Classic'', “In the wildness, there is a mountain named The Barren Mountain and a place called the Barren Wilderness where sun and moon rise and set.” The Ridiculous Cliff— a place name fabricated by Cao Xueqin. “The Barren Mountain and Ridiculous Cliff” means an absurd and fantastic talk.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:42, 29 November 2021 (UTC)<br /> <br /> Da Huang Mount or ''The Classic of Mountains and Rivers•Da Huang Xi Jing'', “In the wildness, there is a mountain named Da Huang Mount and a place called Da Huang Field where sun and moon rise and set.” Wu Ji Cliff— a place name fabricated by Cao Xueqin. &quot;Da Huang Mount and Wu Ji Cliff” means an absurd and fantastic talk.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:12, 1 December 2021 (UTC)<br /> <br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> <br /> 青埂峰──曹雪芹杜撰的地名。其谐音为“情根”，寓贾宝玉的多情源于此。诗礼簪缨之族──意谓书香门第和官宦人家。<br /> <br /> Qing Geng Mount--a made-up place name by Cao Xueqin. Homonym for&quot;love root&quot; in Chinese, implying the root of Precious Jade Merchant's love. The family of &quot;shi li zan ying&quot;(shi,&quot;诗&quot;, The Book of Songs; li,&quot;礼&quot;，The Book of Rites；zan,簪，stick in the hair of a civil official;ying,“缨”,tassels of helmet of a military offer) connotes a scholarly and elite family.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:00, 1 December 2021 (UTC)<br /> <br /> <br /> Green Ridge Peak -- a place name invented by Cao Xueqin. Homonym for &quot;love root&quot; in Chinese, implying the root of Precious Jade Merchant's love. The family of &quot;shi li zan ying&quot; (shi &quot;诗&quot;, The Book of Songs; li &quot;礼&quot;，The Book of Rites；zan 簪，stick in the hair of a civil official; ying “缨”,tassels of helmet of a military offer) connotates a scholarly and elite family. --[[User:Root|Root]] ([[User talk:Root|talk]]) 12:23, 1 December 2021 (UTC)<br /> <br /> Qing Geng Mount--a made-up place named by Cao Xueqin. Homonym for&quot;love root&quot; in Chinese, implying the root of Precious Jade Merchant's love. The family of &quot;shi li zan ying&quot;(shi,&quot;诗&quot;, The Book of Songs; li,&quot;礼&quot;，The Book of Rites；zan,簪，stick in the hair of a civil official;ying,“缨”,tassels of helmet of a military offer) connotes a scholarly and elite family.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 13:01, 1 December 2021 (UTC)<br /> <br /> Green Ridge Peak -- a place name invented by Cao Xueqin. Homonym for &quot;love root&quot; in Chinese, implying the root of Precious Jade Merchant's love. The family of &quot;shi li zan ying&quot; (shi &quot;诗&quot;, The Book of Songs; li &quot;礼&quot;，The Book of Rites；zan 簪，stick in the hair of a civil official; ying “缨”,tassels of helmet of a military offer) connotates a scholarly and elite family. --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 13:01, 1 December 2021 (UTC)<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> <br /> 诗礼：读诗书，讲礼义。簪缨：古代显贵的冠饰，代指官宦。簪：是一种条状饰物，用以固定头发或连接冠与发髻，兼有装饰作用。<br /> Poetry and Ritual: reading poetry and practicing etiquette. Hairpin：crowns of ancient nobility. Hairpin: striped ornament, used for securing hair or linking crown with hair as well as ornament.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 12:51, 1 December 2021 (UTC)<br /> <br /> “诗礼” Poetry and Ritual: reading poetry and practicing etiquette. “簪缨” Hairpin：crowns of ancient nobility, denoting government officials. “簪” Hairpin: striped ornament, used for securing hair or linking crown with hair as well as ornament.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:04, 2 December 2021 (UTC)<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> <br /> 缨：帽带。花柳繁华地──意谓繁华游乐之地。花柳：游乐之地。<br /> “缨”(Ying): bat ribbon. “花柳繁华地”(Hua liu fan hua di)——refers to the bustling amusement sections . “花柳”(Hua liu): amusement sections. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:22, 29 November 2021 (UTC)<br /> <br /> “缨”(Ying): bat ribbon. “花柳繁华地”(Hua liu fan hua di)——refers to a scenic place where flowers and willows flourish . “花柳”(Hua liu): flowers and willows.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 00:53, 1 December 2021 (UTC)<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> <br /> 温柔富贵乡──典出汉·伶玄《赵飞燕外传》：“(皇)后德(樊)嬺计，是夜进合德。帝(汉成帝)大悦，以辅属体，无所不靡，谓为温柔乡。谓曰：‘吾老是乡矣，不能效武皇帝求白云乡也。’”(合德：赵飞燕之妹。)形容美女成群而又荣华富贵的环境。<br /> <br /> “Wenroufuguixiang”, a prosperous place teeming with beauties —— an allusion from ''The Private Life of Lady Swallow'' by Ling Xuan in Han dynasty, quote: “Empress Fanni came up with a plan and sent her sister Hede to the emperor that night. Emperor Hancheng was extremely pleased that he indulged in stroking all over Hede’s body and referred to it as “Wenrouxaing”, a place of tenderness. Emperor Hancheng further added, “As I can’t follow Emperor Wudi’s way of seeking for the Baiyun village where immortals reside, I might as well spend the rest of my life with Hede nearby.” (Hede, the sister of Zhao feiyan)”.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 00:56, 1 December 2021 (UTC)<br /> <br /> “Gentle and rich land”, a prosperous place teeming with beauties —— an allusion from ''The Private Life of Lady Swallow'' by Ling Xuan in Han dynasty, quote: “Empress Fanni came up with a plan and sent her sister Hede to the emperor that night. Emperor Hancheng was extremely pleased that he indulged in stroking all over Hede’s body and referred to it as “Wenrouxaing”, a place of tenderness. Emperor Hancheng further added, “As I can’t follow Emperor Wudi’s way of seeking for the Baiyun village where immortals reside, I might as well spend the rest of my life with Hede nearby.” (Hede, the sister of Zhao feiyan)”.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 13:38, 5 December 2021 (UTC)<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> <br /> 贾宝玉生长的贾府正是这样的环境。几世几劫——佛教用语。形容年代久远。 世：佛家将过去、现在、未来均称为“世”，故“几世”表示很长的时间。<br /> <br /> Jia Baoyu grew up in just such an environment. Life and death -- A Buddhist term. A long time ago. World: Buddhism refers to the past, present and future as &quot;world&quot;, so &quot;several worlds&quot; means a long time.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 13:36, 5 December 2021 (UTC)<br /> <br /> It is the just environment of the Merchant's where Precious Jade lives in. A few &quot;Shi&quot; and &quot;Jie&quot;: in buddhism, the past, present, and future are all called &quot;Shi&quot;(a lifetime), a few of which means a long time span.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:32, 5 December 2021 (UTC)<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> <br /> 劫：佛家认为世界是一个不断毁灭与更生的过程，这样一个周期需要若干万年，谓之一“劫”，故“几劫”也表示很长的时间。偈(jì记)──佛教用语。本义为佛经中的颂词。引申为佛家诗。一般为四句，多富哲理或预言性。<br /> <br /> Jie (calamity): In Buddhism, it is believed that the world is a process of constant destruction and renewal. Such a cycle, which takes several tens of thousands of years, is called a “Jie”. So several Jie’s also means a very long time. Ji (verse)──a Buddhist term whose original meaning is the eulogy in the Buddhist scriptures and is extended to Buddhism poems. It usually consists of four sentences, which are philosophical or prophetic.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 10:59, 1 December 2021 (UTC)<br /> <br /> <br /> Jie(calamity): In Buddhism, it’s believed that the world is a progress which is constantly devastating and regenerating. Such a cycle needs several tens of thousands of years, called a “Jie”. So several “Jie” also means a long time. Ji(verse)—— a Buddhist term whose original meaning is the eulogy in the Buddhist texts and is extended to Buddhism poems. It’s generally composed of four sentences, rich in philosophy or prophetic.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 06:11, 4 December 2021 (UTC)<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> <br /> “无才”一诗──倩(qiàn欠)：请，请求，恳求。此诗实为曹雪芹自况，即无意于为朝庭效力。野史──与“官史”、“正史”相对。<br /> <br /> The poem &quot;Unwisdom&quot;——Qian( interchangeable words): means “please”. This poem is actually Cao Xueqin’s own situation, who is unwilling to serve the court. “Unofficial history”——contrary to Official history.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:54, 4 December 2021 (UTC)<br /> <br /> In the poem &quot;Impotence&quot;, Qian( interchangeable words): means “please”. This poem is a reflectino of Cao Xueqin's recent situdation, which means she is unwilling to work for the court. Unofficial history: contrary to &quot;official history&quot; or &quot;formal history&quot;.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:16, 5 December 2021 (UTC)<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> <br /> 原指私人记载轶闻琐事的文字。引申以指小说之类的作品。文君──指卓文君。汉代临邛富翁卓王孙之女，容貌美丽，才学优长，而夫死寡居。<br /> <br /> Originally it refers to private records of anecdote, which is extended to works like novels. Wenjun--Zhuo Wenjun. She is the daughter of a wealthy man from Linqiong in the Han Dynasty, Zhuo Wangsun. She is pretty, talentd and well-educated, and lives alone after her husband's death.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 03:04, 1 December 2021 (UTC)<br /> <br /> It originally refers to private records of anecdote, which is extended to works like novels. Wenjun refers to Zhuo Wenjun. She is the daughter of a wealthy man from Linqiong in the Han Dynasty, Zhuo Wangsun. She is pretty, talentd and well-educated, and lives alone after her husband's death.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 12:05, 1 December 2021 (UTC)<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> <br /> 司马相如饮于卓氏，以琴曲挑之，卓文君即与之私奔，遂为夫妻，以卖酒为生。事见《史记·司马相如列传》。子建──指曹植，字子建。三国魏武帝曹操第四子，著名才子。<br /> <br /> Sima Xiangru drank in Zhuo Wenjun's home where Sima played the Chinese zither and the music attracted Zhuo Wenjun, thus Sima and Zhuo fell in love with each other. Later they eloped and sold wine for a living. This was recorded in Records of the Historians•Biography of Sima Xiangru. Zijian referred to Cao Zhi, a famous wit, also the fourth son of Cao Cao, emperor Wudi of The Three Kingdoms.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:22, 30 November 2021 (UTC)<br /> <br /> <br /> Sima Xiangru drank in Zhuo Wenjun's home where Sima played the Chinese zither and the music attracted Zhuo Wenjun, thus Sima and Zhuo fell in love with each other. Later they eloped and sold wine for a living. This was recorded in Records of the Grand Historian•Biography of Sima Xiangru. Zijian referred to Cao Zhi, a famous wit, also the fourth son of Cao Cao, emperor Wudi of The Three Kingdoms.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 02:37, 1 December 2021 (UTC)<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081478==<br /> <br /> 《南史·谢灵运传》：“谢灵运曰：‘天下才共一石：曹子建独得八斗，我得一斗，自古及今共用一斗。’”遂有“八斗之才”的美誉。又《魏志》(见《太平御览》卷六○○引)：“文帝(曹丕)尝欲害植，以其无罪，令植七步为诗，若不成，加军法。<br /> &quot;Biography of Xie Lingyun in History of Southern Dynasties&quot;: &quot;Xie Lingyun said: 'there is one stone in the world: Cao Zijian won eight fights alone, I won one fight, and I have shared one fight since ancient times and today.&quot; therefore, Xie Lingyun has the reputation of &quot;eight fights of talents&quot;. Also in Wei Zhi (see volume 600 of Taiping Yulan): &quot;Emperor Wen (Cao Pi) wanted to harm Zhi, so he ordered Zhi to take seven steps as a poem because he was innocent. If he failed, he would add military law.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 02:36, 1 December 2021 (UTC)<br /> <br /> &quot;Biography of Xie Lingyun in History of Southern Dynasties&quot;: &quot;Xie Lingyun said: 'there is one stone in the world: Cao Zijian won eight fights alone, I won one fight, and I have shared one fight since ancient times and today.&quot; therefore, Xie Lingyun has the reputation of &quot;eight fights of talents&quot;. Also in Wei Zhi (see volume 600 of Taiping Yulan): &quot;Emperor Wen (Cao Pi) wanted to harm Zhi, so he ordered Zhi to take seven steps as a poem because he was innocent. If he failed, he would add military law.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:13, 5 December 2021 (UTC)Huang Zhuliang<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> <br /> 植即应声曰：‘煮豆燃豆萁，豆在釜中泣。本是同根生，相煎何太急！’文帝善之。”(事又见南朝宋·刘义庆《世说新语·文学》，文字略异)遂又有“七步之才”的美誉。Immediately after Emperor Wendi of Wei Dynasty(220-266) has ordered, Cao Zhi answered, &quot;boil the beans and burn the osmunda, and the beans cry in the kettle. It's from the same root. Why do you want to fry each other? &quot; Emperor Wendi then give his kindness to Cao Zhi.(see also Shi Shuo Xin Yu---literature by Liu Yiqing of the Southern Song Dynasty, with slightly different words) So Zhi is gifted with the reputation of &quot;Seven-Step Talent&quot;.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:31, 1 December 2021 (UTC)Huang Zhuliang<br /> Immediately after Emperor Wendi of Wei Dynasty(220-266) has ordered, Cao Zhi answered, &quot;boil the beans and burn the osmunda, and the beans cry in the kettle. It's from the same root. Why do you want to fry each other vexedly? &quot; Emperor Wendi then gave his kindness to Cao Zhi.(see also Shi Shuo Xin Yu---literature by Liu Yiqing of the Southern Song Dynasty, with slightly different words) So Zhi was gifted with the reputation of &quot;Seven-Step Talent&quot;.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:16, 5 December 2021 (UTC)<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> <br /> “从此”四句──是借空空道人的彻悟，以说明世界上的一切都是虚幻的。 空、色、情：都是佛教用语。<br /> The four sentences &quot;from now on&quot; are to explain that everything in the world is illusory. Emptiness, form and emotion are all Buddhist terms.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:29, 28 November 2021 (UTC)<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> <br /> 佛家认为，“空”是世界的本质，所谓万物不过是因缘遇合，倏生倏灭，并非真实存在；“色”是人所看到的表相，并非真实的存在；“情”是人对世界产生的感受，更属主观意识，而非真实的物质。<br /> Buddhism believes that “Empty” is the nature of the world that everything is not real material but something form by fate with swift birth and death. “Beauty” is just representation what people see, rather than a real material. “Affection”, a sense of people to the world, more belongs to subjective consciousness, rather than real material.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 13:12, 1 December 2021 (UTC)<br /> <br /> Buddhism believes that “Empty” is the nature of the world that everything is not real material but something form by fate with swift birth and death. “Form” is just representation what people see, rather than a real material. “Affection”, a sense of people to the world, more belongs to subjective consciousness, rather than real material.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 04:38, 4 December 2021 (UTC)<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> <br /> 这就是佛家所谓“四大皆空”的“色空”观念，也即佛家主张禁欲主义的原因。《情僧录》──《红楼梦》的别名之一。因空空道人抄录此书而使之传世，并因看了此书而悟彻了空、色、情，故称。<br /> This is the concept of &quot;form and emptiness&quot; in so-called &quot;All the four elements are void &quot; originated in Buddhism, that is, the reason why Buddhism advocates asceticism. &quot;Ch'ing Tseng Lu&quot; -- one of the nicknames of ''Dream of the Red Chamber''. K'ung K'ung, the Taoist, copied this book and handed it down to the world. After reading this book, he realized the emptiness, form and emotion, so he called himself Kongkong.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 15:10, 28 November 2021 (UTC)<br /> <br /> This is the Buddhist concept of &quot;element and emptiness&quot;, derived from the idea that &quot;all the four elements(earth, water, fire and air of which the world is made) are void of vanities &quot;, which is the reason why Buddhism advocates asceticism. ''Ch'ing Tseng Lu'' -- one of the alias name of ''Dream of the Red Chamber''. K'ung K'ung, the Taoist, transcribed this book and made it handed on from age to age. After reading this book, he became enlightened about emptiness, element and love, so he called himself K'ung K'ung.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:35, 1 December 2021 (UTC)<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> <br /> 作者欲借此书名，说明“情”的虚幻。《风月宝鉴》──《红楼梦》的别名之一。风月宝鉴是太虚幻境警幻仙姑所造的一面宝镜，从正面看到的是美人，从反面看到的是骷髅，隐寓美人即骷髅。<br /> The author wanted to use this book title to illustrate the illusion of love. ''Precious Mirror of Voluptuousness'' is one of the alias name of ''Dream of the Red Chamber''. Precious Mirror of Voluptuousness is a treasure mirror wrought by the Monitory Dream Fairy from the Great Void. The mirror implies beauty is a skeleton, because its front side shows a beauty, while the reverse side shows a skeleton.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:34, 1 December 2021 (UTC)<br /> <br /> The author wanted to use this book title to illustrate the illusion of love. ''Precious Mirror of Voluptuousness'' is one of the alias of ''Dream of the Red Chamber''. ''Precious Mirror of Voluptuousness'' is a treasure mirror wrought by the Monitory Dream Fairy from the world of Great Void. The mirror implies that beauty is skeleton, because its front side shows a beauty, while the reverse side shows a skeleton.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 12:17, 4 December 2021 (UTC)<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> <br /> 第十二回写贾瑞因贪看镜子的正面而丧命。作者以《风月宝鉴》为书名，是欲告诫人们要打破情关，跳出情海。故“甲戌本”凡例云：“《红楼梦》又曰《风月宝鉴》，是戒妄动风月之情。”(风月：指男女之情。)<br /> <br /> Chapter twelve has noted that Jia Rui died after devouringly glancing the face of that mirror. By naming the book as ''The Mirror of Romantic Love'', the author aimed to warn people to aviod obsession with love. Therefore, the version finished in the year of 1694 recorded that, &quot;''Dream of the Red Chamber'' is also named ''The Mirror of Romantic Love'', to remind men and women not to fall in love casually.&quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 15:00, 30 November 2021 (UTC)<br /> <br /> In Chapter twelve, Omen Merchant died after devouringly staring the observe side of the mirror. By naming the book as ''The Mirror of Romantic Love'', the author aimed to warn people to aviod obsession with love. Therefore, the version finished in the year of 1694 recorded that, &quot;''Dream of the Red Chamber'' is also named ''The Mirror of Romantic Love'', so as to remind men and women not to fall in love casually.&quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 03:05, 1 December 2021 (UTC)<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> <br /> 《金陵十二钗》──《红楼梦》的别名之一。因本书主要是为林黛玉等十二位金陵籍女子(即太虚幻境“金陵十二钗正册”中的女子)立传，故称。<br /> <br /> ''Twelve Women of Jinling'' is one of other names of ''Dream of the Red Chamber''. Because this book is mainly of biographies for Mascara Jade Gorest and other 12 Jinling native women (women in Illuosry Land of Great Void of ''The Official Collection of Twelve Women of Jinling'').--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:59, 1 December 2021 (UTC)<br /> <br /> ''Twelve Women of Jinling'' is one of other names of ''Dream of the Red Mansion''. Because this book is mainly the biographies for Mascara Jade Gorest and other 12 Jinling native women (women in Illuosry Land of Great Void of ''The Official Collection of Twelve Women of Jinling'') --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 14:32, 1 December 2021 (UTC)<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> <br /> 地陷东南──古代神话传说，见于《淮南子·天文训》记载：共工与颛顼争夺帝位，怒而触不周山，致使东南大地塌陷下沉，所以东南低而西北高。这里并无特别含意，只是下句所说姑苏在中国东南，顺便提及。<br /> <br /> Collapse in the Southeast， which is from the old mystery and legend. From the records of ''Huainan Zi-The Record of Astronomy'': Gonggong and Zhuan Xu (both are the legendary ruler) fought for the throne. Gongong was so angry that he hit the Mountain Buzhou, thus causing the southeast land to collapse and sink, which is the reason why the southeast are lower and northwest are higher. However, there are no special meaning, only to name a few since the following sentence has talked about Gushu. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 12:02, 29 November 2021 (UTC)<br /> The southeast of the land sinks-ancient myths and legends, found in the &quot;Huainanzi·Tenwen Xun&quot; record: Gonggong and Zhuanxu competed for the throne, and they couldn't touch Zhoushan in anger, causing the southeast land to collapse and sink, so the southeast was low and the northwest was high. There is no special meaning here, but the next sentence says that Gusu is in southeastern China, which is mentioned by the way.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:16, 30 November 2021 (UTC)<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> <br /> 西方──这里指佛家理想中的西方极乐世界，即所谓“佛国”，又称“西方净土”、“西方净国”、“西方世界”、‘极乐土’。《佛说阿弥陀经》：“从是西方，过十万亿佛土，有世界名曰极乐……彼土何故名为极乐？<br /> The West-here refers to the Western Paradise in the Buddhist ideals, the so-called &quot;Buddhist Country&quot;, also known as the &quot;Western Pure Land&quot;, &quot;Western Pure Countr&quot;, &quot;Western World&quot;, and &quot;Buddhist Land&quot;. &quot;Buddha Says Amitabha Sutra&quot;: &quot;From the West, over ten trillion Buddha fields, there is a world called bliss... Why is the land called bliss?--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:16, 30 November 2021 (UTC)<br /> <br /> Western -- here refers to the Western paradise in the Buddhist ideal, namely the so-called &quot;Buddhist country&quot;, also known as &quot;western pure land&quot;, &quot;western pure country&quot;, &quot;western world&quot;, &quot;paradise&quot;. Buddha said amitabha Sutra: &quot;From the West, over ten trillion Buddha lands, there is a world name called bliss... Why is it called Bliss?--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:19, 30 November 2021 (UTC)<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 其国众生无有众苦，但受诸乐，故名极乐。” 灵河——佛国中的河。佛经中说因龙住于河中，永不枯竭，故又称“龙泉”。一说指印度人称之为“圣水”的恒河。<br /> <br /> Living beings in his country have no suffering, but receive happiness, hence the name Of Happiness.&quot; Ling River - the river in the Country of Buddhism. The Buddhist scriptures say that the dragon lives in the river and never dries up, so it is also called &quot;Dragon Spring&quot;. One refers to the Ganges, which Indians call &quot;holy water&quot;.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 06:16, 29 November 2021 (UTC)<br /> <br /> All living beings in his country have no pain, but they receive all kinds of music, so it is called blissful. &quot; Linghe River - the river in the Buddha kingdom. The Buddhist Scripture says that because the dragon lives in the river and will never dry up, it is also called &quot;Longquan&quot;. The first theory refers to the Ganges River, which Indians call &quot;holy water&quot;.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 14:00, 30 November 2021 (UTC)<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> <br /> 三生石──典出唐·袁郊《甘泽谣·圆观》：僧人圆观与友人李源同游三峡，见几个妇人在汲水，圆观对李源说：“其中孕妇姓王者，是某(我)托生之所。”并相约十二年后的中秋之夜在杭州天竺寺外相见。是夜圆观即死。<br /> <br /> Yuan Guan, a monk, was visiting the Three Gorges with his friend Li Yuan. He saw several women pumping water. Yuan guan said to Li Yuan, &quot;Among them, the pregnant woman's name is King, and she is the place where someone (I) will take care of herself.&quot; And meet twelve years later in the Mid-Autumn festival night in Hangzhou Tianzhu Temple foreign minister. The night circle is death.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 13:59, 30 November 2021 (UTC)<br /> <br /> Stone of lives—this illusion comes from ''Gan Ze Songs•Yuan Guan'' written by Yuan Jiao in Tang dynasty. Yuan Guan, a monk, was visiting the Three Gorges with his friend Li Yuan. When Yuan Guan saw several women pumping water, she said to Li Yuan, &quot;Among them, the pregnant woman, whose last name is Wang, is the place where I will be rebirth.&quot; And they made a promise to meet twelve years later in the Mid-Autumn festival night in Hangzhou Tianzhu Temple. At that very night Yuan Guan left the world.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:33, 30 November 2021 (UTC)<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> <br /> 李源虽觉怪异，还是如期而至，只见一牧童高唱《竹枝词》曰：“三生石上旧精魂，赏月吟风不要论。惭愧情人远相访，此身虽异性长存。” 李源才知圆观果已转生为牧童。“三生石”遂成为因缘前定的典故。<br /> <br /> Strange as Li Yuan felt, he still showed up as expected. When he saw a shepherd boy singing ''Zhu Zhi Poems'' saying that “I am the old spirit through three cycles of life, singing of moon and wind is not to be mentioned again. Ashamed when my lover visits afar, my spirit remains stable regardless of physical changes”, Li Yuan knew that Yuan Guan had been reincarnated as a shepherd boy. “The stone of lives” then became the allusion of predestined relationship.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 11:28, 30 November 2021 (UTC)<br /> <br /> Although Li Yuan felt strange, he still arrived as scheduled. He saw a shepherd boy singing ''Zhu Zhi Poems'' that “I am the old spirit through three cycles of life, singing of moon and wind is not to be mentioned again. Ashamed when my lover visits afar, my spirit remains stable regardless of physical changes”. Li Yuan knew that yuan Guanguo had been reborn as a shepherd boy. &quot;Sansheng stone&quot; has become a pre-determined allusion.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:21, 1 December 2021 (UTC)<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> <br /> 曹雪芹顺手拈来，将其安在了灵河岸上。 三生：佛教用语。佛家认为人的灵魂不灭，轮回转世，每转生一次即为一生，故将前生、今生、来生谓之“三生”。<br /> <br /> Cao Xueqin picked it up and placed it on the Linghe river bank.San Sheng: a Buddhist term. Buddhism believes that people's soul is immortal and reincarnated. Each reincarnation is a life. Therefore, the past, the present and future are called &quot;San Sheng&quot;.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 14:00, 30 November 2021 (UTC)<br /> <br /> Cao Xueqin picked it up conveniently and placed it on the bank of the Ling River. Sansheng: a Buddhist term. Buddhism believes that the human soul is immortal and reincarnated. Each rebirth is a lifetime, so the previous, present, and future lives are called the &quot;three lives&quot;. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:14, 1 December 2021 (UTC)Liu Wei<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> <br /> 绛珠仙草：为曹雪芹所杜撰，即林黛玉的前身。甘露──是一种特殊的露水。典出《老子》第三二章：“天地相合，以降甘露。”古人认为是天地的精华，故甘露降被视为太平的祥瑞。<br /> <br /> Jiang Zhu Xiancao: the predecessor of Lin Daiyu and was invented by Cao Xueqin. Manna is a special kind of dew.The 32nd chapter of ''Laozi''is quoted as follows: &quot;When the Yin and Yang of heaven and earth merge with each other, manna will come naturally. &quot; The ancients believed that it was the essence of the heaven and the earth, so the befall of manna was regarded as a sign of peace and auspiciousness. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:15, 30 November 2021 (UTC)Liu Wei<br /> <br /> Vermilion Pearl Plant, invented by Cao Xueqin, was the previous existence of Lin Daiyu. Manna was a special kind of dew, quoted from the 32nd chapter of ''Laozi'': &quot;The earth and sky would then conspire to bring the sweet dew down.&quot; The ancients believed that it was the essence of nature, the befall of manna regarded as a sign of peace and auspiciousness. --[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 12:17, 1 December 2021 (UTC)<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> <br /> 明·李时珍《本草纲目·水部一·甘露》(释文)引《瑞应图》：“甘露，美露也。神灵之精，仁瑞之泽，其凝如脂，其甘如饴，故有甘、膏、酒、浆之名。”<br /> <br /> From the chapter of &quot;Water&quot; in the ''Compendium of Materia Medica'' by Li Shizhen, a medical expert of the Ming dynasty, previously quoted from ''Ruiying Tu'', an illustrated scroll of auspicious objects: &quot;Manna, the sweet dew or the beautiful dew, is a rare water with the auspicious essence of the divine dragon, condensed like fat and sweet as syrup, so it also has the name of sweet, cream, wine and pulp.&quot;--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 08:04, 29 November 2021 (UTC)<br /> <br /> In ''Compendium of Materia Medica'' the chapter of “ Water · Manna Dew”(Interpretation), Li Shizhen of the Ming Dynasty quotes “Ruiying Tu&quot;: &quot;Manna, the sweet dew or the beautiful dew, is a rare water with the auspicious essence of the divine dragon, condensed like fat and sweet as syrup, so it also has the name of sweet, cream, wine and pulp.&quot;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:11, 30 November 2021 (UTC)<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> <br /> 离恨天──民间传说谓：“三十三天，离恨天最高；四百四病，相思病最苦。”后即以“离恨天”比喻男女相恋而不能遂愿，抱恨终身的境地。曹雪芹加以利用，可谓恰到好处。<br /> <br /> The Deep Hatred── folklore says: &quot;thirty-three days, the deep hatred is the highest; four hundred and four kinds of sicknesses, lovesickness is the worst.&quot; The latter refers to the situation of men and women falling in love and not being able to fulfill their wishes and regret for ever. Cao Xueqin to use, can be said to be just right.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 22:49, 28 November 2021 (UTC)<br /> <br /> Lihen Heaven── as folklore says: &quot;among the thirty-three heavens, Lihen Heaven is the highest; among the four hundred and four kinds of sicknesses, lovesickness is the worst.&quot; The latter refers to the situation of men and women falling in love but being unable to be together and regret all their life. Cao Xueqin’s use of is felicitous. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:43, 2 December 2021 (UTC)<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> <br /> 秘情果、灌愁水──这是曹雪芹杜撰的，前者寓林黛玉对贾宝玉一往情深而难以言表，后者寓林黛玉将陷入深愁苦海之中。造历幻缘──经历虚幻的因缘。 造：通“遭”。遭受。<br /> <br /> Miqing Fruit and Guanchou Water are made up by Cao Xueqin. The former implies the firm and inexpressive love of Blue-black Jade to Precious Jade. While the latter infers to the abyss of misery that she will descend into. Zaoli Huanyuan—to be submitted to the illusory fate. “Zao (造)”: the same as “zao（遭）” which means being submitted to. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:27, 2 December 2021 (UTC)<br /> <br /> The images of Miqing Fruit and Guanchou Water are created by Cao Xueqin. The former implies the firm and inexpressive love of Black-Jade to Precious Jade, while the latter hints to the abyss of misery that she will descend into. The Chinese idiom ”Zaoli Huanyuan (造历虚幻)“ means that someone have to be submitted to the illusory fate. The Chinese character &quot;造 (pronounce 'Zao')&quot; is same as “遭 (also pronounce 'Zao')” which means being submitted to something or someone.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:34, 5 December 2021 (UTC)<br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> <br /> 缘：佛家用语，即因缘。佛家将事物的发生、变化、消灭的主要条件谓之“因”，辅助条件谓之“缘”，所以世界不过是因缘变化的过程，而非物质的存在，因而一切都是虚幻的，也就是所谓“色空”。度脱──佛教和道教用语。指超度世人脱离有生有死的苦难，达到脱离生死的涅槃境界。<br /> &quot;Yuan (缘)&quot;: A Buddhist term for cause and effect. “Cause (Yin; 因)“ serves as the primary condition for the occurrence, change and destruction of things in Buddhism, while &quot;Yuan&quot;, the secondary condition. So the world is merely a process of karmic change, not material existence, and thus everything is illusory. That is to say that “The form is emptiness&quot;. <br /> “Du tuo (度脱)&quot;— used both in Buddhism and Taoism, refers to the transcendence of the world from the suffering of birth and death to the state of immortal nirvana.<br /> <br /> &quot;Yuan (缘）：The term of Buddism, which refers to Dependent Origination. Buddism called all the major conditions of the happenings, variations and extinction of the things as&quot; causes&quot;, the subsidiary condition as &quot; lot&quot;, so the world comes from the process of the variation of the cause and lot, but not from the substance, which making everythings in the world virtual things, in other words, &quot;empty forms.&quot; “Du tuo (度脱)&quot;—The term used in Buddism and Taoism. It refers to getting people rid of the sufferings of the life and death to help them achieve nirvana.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:44, 5 December 2021 (UTC)<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> <br /> 功德──佛教用语。《大乘义章·十功德义三门分别》：“功谓功能，能破生死，能得涅槃，能度众生，名之为功。此功是其善行家德，故云功德。”后世多泛指念佛、诵经、布施、度人出家等为功德。<br /> <br /> Gong De--the term in Buddism. According to ''Mahayana Righteous Chapter · Ten Merit, Virtue and Righteousness'': &quot;Gong refers to function,which can help people get themselves rid of the rounds of the life and death, so it can help people achieve Nirvana and save all the human-beings. This Gong comes from the virtue acuumulated by oneself and his familes, thus, it is called virtue.&quot; The later generations will call the deeds such as reciting the Buddha, chanting, giving alms, and guiding people to become monks, etc as Gong De.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:34, 5 December 2021 (UTC)<br /> <br /> <br /> <br /> Gong De (merit) ──Buddhist term. ''Mahayana Righteous Chapter · Ten Merit, Virtue and Righteousness'': &quot;Gong is the function that remove people’s fear of life and death, achieve Nirvana and save all living beings, and this is the reason why it is named like that. This Gong is the virtue that people share their good deeds acquired from their families to others, so it is then called as Gong De&quot;. Later, it generally refers to the merits of reciting the Buddha, chanting, giving alms, and guiding people to become monks, etc.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 09:36, 29 November 2021 (UTC)<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> <br /> 因果──佛教用语。佛教指种什么因，结什么果，善有善报，恶有恶报，循环不爽。《涅槃经·遗教品一》：“善恶之报，如影随形，三世因果，循环不失。”火坑──佛教用语。<br /> <br /> Yin and Guo (cause and effect)-Buddhist term. In Buddhism, it refers to the same as what a man sows, so he shall reap. Good deeds come back to help you, and bad deeds come back to haunt you and the cycle is time-tested. ''Nirvanasutra. Relics I'': &quot;The retribution of good and evil very closely associated with each other circulates all ages that has no ending.” Huo Keng (fire-pit)—Buddhist term.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:55, 29 November 2021 (UTC)<br /> <br /> Yin and Guo (cause and effect) --- a Buddhist term. In Buddhism, it refers to the fact that you reap what you sow, viz., a time-tested cycle in which the good and the evil must at last have their reward. ''Nirvanasutra·Relics I'': &quot;The retribution of good and evil very closely associated with each other circulates all ages with no ending.&quot; Huo Keng (fire pit) --- a Buddhist term.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 11:52, 1 December 2021 (UTC)<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> <br /> 《法华经·普门品》：“假使兴害意，推落大火坑。念彼观音力，火坑变成池。”佛教谓众生轮回有六道，即天道、人道、阿修罗道、畜生道、饿鬼道、地狱道。后三道最苦，谓之“火坑”。这里用引申义，泛指人世间的苦难。<br /> <br /> ''Sutra on the Lotus Flower of the Wondrous Dharma·The Universal Door of the Bodhisattva Who Listens to the Sounds of All the World'': &quot;Should you be pushed into a raging fire pit by enemies who are so harmful, mean and cruel, you can evoke the holy strength of Gwan Yin Bodhisattva, and then the blaze will be turned into a limpid pool, so that you can circumvent the extreme danger of being burned.&quot; Six realms of reincarnation of all beings are identified in Buddhism: gods, humans, demigods, animals, hungry ghosts and hells. The last three ones are the most painful, which are consequently called &quot;the fire pit&quot;. Here, &quot;the fire pit&quot; is used with its extended meaning that refers to the sufferings in the world.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 09:17, 29 November 2021 (UTC)<br /> <br /> ''Sutra on the Lotus Flower of the Wondrous Dharma·The Universal Door of the Bodhisattva Who Listens to the Sounds of All the World'': &quot;Should you be pushed into a raging fire pit by enemies who are so harmful, mean and cruel, you can evoke the holy strength of Gwan Yin Bodhisattva, and then the blaze will be turned into a limpid pool, so that you can circumvent the extreme danger of being burned.&quot; Six realms of reincarnation of all beings are identified in Buddhism: Heaven, human, Asura, animals, hungry ghosts and hell. The last three ones are the most painful, which are consequently called &quot;the fire pit&quot;. Here, &quot;the fire pit&quot; is used with its extended meaning that refers to the sufferings in the world.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:36, 4 December 2021 (UTC)<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> <br /> 太虚幻境——太虚：指虚无飘渺的太空。出自《庄子·知北游》：“是以不过乎昆仑，不游乎太虚。” 幻境：虚幻的境界。出自唐·王维《为兵部祭库部王郎中文》：“深悟幻境，独与道游。”曹雪芹将二者组合，创造了一个虚构的仙境，当寓“虚无空幻”之意。<br /> <br /> The fantasy world of Taixu - Taixu: refers to the vague and ethereal space. From &quot;Zhuangzi - Zhi Bei You&quot;: &quot;It is not to be over Kunlun, not to travel in the Tai Xu.&quot; Fantasy world: the unreal realm of illusion. From Tang-Wang Wei, &quot;For the Ministry of the Military Department to sacrifice to Wang Langzhong of the Ministry of the Treasury&quot;: &quot;Deeply aware of the fantasy world, I traveled alone with the Tao.&quot; Cao Xueqin combines the two to create a fictional realm of immortality, which means &quot;nothingness and emptiness&quot;.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:31, 4 December 2021 (UTC)<br /> <br /> The fantasy world of Taixu——Taixu refers to the vague and ethereal space from &quot;Zhuangzi - Zhi Bei You&quot;: &quot;It is not to be over Kunlun, not to travel in the Tai Xu.&quot; Fantasy world: the unreal realm of illusion from Wang Wei from Tang Dynasty &quot;For the Military Department to mourn the Ministry Wang of the Treasury Department&quot;: &quot;Deeply aware of the fantasy world, I traveled alone with the Tao.&quot; Cao Xueqin combined the two to create a fictional realm of immortality, which means &quot;nothingness and emptiness&quot;.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 15:23, 4 December 2021 (UTC)<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> <br /> “假作真”一联──意谓如果以假为真，真假必然混淆，那么真的也可能被当作假的；如果以无为有，有无必然混淆，那么有也可能被当作无。影射世人真假不分，是非不辨。<br /> <br /> “falsehood serves as genuineness” means that if regarding falsehood as genuineness, the two will be bound to get into confusion and then truth is likely to be seen as sham; this is true in the case of nothingness and reality. This verse insinuates that people fail to distinguish fact from fiction, right from wrong.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:24, 29 November 2021 (UTC)<br /> <br /> “Falsehood serves as genuineness” means that if regarding falsehood as genuineness, the two will be bound to get into confusion and then truth is likely to be seen as sham; if nothing is taken as something, then there is bound to be confusion, and then something may be regarded as nothing. This verse insinuates that people fail to distinguish fact from fiction, right from wrong.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 14:30, 29 November 2021 (UTC)<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> <br /> 有命无运──古人认为人的先天禀赋的贵贱寿夭为“命”，而现实生活中的遭遇为“运”。“有命无运”就是虽有好的禀赋，却无好的机遇，所以将终生坎坷。<br /> <br /> Destiny without fortune -- ancient people believe that a person's birth and life expectancy are &quot;destiny&quot;, while what happens to them in real life is &quot;fortune&quot;. &quot;To have a destiny but no fortune is to have good gifts but no good opportunities, so one will have a difficult life.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 14:23, 29 November 2021 (UTC)<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> <br /> “惯养”一联──菱花：指英莲将来改名香菱。空对雪澌澌：隐喻英莲将遭受冷落乃至虐待。 雪：“薛”的谐音，指薛蟠。<br /> <br /> One of the couplet &quot;guanyang&quot;--&quot;''linghua''&quot;（water chestnut）：it refers to Yinglian will change her name into &quot;XiangLing&quot;.&quot;空对雪澌澌&quot;(kong dui xue si si)metaphorically means Yinglian will be ignored and even abused. &quot;雪&quot;(xue) is homophonic with &quot;薛&quot;(xue) which points to XuePan.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 06:47, 29 November 2021 (UTC)<br /> <br /> The couplet &quot; to be spoiled&quot;--linghua（water chestnut）refers to that Yinglian would rename to XiangLing. And snow melting away metaphorically means Yinglian will be ignored and even abused. Snow( pronounced as xue in Chinese)is homophonic with Xue which refers to XuePan.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 11:42, 29 November 2021 (UTC)<br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==<br /> <br /> 澌澌：落雪的声音，形容大雪。 “菱花”两句暗指英莲虽被爹娘娇惯，将来却做薛蟠之妾，而且将受到冷落乃至虐待。 此联隐喻甄英莲及其家庭的命运。<br /> <br /> Gurgling: the sound of snow falling, used to describe heavy snow. The phrase “Ling Hua”(Water Chestnut) implies that although Ying Lian was spoiled by her parents, she would become Xue Pan's concubine and would be snubbed and even abused by him in the future. This couplet metaphors the fate of Zhen Yinglian and her family.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 11:46, 29 November 2021 (UTC)<br /> <br /> Gurgling: the sound of snow falling, used to describe heavy snow. The “Ling Hua” implies although Yinglian was coddled by her parents, she would marry Xue Pan as a concubine in the future and would be neglected and even abused. This couplet metaphors the fate of Yinglian and her family.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 08:28, 29 November 2021 (UTC)<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> <br /> “好防”一联：此联暗指后文甄士隐家将于三月十五日遭火灾。三劫──佛教用语。“三阿僧祇劫”的省略。指菩萨修成正果所需的时间。泛指极长的时间。<br /> <br /> The couplet “Being on guard” implies the content of following text that Zhen Shiyin’s home would suffer a fire disaster on 15th Mar. Three misfortunes in life, a Buddhism term, is the abbreviation of “San E Seng Du JIe”, that is, the time for a Budhisattva to get to the promised land, and it refers to a long time in general.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 08:14, 29 November 2021 (UTC)<br /> <br /> The couplet “take precautions”alludes that in the following paragraphs, Zhen Shiyin’s house will be ravaged by fire on March 15th. “Three Tribulations”, a Buddhist term, is the omitted form of “Three Longstanding and Formidable Tribulations”, which refers to the time it takes for a Bodhisattva to achieve the fruition. It is used to illustrate extremely long period of time in a general sense.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 06:55, 29 November 2021 (UTC)<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> <br /> 北邙山──又作“北芒山”。本名邙山，因在洛阳之北，故名。东汉、魏、晋时王侯公卿多葬于此，后世即成为墓地的代称。<br /> <br /> Beimang Mountain is also known as “North Mang Mountain”. Originally called Mang Mountain, it gets its existing name for the reason that it lies in the north of Luoyang in Henan Province. In the Eastern Han, Wei and Jin Dynasties, it boasted the burial ground of the feudal aristocrats, and later became synonymous with the cemetery.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 02:53, 29 November 2021 (UTC)<br /> <br /> Beimang Mountain is also known as “North Mang Mountain”. Originally called Mang Mountain, it gets its existing name for the reason that it lies in the north of Luoyang. In the Eastern Han, Wei and Jin Dynasties, most of the feudal aristocrats were buried here.So it became <br /> the another name of cemeteries later.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 08:52, 1 December 2021 (UTC)<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> <br /> “然生得”四句──意谓贾雨村生得一副福相。古人以为“腰圆背厚”、“面阔口方”、“剑眉星眼”、“直鼻方腮”皆为福相的特征，而贾雨村兼有，故下文说“怪道又说他必非久困之人”。此为贾雨村将来飞黄腾达作铺垫。<br /> <br /> The four sentences,&quot;Ran Sheng De&quot;,means that Jia Yucun was born with an appearance showing good fortune.The ancients think that &quot;round waist and thick back&quot;, &quot;big face and wide mouth&quot;, &quot;sword eyebrows and star eyes&quot;, &quot;straight nose and square cheek&quot; are all the features of the appearance that shows good fortune. Jia Yucun has all these features, so the following text says &quot;The strange priest said that he must not be trapped for a long time&quot;.This indicates that Jia Yucun will be successful in his official career in the future.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 08:37, 1 December 2021 (UTC)<br /> <br /> The four sentences, “Ran Sheng De”, means that Jia Yucun’s features promise a good fortune. The ancients thought that &quot;round waist and thick back&quot;, &quot;big face and wide mouth&quot;, &quot;sword eyebrows and star eyes&quot;, and &quot;straight nose and square cheek&quot; are all the characteristics of man whose appearance promise a good fortune, and Jia Yucun has all, so the following says &quot;The strange priest said that he must not be trapped for a long time&quot;. This indicates that Jia Yucun will have a meteoric rise in life in the future.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:30, 4 December 2021 (UTC)<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> <br /> 口占五言一律──意谓随口念出五言律诗一首。 口占：口头吟诗吟词。 五言律：“五言律诗”的简称，亦简称“五律”。诗体之一。<br /> <br /> Oral five-character poem—which means reciting a five-character poem casually. <br /> <br /> Annotation:<br /> <br /> Oral: recite poems and lyrics verbally.<br /> <br /> Five-character poem: the abbreviation of “five-character rhythmic poem”, also known as “five-character rhythm” . One of the poetic forms.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:05, 1 December 2021 (UTC)<br /> <br /> <br /> A poem in five words, recited orally. Mouthfuls: verbal recitation of poetry and lyrics. Wuyan Rhythm: short for &quot;five-word rhythm poem&quot;, also known as &quot;five rhythm&quot;. One of the poetic genres.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 12:24, 1 December 2021 (UTC)<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> <br /> 即每句五字的律诗，每首共八句四十字。如果每句七字，则称“七言律诗”，简称“七言律”或“七律”。如果每首超过十句(不论五言、七言)，则称“排律”或“长律”。<br /> <br /> This is a rhyme of five words per stanza, with eight stanzas of forty words each. If each stanza is seven words long, the poem is called a &quot;seven-word rhyme&quot;, or &quot;seven-word rhyme&quot; for short. If each stanza is longer than ten (whether five or seven), the poem is called a &quot;line of rhythm&quot; or &quot;long rhythm&quot;.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 04:36, 29 November 2021 (UTC)<br /> <br /> This is a rhyme of five words per stanza, with eight stanzas of forty words. If each stanza is seven words long, the poem is called a &quot;seven-word rhyme&quot;, or &quot;seven-word rhyme&quot; for short. If each stanza is longer than ten (whether five or seven), the poem is called a &quot;line of rhythm&quot; or &quot;long rhythm&quot;.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 02:22, 6 December 2021 (UTC)<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> <br /> 因其有一整套严格的格律规定，故称“律诗”。“未卜”一联──未卜：不可预知。 三生愿：指婚姻。 频：时时刻刻。<br /> <br /> Because it has a whole strict system of rhythm regulations, it is called “rhyme poem”. The couplet “Uncertainty”——Uncertainty means unpredictable. Three lives’ wishes: marriage. Frequency: at every moment or hour by hour.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 02:20, 6 December 2021 (UTC)<br /> <br /> <br /> Because it has a whole strict system of rhythm regulations, it is called rhyme. The couplet “Uncertainty”——Uncertainty means unpredictable. Three lives’ wishes: marriage. Frequency: at every moment or hour by hour.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:07, 5 December 2021 (UTC)<br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> <br /> 此联是贾雨村自谓欲与甄家丫鬟(后文才交代其名字为娇杏)结姻的愿望不知能否实现，因而增添了一种无法摆脱的愁绪。“自顾”一联──自顾风前影：这里化用了“顾影自怜”一典。<br /> <br /> This couplet is an expression of Jia Yucun who wanted to get married with Zhen’s maid(later mentioned her name as Jiao Xing which implied that she was lucky). But he didn’t know whether this wish can be achieved and thus added an inextricable melancholy. The couplet “Self-pity”——looking at the shadow in the wind: it cited the allusion of “Gu Ying Zi Lian” with its meaning of looking at one’s shadow and lamenting himself. --[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:37, 29 November 2021 (UTC)<br /> <br /> This couplet is the expression of Jia Yucun who wanted to get married with the maid of Zhen (later known as Jiaoxing) but didn’t know whether this wish can be achieved thus felt an inextricable melancholy. The couplet——looking at the shadow in the wind, cited the allusion of “when looking at my pityful shadow, I feel very sad(顾影自怜)” .--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 13:18, 3 December 2021 (UTC)<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> <br /> 典出晋·陆机《赴洛道中作二首》其一：“伫立望故乡，顾影凄自怜。”意谓看着自己的身影也觉可爱。表示自我欣赏。 堪：能够或配得上之意。<br /> <br /> This expression is from a poem group ''Two Poems Written in the Tour to Luoyang'' written by Lu Ji，a poet of Jin dynasty : when I stand looking towards the direction of my hometown, my shadow looks so pityful that I can not help feeling sad. (伫立望故乡，顾影凄自怜。) This verse means when you look at your shadow, you think it is lovely, referring to a kind of self-appreciation. Kan(堪): means being able to do something or deserving something.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:20, 29 November 2021 (UTC)<br /> <br /> This allusion is from one of the poem in ''Two Poems Written on the Way to Luoyang'' written by Lu Ji in Jin Dynasty: when I stand, looking towards the direction of my hometown, my shadow looks so pityful that I can not help feeling sad. (伫立望故乡，顾影凄自怜。) This means when I look at my own shadow, I think it is lovely, referring to a kind of self-appreciation. Kan(堪): means being able to do something or deserving something.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:12, 3 December 2021 (UTC)<br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> <br /> 月下俦：这里化用了唐·李复言《续玄怪录·定婚店》的故事：唐人韦固夜过宋城，见一老翁在月下翻看簿册，问之，才知是婚姻簿子。老翁并携赤绳，言其一旦用此赤绳系住一男一女之足，二人必成夫妻。后人即把“月下老人”奉为婚烟之神。<br /> <br /> Marriage below the moon: This was borrowed from the story of ''The Sequel of Xuanguai Lu • Dinghun Dian'' by Li Fuyan in Tang Dynasty: When Wei Gu of the Tang Dynasty passed by Song city at night, he saw an old man reading through a thin book under the moon. After asking him, he knew it was a marriage book. The old man was also holding a red line and claimed that once a man and a woman's feet were tied with this red rope, they would get married. Then “the old man under the moon” was worshiped as Hymen by the later generation.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:18, 29 November 2021 (UTC)<br /> <br /> Marriage below the moon: it was borrowed from the story of ''The Sequel of Xuanguai Lu • Dinghun Dian'' by Li Fuyan in Tang Dynasty: When Wei Gu of the Tang Dynasty passed by Song city at night, he saw an old man reading through a thin book under the moon. After asking him, he knew it was a marriage book. The old man was also holding a red line and claimed that once a man and a woman's feet were tied with this red rope, they would get married. Then “the old man under the moon” was respected as Hymen by the later generation.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:46, 29 November 2021 (UTC)<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> <br /> 这里是成婚之意。此联是贾雨村一面顾影自怜，一面暗想：将来谁能做我的配偶？“蟾光”一联──蟾光：月光。<br /> <br /> Here it means to get married. This association is the reflection of Jia Yucun‘s one side of self-pity, and one side of thinking: who can be my mate in the future? A antithetical couplet “Changuang” -- Changuang : Moonlight.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:44, 29 November 2021 <br /> Here is the meaning of marriage. This couplet is Jia Yucun's self pity and Thinking: who can be my spouse in the future? &quot;Toad light&quot;: moonlight.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 12:26, 1 December 2021 (UTC)<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> <br /> 因相传月宫中有蟾蜍，故称。又暗用“蟾宫折桂”的成语。晋·郤诜获得举贤良方正对策第一名后，对晋武帝说：“臣举贤良对策，为天下第一，犹桂林之一枝，若昆山之片玉。”(事见晋·王隐《晋书》、通行本《晋书·郤诜It is said that there are toads in the Moon Palace, so it is called. And secretly use the idiom &quot;toad palace wins laurel&quot;. After Jin Jiashen won the first place in the selection of virtuous and upright countermeasures, he said to Emperor Wu of Jin: &quot;the minister's selection of virtuous and upright countermeasures is the first in the world. It is still one branch of Guilin and like a piece of jade in Kunshan.&quot; (see Jin Shu by Wang Yin and the current book Jin Shu Jiashen Biography)<br /> <br /> According to legend, there are toads in the moon palace, for which the name was given. People also used the idiom &quot;Toad Hall wins the prize&quot;. After winning the first prize, Jin Zhenshen said to emperor Wu of the Jin Dynasty, &quot;The wise and virtuous policy is the best in the world, one of the branches of the Jugui forest, like the piece of jade in Kunshan.&quot; (Things see Jin wang Hidden &quot;Jin shu&quot;, the introduction of this &quot;Jin Shu · zhenxian”--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 16:28, 3 December 2021 (UTC)<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> <br /> 唐人将“折桂”之“桂”傅会为神话传说中月宫之“桂”，遂产生了“蟾宫折挂”这一成语。事见宋·叶唐人将“折桂”之“桂”傅会为神话传说中月宫之“桂”，遂产生了“蟾宫折挂”这一成语。事见宋·叶梦得《避暑录话》卷下：“世以登科为‘折桂’，此谓郤诜对策东堂，自云‘桂林一枝’也。自唐以来用之……其后以月中有桂，故又谓之‘月桂’。<br /> <br /> People in Tang Dynasty considered the word “桂 “ in “折桂” referred to cinnamon of the moon palace in Chinese mythologies, and then “Chan Gong Zhe Gui ” came into being, which meant obtaining a high degree. According to “Summer Record” by Ye Mengde: People regarded succeeding in the Imperial Examination as “Zhe Gui”, and it originated in that Xi Shen called himself as a branch of cinnamon in the cinnamon forest when facing the emperor in his imperial test. Since Tang Dynasty, the word was used widely. Because there are cinnamon in moon based on the mythology, then it was also called laurel.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:42, 1 December 2021 (UTC)<br /> <br /> People in Tang Dynasty considered the word “cinnamon “ in “plucking cinnamon” referred to cinnamon of the moon palace in Chinese mythologies, and then “plucking cinnamon in the toad palace ” came into being, which meant obtaining a high degree in the imperial examination. According to “Summer Record” by Ye Mengde: People regarded succeeding in the Imperial Examination as “plucking cinnamon”, and it originated in that Xi Shen called himself as a branch of cinnamon in the cinnamon forest when facing the emperor in his imperial test. Since Tang Dynasty, the word was used widely. Because there are cinnamon in moon based on the mythology, then it was also called laurel.<br /> --[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 00:57, 5 December 2021 (UTC)<br /> <br /> <br /> ----<br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> <br /> 而月中又言有蟾，故又改桂为蟾，以登科为‘登蟾宫’。”参见第九回“蟾宫折桂”注。 玉人：美人。这里暗指娇杏。<br /> 而月中又言有蟾，故又改桂为蟾，以登科为‘登蟾宫’。”参见第九回“蟾宫折桂”注。 玉人：美人。这里暗指娇杏。<br /> In the middle of the moon, it was said that there were toads, so it was changed from cinnamon to toad and &quot;passing civil examinations&quot; is thought as &quot;entering the toad palace&quot;. we can see the ninth note &quot;pluck cinnamon flowers in the Palace of the Toad&quot;. Jade man: beauty. This implies Lucky.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 05:41, 30 November 2021 (UTC)<br /> <br /> In the middle of the moon, it was said that there were toads, so it was changed from cinnamon to toad and &quot;passing civil examinations&quot; is thought as &quot;entering the toad palace&quot;. we can see the ninth note &quot;pluck cinnamon flowers in the Palace of the Toad&quot;. Jade man: beauty. This implies Lucky.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:17, 6 December 2021 (UTC)<br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> <br /> 此联是贾雨村借月光而隐寓两层意思：一是希望自己能像月光那样到楼上去看他倾心的娇杏；二是企盼自己一旦金榜题名，必定先向娇杏求婚。<br /> <br /> This couplet is Jia Yucun through the moonlight and implies two layers of meaning: one is to hope that he can go upstairs to see his beloved Jiao Xing like the moonlight; the second is to hope that once he is a gold medalist, he will propose to Jiao Xing first.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:15, 6 December 2021 (UTC)<br /> <br /> In this couplet, Jia Yucun implies two layers of meaning through the moonlight: one is to hope that he can go upstairs to see his beloved Jiao Xing like the moonlight; the second is to hope that once he passes the examination , he will propose to Jiao Xing first.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 13:34, 6 December 2021 (UTC)<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> <br /> “玉在”一联──玉在椟中求善价：典出《论语·子罕》：“子贡曰：‘有美玉于斯，韫椟而藏诸？求善贾而沽诸？’子曰：‘沽之哉，沽之哉！我待贾者也。’”<br /> <br /> The jade was placed in the box and expected to sell a good price. “Confucian Analects, Zihan”: The Zigong said: if you have a good jade, will you hide it in the cabinet or sell it to merchants with good price? The Master said:” sell it, sell it!”<br /> <br /> The jade was placed in the box and expected to sell a good price. “Confucian Analects, Zihan”: Zigong said: if you have a good jade like this, will you hide it in the cabinet or sell it to merchants with good price? The Master said:” sell it, sell it!”--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 00:23, 6 December 2021 (UTC)<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> <br /> (斯：此，这里。韫椟：收藏在柜子或木匣里。贾：一说为商人，一说通“价”，皆通。沽：出售，卖掉。)后人即以“椟玉”、“椟藏”或“待贾而沽”、“待贾沽”、“待贾”、“待沽”等来比喻怀才待用或待时出山的人。<br /> <br /> (Si: here.Yu Du: Stored in a cabinet or wooden box. Jia: one meaning is businessman, and the other is price. Gu: sell.) Later generations used the words &quot;Du Yu&quot;, &quot;Du Cang&quot; or &quot;Dai Jia Er Gu&quot;, &quot;Dai Jia&quot;, &quot;Dai Gu&quot; to refer to people who are ambitious.<br /> <br /> <br /> (Si: here.Yu Du: Stored in a cabinet or wooden box. Jia: one meaning is businessman, and the other is price. Gu: sell.) Later generations used the words &quot;Du Yu&quot;, &quot;Du Cang&quot; or &quot;Dai Jia Er Gu&quot;, &quot;Dai Jia&quot;, &quot;Dai Gu&quot; to refer to people who are ambitious to make somthing of their life.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:20, 6 December 2021 (UTC)<br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> <br /> 钗于奁内待时飞：典出汉·郭宪《洞冥记》卷二：汉武帝元鼎元年，宫中起造招仙阁，有神女以玉钗赠汉武帝，帝赐与赵婕妤。至汉昭帝元凤年间，宫人欲毁之，将匣子打开时，玉钗化白燕飞去。这里的意思与“玉在椟中求善价”相同。<br /> <br /> &quot;The hairpin in the toilet box is waiting to fly&quot; comes from the book of ''The Nether World'' by Guo Xian of the Han Dynasty Volume 2: in the first year of the Yuan Ding of Emperor Wu of the Han Dynasty, the palace started to build the Zhaoxian Pavilion. A goddess presented a jade hairpin to Emperor Wu of the Han Dynasty, and the Emperor gave it to Zhao Jieyu. During the reign of emperor Zhao of the Han Dynasty, when the palace people wanted to destroy it, they opened the box, and the jade hairpin turned into a white swallow and flew away. The meaning here is the same as &quot;the jade in the pot is seeking for good price&quot;.<br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> <br /> 此联表明贾雨村雄心勃勃，信心十足，以为自己犹如椟中之玉、匣中之钗，虽然暂时落魄，将来定能仕途得意，飞黄腾达。<br /> <br /> This part shows that Jia Yucun is ambitious and confident. He feels like a jade and hairpin in a box. Although he is down and out for the time being, he will be successful in his career in the future.<br /> <br /> Although temporarily depressed, he will be able to be successful in his official career in the future.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 08:25, 4 December 2021 (UTC)<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> <br /> 芹意──谦词。典出《列子·杨朱》：从前有人觉得芹菜味美，即向乡绅推荐并称赞，乡绅一尝，味道却很差，胃里也不舒服，在场的人都抱怨他，使他十分羞惭。<br /> <br /> Meager affection — modest words. From ''Liezi Yangzhu '': Once upon a time, someone thought celery was delicious, and then recommended it to the squire and praised it. When the squire tasted it, the squire tasted it, but he felt terrible and uncomfortable in his stomach. Everyone present complained about him, which made him very ashamed.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 08:22, 4 December 2021 (UTC)<br /> <br /> Meager afffection— modest words. From ''The Chapter of Yang Zhu in the Liezi'': Once upon a time, someone thought celery was delicious, and then recommended it to the squire and praised it. However,When the squire tasted it, he felt terrible and uncomfortable in his stomach. Everyone present complained about him, which made him very ashamed.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 09:51, 5 December 2021 (UTC)<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> <br /> 后即以“芹意”、“芹献”、“献芹”、“芹曝”、“献曝”、“美芹”等代称菲薄的礼物。飞觥(gōng功)献斝(jiǎ假)──形容酒席间频频举杯、互相劝饮的热闹景象。觥、斝：是古代的两种酒器，这里泛指酒杯。<br /> <br /> After that, they are called meager gifts,such as &quot;Celery affection&quot;, &quot;Celery Offering&quot;, &quot;Celery exposure&quot;, &quot;beautiful Celery&quot; and so on. The Chinese idioms &quot;飞觥献斝&quot;-Fei Gong Xian Jiǎ Describes the lively scene of raising glasses and urging each other to drink frequently during the banquet. Gong觥 and Jia斝, which are two kinds of wine vessels in ancient times , here refer to the wine cup.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 09:42, 5 December 2021 (UTC)<br /> <br /> After that, they are called gifts of low price,such as &quot;Celery affection&quot;, &quot;Celery Offering&quot;, &quot;Celery exposure&quot;, &quot;beautiful Celery&quot; and so on. The Chinese idioms &quot;飞觥献斝&quot;-Fei Gong Xian Jiǎ Describes the lively scene of raising glasses and advising each other to drink more during the banquet. Gong觥 and Jia斝, which are two kinds of wine vessels in ancient times , here refer to the wine cup.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:27, 5 December 2021 (UTC)<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> <br /> 飞觥：挥舞酒杯。献斝：本义为酒席上行酒令规定的饮酒杯数，这里引申为劝饮。“时逢三五”一诗──三五：十五日。<br /> <br /> Fei Gong: wave the wine glass. Xian Jia斝:The original meaning is the number of drinking cups stipulated by the drinking games in the banquet, which is extended to advise drinking here. The Poem of &quot;On the fifteenth&quot;---Three Fve: on the fifteenth.<br /> <br /> Fei Gong: wave the wineglass. Xian Jia:The original meaning is the number of drinking cups stipulated by the drinking games in the banquet, which is extended to advise drinking here. The Poem of &quot;On the fifteenth&quot;---Three Fve: on the fifteenth each month of the lunar calendar --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 13:33, 5 December 2021 (UTC)<br /> <br /> == Headline text ==<br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> <br /> 这里指农历八月十五日中秋节。 满把清光：形容月光皎洁而明亮。 护玉栏：玉雕栏杆沐浴在月光之中。<br /> <br /> The fifteenth refers to the Mid Autumn Festival on August 15th of the lunar calendar. The full moonlight: described the moonlight as bright and pure. Bathing jade balustrades: it refers to the jade balustrades bathed in the moonlight.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 06:51, 29 November 2021 (UTC)<br /> <br /> <br /> It refers to the Mid Autumn Festival on August 15th of the lunar calendar. The full moonlight: describing the moonlight as bright and clear. Bathing jade balustrades: the jade balustrades is bathed in the moonlight.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 08:36, 29 November 2021 (UTC)<br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> <br /> 此诗表示贾雨村的雄心壮志，即希望自己像高高在上的中秋之月，令万人仰慕。这是贾雨村仕途得意、飞黄腾达的预兆。“飞腾”两句──飞腾：飞黄腾达。接履：义同“接踵”。接二连三、接连不断之意。意谓将不断高升。<br /> <br /> This poem shows Jia Yuncun's ambition to be admired by thousands of people like the mid-autumn moon hanging high in the sky. This is the omen of his bright official career and great success in future. “Fly swiftly upward” means achieving success in one’s career. “Follow heels” symbolically means one after and another and here it means being promoted in career continually.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:12, 1 December 2021 (UTC)<br /> <br /> This poem shows Jia Yucun's great ambition in which be admired like the moon in the mid autumn by thousands of people. This is also the portent of his success and promotion in official career.“Fly and soar” means make one's way in the world. “Follow on one's shoes”, same as “follow on one's heels”, means continuously. Previous two sentences mean a continuous ascending in his official career.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:37, 5 December 2021 (UTC)<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> <br /> 云霄：比喻高官显宦。这两句是说贾雨村的即兴诗就是其仕途得意、飞黄腾达的预兆。大比──隋、唐以后科举考试的泛称。以其为全国考生参加的考试，故称。<br /> <br /> Yunxiao: It is a metaphor for a high-ranking official. These two sentences are saying that Jia Yucun’s improvisational poems are the harbinger of his success and prosperity. Great competition ─ ─ A general term for imperial examinations after the Sui and Tang Dynasties.Thus, it is called the exam taken by candidates nationwide.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:16, 5 December 2021 (UTC)<br /> <br /> Yunxiao: a metaphor for high officials and prominent officials. These two lines mean that Jia Yucun's impromptu poem is an omen of his successful career and soaring to great heights. Dapi--The general term for the imperial examination after Sui and Tang. It is called as the examination for all candidates in China.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 13:55, 5 December 2021 (UTC)Yi Yangfan<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> <br /> 这里指最高一级的会试。明、清时代的科举考试每三年举行一轮，分为三级：头一年为院考，考生为府、县童生，考取者为生员，通称秀才；次年为乡试，考生为一省的生员(秀才)和在国子监肄业的监生，考取者为举人；<br /> <br /> This refers to the highest level of the examination. In the Ming and Qing dynasties, the imperial examinations were held every three years and were divided into three levels: the first year was the examination, in which the candidates were child students of the prefecture or county, and those who took the examination were student members, commonly known as xiucai; the following year was the examination for the countryside, in which the candidates were student members of a province (xiucai) and students who had completed their studies at the Guozhijian, and those who took the examination were juren.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:58, 2 December 2021 (UTC)Yi Yangfan<br /> <br /> This refers to the highest level of the imperial examinations. During the Ming and Qing dynasties, the imperial examinations were held every three years and were divided into three levels: the first year was the examination, in which the candidates were Tongsheng, scholars in prefecture or county studying for the lowest degree in imperial examinations, and those who passed the examination were Shengyuan, commonly known as Xiucai. The following year was the provincial imperial examination, in which the candidates were Shengyuan (Xiucai) and students who had completed their studies at the Imperial Academy, and those who took the examination were Juren.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 01:40, 5 December 2021 (UTC)<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> <br /> 第三年为会试，考生为全国的举人，考取者为贡士，贡士再经殿试考中者为进士。春闱一捷──这里指考取进士。春闱：指会试。以其在春天举行，故称。<br /> <br /> The third year held the metropolitan examination, and the candidates were Juren, the first- degree scholars all over the country. Candidates who passed the examination were Gongshi, the second-degree scholars, and then those who passed the final imperial examination were Jinshi, the imperial scholars. A success in Chunwei─which refers to the success of passing the final imperial examination and becoming the imperial scholars. Chunwei means metropolitan examination, because it was held in spring. --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 11:04, 1 December 2021 (UTC)<br /> <br /> The metropolitan examination was held on the third year, and the candidates were Juren,the first- degree scholars all over the country. Whoever passed the examination became Gongshi <br /> the second-degree scholars, and finally Jinshi, the imperial scholar. A success in Chunwei── refers to the passing of the final imperial examination and becoming the imperial scholar. Chunwei, the metropolitan examination, gained its name for being held in spring.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 15:41, 3 December 2021 (UTC)<br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> <br /> 闱：这里指科举考试的考场。捷：本义为战胜、成功，引申为科举及第。黄道之期──即黄道之日。指六吉辰值日之日。《协纪辨方书·卷七·黄道黑道》)<br /> <br /> Wei refers to the place for imperial examination. Jie originally means success or triumph, and extends to passing an imperial exam. The dies faustus, also called an auspicious day, is the time when the six lucky gods are on their duties. ''The Book of Coordinating and Distinguishing Climatic,Geographical and Human Conditions·Roll Seven·Auspicious Day and Ominous Day''--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 15:10, 3 December 2021 (UTC)<br /> <br /> <br /> Wei refers to the place for imperial examination here. Jie originally means success or triumph, and extends to passing the imperial exam later. The dies faustus, also called an auspicious day, is the time when the six lucky gods are on their duties. ''The Book of Coordinating and Distinguishing Climatic,Geographical and Human Conditions·Roll Seven·Auspicious Day and Ominous Day''--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 04:09, 5 December 2021 (UTC)<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> <br /> 称：青龙、明堂、金匮、天德、玉堂、司命等六辰为吉神，此六辰值日的日子，诸事皆吉，故称 “黄道吉日”。投谒(yè叶)──本义为投递名帖求见。这里引申为持荐书投拜，以期关照。<br /> <br /> It is said that Green Dragon, Bright Hall, Golden Chamber., Day Virtue, Jade Hall, the God of Ciming this six gods symbol goodness. When they are on duty, all things are auspicious, it says &quot;the auspicious and lucky day&quot;. Touye——its the original meaning is to deliver the name to see. Here its meaning extended to hand in the testimonial to worship, with the wish to be cared.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:34, 1 December 2021 (UTC)<br /> <br /> It is said that Green Dragon, Bright Hall, Golden Chamber., Day Virtue, Jade Hall, the God of Ciming these six gods symbol goodness. When they are on duty, all things are auspicious, it says &quot;the auspicious and lucky day&quot;. Touye——its original meaning is to deliver the name to see. Here its meaning is extended to hand in the testimonial to worship, with the wish to be cared.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 09:30, 5 December 2021 (UTC)<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> <br /> 谒：晋见。黑道──“黑道日”的略称。六凶辰值日之日诸事皆凶，故称“黑道日”。见《协纪辨方书·卷七·黄道黑道》：“天刑、朱雀、白虎、天牢、玄武、勾陈者，月中黑道也。<br /> <br /> “Ye”:call on somebody holding high offices.”Hei Dao”—the Chinese abbreviation of “a black day”. There are six ferocious gods and when they are on duty, all things are sinister. So it says “a black day”. From “the Vol.7 of Good or Bad Luck” in ''Compendium of Auguries'', it is known that “Stern Star, Vermilion Bird, White Tiger, Celestial Prison，Black Tortoise and Curved Array these six gods symbol evil.”--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 09:25, 5 December 2021 (UTC)<br /> Ye: see you. Yakuza -- short name for Yakuza Day. Six fierce day on duty all things are fierce, it is called &quot;yakuza day&quot;. See &quot;Xie Ji Bian Fang book · volume 7 · Huangdao Black road&quot; : &quot;Day punishment, rosefinch, white tiger, day prison, xuanwu, hook Chen, in the middle of the black road also.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 14:06, 5 December 2021 (UTC)<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> <br /> 所理之方，所值之日，皆不可兴土功、营屋舍、移徙、远行、嫁娶、出军。”社火花灯──这里指元宵节表演各种杂耍，张挂各种灯笼。<br /> On the day when you are worth it, you should not do anything with soil, camp, emigrate, travel far, marry or leave the army.&quot; She Huo Huadeng -- here refers to the Lantern Festival to perform various kinds of acrobatics, hanging lanterns.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 14:05, 5 December 2021 (UTC)<br /> <br /> On the day when it's worth it, you should not do anything with soil, camps, emigrations, far travelings, marrying or leaving the army.&quot; She Huo Huadeng -- here refers to the Lantern Festival to perform various kinds of acrobatics and hang lanterns.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:46, 6 December 2021 (UTC)<br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> <br /> 社火：逢年过节百姓举行酬神赛会，表演各种杂耍，以示庆贺，并兼娱乐。 社：土地社。引申以泛指神。鹑(chú n纯)衣──典出《荀子·大略》：“子夏贫，衣若县鹑。”(县：通“悬”。)<br /> <br /> SheHuo(社火): on every New Year's festivals, people hold big rallies for pilgrimage and perform various acrobatics to celebrate and entertain. She(社): Land agency. Extended to refer to God in general. Quail(&quot;鹑&quot;chú n equals &quot;纯&quot;) clothes - comes from ''Xunzi: The Outline'': &quot;Zi Xia is poor, and his clothes are like hanging(县) quails.&quot; (&quot;县&quot;xian equals &quot;悬&quot;xuan.)--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 15:12, 28 November 2021 (UTC)<br /> <br /> SheHuo(社火):the people's annual festival of the gods, performing a variety of juggling, to celebrate and entertain.She(社): Land agency. Extended to refer to God in general. Quail(&quot;鹑&quot;chú n equals &quot;纯&quot;) clothes - comes from ''Xunzi: The Outline'': &quot;Zi Xia is poor, and his clothes are like hanging(县) quails.&quot; (&quot;县&quot;xian equals &quot;悬&quot;xuan.)--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 01:57, 29 November 2021 (UTC)<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> <br /> 比喻破烂的衣服。因鹌鹑羽稀秃尾，十分难看，故以为喻。笏满床──典出《旧唐书·崔神庆传》：“开元中，神庆子琳等皆至大官，群从数十人，趋奏省闼。每岁时家宴，以一榻置笏，重叠于其上。”<br /> A metaphor for tattered clothes. It is used as a metaphor for a quail's sparse feathers and bald tail, which is very unsightly. The bed was full of wats（笏满床）- from &quot;The Old Book of Tang - Cui Shenqing&quot;: &quot;In the middle of Kaiyuan, Shenqing's sons, Lin and others, were all great officials, with dozens of people from the group, and tended to play the provincial office. Whenever there was a family banquet, a couch was placed with wats overlapping on it.&quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 01:52, 29 November 2021 (UTC)<br /> <br /> A metaphor for ragged clothes. It is used as a metaphor for a quail's sparse feathers and bald tail, which is very uncomely. The bed was full of wat boards- from &quot;The Old Book of Tang - Cui Shenqing&quot;: &quot;In the middle of Kaiyuan, Shenqing's sons, Lin and others, were all great officials, with dozens of people from the group, and tended to play the provincial office. Whenever there was a family banquet, a couch was placed with wats overlapping on it.&quot;--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 08:23, 29 November 2021 (UTC)<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> <br /> 形容满门为官。 笏：亦名“手板”。是旧时朝臣上朝时手持的一种狭长板子，以象牙或木、竹制成，上面可以记事备忘。<br /> <br /> Describe all people in a house as officials. Wat board: also known as &quot;hand board&quot;. It is a long and narrow board held by the old courtiers when they went to the court. It is made of ivory, wood and bamboo. You can keep notes on it.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 01:50, 29 November 2021 (UTC)<br /> <br /> It means that the whole family are officials. Scepter board: also known as “hand board”, which is a long and narrow tablet held before the breast by officials when received in audience by the emperor. It is made of ivory, wood and bamboo. People can keep notes on it to remember things.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:05, 29 November 2021 (UTC)<br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> <br /> 陇头──坟头。 陇：通“垄”。坟墓。《礼记·曲礼上》：“适墓不登垄。”郑玄注：“垄，冢也。”<br /> <br /> Long Tou—tomb. Long(陇)—similar to Long(垄)，the grave. Quli in the Book of Rites:“Don’t climb to the grave.” Zheng Xuan annotates:“Long, a grave.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 07:48, 29 November 2021 (UTC)<br /> <br /> Long Tou— the tomb. Long(陇)— the same as Long(垄)，the grave. Quli in the Book of Rites:“Don’t climb to the grave when you exactly see the grave.” Zheng Xuan annotates:“Long, a grave.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 08:32, 29 November 2021 (UTC)<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> <br /> 强梁──典出《墨子·鲁问》：“譬有人于此，其子强梁不材，故其父笞之，其邻家之父举木而击之。”原指为人强横凶暴，胡作非为。引申为强盗。<br /> <br /> Qing Liang—derives from Mo Zi: “ For example, there is a man whose son is cruel and unpromising. Therefore, his father beats him, and the neighbor’s father also raised a stick and struck him.” It originally means one is cruel ferocious and commit any outrages. Extension for the bandit.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:26, 29 November 2021 (UTC)<br /> <br /> Qiang Liang-derives from ''Mo-tse: Lu's questions'':&quot;For instance, there is a son who is too strong to be useful. The father teaches him by whipping him with a bamboo stick. When the old man next door saw this, he raised his stick and beat the son severely.&quot; The word originally refers to people who are very violent and commit many outrages. Later it was extended to mean robber. --[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:56, 29 November 2021 (UTC)<br /> <br /> [[File:Example.jpg]]==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> <br /> 择膏粱──意谓挑选富贵人家的子弟做女婿。 膏粱：“膏粱子弟”的略称。意谓吃肉类和细粮(泛指精美食物)人家的子弟。<br /> <br /> To choose a rich fatty diet means to choose the son of a rich man as a son-in-law. Rich fatty meals: Abbreviation for &quot;the son of a rich and important family&quot;. It means the children of rich family who eat meat and fine grains （generally refers to exquisite food).<br /> --[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:24, 29 November 2021 (UTC)<br /> <br /> “择膏梁” means choosing a son-in-law from a rich family. 膏梁: the abbrevation of &quot;膏梁子弟&quot;. It means the children of family who eat meat and fine grain (generally referring to delicate food).--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 06:27, 30 November 2021 (UTC)<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> <br /> 泛指富贵人家的子弟。“因嫌”二句──嫌纱帽小：意谓嫌官小。纱帽：旧时纱制的官帽。<br /> <br /> It generally refers to the children of wealthy parents. The phrase &quot;因嫌&quot; is unsatisfied with the small gauze hat, which denotes the petty officials. The gauze hat: an official hat made of yarn in ancient.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 06:15, 30 November 2021 (UTC)<br /> <br /> Refers to the children of wealthy families in general. &quot;Therefore, discontent&quot; the two words mean that the yarn hat is too small, and it is a metaphor that the official is too small. Yarn Hat: An official hat made of yarn in the old days.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 02:05, 29 November 2021 (UTC)<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> <br /> 锁枷扛：泛指犯罪坐牢。 锁枷：两种刑具。 这两句是说因嫌官小而贪赃枉法，以致犯罪入狱，披枷戴锁。<br /> <br /> Shackle uplift: refers to jail for crimes in general. Shackles: Two types of instruments of torture. These two sentences mean that because of the petty officials, they were corrupt and broke the law, leading to crimes and imprisonment.<br /> <br /> Shackle uplift: refers to jail for crimes in general. Shackles: Two types of torture instruments. These two sentences mean that because of the low post , they were corrupt and broke the law, spending the rest of their life in a prison in chains.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 08:45, 29 November 2021 (UTC)<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> <br /> “昨怜”二句──紫蟒：绣蟒紫袍。以其为旧时高官之礼服，故借喻高官。 这两句是说从贫穷到富贵只是转眼间的事。喻世事变幻无常。<br /> <br /> &quot;Yesterday's pity&quot; -These two sentences mean that from poverty to rich is only a matter of time. It refers to the impermanence of life.<br /> purple python ：the purple embroidered robe.Ancient official dress, here refers to the high official.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 08:32, 29 November 2021 (UTC)<br /> <br /> &quot;Yesterday's pity&quot; -These two sentences mean that transferring from poverty to wealth is immediate just like a blink of an eye. It refers to the impermanence of life.<br /> purple python ：the purple embroidered robe.Ancient official dress, here refers to the high official.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 08:32, 29 November 2021 (UTC)--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:46, 6 December 2021 (UTC)<br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> <br /> 反认他乡是故乡──意谓人生在世，不过是匆匆过客，而人们却当作了自己的故乡，以至忙忙碌碌，争名夺利。等到呜呼哀哉，还是赤条条一身而去。所以下文说“甚荒唐，到头来，都是为他人作嫁衣裳”。<br /> <br /> Knowing native place of hereat of an alien land instead means that life in the world is just a passer-by, but people regard it as their hometown, so busy, striving for fame and wealth. Wait until death and go naked. Therefore what follows is &quot;very adsurd, in the end is to make marry clothes for others.&quot;<br /> <br /> On the contrary, people recognize other people's hometown as their own hometown - which means that life is just a passer-by in a hurry, but people regard it as their own hometown, so they are busy and strive for fame and wealth. When he died, he still didn't win any credit and fame. Therefore, the following says &quot;it's ridiculous. In the end, they all make wedding clothes for others&quot;.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:08, 7 December 2021 (UTC)<br /> <br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> <br /> 面善──面熟。 善：熟悉，知道，了解。《礼记·学记》：“不陵节而施之谓孙(逊)，相观而善之谓摩。”孔颖达疏：“善，犹解也。”<br /> <br /> Good face - familiar face. Good: familiar, knowing, understanding. 《The book of rites · Student reporters 》: &quot;Teaching without exceeding students' acceptance is called &quot;step by step&quot;. Seeing each other's (works) and feeling good, learning from each other is called &quot;&quot; Kong yingdashu said: &quot;if you are good, you still understand.&quot;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 15:33, 28 November 2021 (UTC)<br /> <br /> ==Nadia 202011080004==<br /> <br /> 贾夫人仙逝扬州城，冷子兴演说荣国府<br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> <br /> 却说封肃听见公差传唤，忙出来陪笑启问。<br /> When Zhen Shiyin's father-in-law Feng Su heard the government's servants call him, he quickly came out and greeted them with a smile.<br /> <br /> ==Mariam toure 2020GBJ002301==<br /> <br /> 那些人只嚷：“快请出甄爷来！”<br /> Those people just yelled: &quot;Please come out, Master Zhen!&quot;<br /> <br /> &lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;[<br /> ==Rouabah Soumaya 202121080001==<br /> <br /> 封肃忙陪笑道：“小人姓封，并不姓甄。<br /> Feng Su hurriedly laughed and said,&quot;The villain's surname is Feng, not Zhen.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:56, 5 December 2021 (UTC)<br /> <br /> ==Muhammad Numan 202121080002==<br /> <br /> 只有当日小婿姓甄，今已出家一二年了。<br /> Only the youngest son-in-law, Chen, has been married for 12 years.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 12:13, 30 November 2021 (UTC)<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> <br /> 不知可是问他？”<br /> I don't know, but can you ask him?<br /> <br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> <br /> 那些公人道：“我们也不知什么真假，既是你的女婿，就带了你去面禀太爷便了。”<br /> Those fair-minded people said: &quot;We don't know what is true or false. Since you are your son-in-law, we will take you to face the grandfather.&quot;<br /> <br /> ==Zohaib Chand 202121080005==<br /> <br /> 大家把封肃推拥而去。<br /> <br /> ==Jawad Ahmad 202121080006==<br /> <br /> 封家各各惊慌，不知何事。<br /> English: Feng's family were all very frightened. They didn't know what had happened<br /> <br /> ==Nizam Uddin 202121080007==<br /> <br /> 至二更时分，封肃方回来。<br /> <br /> <br /> By the second shift, Feng Sufang returned.<br /> <br /> ==Öncü 202121080008==<br /> <br /> 众人忙问端的，他说道：“原来新任太爷姓贾名化，本湖州人氏，曾与女婿旧交。<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Everyone hurriedly asked the whole of questions, he said: &quot;Actually new appoint of a district magistrate&quot; he names Hua Jia，Born in Huzhou，have an old relationship with daughter husband.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 07:00, 4 December 2021 (UTC)<br /> <br /> ==Akira Jantarat 202121080009==<br /> <br /> 因在我家门首看见娇杏丫头买线，只说女婿移住此间，所以来传。<br /> <br /> Because I saw Jiao Xing buying silk. She said that her husband would move to live in this area. So come to tell you.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:58, 4 December 2021 (UTC)<br /> <br /> Because I saw the young girl, Jiaoxing, buy silk at the door of my house and say her husband would move here to live, I came to tell you. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 17:48, 5 December 2021 (UTC)<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> <br /> 我将缘故回明，那太爷感伤叹息了一回。<br /> <br /> I will, for this cause, return to the Ming Dynasty. Grandfather sighed sadly. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 17:38, 5 December 2021 (UTC)<br /> <br /> ==Asep Budiman 202111080020==<br /> <br /> 又问外孙女儿，我说看灯丢了。<br /> <br /> <br /> <br /> <br /> I asked my grandson's daughter again, and I said that I lost the light.--Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 14:57, 2 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 14:57, 2 December 2021 (UTC)Ei Mon Kyaw<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> <br /> 太爷说：‘不妨，待我差人去，务必找寻回来。’<br /> <br /> The grandfather said: ‘May be, when I send someone, you must find it back.’--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:59, 1 December 2021 (UTC)Ei Mon Kyaw-Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:59, 1 December 2021 (UTC)<br /> <br /> <br /> The grandfather said, &quot;Do not worry about it. I will send someone to find it back.&quot;--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 15:20, 5 December 2021 (UTC)</div>

Zhu Renduo https://bou.de/u/index.php?title=20211208_homework&diff=128904 2021-12-04T05:38:14Z

<p>Zhu Renduo: </p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> <br /> 说了一会话，临走又送我二两银子。”甄家娘子听了，不觉感伤。一夜无话。<br /> <br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> <br /> 次日，早有雨村遣人送了两封银子、四匹锦缎，答谢甄家娘子；又一封密书与封肃，托他向甄家娘子要那娇杏作二房。封肃喜得眉开眼笑，巴不得去奉承太爷，便在女儿前一力撺掇。<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> <br /> <br /> 当夜用一乘小轿，便把娇杏送进衙内去了。雨村欢喜，自不必言；又封百金赠与封肃，又送甄家娘子许多礼物，令其且自过活，以待访寻女儿下落。<br /> <br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> <br /> 却说娇杏那丫头，便是当年回顾雨村的，因偶然一看，便弄出这段奇缘，也是意想不到之事。谁知他命运两济：不承望自到雨村身边只一年，便生一子；又半载，雨村嫡配忽染疾下世，雨村便将他扶作正室夫人。<br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> <br /> 正是：偶因一回顾，便为人上人。原来雨村因那年士隐赠银之后，他于十六日便起身赴京。大比之期，十分得意，中了进士，选入外班，今已升了本县太爷。<br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> <br /> 虽才干优长，未免贪酷，且恃才侮上，那同寅皆侧目而视。不上一年，便被上司参了一本，说他貌似有才，性实狡猾；又题了一两件徇庇蠹役、交结乡绅之事。<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> <br /> 龙颜大怒，即命革职。部文一到，本府各官无不喜悦。那雨村虽十分惭恨，面上却全无一点怨色，仍是嘻笑自若。<br /> <br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> <br /> 交代过了公事，将历年所积的宦囊，并家属人等，送至原籍，安顿妥当了，却自己担风袖月，游览天下胜迹。那日偶又游至维扬地方，闻得今年盐政点的是林如海。<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> <br /> 这林如海姓林名海，表字如海，乃是前科的探花，今已升兰台寺大夫，本贯姑苏人氏，今钦点为巡盐御史，到任未久。<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> <br /> 原来这林如海之祖，也曾袭过列侯的，今到如海，业经五世。起初只袭三世，因当今隆恩盛德，额外加恩，至如海之父又袭了一代，到了如海便从科第出身。<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> <br /> 虽系世禄之家，却是书香之族。只可惜这林家支庶不盛，人丁有限，虽有几门，却与如海俱是堂族，没甚亲支嫡派的。今如海年已五十，只有一个三岁之子，又于去岁亡了；<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> <br /> 虽有几房姬妾，奈命中无子，亦无可如何之事。只嫡妻贾氏生得一女，乳名黛玉，年方五岁，夫妻爱之如掌上明珠。见他生得聪明俊秀，也欲使他识几个字，不过假充养子，聊解膝下荒凉之叹。<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> <br /> 且说贾雨村在旅店偶感风寒，愈后又因盘费不继，正欲得一个居停之所，以为息肩之地。偶遇两个旧友，认得新盐政，知他正要请一西席教训女儿，遂将雨村荐进衙门去。<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> <br /> 这女学生年纪幼小，身体又弱，功课不限多寡，其馀不过两个伴读丫鬟，故雨村十分省力，正好养病。看看又是一载有馀，不料女学生之母贾氏夫人一病而亡。<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> <br /> 女学生奉侍汤药，守丧尽礼，过于哀痛，素本怯弱，因此旧病复发，有好些时不曾上学。雨村闲居无聊，每当风日晴和，饭后便出来闲步。这一日偶至郊外，意欲赏鉴那村野风光。<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> <br /> 信步至一山环水漩、茂林修竹之处，隐隐有座庙宇，门巷倾颓，墙垣剥落。有额题曰“智通寺”，门旁又有一副旧破的对联云：身后有馀忘缩手，眼前无路想回头。<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081493==<br /> <br /> 雨村看了，因想道：“这两句文虽甚浅，其意则深。也曾游过些名山大刹，倒不曾见过这话头。其中想必有个翻过筋斗来的，也未可知。<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> <br /> 何不进去一访？”走入看时，只有一个龙锺老僧在那里煮粥。雨村见了，却不在意。及至问他两句话，那老僧既聋且昏，又齿落舌钝，所答非所问。雨村不耐烦，仍退出来。<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> <br /> 意欲到那村肆中沽饮三杯，以助野趣，于是移步行来。刚入肆门，只见座上吃酒之客，有一人起身大笑，接了出来，口内说：“奇遇，奇遇！”<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> <br /> 雨村忙看时，此人是都中古董行中贸易，姓冷号子兴的，旧日在都相识。雨村最赞这冷子兴是个有作为大本领的人，这子兴又借雨村斯文之名，故二人最相投契。<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> <br /> 雨村忙亦笑问：“老兄何日到此？弟竟不知。今日偶遇，真奇缘也！”子兴道：“去年岁底到家，今因还要入都，从此顺路找个敝友，说一句话。<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> <br /> 承他的情，留我多住两日。我也无甚紧事，且盘桓两日，待月半时也就起身了。今日敝友有事，我因闲走到此，不期这样巧遇。”一面说，一面让雨村同席坐了，另整上酒肴来。<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> <br /> 二人闲谈慢饮，叙些别后之事。雨村因问：“近日都中可有新闻没有？”子兴道：“倒没有什么新闻，倒是老先生的贵同宗家出了一件小小的异事。”<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> <br /> 雨村笑道：“弟族中无人在都，何谈及此？”子兴笑道：“你们同姓，岂非一族？”雨村问：“是谁家？”子兴笑道：“荣国贾府中，可也不玷辱老先生的门楣了。”<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> <br /> 雨村道：“原来是他家。若论起来，寒族人丁却自不少，东汉贾复以来，支派繁盛，各省皆有，谁能逐细考查？若论荣国一支，却是同谱。但他那等荣耀，我们不便去认他，故越发生疏了。”<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> <br /> 子兴叹道：“老先生休这样说。如今的这荣、宁两府，也都萧索了，不比先时的光景。”雨村道：“当日宁、荣两宅人口也极多，如何便萧索了呢？”子兴道：“正是，说来也话长。”<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 雨村道：“去岁我到金陵时，因欲游览六朝遗迹，那日进了石头城，从他宅门前经过：街东是宁国府，街西是荣国府，二宅相连，竟将大半条街占了。<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> <br /> 大门外虽冷落无人，隔着围墙一望，里面厅殿楼阁，也还都峥嵘轩峻；就是后边一带花园里，树木山石，也都还有葱蔚洇润之气：那里像个衰败之家？”<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> <br /> 子兴笑道：“亏你是进士出身，原来不通。古人有言：‘百足之虫，死而不僵。’如今虽说不似先年那样兴盛，较之平常仕宦人家，到底气象不同。<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> <br /> 如今生齿日繁，事务日盛，主仆上下都是安富尊荣，运筹谋画的竟无一个；那日用排场，又不能将就省俭。如今外面的架子虽没很倒，内囊却也尽上来了。这也是小事。<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> <br /> 更有一件大事：谁知这样钟鸣鼎食的人家儿，如今养的儿孙，竟一代不如一代了。”雨村听说，也道：“这样诗礼之家，岂有不善教育之理？别门不知，只说这宁、荣两宅，是最教子有方的，何至如此？”<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> <br /> 子兴叹道：“正说的是这两门呢！等我告诉你：当日宁国公是一母同胞弟兄两个。宁公居长，生了两个儿子。宁公死后，长子贾代化袭了官，也养了两个儿子：长子贾敷，八九岁上死了；<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> <br /> 只剩了一个次子贾敬，袭了官，如今一味好道，只爱烧丹炼汞，别事一概不管。幸而早年留下一个儿子，名唤贾珍，因他父亲一心想作神仙，把官倒让他袭了。<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> <br /> 他父亲又不肯住在家里，只在都中城外，和那些道士们胡羼。这位珍爷也生了一个儿子，今年才十六岁，名叫贾蓉。如今敬老爷不管事了。<br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> <br /> 这珍爷那里干正事，只一味高乐不了，把那宁国府竟翻过来了，也没有敢来管他的人。再说荣府你听，方才所说异事就出在这里。<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> <br /> 自荣公死后，长子贾代善袭了官，娶的是金陵世家史侯的小姐为妻。生了两个儿子：长名贾赦，次名贾政。如今代善早已去世，太夫人尚在。<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> <br /> 长子贾赦袭了官，为人却也中平，也不管理家事。惟有次子贾政，自幼酷喜读书，为人端方正直。祖父锺爱，原要他从科甲出身。<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> <br /> 不料代善临终遗本一上，皇上怜念先臣，即叫长子袭了官；又问还有几个儿子，立刻引见，又将这政老爷赐了个额外主事职衔，叫他入部习学，如今现已升了员外郎。<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> <br /> 这政老爷的夫人王氏，头胎生的公子名叫贾珠，十四岁进学，后来娶了妻，生了子，不到二十岁，一病就死了。第二胎生了一位小姐，生在大年初一，就奇了。<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> <br /> 不想隔了十几年，又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。你道是新闻不是？”<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> <br /> 雨村笑道：“果然奇异。只怕这人的来历不小。”子兴冷笑道：“万人都这样说，因而他祖母爱如珍宝。那年周岁时，政老爷试他将来的志向，便将世上所有的东西摆了无数叫他抓。<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> <br /> 谁知他一概不取，伸手只把些脂粉钗环抓来玩弄。那政老爷便不喜欢，说将来不过酒色之徒，因此不甚爱惜。独那太君还是命根子一般。说<br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==<br /> <br /> 来又奇：如今长了十来岁，虽然淘气异常，但聪明乖觉，百个不及他一个。说起孩子话来也奇，他说：‘女儿是水做的骨肉，男子是泥做的骨肉。我见了女儿便清爽，见了男子便觉浊臭逼人。’<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> <br /> 你道好笑不好笑？将来色鬼无疑了。”雨村罕然厉色道：“非也。可惜你们不知道这人的来历，大约政老前辈也错以淫魔色鬼看待了。<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> <br /> 若非多读书识事，加以致知格物之功、悟道参玄之力者，不能知也。”子兴见他说得这样重大，忙请教其故。雨村道：“天地生人，除大仁大恶，馀者皆无大异。<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> <br /> 若大仁者则应运而生，大恶者则应劫而生；运生世治，劫生世危。尧、舜、禹、汤、文、武、周、召、孔、孟、董、韩、周、程、朱、张，皆应运而生者；<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> <br /> 蚩尤、共工、桀、纣、始皇、王莽、曹操、桓温、安禄山、秦桧等，皆应劫而生者。大仁者修治天下，大恶者扰乱天下。清明灵秀，天地之正气，仁者之所秉也；残忍乖僻，天地之邪气，恶者之所秉也。<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> <br /> 今当祚永运隆之日，太平无为之世，清明灵秀之气所秉者，上自朝廷，下至草野，比比皆是。所馀之秀气漫无所归，遂为甘露，为和风，洽然溉及四海。<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> <br /> 彼残忍乖邪之气，不能荡溢于光天化日之下，遂凝结充塞于深沟大壑之中。偶因风荡，或被云摧，略有摇动感发之意，一丝半缕误而逸出者，值灵秀之气适过，正不容邪，邪复妒正，两不相下；<br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> <br /> 如风水雷电地中既遇，既不能消，又不能让，必致搏击掀发。既然发泄，那邪气亦必赋之于人。假使或男或女偶秉此气而生者，上则不能为仁人为君子，下亦不能为大凶大恶。<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> <br /> 置之千万人之中，其聪俊灵秀之气，则在千万人之上；其乖僻邪谬不近人情之态，又在千万人之下。若生于公侯富贵之家，则为情痴情种；若生于诗书清贫之族，则为逸士高人；纵然生于薄祚寒门，甚至为奇优，为名娼，亦断不至为走卒健仆，甘遭庸夫驱制。<br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> <br /> 如前之许由、陶潜、阮籍、嵇康、刘伶、王谢二族、顾虎头、陈后主、唐明皇、宋徽宗、刘庭芝、温飞卿、米南宫、石曼卿、柳耆卿、秦少游，近日倪云林、唐伯虎、祝枝山，再如李龟年、黄幡绰、敬新磨、卓文君、红拂、薛涛、崔莺、朝云之流：此皆易地则同之人也。”<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> <br /> 子兴道：“依你说，成则公侯败则贼了？”雨村道：“正是这意。你还不知，我自革职以来，这两年遍游各省，也曾遇见两个异样孩子，所以方才你一说这宝玉，我就猜着了八九也是这一派人物。<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> <br /> 不用远说，只这金陵城内钦差金陵省体仁院总裁甄家，你可知道？”子兴道：“谁人不知，这甄府就是贾府老亲，他们两家来往极亲热的。就是我也和他家往来非止一日了。”<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> <br /> 雨村笑道：“去岁我在金陵，也曾有人荐我到甄府处馆。我进去看其光景，谁知他家那等荣贵，却是个富而好礼之家，倒是个难得之馆。但是这个学生虽是启蒙，却比一个举业的还劳神。<br /> <br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> <br /> 说起来更可笑，他说：‘必得两个女儿陪着我读书，我方能认得字，心上也明白；不然，我心里自己糊涂。’又常对着跟他的小厮们说：‘这“女儿”两个字极尊贵极清净的，比那瑞兽珍禽、奇花异草更觉稀罕尊贵呢。<br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> <br /> 你们这种浊口臭舌，万万不可唐突了这两个字，要紧，要紧！但凡要说的时节，必用净水香茶漱了口方可；设若失错，便要凿牙穿眼的。’其暴虐顽劣，种种异常。<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> <br /> 只放了学进去，见了那些女儿们，其温厚和平，聪敏文雅，竟变了一个样子。因此，他令尊也曾下死笞楚过几次，竟不能改。每打的吃疼不过时，他便姐姐妹妹的乱叫起来。<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> <br /> 后来听得里面女儿们拿他取笑：‘因何打急了，只管叫姐妹作什么？莫不叫姐妹们去讨情讨饶？你岂不愧些？’他回答的最妙，他说：‘急痛之时，只叫姐姐妹妹字样，或可解疼，也未可知，因叫了一声，果觉疼得好些。<br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> <br /> 遂得了秘法，每疼痛之极，便连叫姐妹起来了。’你说可笑不可笑？为他祖母溺爱不明，每因孙辱师责子，我所以辞了馆出来的。这等子弟，必不能守祖、父基业，从师友规劝的。只可惜他家几个好姊妹都是少有的。”<br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> <br /> 子兴道：“便是贾府中现在三个也不错。政老爷的长女名元春，因贤孝才德，选入宫作女史去了。二小姐乃是赦老爷姨娘所出，名迎春；三小姐政老爷庶出，名探春；四小姐乃宁府珍爷的胞妹，名惜春：<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> <br /> 因史老夫人极爱孙女，都跟在祖母这边，一处读书，听得个个不错。”雨村道：“更妙在甄家风俗：女儿之名，亦皆从男子之名；不似别人家里，另外用这些‘春’、‘红’、‘香’、‘玉’等艳字。<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> <br /> 何得贾府亦落此俗套？”子兴道：“不然。只因现今大小姐是正月初一所生，故名元春，馀者都从了‘春’字；上一排的却也是从弟兄而来的。现有对证：目今你贵东家林公的夫人，即荣府中赦、政二公的胞妹，在家时名字唤贾敏。<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> <br /> 不信时你回去细访可知。”雨村拍手笑道：“是极。我这女学生名叫黛玉，他读书凡‘敏’字，他皆念作‘密’字；写字遇着‘敏’字，亦减一二笔。我心中每每疑惑，今听你说，是为此无疑矣。<br /> <br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> <br /> 怪道我这女学生言语举止另是一样，不与凡女子相同，度其母不凡，故生此女。今知为荣府之外孙，又不足罕矣。可惜上月其母竟亡故了。”子兴叹道：“老姊妹三个，这是极小的，又没了；<br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> <br /> 长一辈的姊妹，一个也没了。只看这小一辈的将来的东床何如呢。”雨村道：“正是。方才说政公已有一个衔玉之子，又有长子所遗弱孙，这赦老竟无一个不成？”<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> <br /> 子兴道：“政公既有玉儿之后，其妾又生了一个，倒不知其好歹。只眼前现有二子一孙，却不知将来何如。若问那赦老爷，也有一子，名叫贾琏，今已二十多岁了，亲上做亲，娶的是政老爷夫人王氏内侄女，今已娶了四五年。<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> <br /> 这位琏爷身上现捐了个同知，也是不喜正务的；于世路上好机变，言谈去得，所以目今只在乃叔政老爷家住，帮着料理家务。谁知自娶了这位奶奶之后，倒上下无人不称颂他的夫人，琏爷倒退了一舍之地：模样又极标致，言谈又爽利，心机又极深细，竟是个男人万不及一的。”<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> <br /> 雨村听了，笑道：“可知我言不谬了。你我方才所说的这几个人，只怕都是那正邪两赋而来一路之人，未可知也。”子兴道：“正也罢，邪也罢，只顾算别人家的账，你也吃杯酒才好。”<br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> <br /> 雨村道：“只顾说话，就多吃了几杯。”子兴笑道：“说着别人家的闲话，正好下酒，即多吃几杯何妨？”雨村向窗外看道：“天也晚了，仔细关了城，我们慢慢进城再谈，未为不可。”<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> <br /> 于是二人起身，算还酒钱。方欲走时，忽听得后面有人叫道：“雨村兄恭喜了！特来报个喜信的。”雨村忙回头看时……要知是谁，且听下回分解。<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> <br /> 外班──清代会试考取进士后，留在朝中任官者称“京官”，分发外地任地方官者称“外班”。因新官分发到地方后要候补，按班次任官，故称“外班”。​同寅皆侧目而视──同寅：即同僚。<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> <br /> 典出《尚书·虞书·皋陶谟》：“百僚师师，百工惟时……同寅协恭，和衷哉。”寅时是朝臣上朝之时，故称。 侧目而视：斜着眼看。语出《战国策·秦策一》：“(苏秦)将说楚王，路过洛阳。<br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> <br /> 父母闻之，清宫除道，张乐设饮，郊迎三十里；妻侧目而视，倾耳而听；嫂蛇行匍伏，四拜自跪而谢。”原表示敬畏。引申以表示愤怒或不齿。​<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> <br /> 维扬──扬州(在今江苏省)的别称。大禹所划分的“九州”之一。典出《尚书·夏书·禹贡》：“淮海惟扬州。”“惟”通“维”。<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> <br /> 后人从“惟扬州”截取“惟扬”，又以“维”代“惟”，遂成“维扬”。如北朝周·庾信《哀江南赋》：“淮海维扬，三千馀里。”​探花──科举考试中殿试(最高一级考试)一甲第三名(第一名为状元，第二名为榜眼)。<br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> <br /> 本于唐代的“探花使”，亦称“探花郎”。唐·李淖《秦中岁时记》：“进士杏园初宴，谓之探花宴。差少俊二人为探花使，遍游名园，若它人先折花，二使皆被罚。”<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> <br /> 又宋·魏泰《东轩笔录》卷六：“进士及第后，例期集一月……又选最年少者二人为探花使，赋诗，世谓之探花郎。”​<br /> <br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> <br /> 兰台寺大夫──指专管弹劾的御史。兰台是汉朝宫内藏书之所，由御史大夫主管，故后世将御史台别称“兰台”，将御史府别称“兰台寺”，将御史别称“兰台寺大夫”。​<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> <br /> 列侯──古代爵名。在秦称“彻侯”，为二十四级爵位中的最高一级。至汉代为避汉武帝刘彻之讳，改为“通侯”。“通”与“彻”同义，是改名不改义。“通侯”之意是表示受爵者功勋通于王室。<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> <br /> 后又改为“列侯”，表示序列之意。见《汉书·高帝纪下》颜师古注。清代并无此爵，只是借指侯爵。清代爵位分公、侯、伯、子、男，侯爵为第二等。<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> <br /> 膝下荒凉──意谓子女稀少，尤无儿子。 膝下：这里指子女。因幼儿多倚偎于父母膝旁，故称。《孝经·圣治》：“故亲生之膝下，以养父母日严。”唐玄宗注：“亲犹爱也，膝下谓孩童之时也。” <br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> <br /> 荒凉：形容因子女稀少而家庭显得清冷凄凉。西席──古人座次以右(西)为尊，故右席为宾客和塾师之位，坐西面东，故称幕宾和塾师为“西席”或“西宾”。<br /> <br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> <br /> 清·梁章钜《称谓录》卷八：“汉明帝尊桓荣以师礼，上幸太常府，令荣坐东面(坐西面东)，设几。故师曰西席。”这里指家庭教师。“身后”一联──身后有馀：是说馀年还很长(“身后”不可解作死后)。 <br /> <br /> ==Nadia 202011080004==<br /> <br /> 忘缩手：是说不肯收手，还要争名夺利。 <br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> <br /> 无路：走投无路。此联是说世人大多只顾眼前，不顾将来，等到走投无路，后悔无及。​<br /> <br /> ==Mariam toure 2020GBJ002301==<br /> <br /> 刹──梵语音译省称，意译为佛塔的柱形尖顶，故又称“佛柱”。<br /> <br /> ==Rouabah Soumaya 202121080001==<br /> <br /> 引申为佛寺。贾复──东汉南阳冠军(今河南邓州市西北)人，累官至左将军，并封胶东侯。<br /> <br /> ==Muhammad Numan 202121080002==<br /> <br /> 《后汉书》有传。姓贾的成千上万，贾雨村却只拉千年前的贾复为一家，足见其拉大旗作虎皮之势利小人肺肝。​<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> <br /> 百足之虫，死而不僵——典出三国魏·曹冏《六代论》：<br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> <br /> “故语曰：‘百足之虫，死而不僵。’扶之者众也。”<br /> <br /> ==Zohaib Chand 202121080005==<br /> <br /> 比喻世家大族虽然衰败，因家底雄厚，依傍众多，表面上仍能维持繁荣景象。 <br /> <br /> ==Jawad Ahmad 202121080006==<br /> <br /> 百足：虫名，即马陆。长约一寸，躯干由多节构成，每节有足一对或二对，切断后仍能蠕动。<br /> <br /> ==Nizam Uddin 202121080007==<br /> <br /> 僵：倒下。​安富尊荣──语出《孟子·尽心上》：<br /> <br /> ==Öncü 202121080008==<br /> <br /> “君子居是国也，其君用之，则安富尊荣。”<br /> <br /> ==Akira Jantarat 202121080009==<br /> <br /> 原意是君子因辅佐国君功勋卓著而享受荣华富贵。<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> <br /> 这里反用其意，意谓不劳而获，安享荣华富贵。​<br /> <br /> ==Asep Budiman 202111080020==<br /> <br /> 钟鸣鼎食——语出唐·王勃《滕王阁序》：“闾阎扑地，钟鸣鼎食之家。”<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> <br /> <br /> 古代贵族鸣钟列鼎而食。这里借以形容富贵豪华。</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=128721 2021-12-01T12:16:27Z

<p>Zhu Renduo: </p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> [[Comp_Stud_Trans_EN_4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to summarize these points and to analyze some specific examples, finally get to know the discipline with in both languages.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=128719 2021-12-01T12:15:57Z

<p>Zhu Renduo: </p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> [[Comp Stud Trans EN 4]]<br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to summarize these points and to analyze some specific examples, finally get to know the discipline with in both languages.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=128710 2021-12-01T12:12:35Z

<p>Zhu Renduo: </p> <hr /> <div>'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''<br /> <br /> ===Abstract===<br /> League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to summarize these points and to analyze some specific examples, finally get to know the discipline with in both languages.<br /> <br /> ===Key Words===<br /> League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> ===Introduction===<br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.</div>

Zhu Renduo https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&diff=128702 2021-12-01T12:10:15Z

<p>Zhu Renduo: Created page with &quot;A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560 Abstract: League of Legends (LOL) is one of the most pop...&quot;</p> <hr /> <div>A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends<br /> 朱壬铎202120081560<br /> <br /> Abstract: League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to summarize these points and to analyze some specific examples, finally get to know the discipline with in both languages.<br /> <br /> Key Words: League of Legends; Chinese Translation; Japanese Translation; Comparative Study<br /> <br /> League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.<br /> <br /> The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.<br /> <br /> Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.</div>

Zhu Renduo https://bou.de/u/index.php?title=20211201_homework&diff=128365 2021-11-28T14:24:05Z

<p>Zhu Renduo: </p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> <br /> 因本书即记述女娲炼石补天所剩的那块“顽石”幻化为贾宝玉在人间经历的故事，故称。饫(yù玉)甘餍(yàn厌)肥──意谓饱食美味佳肴。饫、餍：均为饱食之意。<br /> <br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> <br /> 甘、肥：均指精美食品。蓬牖(yǒu友)茅椽(chuán船)──即茅草房屋。形容住屋简陋，生活清贫。<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> <br /> 蓬、茅：都是野草。 牖：窗户。椽：纵向固定于檩条之上以支撑屋顶的木杠。绳床瓦灶──形容用具简陋，生活清贫。<br /> <br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> <br /> 绳床：是一种用绳子将木板穿连而成并可折叠的简单坐具，故又称“交床”、“交椅”。以其学自胡人(古代中原人对北方游牧民族的称谓)，故亦称“胡床”。这里只是形容床铺简陋，并非实指绳床。<br /> <br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> <br /> 瓦灶：烧饭用的粗陶器和土灶台。女娲(wā蛙)氏炼石补天——上古神话传说，事见《列子·汤问》、《淮南子·览冥训》、《太平御览·卷七八·女娲氏》，略谓：相传女娲是伏羲之妹，兄妹结为夫妻，产生人类；<br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> <br /> 女娲又以黄土造人，使人类大量增加。不料天崩地裂，大火熊熊，洪水泛滥，野兽横行，生民面临灭顶之灾。于是女娲挺身而出，炼五色石以补苍天，折四条鳌足以为天柱，才避免了这场浩劫。<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> <br /> 大荒山──或本《山海经·大荒西经》：“大荒之中，有山名曰大荒之山，日月所出入……是谓大荒之野。”无稽崖──曹雪芹杜撰的地名。“大荒山无稽崖”寓荒诞无稽之谈。<br /> <br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> <br /> 青埂峰──曹雪芹杜撰的地名。其谐音为“情根”，寓贾宝玉的多情源于此。诗礼簪缨之族──意谓书香门第和官宦人家。<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> <br /> 诗礼：读诗书，讲礼义。簪缨：古代显贵的冠饰，代指官宦。簪：是一种条状饰物，用以固定头发或连接冠与发髻，兼有装饰作用。<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> <br /> 缨：帽带。花柳繁华地──意谓繁华游乐之地。花柳：游乐之地。<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> <br /> 温柔富贵乡──典出汉·伶玄《赵飞燕外传》：“(皇)后德(樊)嬺计，是夜进合德。帝(汉成帝)大悦，以辅属体，无所不靡，谓为温柔乡。谓曰：‘吾老是乡矣，不能效武皇帝求白云乡也。’”(合德：赵飞燕之妹。)形容美女成群而又荣华富贵的环境。<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> <br /> 贾宝玉生长的贾府正是这样的环境。几世几劫——佛教用语。形容年代久远。 世：佛家将过去、现在、未来均称为“世”，故“几世”表示很长的时间。<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> <br /> 劫：佛家认为世界是一个不断毁灭与更生的过程，这样一个周期需要若干万年，谓之一“劫”，故“几劫”也表示很长的时间。偈(jì记)──佛教用语。本义为佛经中的颂词。引申为佛家诗。一般为四句，多富哲理或预言性。<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> <br /> “无才”一诗──倩(qiàn欠)：请，请求，恳求。此诗实为曹雪芹自况，即无意于为朝庭效力。野史──与“官史”、“正史”相对。<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> <br /> 原指私人记载轶闻琐事的文字。引申以指小说之类的作品。文君──指卓文君。汉代临邛富翁卓王孙之女，容貌美丽，才学优长，而夫死寡居。<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> <br /> 司马相如饮于卓氏，以琴曲挑之，卓文君即与之私奔，遂为夫妻，以卖酒为生。事见《史记·司马相如列传》。子建──指曹植，字子建。三国魏武帝曹操第四子，著名才子。<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081493==<br /> <br /> 《南史·谢灵运传》：“谢灵运曰：‘天下才共一石：曹子建独得八斗，我得一斗，自古及今共用一斗。’”遂有“八斗之才”的美誉。又《魏志》(见《太平御览》卷六○○引)：“文帝(曹丕)尝欲害植，以其无罪，令植七步为诗，若不成，加军法。<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> <br /> 植即应声曰：‘煮豆燃豆萁，豆在釜中泣。本是同根生，相煎何太急！’文帝善之。”(事又见南朝宋·刘义庆《世说新语·文学》，文字略异)遂又有“七步之才”的美誉。<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> <br /> “从此”四句──是借空空道人的彻悟，以说明世界上的一切都是虚幻的。 空、色、情：都是佛教用语。<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> <br /> 佛家认为，“空”是世界的本质，所谓万物不过是因缘遇合，倏生倏灭，并非真实存在；“色”是人所看到的表相，并非真实的存在；“情”是人对世界产生的感受，更属主观意识，而非真实的物质。<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> <br /> 这就是佛家所谓“四大皆空”的“色空”观念，也即佛家主张禁欲主义的原因。《情僧录》──《红楼梦》的别名之一。因空空道人抄录此书而使之传世，并因看了此书而悟彻了空、色、情，故称。<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> <br /> 作者欲借此书名，说明“情”的虚幻。《风月宝鉴》──《红楼梦》的别名之一。风月宝鉴是太虚幻境警幻仙姑所造的一面宝镜，从正面看到的是美人，从反面看到的是骷髅，隐寓美人即骷髅。<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> <br /> 第十二回写贾瑞因贪看镜子的正面而丧命。作者以《风月宝鉴》为书名，是欲告诫人们要打破情关，跳出情海。故“甲戌本”凡例云：“《红楼梦》又曰《风月宝鉴》，是戒妄动风月之情。”(风月：指男女之情。)<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> <br /> 《金陵十二钗》──《红楼梦》的别名之一。因本书主要是为林黛玉等十二位金陵籍女子(即太虚幻境“金陵十二钗正册”中的女子)立传，故称。<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> <br /> 地陷东南──古代神话传说，见于《淮南子·天文训》记载：共工与颛顼争夺帝位，怒而触不周山，致使东南大地塌陷下沉，所以东南低而西北高。这里并无特别含意，只是下句所说姑苏在中国东南，顺便提及。<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> <br /> 西方──这里指佛家理想中的西方极乐世界，即所谓“佛国”，又称“西方净土”、“西方净国”、“西方世界”、‘极乐土’。《佛说阿弥陀经》：“从是西方，过十万亿佛土，有世界名曰极乐……彼土何故名为极乐？<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 其国众生无有众苦，但受诸乐，故名极乐。” 灵河——佛国中的河。佛经中说因龙住于河中，永不枯竭，故又称“龙泉”。一说指印度人称之为“圣水”的恒河。<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> <br /> 三生石──典出唐·袁郊《甘泽谣·圆观》：僧人圆观与友人李源同游三峡，见几个妇人在汲水，圆观对李源说：“其中孕妇姓王者，是某(我)托生之所。”并相约十二年后的中秋之夜在杭州天竺寺外相见。是夜圆观即死。<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> <br /> 李源虽觉怪异，还是如期而至，只见一牧童高唱《竹枝词》曰：“三生石上旧精魂，赏月吟风不要论。惭愧情人远相访，此身虽异性长存。”李源才知圆观果已转生为牧童。“三生石”遂成为因缘前定的典故。<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> <br /> 曹雪芹顺手拈来，将其安在了灵河岸上。 三生：佛教用语。佛家认为人的灵魂不灭，轮回转世，每转生一次即为一生，故将前生、今生、来生谓之“三生”。<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> <br /> 绛珠仙草：为曹雪芹所杜撰，即林黛玉的前身。甘露──是一种特殊的露水。典出《老子》第三二章：“天地相合，以降甘露。”古人认为是天地的精华，故甘露降被视为太平的祥瑞。<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> <br /> 明·李时珍《本草纲目·水部一·甘露》(释文)引《瑞应图》：“甘露，美露也。神灵之精，仁瑞之泽，其凝如脂，其甘如饴，故有甘、膏、酒、浆之名。”<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> <br /> 离恨天──民间传说谓：“三十三天，离恨天最高；四百四病，相思病最苦。”后即以“离恨天”比喻男女相恋而不能遂愿，抱恨终身的境地。曹雪芹加以利用，可谓恰到好处。<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> <br /> 秘情果、灌愁水──这是曹雪芹杜撰的，前者寓林黛玉对贾宝玉一往情深而难以言表，后者寓林黛玉将陷入深愁苦海之中。造历幻缘──经历虚幻的因缘。 造：通“遭”。遭受。 <br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> <br /> 缘：佛家用语，即因缘。佛家将事物的发生、变化、消灭的主要条件谓之“因”，辅助条件谓之“缘”，所以世界不过是因缘变化的过程，而非物质的存在，因而一切都是虚幻的，也就是所谓“色空”。度脱──佛教和道教用语。指超度世人脱离有生有死的苦难，达到脱离生死的涅槃境界。<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> <br /> 功德──佛教用语。《大乘义章·十功德义三门分别》：“功谓功能，能破生死，能得涅槃，能度众生，名之为功。此功是其善行家德，故云功德。”后世多泛指念佛、诵经、布施、度人出家等为功德。<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> <br /> 因果──佛教用语。佛教指种什么因，结什么果，善有善报，恶有恶报，循环不爽。《涅槃经·遗教品一》：“善恶之报，如影随形，三世因果，循环不失。”火坑──佛教用语。<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> <br /> 《法华经·普门品》：“假使兴害意，推落大火坑。念彼观音力，火坑变成池。”佛教谓众生轮回有六道，即天道、人道、阿修罗道、畜生道、饿鬼道、地狱道。后三道最苦，谓之“火坑”。这里用引申义，泛指人世间的苦难。<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> <br /> 太虚幻境——太虚：指虚无飘渺的太空。出自《庄子·知北游》：“是以不过乎昆仑，不游乎太虚。” 幻境：虚幻的境界。出自唐·王维《为兵部祭库部王郎中文》：“深悟幻境，独与道游。”曹雪芹将二者组合，创造了一个虚构的仙境，当寓“虚无空幻”之意。<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> <br /> “假作真”一联──意谓如果以假为真，真假必然混淆，那么真的也可能被当作假的；如果以无为有，有无必然混淆，那么有也可能被当作无。影射世人真假不分，是非不辨。<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> <br /> 有命无运──古人认为人的先天禀赋的贵贱寿夭为“命”，而现实生活中的遭遇为“运”。“有命无运”就是虽有好的禀赋，却无好的机遇，所以将终生坎坷。<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> <br /> “惯养”一联──菱花：指英莲将来改名香菱。空对雪澌澌：隐喻英莲将遭受冷落乃至虐待。 雪：“薛”的谐音，指薛蟠。 <br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==<br /> <br /> 澌澌：落雪的声音，形容大雪。 “菱花”两句暗指英莲虽被爹娘娇惯，将来却做薛蟠之妾，而且将受到冷落乃至虐待。 此联隐喻甄英莲及其家庭的命运。<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> <br /> “好防”一联：此联暗指后文甄士隐家将于三月十五日遭火灾。三劫──佛教用语。“三阿僧祇劫”的省略。指菩萨修成正果所需的时间。泛指极长的时间。<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> <br /> 北邙山──又作“北芒山”。本名邙山，因在洛阳之北，故名。东汉、魏、晋时王侯公卿多葬于此，后世即成为墓地的代称。<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> <br /> “然生得”四句──意谓贾雨村生得一副福相。古人以为“腰圆背厚”、“面阔口方”、“剑眉星眼”、“直鼻方腮”皆为福相的特征，而贾雨村兼有，故下文说“怪道又说他必非久困之人”。此为贾雨村将来飞黄腾达作铺垫。<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> <br /> 口占五言一律──意谓随口念出五言律诗一首。 口占：口头吟诗吟词。 五言律：“五言律诗”的简称，亦简称“五律”。诗体之一。<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> <br /> 即每句五字的律诗，每首共八句四十字。如果每句七字，则称“七言律诗”，简称“七言律”或“七律”。如果每首超过十句(不论五言、七言)，则称“排律”或“长律”。<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> <br /> 因其有一整套严格的格律规定，故称“律诗”。“未卜”一联──未卜：不可预知。 三生愿：指婚姻。 频：时时刻刻。 <br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> <br /> 此联是贾雨村自谓欲与甄家丫鬟(后文才交代其名字为娇杏)结姻的愿望不知能否实现，因而增添了一种无法摆脱的愁绪。“自顾”一联──自顾风前影：这里化用了“顾影自怜”一典。<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> <br /> 典出晋·陆机《赴洛道中作二首》其一：“伫立望故乡，顾影凄自怜。”意谓看着自己的身影也觉可爱。表示自我欣赏。 堪：能够或配得上之意。 <br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> <br /> 月下俦：这里化用了唐·李复言《续玄怪录·定婚店》的故事：唐人韦固夜过宋城，见一老翁在月下翻看簿册，问之，才知是婚姻簿子。老翁并携赤绳，言其一旦用此赤绳系住一男一女之足，二人必成夫妻。后人即把“月下老人”奉为婚烟之神。<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> <br /> 这里是成婚之意。此联是贾雨村一面顾影自怜，一面暗想：将来谁能做我的配偶？“蟾光”一联──蟾光：月光。<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> <br /> 因相传月宫中有蟾蜍，故称。又暗用“蟾宫折桂”的成语。晋·郤诜获得举贤良方正对策第一名后，对晋武帝说：“臣举贤良对策，为天下第一，犹桂林之一枝，若昆山之片玉。”(事见晋·王隐《晋书》、通行本《晋书·郤诜传》)<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> <br /> 唐人将“折桂”之“桂”傅会为神话传说中月宫之“桂”，遂产生了“蟾宫折挂”这一成语。事见宋·叶梦得《避暑录话》卷下：“世以登科为‘折桂’，此谓郤诜对策东堂，自云‘桂林一枝’也。自唐以来用之……其后以月中有桂，故又谓之‘月桂’。<br /> <br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> <br /> 而月中又言有蟾，故又改桂为蟾，以登科为‘登蟾宫’。”参见第九回“蟾宫折桂”注。 玉人：美人。这里暗指娇杏。 <br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> <br /> 此联是贾雨村借月光而隐寓两层意思：一是希望自己能像月光那样到楼上去看他倾心的娇杏；二是企盼自己一旦金榜题名，必定先向娇杏求婚。<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> <br /> “玉在”一联──玉在椟中求善价：典出《论语·子罕》：“子贡曰：‘有美玉于斯，韫椟而藏诸？求善贾而沽诸？’子曰：‘沽之哉，沽之哉！我待贾者也。’”<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> <br /> (斯：此，这里。韫椟：收藏在柜子或木匣里。贾：一说为商人，一说通“价”，皆通。沽：出售，卖掉。)后人即以“椟玉”、“椟藏”或“待贾而沽”、“待贾沽”、“待贾”、“待沽”等来比喻怀才待用或待时出山的人。 <br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> <br /> 钗于奁内待时飞：典出汉·郭宪《洞冥记》卷二：汉武帝元鼎元年，宫中起造招仙阁，有神女以玉钗赠汉武帝，帝赐与赵婕妤。至汉昭帝元凤年间，宫人欲毁之，将匣子打开时，玉钗化白燕飞去。这里的意思与“玉在椟中求善价”相同。 <br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> <br /> 此联表明贾雨村雄心勃勃，信心十足，以为自己犹如椟中之玉、匣中之钗，虽然暂时落魄，将来定能仕途得意，飞黄腾达。<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> <br /> 芹意──谦词。典出《列子·杨朱》：从前有人觉得芹菜味美，即向乡绅推荐并称赞，乡绅一尝，味道却很差，胃里也不舒服，在场的人都抱怨他，使他十分羞惭。<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> <br /> 后即以“芹意”、“芹献”、“献芹”、“芹曝”、“献曝”、“美芹”等代称菲薄的礼物。飞觥(gōng功)献斝(jiǎ假)──形容酒席间频频举杯、互相劝饮的热闹景象。觥、斝：是古代的两种酒器，这里泛指酒杯。<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> <br /> 飞觥：挥舞酒杯。献斝：本义为酒席上行酒令规定的饮酒杯数，这里引申为劝饮。“时逢三五”一诗──三五：十五日。<br /> <br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> <br /> 这里指农历八月十五日中秋节。 满把清光：形容月光皎洁而明亮。 护玉栏：玉雕栏杆沐浴在月光之中。 <br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> <br /> 此诗表示贾雨村的雄心壮志，即希望自己像高高在上的中秋之月，令万人仰慕。这是贾雨村仕途得意、飞黄腾达的预兆。“飞腾”两句──飞腾：飞黄腾达。接履：义同“接踵”。接二连三、接连不断之意。意谓将不断高升。<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> <br /> 云霄：比喻高官显宦。这两句是说贾雨村的即兴诗就是其仕途得意、飞黄腾达的预兆。大比──隋、唐以后科举考试的泛称。以其为全国考生参加的考试，故称。<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> <br /> 这里指最高一级的会试。明、清时代的科举考试每三年举行一轮，分为三级：头一年为院考，考生为府、县童生，考取者为生员，通称秀才；次年为乡试，考生为一省的生员(秀才)和在国子监肄业的监生，考取者为举人；<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> <br /> 第三年为会试，考生为全国的举人，考取者为贡士，贡士再经殿试考中者为进士。春闱一捷──这里指考取进士。春闱：指会试。以其在春天举行，故称。 <br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> <br /> 闱：这里指科举考试的考场。捷：本义为战胜、成功，引申为科举及第。黄道之期──即黄道之日。指六吉辰值日之日。《协纪辨方书·卷七·黄道黑道》)<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> <br /> 称：青龙、明堂、金匮、天德、玉堂、司命等六辰为吉神，此六辰值日的日子，诸事皆吉，故称 “黄道吉日”。投谒(yè叶)──本义为投递名帖求见。这里引申为持荐书投拜，以期关照。<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> <br /> 谒：晋见。黑道──“黑道日”的略称。六凶辰值日之日诸事皆凶，故称“黑道日”。见《协纪辨方书·卷七·黄道黑道》：“天刑、朱雀、白虎、天牢、玄武、勾陈者，月中黑道也。<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> <br /> 所理之方，所值之日，皆不可兴土功、营屋舍、移徙、远行、嫁娶、出军。”社火花灯──这里指元宵节表演各种杂耍，张挂各种灯笼。 <br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> <br /> 社火：逢年过节百姓举行酬神赛会，表演各种杂耍，以示庆贺，并兼娱乐。 社：土地社。引申以泛指神。鹑(chú n纯)衣──典出《荀子·大略》：“子夏贫，衣若县鹑。”(县：通“悬”。)<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> <br /> 比喻破烂的衣服。因鹌鹑羽稀秃尾，十分难看，故以为喻。笏满床──典出《旧唐书·崔神庆传》：“开元中，神庆子琳等皆至大官，群从数十人，趋奏省闼。每岁时家宴，以一榻置笏，重叠于其上。”<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> <br /> 形容满门为官。 笏：亦名“手板”。是旧时朝臣上朝时手持的一种狭长板子，以象牙或木、竹制成，上面可以记事备忘。<br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> <br /> 陇头──坟头。 陇：通“垄”。坟墓。《礼记·曲礼上》：“适墓不登垄。”郑玄注：“垄，冢也。”<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> <br /> 强梁──典出《墨子·鲁问》：“譬有人于此，其子强梁不材，故其父笞之，其邻家之父举木而击之。”原指为人强横凶暴，胡作非为。引申为强盗。<br /> <br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> <br /> 择膏粱──意谓挑选富贵人家的子弟做女婿。 膏粱：“膏粱子弟”的略称。意谓吃肉类和细粮(泛指精美食物)人家的子弟。<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> <br /> 泛指富贵人家的子弟。“因嫌”二句──嫌纱帽小：意谓嫌官小。纱帽：旧时纱制的官帽。<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> <br /> 锁枷扛：泛指犯罪坐牢。 锁枷：两种刑具。 这两句是说因嫌官小而贪赃枉法，以致犯罪入狱，披枷戴锁。<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> <br /> “昨怜”二句──紫蟒：绣蟒紫袍。以其为旧时高官之礼服，故借喻高官。 这两句是说从贫穷到富贵只是转眼间的事。喻世事变幻无常。<br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> <br /> 反认他乡是故乡──意谓人生在世，不过是匆匆过客，而人们却当作了自己的故乡，以至忙忙碌碌，争名夺利。等到呜呼哀哉，还是赤条条一身而去。所以下文说“甚荒唐，到头来，都是为他人作嫁衣裳”。<br /> <br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> <br /> 面善──面熟。 善：熟悉，知道，了解。《礼记·学记》：“不陵节而施之谓孙(逊)，相观而善之谓摩。”孔颖达疏：“善，犹解也。”<br /> <br /> ==Nadia 202011080004==<br /> <br /> 贾夫人仙逝扬州城，冷子兴演说荣国府<br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> <br /> 却说封肃听见公差传唤，忙出来陪笑启问。<br /> <br /> ==Mariam toure 2020GBJ002301==<br /> <br /> 那些人只嚷：“快请出甄爷来！”<br /> <br /> ==Rouabah Soumaya 202121080001==<br /> <br /> 封肃忙陪笑道：“小人姓封，并不姓甄。<br /> <br /> ==Muhammad Numan 202121080002==<br /> <br /> 只有当日小婿姓甄，今已出家一二年了。<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> <br /> 不知可是问他？”<br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> <br /> 那些公人道：“我们也不知什么真假，既是你的女婿，就带了你去面禀太爷便了。”<br /> <br /> ==Zohaib Chand 202121080005==<br /> <br /> 大家把封肃推拥而去。<br /> <br /> ==Jawad Ahmad 202121080006==<br /> <br /> 封家各各惊慌，不知何事。<br /> <br /> ==Nizam Uddin 202121080007==<br /> <br /> 至二更时分，封肃方回来。<br /> <br /> ==Öncü 202121080008==<br /> <br /> 众人忙问端的，他说道：“原来新任太爷姓贾名化，本湖州人氏，曾与女婿旧交。<br /> <br /> ==Akira Jantarat 202121080009==<br /> <br /> 因在我家门首看见娇杏丫头买线，只说女婿移住此间，所以来传。<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> <br /> 我将缘故回明，那太爷感伤叹息了一回。<br /> <br /> ==Asep Budiman 202111080020==<br /> <br /> 又问外孙女儿，我说看灯丢了。<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> <br /> 太爷说：‘不妨，待我差人去，务必找寻回来。’</div>

Zhu Renduo https://bou.de/u/index.php?title=20211215_homework&diff=127731 2021-11-20T14:35:10Z

<p>Zhu Renduo: </p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081493==<br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==<br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> ==Nadia 202011080004==<br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> ==Mariam toure 2020GBJ002301==<br /> ==Rouabah Soumaya 202121080001==<br /> ==Muhammad Numan 202121080002==<br /> ==Atta Ur Rahman 202121080003==<br /> ==Muhammad Saqib Mehran 202121080004==<br /> ==Zohaib Chand 202121080005==<br /> ==Jawad Ahmad 202121080006==<br /> ==Nizam Uddin 202121080007==<br /> ==Öncü 202121080008==<br /> ==Akira Jantarat 202121080009==<br /> ==Benjamin Wellsand 202111080118==<br /> ==Asep Budiman 202111080020==<br /> ==Ei Mon Kyaw 202111080021==</div>

Zhu Renduo https://bou.de/u/index.php?title=20211208_homework&diff=127730 2021-11-20T14:34:41Z

<p>Zhu Renduo: </p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081493==<br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==<br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> ==Nadia 202011080004==<br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> ==Mariam toure 2020GBJ002301==<br /> ==Rouabah Soumaya 202121080001==<br /> ==Muhammad Numan 202121080002==<br /> ==Atta Ur Rahman 202121080003==<br /> ==Muhammad Saqib Mehran 202121080004==<br /> ==Zohaib Chand 202121080005==<br /> ==Jawad Ahmad 202121080006==<br /> ==Nizam Uddin 202121080007==<br /> ==Öncü 202121080008==<br /> ==Akira Jantarat 202121080009==<br /> ==Benjamin Wellsand 202111080118==<br /> ==Asep Budiman 202111080020==<br /> ==Ei Mon Kyaw 202111080021==</div>

Zhu Renduo https://bou.de/u/index.php?title=20211201_homework&diff=127729 2021-11-20T14:34:07Z

<p>Zhu Renduo: </p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081493==<br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==<br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> ==Nadia 202011080004==<br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> ==Mariam toure 2020GBJ002301==<br /> ==Rouabah Soumaya 202121080001==<br /> ==Muhammad Numan 202121080002==<br /> ==Atta Ur Rahman 202121080003==<br /> ==Muhammad Saqib Mehran 202121080004==<br /> ==Zohaib Chand 202121080005==<br /> ==Jawad Ahmad 202121080006==<br /> ==Nizam Uddin 202121080007==<br /> ==Öncü 202121080008==<br /> ==Akira Jantarat 202121080009==<br /> ==Benjamin Wellsand 202111080118==<br /> ==Asep Budiman 202111080020==<br /> ==Ei Mon Kyaw 202111080021==</div>

Zhu Renduo https://bou.de/u/index.php?title=20211124_homework&diff=127728 2021-11-20T14:32:47Z

<p>Zhu Renduo: </p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> <br /> 我很纳闷：《不自弃文》是篇名，《姬子》是书名，应该同等对待，要么都予注释，要么都不注释，为什么一注一不注呢？难道前者生僻而需要注释，后者人所共知而不必注释吗？显然不是，只能说是避难就易，这与注释的宗旨完全背道而驰。<br /> <br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> <br /> 那怕注为“《姬子》不详”，也还不失为态度诚实。老实说，起初我对《姬子》也一头雾水，因为见所未见，闻所未闻。但根据我自定的注释原则，我不能回避。<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> <br /> 于是我首先求助于《中国古典数字工程》，肯定了中国根本不存在《姬子》这么一本书，完全是曹雪芹所杜撰，正如《古今人物通考》、《中国历代文选》都是曹雪芹杜撰一样。其次，我记得俞平伯先生有一篇专门解释《姬子》的文章，但文章的题目、发表时间以及文章内容却不记得了。经过两天的翻箱倒柜，我终于找到了这篇文章，它的题目是《读〈红楼梦〉随笔》第九节《姬子》，初载于《文汇报》1954年1月25日；又收入《红楼梦研究参考资料选辑》第二辑，人民文学出版社1973年11月出版。<br /> <br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> <br /> 据俞先生在文章中说：姬子书到底是部什么书呢，谁也说不上来。特别前些日子把这一回书选为高中国文的教材，教员讲解时碰到问题，每来信相询，我亦不能对。但经过研究，他还是写了这篇文章，作为回答。<br /> <br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> <br /> 他的结论有三点：其一，《姬子》是“作者杜撰”，并以第三回的《古今人物通考》也是杜撰而作为佐证。其二，“这原来是一个笑话”，是探春“拿姬子来抵制”宝钗用以压人的朱子和孔子，而“比朱子孔子再大，只好是姬子了。殆以周公姓姬，作为顽笑”。<br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> <br /> 其三，“有人或者要问为什么净瞎捣乱，造书名？我回答：这是小说。”《中国古典数字工程》可以证明俞先生的“杜撰说”是正确的，因此我把俞先生的意见用以注释《姬子》。<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> <br /> 据我所知，现在有人搜集了周公的几篇佚文，将其编为集子，按照《老子》、《庄子》、《孟子》之类的惯例，即命名为《姬子》，但这与曹雪芹毫不相干，《红楼梦》中的《姬子》书名绝对是杜撰。此外，有的注本虽然对《不自弃文》作了注释，却只是简述该文的大意，而没有注出曹雪芹的深刻用意。原来朱熹的徒子徒孙认为此文格调低下，有失朱夫子的身份，故将此文排除在众多朱熹文集之外，只有明·朱培编《文公大全集补遗》卷八从抄本《朱熹家谱》中引录，另有《朱子文集大全类编·卷二一·庭训》亦予收录。<br /> <br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> <br /> 曹雪芹借宝钗之口说出这篇少见的文章，一则以显示宝钗无书不读，再者也暗示自己博览群籍，同时也对那些自封的朱熹卫士予以调侃。可见曹雪芹即使开玩笑，也非闲笔，总有一定的用意。（详见注释）鉴于所要注释的词语性质不同，因此对注文的要求也有所不同。<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> <br /> 其一，对于一般的疑难词语，重在疏通文意，多不引经据典，追根溯源。其二，对于成语、典故，则既要注明其出典，又要解释其本义，还要说明其引申义或比喻义。其三，对于各种名物（如建筑、服饰、官署、官职、琴棋书画、医卜星相等），则力求变专门术语为通俗语言，以利读者理解。<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> <br /> 其四，对于历史名人，则注明其所在朝代、简历及突出事迹。对于传说人物，则注明其出处及相关故事。其五，对于珍禽异兽、奇花异卉等，则注明其出处来历、奇异之处及相关故事。<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> <br /> 其六，对于风俗、礼仪、节气等，则注明其形成沿革、具体内容。其七，对于谜语，则既要揭出谜底，又要解释谜语中的疑难词语、成语典故，还要说明谜底的根据。对于酒令，则要参照令谱，详述酒令的玩法及过程。<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> <br /> 其八，对于所引前人诗、词、曲、文等，皆要注明出处；诗、词、曲照录全文，文则节录相关的文字。其九，对于具有隐寓或暗示意味的诗、词、曲、文、成语、典故、谜语、酒令等，因其关系到故事情节的发展和人物性格、运命的描写，故除了作注释之外，还要揭示其隐藏的含义。总而言之，注文以释难为易、释疑为明为宗旨，以释义准确、释文简炼为目标。<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> <br /> 愿望虽然如此，但学力有限，经验欠缺，愿望能否实现，毫无把握。诚望方家指教，读者检验。<br /> <br /> 第一回 甄士隐梦幻识通灵 贾雨村风尘怀闺秀<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> <br /> 此开卷第一回也。作者自云：曾历过一番梦幻之后，故将真事隐去，而借“通灵”之说，撰此《石头记》一书也，故曰“甄士隐”云云。但书中所记何事何人<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> <br /> 自己又云：“今风尘碌碌，一事无成。忽念及当日所有之女子，一一细考较去，觉其行止见识，皆出我之上；我堂堂须眉，诚不若彼裙钗：我实愧则有馀，悔又无益，大无可如何之日也。当此日，欲将已往所赖天恩祖德，锦衣纨袴之时，饫甘餍肥之日，背父兄教育之恩，负师友规训之德，以致今日一技无成、半生潦倒之罪，编述一集，以告天下：知我之负罪固多，然闺阁中历历有人，万不可因我之不肖，自护己短，一并使其泯灭也。<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> <br /> 所以蓬牖茅椽，绳床瓦灶，并不足妨我襟怀；况那晨风夕月，阶柳庭花，更觉得润人笔墨。我虽不学无文，又何妨用假语村言敷演出来，亦可使闺阁昭传，复可破一时之闷，醒同人之目，不亦宜乎？”故曰“贾雨村”云云。<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081493==<br /> <br /> 更于篇中间用“梦”、“幻”等字，却是此书本旨，兼寓提醒阅者之意。看官：你道此书从何而起？说来虽近荒唐，细玩颇有趣味。<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> <br /> 却说那女娲氏炼石补天之时，于大荒山无稽崖，炼成高十二丈、见方二十四丈大的顽石三万六千五百零一块，那娲皇只用了三万六千五百块，单单剩下一块未用，弃在青埂峰下。谁知此石自经锻炼之后，灵性已通，自去自来，可大可小。因见众石俱得补天，独自己无才，不得入选，遂自怨自愧，日夜悲哀。一日，正当嗟悼之际，俄见一僧一道远远而来，生得骨格不凡，丰神迥异，来到这青埂峰下，席地坐谈。<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> <br /> 见着这块鲜莹明洁的石头，且又缩成扇坠一般，甚属可爱。那僧托于掌上，笑道：“形体倒也是个灵物了，只是没有实在的好处。须得再镌上几个字，使人人见了，便知你是件奇物。<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> <br /> 然后携你到那昌明隆盛之邦、诗礼簪缨之族、花柳繁华地、温柔富贵乡那里去走一遭。”石头听了大喜，因问：“不知可镌何字？携到何方？望乞明示。”那僧笑道：“你且莫问，日后自然明白。”<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> <br /> 说毕，便袖了，同那道人飘然而去，竟不知投向何方。又不知过了几世几劫，因有个空空道人访道求仙，从这大荒山无稽崖青埂峰下经过，忽见一块大石，上面字迹分明，编述历历。空空道人乃从头一看，原来是无才补天，幻形入世，被那茫茫大士、渺渺真人携入红尘、引登彼岸的一块顽石：上面叙着堕落之乡、投胎之处，以及家庭琐事、闺阁闲情、诗词谜语，倒还全备。<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> <br /> 只是朝代年纪，失落无考。后面又有一偈云：无才可去补苍天，枉入红尘若许年。此系身前身后事，倩谁记去作奇传？<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> <br /> 空空道人看了一回，晓得这石头有些来历，遂向石头说道：“石兄，你这一段故事，据你自己说来，有些趣味，故镌写在此，意欲闻世传奇。据我看来：第一件，无朝代年纪可考；第二件，并无大贤大忠理朝廷、治风俗的善政，其中只不过几个异样女子，或情或痴，或小才微善。我纵然抄去，也算不得一种奇书。”<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> <br /> 石头果然答道：“我师何必太痴？我想历来野史的朝代，无非假借汉、唐的名色；莫如我这石头所记，不借此套，只按自己的事体情理，反倒新鲜别致。况且那野史中，或讪谤君相，或贬人妻女，奸淫凶恶，不可胜数；更有一种风月笔墨，其淫秽污臭，最易坏人子弟。<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> <br /> 至于才子佳人等书，则又开口文君，满篇子建，千部一腔，千人一面，且终不能不涉淫滥。在作者不过要写出自己的两首情诗艳赋来，故假捏出男女二人名姓；又必旁添一小人拨乱其间，如戏中小丑一般。更可厌者，之乎者也，非理即文，大不近情，自相矛盾。<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> <br /> 竟不如我这半世亲见亲闻的几个女子，虽不敢说强似前代书中所有之人，但观其事迹原委，亦可消愁破闷；至于几首歪诗，也可以喷饭供酒。其间离合悲欢，兴衰际遇，俱是按迹循踪，不敢稍加穿凿，至失其真。只愿世人当那醉馀睡醒之时，或避事消愁之际，把此一玩，不但是洗旧翻新，却也省了些寿命筋力，不更去谋虚逐妄了。<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 我师意为如何？”空空道人听如此说，思忖半晌，将这《石头记》再检阅一遍。因见上面大旨不过谈情，亦只是实录其事，绝无伤时诲淫之病，方从头至尾抄写回来，闻世传奇。<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> <br /> 从此空空道人因空见色，由色生情，传情入色，自色悟空，遂改名情僧，改《石头记》为《情僧录》。东鲁孔梅溪题曰《风月宝鉴》。后因曹雪芹于悼红轩中披阅十载，增删五次，纂成目录，分出章回，又题曰《金陵十二钗》，并题一绝。<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> <br /> 即此便是《石头记》的缘起。诗云：满纸荒唐言，一把辛酸泪。都云作者痴，谁解其中味?<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> <br /> 《石头记》缘起既明，正不知那石头上面记着何人何事？看官请听。按那石上书云：当日地陷东南，这东南有个姑苏城，城中阊门最是红尘中一二等富贵风流之地。<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> <br /> 这阊门外有个十里街，街内有个仁清巷，巷内有个古庙，因地方狭窄，人皆呼作“葫芦庙”。庙旁住着一家乡宦，姓甄名费，字士隐；嫡妻封氏，性情贤淑，深明礼义。家中虽不甚富贵，然本地也推他为望族了。<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> <br /> 因这甄士隐禀性恬淡，不以功名为念，每日只以观花种竹、酌酒吟诗为乐，倒是神仙一流人物。只是一件不足：年过半百，膝下无儿；只有一女，乳名英莲，年方三岁。一日炎夏永昼，士隐于书房闲坐，手倦抛书，伏几盹睡，不觉矇眬中走至一处，不辨是何地方。<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> <br /> 忽见那厢来了一僧一道，且行且谈。只听道人问道：“你携了此物，意欲何往？”那僧笑道：“你放心。如今现有一段风流公案，正该了结，这一干风流冤家，尚未投胎人世。<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> <br /> 趁此机会，就将此物夹带于中，使他去经历经历。”那道人道：“原来近日风流冤家又将造劫历世，但不知起于何处，落于何方？”那僧道：“此事说来好笑。<br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> <br /> 只因当年这个石头，娲皇未用，自己却也落得逍遥自在，各处去游玩。一日来到警幻仙子处，那仙子知他有些来历，因留他在赤霞宫中，名他为赤霞宫神瑛侍者。他却常在西方灵河岸上行走，看见那灵河岸上三生石畔有棵绛珠仙草，十分娇娜可爱，遂日以甘露灌溉，这绛珠草始得久延岁月。<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> <br /> 后来既受天地精华，复得甘露滋养，遂脱了草木之胎，幻化人形，仅仅修成女体，终日游于离恨天外，饥餐秘情果，渴饮灌愁水。只因尚未酬报灌溉之德，故甚至五内郁结着一段缠绵不尽之意。常说：‘自己受了他雨露之惠，我并无此水可还。<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> <br /> 他若下世为人，我也同去走一遭，但把我一生所有的眼泪还他，也还得过了。’因此一事，就勾出多少风流冤家都要下凡，造历幻缘，那绛珠仙草也在其中。今日这石正该下世，我来特地将他仍带到警幻仙子案前，给他挂了号，同这些情鬼下凡，一了此案。”<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> <br /> 那道人道：“果是好笑，从来不闻有‘还泪’之说。趁此，你我何不也下世度脱几个，岂不是一场功德？”那僧道：“正合吾意。你且同我到警幻仙子宫中，将这蠢物交割清楚，待这一干风流孽鬼下世，你我再去。如今有一半落尘，然犹未全集。”<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> <br /> 道人道：“既如此，便随你去来。”却说甄士隐俱听得明白，遂不禁上前施礼，笑问道：“二位仙师请了。”那僧、道也忙答礼相问。<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> <br /> 士隐因说道：“适闻仙师所谈因果，实人世罕闻者。但弟子愚拙，不能洞悉明白。若蒙大开痴顽，备细一闻，弟子洗耳谛听，稍能警省，亦可免沉沦之苦了。”<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> <br /> 二仙笑道：“此乃玄机，不可预泄。到那时只不要忘了我二人，便可跳出火坑矣。”士隐听了，不便再问，因笑道：“玄机固不可泄露，但适云‘蠢物’，不知为何？或可得见否？”那僧说：“若问此物，倒有一面之缘。”<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> <br /> 说着取出，递与士隐。士隐接了看时，原来是块鲜明美玉，上面字迹分明，镌着“通灵宝玉”四字，后面还有几行小字。正欲细看时，那僧便说已到幻境，就强从手中夺了去。<br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==<br /> <br /> 和那道人竟过了一座大石牌坊，上面大书四字，乃是“太虚幻境”。两边又有一副对联道：假作真时真亦假，无为有处有还无。士隐意欲也跟着过去，方举步时，忽听一声霹雳，若山崩地陷。<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> <br /> 士隐大叫一声，定睛看时，只见烈日炎炎，芭蕉冉冉，梦中之事便忘了一半。又见奶母抱了英莲走来。士隐见女儿越发生得粉装玉琢，乖觉可喜，便伸手接来，抱在怀中，斗他玩耍一会。<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> <br /> 又带至街前，看那过会的热闹。方欲进来时，只见从那边来了一僧一道：那僧癞头跣足，那道跛足蓬头，疯疯癫癫，挥霍谈笑而至。及到了他门前，看见士隐抱着英莲，那僧便大哭起来，又向士隐道：“施主，你把这有命无运、累及爹娘之物抱在怀内作甚？”<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> <br /> 士隐听了，知是疯话，也不睬他。那僧还说：“舍我罢，舍我罢。”士隐不耐烦，便抱着女儿转身。<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> <br /> 才要进去，那僧乃指着他大笑，口内念了四句言词，道是：惯养娇生笑你痴，菱花空对雪澌澌。好防佳节元宵后，便是烟消火灭时。<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> <br /> 士隐听得明白，心下犹豫，意欲问他来历，只听道人说道：“你我不必同行，就此分手，各干营生去罢。三劫后，我在北邙山等你，会齐了，同往太虚幻境销号。”那僧道：“最妙，最妙。”<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> <br /> 说毕，二人一去，再不见个踪影了。士隐心中此时自忖：“这两个人必有来历，很该问他一问，如今后悔却已晚了。”这士隐正在痴想，忽见隔壁葫芦庙内寄居的一个穷儒，姓贾名化、表字时飞、别号雨村的走来。<br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> <br /> 这贾雨村原系湖州人氏，也是诗书仕宦之族。因他生于末世，父母祖宗根基已尽，人口衰丧，只剩得他一身一口。在家乡无益，因进京求取功名，再整基业。<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> <br /> 自前岁来此，又淹蹇住了，暂寄庙中安身，每日卖文作字为生，故士隐常与他交接。当下雨村见了士隐，忙施礼陪笑道：“老先生倚门伫望，敢街市上有甚新闻么？”士隐笑道：“非也。适因小女啼哭，引他出来作耍。正是无聊的很，贾兄来得正好，请入小斋，彼此俱可消此永昼。”<br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> <br /> 说着，便令人送女儿进去。自携了雨村来至书房中，小童献茶。方谈得三五句话，忽家人飞报：“严老爷来拜。”<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> <br /> 士隐慌忙起身谢道：“恕诓驾之罪。且请略坐，弟即来奉陪。”雨村起身也让道：“老先生请便。晚生乃常造之客，稍候何妨！”说着，士隐已出前厅去了。<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> <br /> 这里雨村且翻弄诗籍解闷，忽听得窗外有女子嗽声。雨村遂起身往外一看，原来是一个丫鬟在那里掐花儿：生的仪容不俗，眉目清秀，虽无十分姿色，却也有动人之处。雨村不觉看得呆了。那甄家丫鬟掐了花儿，方欲走时，猛抬头见窗内有人：敝巾旧服，虽是贫窘，然生得腰圆背厚，面阔口方，更兼剑眉星眼，直鼻方腮。<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> <br /> 这丫鬟忙转身回避，心下自想：“这人生的这样雄壮，却又这样褴褛。我家并无这样贫窘亲友，想他定是主人常说的什么贾雨村了。怪道又说他必非久困之人，每每有意帮助周济他，只是没什么机会。”如此一想，不免又回头一两次。雨村见他回头，便以为这女子心中有意于他，遂狂喜不禁，自谓此女子必是个巨眼英豪，风尘中之知己。<br /> <br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> <br /> 一时小童进来，雨村打听得前面留饭，不可久待，遂从夹道中，自便门出去了。士隐待客既散，知雨村已去，便也不去再邀。一日，到了中秋佳节。<br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> <br /> 士隐家宴已毕，又另具一席于书房，自己步至庙中来邀雨村。原来雨村自那日见了甄家丫鬟曾回顾他两次，自谓是个知己，便时刻放在心上。今又正值中秋，不免对月有怀，因而口占五言一律云：<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> <br /> 未卜三生愿，频添一段愁。闷来时敛额，行去几回头。自顾风前影，谁堪月下俦？蟾光如有意，先上玉人楼。<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> <br /> 雨村吟罢，因又思及平生抱负，苦未逢时，乃又搔首对天长叹，复高吟一联云：玉在椟中求善价，钗于奁内待时飞。恰值士隐走来听见，笑道：“雨村兄真抱负不凡也！”<br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> <br /> 雨村忙笑道：“不敢。不过偶吟前人之句，何期过誉如此！”因问：“老先生何兴至此？”士隐笑道：“今夜中秋，俗谓团圆之节。想尊兄旅寄僧房，不无寂寥之感。故特具小酌，邀兄到敝斋一饮。不知可纳芹意否？”<br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> <br /> 雨村听了，并不推辞，便笑道：“既蒙谬爱，何敢拂此盛情！”说着，便同士隐复过这边书院中来了。须臾茶毕，早已设下杯盘，那美酒佳肴，自不必说。<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> <br /> 二人归坐，先是款酌慢饮；渐次谈至兴浓，不觉飞觥献斝起来。当时街坊上家家箫管，户户笙歌；当头一轮明月，飞彩凝辉。二人愈添豪兴，酒到杯干。<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> <br /> 雨村此时已有七八分酒意，狂兴不禁，乃对月寓怀，口占一绝云：时逢三五便团圆，满把清光护玉栏。天上一轮才捧出，人间万姓仰头看。士隐听了，大叫：“妙极！弟每谓兄必非久居人下者，今所吟之句，飞腾之兆已现，不日可接履于云霄之上了。可贺，可贺！”<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> <br /> 乃亲斟一斗为贺。雨村饮干，忽叹道：“非晚生酒后狂言，若论时尚之学，晚生也或可去充数挂名。只是如今行李路费，一概无措，神京路远，非赖卖字撰文，即能到得。”士隐不待说完，便道：“兄何不早言？弟已久有此意，但每遇兄时，并未谈及，故未敢唐突。今既如此，弟虽不才，‘义利’二字，却还识得。且喜明岁正当大比，兄宜作速入都，春闱一捷，方不负兄之所学。其盘费馀事，弟自代为处置，亦不枉兄之谬识矣。”<br /> <br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> <br /> 当下即命小童进去，速封五十两白银并两套冬衣。又云：“十九日乃黄道之期，兄可即买舟西上。待雄飞高举，明冬再晤，岂非大快之事！”雨村收了银、衣，不过略谢一语，并不介意，仍是吃酒谈笑。<br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> <br /> 那天已交三鼓，二人方散。士隐送雨村去后，回房一觉，直至红日三竿方醒。因思昨夜之事，意欲写荐书两封与雨村，带至都中去，使雨村投谒个仕宦之家，为寄身之地。<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> <br /> 因使人过去请时，那家人回来说：“和尚说：贾爷今日五鼓已进京去了，也曾留下话与和尚转达老爷，说：‘读书人不在黄道黑道，总以事理为要，不及面辞了。’”士隐听了，也只得罢了。真是闲处光阴易过，倏忽又是元宵佳节。<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> <br /> 士隐令家人霍启抱了英莲，去看社火花灯。半夜中霍启因要小解，便将英莲放在一家门槛上坐着。待他小解完了来抱时，那有英莲的踪影。<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> <br /> 急的霍启直寻了半夜，至天明不见。那霍启也不敢回来见主人，便逃往他乡去了。那士隐夫妇见女儿一夜不归，便知有些不好。再使几人去找寻，回来皆云影响全无。<br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> <br /> 夫妻二人半世只生此女，一旦失去，何等烦恼，因此昼夜啼哭，几乎不顾性命。看看一月，士隐已先得病，夫人封氏也因思女搆疾，日日请医问卦。不想这日三月十五，葫芦庙中炸供，那和尚不小心，油锅火逸，便烧着窗纸。<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> <br /> 此方人家俱用竹篱木壁，也是劫数应当如此，于是接二连三，牵五挂四，将一条街烧得如火焰山一般。彼时虽有军民来救，那火已成了势了，如何救得下，直烧了一夜方熄，也不知烧了多少人家。只可怜甄家在隔壁，早成了一堆瓦砾场了，只有他夫妇并几个家人的性命不曾伤了，急的士隐惟跌足长叹而已。<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> <br /> 与妻子商议，且到田庄上去住。偏值近年水旱不收，贼盗蜂起，官兵剿捕，田庄上又难以安身。只得将田地都折变了，携了妻子与两个丫鬟，投他岳丈家去。<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> <br /> 他岳丈名唤封肃，本贯大如州人氏，虽是务农，家中却还殷实。今见女婿这等狼狈而来，心中便有些不乐。幸而士隐还有折变田产的银子在身边，拿出来托他随便置买些房地，以为后日衣食之计。<br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> <br /> 那封肃便半用半赚的，略与他些薄田破屋。士隐乃读书之人，不惯生理稼穑等事，勉强支持了一二年，越发穷了。封肃见面时，便说些现成话儿；且人前人后，又怨他不会过，只一味好吃懒做。<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> <br /> 士隐知道了，心中未免悔恨；再兼上年惊唬，急忿怨痛：暮年之人，那禁得贫病交攻，竟渐渐的露出那下世的光景来。可巧这日拄了拐，扎挣到街前散散心时，忽见那边来了一个跛足道人，疯狂落拓，麻鞋鹑衣，口内念着几句言词道：<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> <br /> 世人都晓神仙好，惟有功名忘不了。古今将相在何方？荒冢一堆草没了。世人都晓神仙好，只有金银忘不了。终朝只恨聚无多，及到多时眼闭了。<br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> <br /> 世人都晓神仙好，只有姣妻忘不了。君生日日说恩情，君死又随人去了。世人都晓神仙好，只有儿孙忘不了。痴心父母古来多，孝顺子孙谁见了？<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> <br /> 士隐听了，便迎上来道：“你满口说些什么？只听见些‘好’、‘了’，‘好’、‘了’。”那道人笑道：“你若果听见‘好’、‘了’二字，还算你明白。可知世上万般，好便是了，了便是好：若不了，便不好；若要好，须是了。我这歌儿便叫《好了歌》。<br /> ”<br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> <br /> 士隐本是有夙慧的，一闻此言，心中早已悟彻，因笑道：“且住，待我将你这《好了歌》注解出来何如？”道人笑道：“你就请解。”士隐乃说道：陋室空堂，当年笏满床。<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> <br /> 衰草枯杨，曾为歌舞场。蛛丝儿结满雕梁，绿纱今又在蓬窗上。说甚么脂正浓，粉正香，如何两鬓又成霜？<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> <br /> 昨日黄土陇头埋白骨，今宵红绡帐底卧鸳鸯。金满箱，银满箱，转眼乞丐人皆谤。正叹他人命不长，那知自己归来丧。<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> <br /> 训有方，保不定日后作强梁；择膏粱，谁承望流落在烟花巷。因嫌纱帽小，致使锁枷扛；昨怜破袄寒，今嫌紫蟒长。乱烘烘，你方唱罢我登场，反认他乡是故乡。<br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> <br /> 甚荒唐，到头来，都是为他人作嫁衣裳。那疯跛道人听了，拍掌大笑道：“解得切，解得切！”士隐便说一声：“走罢。”<br /> <br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> <br /> 将道人肩上的搭裢抢过来背上，竟不回家，同着疯道人飘飘而去。当下哄动街坊，众人当作一件新闻传说。封氏闻知此信，哭个死去活来。<br /> <br /> ==Nadia 202011080004==<br /> <br /> 只得与父亲商议，遣人各处访寻，那讨音信。<br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> <br /> 无奈何，只得依靠着他父母度日。<br /> <br /> ==Mariam toure 2020GBJ002301==<br /> <br /> 幸而身边还有两个旧日的丫鬟伏侍，主仆三人，日夜作些针线，帮着父亲用度。<br /> <br /> ==Rouabah Soumaya 202121080001==<br /> <br /> 那封肃虽然每日抱怨，也无可奈何了。<br /> <br /> ==Muhammad Numan 202121080002==<br /> <br /> 这日那甄家的大丫鬟在门前买线，忽听得街上喝道之声。<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> <br /> 众人都说：“新太爷到任了。”<br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> <br /> 丫鬟隐在门内看时，只见军牢、快手一对一对过去，俄而大轿内抬着一个乌帽猩袍的官府来了。<br /> <br /> ==Zohaib Chand 202121080005==<br /> <br /> 那丫鬟倒发了个怔，自思：“这官儿好面善，倒像在那里见过的。”<br /> <br /> ==Jawad Ahmad 202121080006==<br /> <br /> 于是进入房中，也就丢过，不在心上。<br /> <br /> ==Nizam Uddin 202121080007==<br /> <br /> 至晚间正待歇息之时，忽听一片声打的门响，许多人乱嚷，说：“本县太爷的差人来传人问话！”<br /> <br /> ==Öncü 202121080008==<br /> <br /> 封肃听了，唬得目瞪口呆。<br /> <br /> ==Akira Jantarat 202121080009==<br /> <br /> 不知有何祸事，且听下回分解。<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> <br /> 通灵──“通灵宝玉”的简称。<br /> <br /> ==Asep Budiman 202111080020==<br /> <br /> 亦即下文所说女娲炼石补天所剩的那块“顽石”，因其历经锻炼而“灵性已通”，并能幻化为贾宝玉，故称。<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> <br /> 《石头记》──此书的本名。</div>

Zhu Renduo https://bou.de/u/index.php?title=Comparative_Studies_in_Translation&diff=127434 2021-11-17T04:32:10Z

<p>Zhu Renduo: </p> <hr /> <div>'''Comparative Studies in Translation'''<br /> <br /> [[Comparative_Studies_in_Translation|Overview Page of Comparative Studies in Translation]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Comp_Stud_Trans_EN_1]] [[Comp_Stud_Trans_EN_2]] [[Comp_Stud_Trans_EN_3]] [[Comp_Stud_Trans_EN_4]] [[Comp_Stud_Trans_EN_5]] [[Comp_Stud_Trans_EN_6]] [[Comp_Stud_Trans_EN_7]] [[Comp_Stud_Trans_EN_8]] [[Comp_Stud_Trans_EN_9]] [[Comp_Stud_Trans_EN_10]] [[Comp_Stud_Trans_EN_11]] [[Comp_Stud_Trans_EN_12]] [[Comp_Stud_Trans_EN_13]] [[Comp_Stud_Trans_EN_14]] [[Comp_Stud_Trans_EN_15]] [[Comp_Stud_Trans_EN_16]] [[Comp_Stud_Trans_EN_17]] [[Comp_Stud_Trans_EN_18]] [[Comp_Stud_Trans_EN_19]] [[Comp_Stud_Trans_EN_20]] [[Comp_Stud_Trans_EN_21]] [[Comp_Stud_Trans_EN_22]] [[Comp_Stud_Trans_EN_23]] [[Comp_Stud_Trans_EN_24]] [[Comp_Stud_Trans_EN_25]] [[Comp_Stud_Trans_EN_26]] [[Comp_Stud_Trans_EN_27]] [[Comp_Stud_Trans_EN_28]] [[Comp_Stud_Trans_EN_29]] [[Comp_Stud_Trans_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> <br /> [[Introduction_to_Translation_Studies_2021|Back to Course homepage]]<br /> <br /> [[20220112_final_exam|Back to Final Exam paper overview]]<br /> <br /> <br /> <br /> <br /> =Contents=<br /> <br /> =1 The book: A Comparative Study of Translation Between Chinese and Western Cultures=<br /> [[Comp_Stud_Trans_EN_1]] <br /> ==1.1 Introduction==<br /> ==1.2 Preface==<br /> =2 A Comparative Study of Chinese and English Translation Philosophy: Taking Ontology and Translator’s Subjectivity as Examples 罗安怡 LuoAnyi=<br /> [[Comp_Stud_Trans_EN_2]] <br /> <br /> 3 <br /> <br /> =4 A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎 Zhu Renduo=<br /> [[Comp_Stud_Trans_EN_4]] <br /> =5 马新 A Comparative Study of Translation from Domestication to Foreignization-A Case Study of Idiom Translation=<br /> [[Comp_Stud_Trans_EN_5]]</div>

Zhu Renduo https://bou.de/u/index.php?title=Comparative_Studies_in_Translation&diff=127433 2021-11-17T04:24:57Z

<p>Zhu Renduo: /* 2 A Comparative Study of Chinese and English Translation Philosophy: Taking Ontology and Translator’ s Subjectivity as Examples 罗安怡 LuoAnyi */</p> <hr /> <div>'''Comparative Studies in Translation'''<br /> <br /> [[Comparative_Studies_in_Translation|Overview Page of Comparative Studies in Translation]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Comp_Stud_Trans_EN_1]] [[Comp_Stud_Trans_EN_2]] [[Comp_Stud_Trans_EN_3]] [[Comp_Stud_Trans_EN_4]] [[Comp_Stud_Trans_EN_5]] [[Comp_Stud_Trans_EN_6]] [[Comp_Stud_Trans_EN_7]] [[Comp_Stud_Trans_EN_8]] [[Comp_Stud_Trans_EN_9]] [[Comp_Stud_Trans_EN_10]] [[Comp_Stud_Trans_EN_11]] [[Comp_Stud_Trans_EN_12]] [[Comp_Stud_Trans_EN_13]] [[Comp_Stud_Trans_EN_14]] [[Comp_Stud_Trans_EN_15]] [[Comp_Stud_Trans_EN_16]] [[Comp_Stud_Trans_EN_17]] [[Comp_Stud_Trans_EN_18]] [[Comp_Stud_Trans_EN_19]] [[Comp_Stud_Trans_EN_20]] [[Comp_Stud_Trans_EN_21]] [[Comp_Stud_Trans_EN_22]] [[Comp_Stud_Trans_EN_23]] [[Comp_Stud_Trans_EN_24]] [[Comp_Stud_Trans_EN_25]] [[Comp_Stud_Trans_EN_26]] [[Comp_Stud_Trans_EN_27]] [[Comp_Stud_Trans_EN_28]] [[Comp_Stud_Trans_EN_29]] [[Comp_Stud_Trans_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> <br /> [[Introduction_to_Translation_Studies_2021|Back to Course homepage]]<br /> <br /> [[20220112_final_exam|Back to Final Exam paper overview]]<br /> <br /> <br /> <br /> <br /> =Contents=<br /> <br /> =1 The book: A Comparative Study of Translation Between Chinese and Western Cultures=<br /> [[Comp_Stud_Trans_EN_1]] <br /> ==1.1 Introduction==<br /> ==1.2 Preface==<br /> =2 A Comparative Study of Chinese and English Translation Philosophy: Taking Ontology and Translator’s Subjectivity as Examples 罗安怡 LuoAnyi=<br /> [[Comp_Stud_Trans_EN_2]] <br /> 3 <br /> <br /> 4<br /> <br /> =5 马新 A Comparative Study of Translation from Domestication to Foreignization-A Case Study of Idiom Translation=<br /> [[Comp_Stud_Trans_EN_5]]</div>

Zhu Renduo https://bou.de/u/index.php?title=Comparative_Studies_in_Translation&diff=127431 2021-11-17T04:23:56Z

<p>Zhu Renduo: </p> <hr /> <div>'''Comparative Studies in Translation'''<br /> <br /> [[Comparative_Studies_in_Translation|Overview Page of Comparative Studies in Translation]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Comp_Stud_Trans_EN_1]] [[Comp_Stud_Trans_EN_2]] [[Comp_Stud_Trans_EN_3]] [[Comp_Stud_Trans_EN_4]] [[Comp_Stud_Trans_EN_5]] [[Comp_Stud_Trans_EN_6]] [[Comp_Stud_Trans_EN_7]] [[Comp_Stud_Trans_EN_8]] [[Comp_Stud_Trans_EN_9]] [[Comp_Stud_Trans_EN_10]] [[Comp_Stud_Trans_EN_11]] [[Comp_Stud_Trans_EN_12]] [[Comp_Stud_Trans_EN_13]] [[Comp_Stud_Trans_EN_14]] [[Comp_Stud_Trans_EN_15]] [[Comp_Stud_Trans_EN_16]] [[Comp_Stud_Trans_EN_17]] [[Comp_Stud_Trans_EN_18]] [[Comp_Stud_Trans_EN_19]] [[Comp_Stud_Trans_EN_20]] [[Comp_Stud_Trans_EN_21]] [[Comp_Stud_Trans_EN_22]] [[Comp_Stud_Trans_EN_23]] [[Comp_Stud_Trans_EN_24]] [[Comp_Stud_Trans_EN_25]] [[Comp_Stud_Trans_EN_26]] [[Comp_Stud_Trans_EN_27]] [[Comp_Stud_Trans_EN_28]] [[Comp_Stud_Trans_EN_29]] [[Comp_Stud_Trans_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> <br /> [[Introduction_to_Translation_Studies_2021|Back to Course homepage]]<br /> <br /> [[20220112_final_exam|Back to Final Exam paper overview]]<br /> <br /> <br /> <br /> <br /> =Contents=<br /> <br /> =1 The book: A Comparative Study of Translation Between Chinese and Western Cultures=<br /> [[Comp_Stud_Trans_EN_1]] <br /> ==1.1 Introduction==<br /> ==1.2 Preface==<br /> =2 A Comparative Study of Chinese and English Translation Philosophy: Taking Ontology and Translator’ s Subjectivity as Examples 罗安怡 LuoAnyi=<br /> [[Comp_Stud_Trans_EN_2]] <br /> 3 <br /> <br /> 4<br /> =5 马新 A Comparative Study of Translation from Domestication to Foreignization-A Case Study of Idiom Translation=<br /> [[Comp_Stud_Trans_EN_5]]</div>

Zhu Renduo https://bou.de/u/index.php?title=Introduction_to_Translation_Studies_2021&diff=127429 2021-11-17T04:14:22Z

<p>Zhu Renduo: /* Final exam class projects */</p> <hr /> <div>Quicklinks: [[Introduction_to_Translation_Studies_2021|This course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|all homework webpages]] [[20220112_final_exam|final exam page]]<br /> <br /> Welcome to our course website '''Introduction to Translation Studies 2021'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is mostly welcome!<br /> <br /> 欢迎访问我们“翻译导论课”的网页。…………<br /> <br /> =Session 1 Sep 26, 2021=<br /> Today is international day of languages!<br /> <br /> Introduction to the course. Organizational things. Working with the Wiki.<br /> ==Organizational Things==<br /> *Please register for the Course Wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. If the name is taken, write &quot;Wang Jianguo1&quot;. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TransStud and edit the contents. You need to edit the course website every week to prepare the upcoming session. <br /> *Please prepare each session during the week before, so that you come prepared to class.<br /> *In the WeChat group, please write your name as &quot;Wang Jianguo 王建国 21级 英语口译&quot;. If possible, please use a profile photo of yourself where you can be recognized. 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、21级、方向）就好。<br /> *We meet Wednesdays 7 pm - 8:40 pm online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). Please leave your camera ON, so that we actually see each other. In the classroom, we also see each other.<br /> *Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.<br /> * Please take the weekly survey http://bit.ly/EU-SURVEY<br /> * Please store the pdf material you get from the teacher. Please prepare the material for each session in advance.<br /> <br /> ==Edits==<br /> Every student is required to edit something every week. This can be:<br /> * Translate any English paragraph on this website from English to Chinese.<br /> * Correct an earlier translation of your fellow student beneath.<br /> * Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.<br /> * Prepare the final exam paper as early as possible by writing a chapter for a book on &quot;History of Translations&quot;, &quot;History of Translation Theories&quot;, &quot;Machine translation - A challenge or a chance for human translators?&quot;, &quot;Culture loaded words&quot;, &quot;The cultural turn in Translation History&quot;, &quot;Appropriateness Theory&quot; ... For this, please organize yourself, find groups who want to write the same book together, and think together about the necessary chapters and the structure etc. of the book. The paper needs to be delivered until November 1. Then we jointly work on copy editing, grading etc.<br /> * The Teaching Assistants should write the grades every week in a table, so that you can see the results of your quizzes/surveys etc., your performance in class and final exam paper grades.<br /> <br /> ==Topics, Sessions and Material==<br /> <br /> '''Which paper or book should I read to prepare my presentation?'''<br /> <br /> Please also mention in this list beneath, '''who''' is presenting the topic with '''ppt''' and '''handout'''.<br /> <br /> 1 Sep 26 Introduction <br /> <br /> 2 Sep 29 Emergence I<br /> *Teacher presentation<br /> <br /> 3 Oct 13 Emergence II<br /> *3a Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社2009:195 pp., here 180-192.<br /> *3b=7c Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017, here the beginning about the emergence<br /> <br /> 4 Oct 20 History of Translation <br /> *4a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.<br /> *4b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.<br /> <br /> 5 Oct 27 Early understanding<br /> <br /> The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until Maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions About principles, strategies etc.<br /> <br /> *5a Holmes, James. 1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam: Rodopi, 1988: 67-80.<br /> *5b Sourcebook Lefevere, Andre. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, 1990.<br /> *5c Textbook Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.<br /> *5d Translation Basics 刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.<br /> <br /> 6 Nov 3 Linguistics and Equivalence (Nida)<br /> *6a Early linguistic theory Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.<br /> *6b Early important understanding Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.<br /> <br /> 7 Nov 10 Translation Studies<br /> *7a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. <br /> *7b Translation Studies 许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.<br /> *7c=3b Tan Zaixi 谭载喜. Translation Studies 翻译学[M]. 武汉：湖北教育出版社，2000年. (the 2nd part contains a lot of English papers)<br /> *7d Categories of Contemporary Western Translation Studies 2002_Pan_Wenguo_潘文国_当代西方的翻译学研究_2002<br /> <br /> 8 Nov 17 Translation Theories<br /> *8a Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.<br /> *8b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.<br /> *8c Contemp. West. theories 廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.<br /> *8d Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *8e Pan_Wenguo_Cont_West_Trans_Stud_当代西方的翻译学研究_兼谈_翻译学的学科性问题_潘文国<br /> <br /> 9 Nov 24 History of Chinese Translation Theories<br /> *9a 陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.<br /> *9b 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.<br /> <br /> 10 Dec 1 Appropriateness Theory<br /> *10a Moratto, Woesler: Current Dynamics, Springer 2021<br /> <br /> 11 Dec 8 Methods and Style<br /> *11a Methods Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.<br /> *11b Style 刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.<br /> *11c Trans_Stud_Problems_and_Methods_翻译学问题与方法<br /> <br /> 12 Dec 15 Theory and Practice <br /> *12a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.<br /> *12b Theory and Practice Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.<br /> *12c Theory and Practice Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.<br /> <br /> 13 Dec 22 Decriptive Studies, Culture, Invisibility, Constructivism<br /> *13a “descriptive” Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia: John BenjaminB Publishing company, 1995.<br /> *13b Culture Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.<br /> *13c Invisibility Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.<br /> *13d Constructivism Research 易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.<br /> *13e Art or Science? Different papers by Huang Zhending Trans_Stud_Art_and_Scient_Theory_翻译学艺术论与科学论的统一<br /> <br /> 14 Dec 29 East-West Comparison<br /> *14a East-West comparison 刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.<br /> *14b English-Chinese TS 蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.<br /> <br /> 15 Jan 5 Review in Preparation of final exam<br /> <br /> 16 Jan 12 Final Exam<br /> <br /> Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.<br /> <br /> *Bassnett, Susan. Translation studies. Routledge, 2013<br /> *Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 <br /> *Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.<br /> *Chen, Fukang. &quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&quot; (1992).<br /> *Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.<br /> *Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.<br /> *Huang, Chending黄振定. &quot;文学翻译评价的科学性及其科学论.&quot; 外国语 4 (1999): 49-56.<br /> *Huang, Chending 黄振定. &quot;翻译学是一门人文科学.&quot; 外语与外语教学 2 (1999): 33-35.<br /> *Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008<br /> *Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.<br /> *Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013<br /> *Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.<br /> *Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.<br /> *Pan Wenguo 潘文国. &quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&quot; 中国翻译 23.1 (2002): 31-34.<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> *Toury, Gideon. &quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&quot; Amsterdam/Philadelphia (1995).<br /> *Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.<br /> *Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Zhao, Wei 赵巍. &quot;翻译学学科性质与研究方法反思.&quot; 解放军外国语学院学报 28.6 (2005): 69-72.<br /> <br /> (We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)<br /> <br /> ==Final exam class projects==<br /> <br /> Please help to edit one of the following book publications (please write your name behind the topics and organize the book with a proposal for the press and a chapter in the form of a journal paper by each participant):<br /> *[[History of Translation Studies]] (Sample from last year.)<br /> *[[History of Translations]] <br /> 刘胜楠 (western translation history in the Middle Age) 李习长 (History of Modern and Contemporary Chinese Translation) 黄柱梁（The translation of Buddihist Sutra in China） 王镇隆 叶维杰 李雯( The Translation theory after the establishment of the People's Republic of China)李怡(Modern Western Translation History) 李新星 刘沛婷(Western Translation history in Renaissance) 刘薇(Contemporary American Translation History) 周俊辉 周玖 钟雨露 钟义菲 魏楚璇(western translation history in the modern and contemporary Age)<br /> *[[History of Translation Theories]] 李瑞洋（Development of Translation Theories in Modern China）、陈心怡 张扬、曾俊霖 张怡然(History of Translation Theories from early Russia to the Soviet Union) 尹媛（The Brief Introduction of American structural school of translation theory) 李双 杨堃 刘运心 魏兆妍(The Development of Humanism Trend in Western Translation Theory) 吴婧悦(History of Translation Theories in the Soviet Union) 杨爱江<br /> *[[Machine translation]] - A challenge or a chance for human translators? 卫怡雯 吴映红 肖毅瑶 王李菲 徐敏赟 颜莉莉 颜静 谢佳芬 熊敏 陈惠妮 蔡珠凤 陈湘琼<br /> *[[Culture loaded words]] 羊叶（中文电影英译字幕中文化负载词的翻译——以《霸王别姬》为例）、谢庆琳、罗曦（The translation methods of culture loaded words） 何芩、孙雅诗、杜莉娜（跨文化交际视角下旅游文本中文化负载词的英汉翻译研究）、宫博雅（俄语成语中文化负载词的中文翻译分析）、周小雪(《药》英日译本中文化负载词的翻译对比研究）、付诗雨（博物馆文物解说词中文化负载词的日译研究）、丁旋(从纽马克翻译理论看许渊冲版《鹊桥仙》中文化负载词的翻译)、高蜜、殷慧珍、程杨、胡舒情<br /> *[[The cultural turn]] in Translation History 金晓童 李爱璇 李文璇 黄锦云 李姗 黄逸妍<br /> *[[Appropriateness Theory]] - Ei Mon Kyaw (Creating Appropriateness Theory). I need more students here. You can write papers criticizing existing theories here and suggest what needs to be improved to develop a new theory! This is cutting edge research here! I expect the best students to participate and we may try to submit the papers to real academic journals!Ei Mon Kyaw (Creating Appropriateness Theory). 殷美达 易扬帆<br /> *[[Translation types, strategies, styles, methods]] 刘晓（纽马克翻译理论指导下旅游文本中翻译策略与翻译技巧的使用——以''Everglades National Park, Florida (Excerpt)''为例） 刘越 毛雅文 毛优（俄语政论语体翻译策略及翻译技巧的使用——以“2019年俄罗斯政府工作报告”为例 彭瑞雪 秦建安（功能对等翻译视角下的鲁迅散文翻译研究——以杨、戴夫妇的《孔乙己》英译本为例） 颜子涵 邝艳丽 阳佳颖 杨柳青<br /> *[[Aesthetic Appreciation of Literary Translations]] 朱素珍 邹岳丽 邱婷婷(Three beauties embodied in Xu Yuanchong's English translation of ''Tang Poetry'')<br /> *[[Translation Theories Apllied to Literary Translations]] 周巧 付红岩 詹若萱（Chinese Translation of Subtitles of &quot;Jane Eyre&quot; from the Perspective of Functional Equivalence Theory）<br /> *[[Comparative Studies in Translation]] 石丽青 牟一心 饶金盈 罗安怡 马新 王逸凡 张秋怡 朱壬铎<br /> <br /> (We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)<br /> <br /> ==Schedule==<br /> Please add your name, presentation form (ppt, handout) and subtopic here.<br /> <br /> '''All sessions''': <br /> *1 Sep 26 Introduction<br /> *2 Sep 29 Emergence I<br /> *3 Oct 13 Emergence II <br /> (中国翻译的起源 The Emergence of Translation Studies in China) ppt by Chen Xiangqiong 陈湘琼 and handout by Xie Qinglin 谢庆琳. <br /> (机器翻译的起源与发展 The Origin of Machine Translation) ppt by Yan Jing 颜静 and handout by Xu Minyun 徐敏赟.<br /> <br /> *4 Oct 20 History of Translation <br /> (中国翻译简史 The Brief History of Chinese Translation) ppt by Hu Shuqing 胡舒情 and handout by Gong Boya 宫博雅. <br /> (西方翻译简史 The Brief History of Western Translation) ppt by Ding Xuan 丁旋 and handout by Fu Shiyu 付诗雨.<br /> (中国译场中佛经翻译的历史 The History of Buddhist Scripture Translation in Chinese Translation Center) PPT by Ye Weijie 叶维杰 and handout by Wang Zhenlong 王镇隆. <br /> (中国诗歌翻译简史 A Brief History of Chinese Poetry Translation) ppt by Rao Jinying 饶金盈 202120081520 and handout by Mou Yixin 牟一心.<br /> (2000年以来的大中华文库翻译历史 The Translation History of Library of Chinese Classics Since 2000) ppt by Zhang Yang 张扬 and handout by Zeng Junlin曾俊霖.<br /> <br /> *5 Oct 27 Early understanding <br /> The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until Maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions About principles, strategies etc.<br /> (佛经翻译的文质之争 The Debates Between Wen and Zhi on Buddhist Scriptures Translation) ppt by He Qin 何芩 202120081489 and handout by Gao Mi高蜜.<br /> (林语堂的翻译 Translation by Lin Yutang) ppt by Xie Jiafen 谢佳芬 and handout by Yan Lili 颜莉莉.<br /> <br /> *6 Nov 3 Linguistics and Equivalence (Nida) &lt;span style=&quot;color:red&quot;&gt;<br /> (J.C.Catford's Translation Equivalence Theory) ppt by Huang Yiyan 黄逸妍 and handout by Huang Jinyun 黄锦云.<br /> (Two Types of Equivalence by Eugene A. Nida) ppt by Du Lina 杜莉娜 and handout by Ma Xin 马新.<br /> (The Three Essences of Functional Equivalence and Its Application) ppt by Yi Yangfan 易扬帆 and handout by Yin Yuan 尹媛.<br /> (Eugene Nida's Principles of Correspondence Theory) ppt by Chen Huini 陈慧妮 and handout by Cai Zhufeng 蔡珠凤.<br /> <br /> *6 Nov 10 Translation Studies<br /> (Newmark)ppt by 李姗 and hanout by 李文璇.<br /> (The name and nature of translation studies) ppt by 刘胜楠 and handout by 李怡.<br /> (Jakobson's translation theory) ppt by 熊敏 and handout by 孙雅诗<br /> () ppt by 肖毅瑶 and handout by 吴映红.<br /> (On Lin Yutang's Translation Aesthetics) ppt by 罗安怡 and handout by 石丽青<br /> () ppt by Mahzad Heydarian and hangdout by Mahzad Heydarian.<br /> <br /> *8 Nov 17 Translation Theories <br /> (Translation Theories of Peter Newmark)ppt by 刘晓 and handout by 刘越<br /> (Translation Theories of George Steiner)ppt by 杨柳青 and handout by 殷慧珍<br /> (严复翻译理论 Translation Theories of YanFu) ppt by王李菲 and handout by 魏楚璇.<br /> (The functional translation theory of Reiss and Vermeer)ppt by 彭瑞雪 and handout by 秦建安.<br /> (Traslation Theoires of Xuyuanchong) ppt by 周清 and handout by 邹岳丽.<br /> <br /> *9 Nov 24 History of Chinese Translation Theories <br /> (中国清代翻译理论史History of Chinese translation theories of Qing Dynasty)ppt by Cheng Yang 程杨 handout by Li Shuang 李双<br /> (Theories after 1912) ppt by 邱婷婷 handout by 卫怡雯<br /> (theory of modern China)ppt by 杨爱江 handout by 杨堃<br /> (五四运动时期的翻译理论The Translation Theories During the Period of the May Fourth Movement)ppt by 李雯 handout by 周小雪<br /> <br /> *10 Dec 1 Appropriateness Theory - this is a new theory suggested by M. Woesler in 2020. Everybody is invited to help to develop this theory or to criticize other theories and suggesting what a new theory (like the appropriateness theory) needs to do better.<br /> <br /> *11 Dec 8 Methods and Style<br /> (增译与减译Addition and Omission) ppt by 周玖 and handout by 周俊辉<br /> (Translation of idoms) ppt by刘运心 and handout by李瑞洋<br /> ()ppt by李爱璇 and handout by金晓童<br /> (翻译方法：直译与意译Translation methods---literal translation and free translation) ppt by 钟义菲 and handout by钟雨露<br /> (翻译方法：异化和归化Translation methods: Foreignization and Domestication)ppt by 陈心怡 and handout by陈静<br /> <br /> *12 Dec 15 Theory and Practice. <br /> (The value and limits of Nida's Functional Equivalence Theory in its Application of Literature) ppt by 詹若萱 and handout by 罗曦<br /> (Catford's Translation Shift Theory and its practice)ppt by 周巧and handout by 朱素珍<br /> (An Analysis of Different Versions on the Basis of the Three Beauties of Xu Yuanchong) ppt by 邝艳丽 and handout by 付红岩<br /> (庞德的翻译理论及其在《华夏集》中的应用 Ezra Pound's translation theory and its application in Cathay) ppt by 张秋怡 and handout by 王逸凡<br /> () Skopos Theory and its Application ppt by 刘沛婷 and handout by 李新星<br /> <br /> *13 Dec 22 Decriptive Studies, Culture, Invisibility, Constructivism<br /> () ppt by 殷美达 and handout by 张怡然<br /> <br /> *14 Dec 29 East-West Comparison<br /> ()ppt by刘薇 and handout by黄柱梁<br /> ()ppt by魏兆妍 and handout by 吴婧悦<br /> ()ppt by阳佳颖 and handout by 颜子涵<br /> ()ppt by毛雅文 and handout by 毛优<br /> *15 Jan 5 Review in Preparation of final exam<br /> *16 Jan 12 Final Exam<br /> <br /> == Homework from Session 1 Sep 26 due on Sep 29, 2021 ==<br /> <br /> 1. Take the survey after session 1: http://bit.ly/EU-SURVEY<br /> <br /> 2. Please fill in the 2nd quiz (to show that you have read the texts for session 2) before session 2. (Will be added later.)<br /> <br /> 3. Every student should translate 1 sentence. Here is the [[20210929_homework|homework page]]. - IN PREPARATION...<br /> <br /> *[[20210929_homework|homework of session 1 for session 2 Sep 29]]<br /> <br /> 4. Help a fellow student to improve his/her translation on that page. The final translation is once more worked over by the teacher, please check your own sentence [[20210929_homework|here]].<br /> <br /> *[[20210929_homework|homework of session 1 for session 2 Sep 29]]<br /> <br /> 5. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!<br /> <br /> ===Homework for later===<br /> 4. Write a final exam paper as a chapter of the book &quot;Translation Studies&quot;, ... It has to be a topic, not yet chosen by any other student in the book. I will upload the book here later. You can participate in writing this book.<br /> <br /> 5. Get familiar with the pdfs I send you on WeChat group as learning material.<br /> <br /> =Session 2, Sep 29: Emergence I=<br /> *Teacher presentation<br /> *Survey http://bit.ly/Eval-01<br /> *Please select a topic to do a ppt or handout on<br /> *Review homework<br /> *Prepare final exam<br /> <br /> ===Homework for this session Sep 29===<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 2 (Emergence I)<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20210929_homework|homework of session 1 for session 2 Sep 29]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> ==Session 2, Sep 29, Topic 1: Emergence I - Emergence in China==<br /> *Teacher presentation: [[Media:Emergence_I.pptx|Teacher presentation on the Emergence of Translation]] by Martin Woesler --[[User:Root|Root]] ([[User talk:Root|talk]]) 11:44, 13 October 2021 (UTC)<br /> <br /> ==Homework for next session Oct 13==<br /> <br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 3 (Emergence II)<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211013_homework|homework of session 2 for session 3 Oct 13]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> *[[20211013_homework|homework of session 2 for session 3 Oct 13]]<br /> <br /> 4. Please write your name behind one of the [[Introduction_to_Translation_Studies_2021#Final_exam_class_projects|book projects]] where you want to write a chapter as your final exam paper. Also indicate the topic of your chapter in this book project.<br /> <br /> 5. (Only for students who do presentation on Oct 13: Emergence II (中国新时期翻译研究发展的起源 The origin of translation studies in China in the new Era) ppt by Chen Xiangqiong 陈湘琼 and handout by Xie Qinglin 谢庆琳. (Emergence of Oral Interpretation) ppt by Shan Gongfei:) Prepare ppt or handout.(机器翻译的起源 The Origin of Machine Translation) handout by Xu Minyun 徐敏赟 202120081535 and powerpoint by Yan Jing 颜静 202120081536.<br /> <br /> =Session 3, Oct 13, Topic 2: Emergence II - Emergence in China=<br /> ==Homework for this session Oct 13==<br /> <br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 3 (Emergence II)<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211013_homework|homework of session 2 for session 3 Oct 13]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> *[[20211013_homework|homework of session 2 for session 3 Oct 13]]<br /> <br /> 4. (Only for students who do presentation on Oct 13:) Prepare ppt or handout.<br /> <br /> ==Presentations in Session 3, Emergence of Translation II==<br /> <br /> *ppt: [[Media:03 Emergence of translations in China by Xie Qinglin.pptx|Presentation on Emergence of translation study in China 中国翻译的起源]] by Chen Xiangqiong 陈湘琼; handout [[Media:03_Xie_Qinglin_Emergence_of_translations_in_China.docx|Emergence of translation studies in China]] by Xie Qinglin 谢庆琳<br /> <br /> Tip: Since the topics are sorted roughly chronologically, this topic should be the emergence of translation rather than emergence of translation studies.<br /> <br /> *ppt: [[Media:The_Origin_of_Machine_Translation_by_Yan_Jing.pptx|Presentation on Origin of Machine Translation 机器翻译的起源与发展]] by Yan Jing 颜静; handout [[Media:The_Origin_of_Machine_Translation_by_Xu_Minyun.docx|Origin of Machine Translation handout]] by Xu Minyun 徐敏赟<br /> <br /> Tip: This topic is also very modern, it should be presented at the end of the semester.<br /> <br /> ==Homework for next session Oct 20==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 3 (Emergence II)<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211020_homework|homework of session 3 for session 4 Oct 20]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Oct 13:) Prepare ppt or handout.<br /> <br /> =Session 4, Oct 20, Topic 3=<br /> ==Homework for this session Oct 20==<br /> <br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 4<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211020_homework|homework of session 3 for session 4 Oct 20]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Oct 20:) Prepare ppt or handout.<br /> <br /> ==Presentations on History of Translation, session 4==<br /> * ppt: [[Media: The brief history of western translation_by_Ding_Xuan.pptx|Presentation on The brief history of western translation]] by Ding Xuan; handout [[Media:The brief history of Western translation.doc| The brief history of western translation]] by Fu Shiyu<br /> *ppt: [[Media: The brief history of Chinese translation.pptx|Presentation on The brief history of Chinese translation]] by Hu Shuqing; handout [[Media:The brief history of Chinese translation_by_Gong_Boya.doc| The brief history of Chinese translation]] by Gong Boya<br /> * ppt:[[Media: A brief history of Chinese poetry translation.pptx|Presentation on A brief history of Chinese poetry translation]] by Rao Jinying; handout: [[Media: A brief history of Chinese poetry translation.doc| A brief history of Chinese poetry translation]] by Mou Yixin<br /> * ppt:[[Media: The Translation history of Library of Chinese Classics Since 2000.pptx|Presentation on The Translation history of Library of Chinese Classics Since 2000]] by Zhang Yang; handout: [[Media: The Translation history of Library of Chinese Classics Since 2000_by_Zeng_Junlin.doc| The Translation history of Library of Chinese Classics]] by Zeng Junlin<br /> * ppt:[[Media: The History of Buddhist Scripture Translation in Chinese Translation Center.pptx|Presentation on The History of Buddhist Scripture Translation in Chinese Translation Center]] by Ye Weijie; handout: [[Media: The History of Buddhist Scripture Translation in Chinese Translation Center.docx| The History of Buddhist Scripture Translation in Chinese Translation Center]] by Wang Zhenlong<br /> <br /> ==Homework for next session Oct 27==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 5<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211027_homework|homework of session 4 for session 5 Oct 27]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Oct 27:) Prepare ppt or handout.<br /> <br /> =Session 5, Oct 27, Topic 4 Early Understanding of Translation (no elaborated theories yet)=<br /> ==Homework for this session Oct 27==<br /> <br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 5<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211027_homework|homework of session 4 for session 5 Oct 27]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Oct 27:) Prepare ppt or handout.<br /> <br /> ==Presentations Oct 27 on Early Understanding==<br /> <br /> * Teacher presentation: [[Media:05_Transl_Studies_Emergence2_History.pptx|Powerpoint for the Sessions 3-5 by Martin Woesler, please download from this link]]<br /> <br /> The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions about principles, strategies etc.<br /> <br /> * ppt: [[Media: Tranlation by Lin Yutang.pptx|Translation by Lin Yutang]] by Xie Jiafen; handout [[Media: Tranlation by Lin Yutang(handout).docx| Translation by Lin Yutang(handout)]] by Yan Lili<br /> * ppt: [[Media: The Debates Between Wen and Zhi on Buddhist Scriptures Translation.pptx|The Debates Between Wen and Zhi on Buddhist Scriptures Translation]] by He Qin; handout [[Media: The Wen-Zhi Debate in the history of sutra translation (handout).docx| The Wen-Zhi Debate in the History of Sutra Translation (handout)]] by Gao Mi<br /> <br /> ==Homework for next session 6, Nov 3==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 6<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211103_homework|homework of session 5 for session 6, Nov 3]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.<br /> <br /> <br /> =Session 6, Nov 3, Topic 5 Translation Equivalence, Nida and Linguistics=<br /> ==Homework for this session Nov 3==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 6<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211103_homework|homework of session 5 for session 6 Nov 3]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.<br /> <br /> ==Presentations Nov 3 on Linguistics and Equivalence(Nida)==<br /> <br /> * ppt: [[Media:J.C.Catford's Translation Equivalence Theory(ppt).pptx|J.C.Catford's Translation Equivalence Theory(ppt)]] by Huang Yiyan; handout [[Media:Translation Equivalence Theory.docx|J.C.Catford's Translation Equivalence Theory]] by Huang Jinyun<br /> * ppt: [[Media:Two Types of Equivalence by Eugene A. Nida(ppt).pptx|Two Types of Equivalence by Eugene A. Nida(ppt)]] by Du Lina; handout [[Media: Two Types of Equivalence by Eugene A. Nida.docx|Two Types of Equivalence by Eugene A. Nida]] by Ma Xin<br /> * ppt: [[Media:The Three Essences of Functional Equivalence and Its Application.pptx|The Three Essences of Functional Equivalence and Its Application]] by Yi Yangfan; handout [[Media: The Three Essences of Functional Equivalence and Its Application.docx|The Three Essences of Functional Equivalence and Its Application]] by Yin Yuan<br /> * ppt: [[Media:Eugene Nida ‘s Principles of Correspondence Theory(ppt).pptx|Eugene Nida ‘s Principles of Correspondence Theory(ppt)]] by Chen Huini; handout [[Media:Eugene Nida ‘s Principles of Correspondence Theory.docx|Eugene Nida ‘s Principles of Correspondence Theory]] by Cai Zhufeng<br /> <br /> ==Homework for next session 7, Nov 10==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 7<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211110_homework|homework of session 6 for session 7, Nov 10]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 10:) Prepare ppt or handout.<br /> <br /> 5. WRITE A DRAFT OF YOUR FINAL EXAM PAPER!<br /> *[[20220112_final_exam|Final Exam paper page]]<br /> <br /> =Session 7, Nov 10, Topic 6 Translation Studies=<br /> ==Homework for this session Nov 10==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 7<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211110_homework|homework of session 6 for session 7 Nov 10]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.<br /> <br /> ==Presentations Nov 10 on Translation Studies==<br /> <br /> * ppt 1: [[Media:The Name and Nature of Translation Studies(ppt).pptx|The Name and Nature of Translation Studies(ppt)]] by Liu Shengnan; handout [[Media: The Name and Nature of Translation Studies.docx| The Name and Nature of Translation Studies]] by Li Yi<br /> <br /> * ppt 2: [[Media:Five Approaches to Translation.pptx|Five Approaches to Translation]] by Li Wenxuan; handout [[Media:Five Approaches to Translation(handout).docx|Five Approaches to Translation()]] by Li Shan<br /> <br /> * ppt 3: [[Media:Principles of Translation(ppt).pptx|Principles of Translation(ppt)]] by Xiao Yiyao; handout [[Media:Principles of Translation.docx|Principles of Translation]] by Wu Yinghong<br /> <br /> * ppt 4: [[Media:Cultural and Ideological Approaches in Translation(ppt).pptx|Cultural and Ideological Approaches in Translation]] by Mahzad Heydarian; handout [[Media:Cultural and Ideological Approaches in Translation.docx| Cultural and Ideological Approaches in Translation ]] by Mahzad Heydarian<br /> <br /> * ppt 5: [[Media:Roman Jacobson's Categories of Translation(ppt).pptx|Roman Jacobson's Categories of Translation(ppt)]] by Xiong Min; handout [[Media: Roman Jacobson's Categories of Translation.docx| Roman Jacobson's Categories of Translation]] by Sun Yashi<br /> <br /> * ppt 6: [[Media:Lin Yutang' s Translation Aesthetics(ppt).pptx|Lin Yutang' s Translation Aesthetics]] by Luo Anyi; handout [[Media:Lin Yutang' s Translation Aesthetics.docx| Lin Yutang' s Translation Aesthetics]] by Shi Liqing<br /> <br /> ==Homework for next session 8, Nov 17==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 8<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211117_homework|homework of session 6 for session 8, Nov 17]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 17:) Prepare ppt or handout.<br /> <br /> =Session 8, Nov 17, Translation Theories =<br /> ==Homework for this session Nov 17==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 8<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211117_homework|homework of session 7 for session 8, Nov 17]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 17:) Prepare ppt or handout.<br /> <br /> ==Presentations Nov 17 on Translation Theories==<br /> * ppt 1: [[Media:Translation Theories of George Steiner(ppt).pptx|Translation Theories of George Steiner(ppt)]] by Yang Liuqing 杨柳青; handout [[Media: Translation Theories of George Steiner.docx| Translation Theories of George Steiner]] by Yin Huizhen 殷慧珍<br /> * ppt 2: [[Media:The Functional Translation Theory of Reiss, Vermeer and Nord(ppt).pptx|The Functional Translation Theory of Reiss, Vermeer and Nord(ppt)]] by Peng Ruixue 彭瑞雪; [[Media:The Functional Translation Theory of Reiss, Vermeer and Nord (handout).docx|The Functional Translation Theory of Reiss, Vermeer and Nord (handout).docx]] by Qin Jianan 秦建安. <br /> * ppt 3: [[Media:Translation Theories of Peter Newmark.pptx|Translation Theories of Peter Newmark]] ppt by Liu Xiao 刘晓; [[Media:Translation Theories of Peter Newmark.docx|Translation Theories of Peter Newmark .docx]] handout by Liu Yue 刘越.<br /> <br /> * ppt 4:[[Media:Yan Fu's Translation Thoughts(ppt).pptx|Yan Fu's Translation Thoughts(ppt)]] by Wang Lifei 王李菲; handout [[Media: Yan Fu's Translation Thoughts.docx| Yan Fu's Translation Thoughts]] by Wei Chuxuan 魏楚璇<br /> * ppt 5: [[Media:Translation of Xu Yuanchong.pptx|Translation theorie of Xu Yuanchong]] ppt by Zhouqing周清; [[Media:Translation of Xu Yuanchong.docx|Translation theorie of Xu Yuanchong]]handout by Zou Yueli邹岳丽.<br /> <br /> ==Homework for next session 9, Nov 24==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 9<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211124_homework|homework of session 8 for session 9, Nov 24]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 24:) Prepare ppt or handout.<br /> <br /> =Session 9, Nov 24, History of Chinese Translation Theories (History of Chinese Translation Theories of Qing Dynasty)=<br /> <br /> ==Homework for this session Nov 24==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 9<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211124_homework|homework of session 8 for session 9, Nov 24]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Nov 24:) Prepare ppt or handout.<br /> <br /> ==Presentations Nov 24 on Chinese Translation Theories (History of Chinese Translation Theories of Qing Dynasty)==<br /> * ppt 1: ppt by Cheng Yang 程杨 and handout by Li Shuang 李双. <br /> * ppt 2:(Theories after May Fourth Movement) ppt by Qiu Tingting 邱婷婷 and handout by Wei Yiwen 卫怡雯.<br /> * ppt 3: [[Media:The Chinese Translation During the Period of the May Forth Movement.pptx|The Chinese Translation During the Period of the May Forth Movement]] ppt by 李雯;[[Media:The Chinese Translation During the Period of the May Forth Movement.docx|The Chinese Translation During the Period of the May Forth Movement]] handout by 周小雪<br /> <br /> ==Homework for next session 10, Dec 1==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 10<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211201_homework|homework of session 9 for session 10, Dec 1]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 1:) Prepare ppt or handout.<br /> <br /> =Session 10, Dec 1, Appropriateness Theory=<br /> This is a new theory suggested by M. Woesler in 2020. Everybody is invited to help to develop this theory or to criticize other theories and suggesting what a new theory (like the appropriateness theory) needs to do better.<br /> <br /> ==Homework for this session Dec 1==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 10<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211201_homework|homework of session 9 for session 10, Dec 1]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 1:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 1==<br /> *殷美达 Ei Mon Kyaw<br /> <br /> ==Homework for next session 11, Dec 8==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 11<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211208_homework|homework of session 10 for session 11, Dec 8]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 8:) Prepare ppt or handout.<br /> <br /> =Session 11, Dec 8, Methods and Style=<br /> ==Homework for this session Dec 8==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 11<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211208_homework|homework of session 10 for session 11, Dec 8]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 8:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 8 on Methods and Style==<br /> (Translation of Idioms） handout by Li Ruiyang 李瑞洋 202120081497 and ppt by Liu Yunxin 刘运心 202120081510.<br /> <br /> ==Homework for next session 12, Dec 15==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 12<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211215_homework|homework of session 11 for session 12, Dec 15]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 15:) Prepare ppt or handout.<br /> <br /> =Session 12, Dec 15, Theory and Practice.=<br /> <br /> ==Homework for this session Dec 15==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 12<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211215_homework|homework of session 11 for session 12, Dec 15]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 15:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 15 on Theory and Practice==<br /> (Catford translation shift theory and its practice) ppt by 周巧 and handout by 朱素珍.（The value and limits of Nida’s Functional Equivalence Theory in its Application of Literature）handout by 罗曦 202120081512；PPT by 詹若萱 202120081549<br /> <br /> ==Homework for next session 13, Dec 22==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 13<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211222_homework|homework of session 12 for session 13, Dec 22]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 22:) Prepare ppt or handout.<br /> <br /> =Session 13, Dec 22, Decriptive Studies, Culture, Invisibility, Constructivism=<br /> <br /> ==Homework for this session Dec 22==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 13<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211222_homework|homework of session 12 for session 13, Dec 22]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 22:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 22 on Decriptive Studies, Culture, Invisibility, Constructivism==<br /> <br /> ==Homework for next session 14, Dec 29==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 14<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211229_homework|homework of session 13 for session 14, Dec 29]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 29:) Prepare ppt or handout.<br /> <br /> =Session 14, Dec 29, East-West Comparison=<br /> <br /> ==Homework for this session Dec 29==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 14<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20211229_homework|homework of session 13 for session 14, Dec 29]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Dec 29:) Prepare ppt or handout.<br /> <br /> ==Presentations Dec 29 on East-West Comparison==<br /> <br /> ==Homework for next session 15, Jan 5==<br /> 1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 15<br /> <br /> 2. Translate your passage on the homework page.<br /> <br /> *[[20210105_homework|homework of session 14 for session 15, Jan 5]]<br /> <br /> 3. Correct your fellow student's translation on the homework page.<br /> <br /> 4. (Only for students who do presentation on Jan 5:) Prepare ppt or handout.<br /> <br /> =Session 15, Jan 5, Review in Preparation of final exam=<br /> <br /> =Session 16, Jan 12, Final Exam=<br /> <br /> <br /> =Samples from last year: 人类起源 The emergence of translation and interpretation=<br /> Please note: All the sessions (2-16) here are copies of the 2020 course. <br /> <br /> You can have a look how the fellow students did it last year, <br /> <br /> but you have to write everything new here for 2021.<br /> <br /> *Teacher presentation<br /> <br /> *Student presentations<br /> <br /> OLD (2020):<br /> <br /> *Handout for download [[Media:The_emergence_of_translation_and_interpretation.docx|Global Emergence of Interpretation and Translation]] by 彭锐宏<br /> *Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)<br /> <br /> ===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===<br /> *Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> *Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> <br /> ===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===<br /> *Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> *Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> <br /> ===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===<br /> *Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> *Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> <br /> ===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===<br /> 1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].<br /> <br /> ==3rd Session: History==<br /> <br /> ===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===<br /> *Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 2: 中国翻译史代表人物The Representatives in Chinese Translation History===<br /> *Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===<br /> *Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX<br /> *Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting<br /> <br /> ===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===<br /> *Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星<br /> <br /> ==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201005_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].<br /> <br /> ==Session 4: Development==<br /> <br /> ===Session 4, Topic 1: 西方翻译史 Western translation history===<br /> *Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===<br /> *Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===<br /> *Handout for download: [[Media:...docx|History of Western Translation Theory]] by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> * Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]] by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> <br /> ===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===<br /> *Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===<br /> *Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===<br /> *Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===<br /> *Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===<br /> *Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)<br /> <br /> ==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===<br /> <br /> 1. Every student should translate a short passage of a paper on the Chinese essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201012_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].<br /> <br /> 3. Take part in an online survey. The survey is currently prepared by the fellow students.<br /> <br /> ==Session 5: ==<br /> <br /> ===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===<br /> *Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining<br /> *Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei<br /> <br /> ===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===<br /> *Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)<br /> <br /> [[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)<br /> <br /> ===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===<br /> *Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen<br /> *Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi<br /> <br /> Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.<br /> <br /> ===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===<br /> *Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu<br /> <br /> ===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===<br /> *Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)<br /> <br /> ===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===<br /> *Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)<br /> <br /> ==Session 6: Early Theories==<br /> <br /> <br /> <br /> ==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201019_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].<br /> <br /> ===Session 6, Topic 1: 巴斯奈特文化翻译观 The Cultural Translation Theory of Bassnett===<br /> <br /> Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie<br /> <br /> ===Session 6, Topic 2: 中国早期代表性佛经翻译理论 Early Representative Theories of Buddhist Scriptures Translation in China===<br /> <br /> Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式 The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===<br /> <br /> Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing<br /> <br /> Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu<br /> <br /> ===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》 A Linguistic Theory of Translation of J.C.Catford===<br /> <br /> Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===<br /> Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|Qi Kai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)<br /> <br /> Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 6: 系统翻译理论的早期尝试 Early Attempts at Systematic Translation Theory===<br /> <br /> Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)<br /> <br /> ==Session 7: Western theories==. 周巧 presentation PowerPoint 朱素珍 handout Cat ford Translation Shift Theory<br /> <br /> ===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201026_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].<br /> <br /> ===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===<br /> <br /> Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 2: 多元系统理论 Polysystem Theory===<br /> <br /> Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===<br /> <br /> Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 4： 布拉格学派 Prague School===<br /> <br /> Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 5： 目的论 Skopos Theory===<br /> <br /> Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan<br /> <br /> Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling<br /> <br /> ===Session 7, Topic 6： 语言学派 Linguistic School===<br /> <br /> Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)<br /> <br /> Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)<br /> <br /> ==Session 8: Methods==<br /> <br /> ===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201102_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].<br /> <br /> ===Session 8, Topic 1： 正说反译与反说正译 Negation===<br /> Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===<br /> Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===<br /> Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===<br /> Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)<br /> Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 5： 增译与减译 Amplification and Omission===<br /> Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing<br /> <br /> ===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===<br /> Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)<br /> Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)<br /> <br /> ==Session 9: Style==<br /> <br /> ===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201116_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].<br /> <br /> ===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation===<br /> <br /> Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)<br /> <br /> ===Session 9, Topic2 : 科技翻译 Scientific Style===<br /> <br /> Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles===<br /> <br /> Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===<br /> Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 5: 翻译与风格 Translation and Style= ==<br /> Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang<br /> <br /> Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu<br /> <br /> [[Media:Example.ogg]]<br /> <br /> ==Session 10: Translation Studies==<br /> <br /> ===Homework from Session 9 (Nov 16, 2020), for Session 10 due on (Nov 23, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201123_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].<br /> <br /> ===Session 10,Topic 1: 翻译转换 Translation Shifts===<br /> Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 2: 解码和重新编码 Decoding and Recoding===<br /> Classroom presentation for download:[[Media:Decoding and Recoding.pptx]]--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:33, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Decoding and Recoding.docx]]--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 04:32, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 3: 视听翻译 Audiovisual Translation===<br /> Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC) - READ BY NIE XIAOLOU<br /> <br /> Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 4: 对钱钟书“化境说”的理论研究 The Translation Studies of Qian Zhongshu’s Theory of Huajing===<br /> [[Media:Handout-The Translation Studies of Qian Zhongshu’s theory of Huajing.docx]]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:38, 23 November 2020 (UTC)<br /> <br /> [[Media:The Translation Studies of Qian Zhongshu’s theory of Huajing.pptx]]--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 05:40, 23 November 2020 (UTC)<br /> <br /> ===Session 10, Topic 5: 英汉被动语态对比研究及其翻译策略 Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies===<br /> Classroom presentation for download:[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.pptx]] --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:20, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download：[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.docx]]--[[User:Blank|Zhang Hu]] ([[User talk:Zhang Hu|talk]]) 10:23, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies====<br /> <br /> Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Untranslatability &amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)<br /> <br /> ==Session 11: Theory and Practice==<br /> <br /> ===Homework from Session 10 (Nov 23, 2020), for Session 11 due on (Nov 30, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201130_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201130_trans|here]].<br /> <br /> ===Session 11,Topic 1: 功能对等理论对商标翻译的影响 The Effect of the Equivalence Theory on Trademark Translation===<br /> <br /> Classroom handout for download:[[Media:Handout.The Theory and Practice.docx]]--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:38, 30 November 2020 (UTC)Pengjuan<br /> <br /> Classroom presentation for download:[[Media:The Effect of the Equivalence Theory on Trademark Translation.pptx]]--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 08:08, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 2: 归化和异化在翻译中的实践 Translation practice in domestication and foreignization===<br /> <br /> Classroom handout for download：[[Media:Handout.The Practice of Foreignization and Domestication.docx]]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 01:21, 30 November 2020 (UTC)Wu Zijia<br /> <br /> Classroom presentation for download:[[Media:Translation practice in domestication and foreignization.pptx]]--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:00, 29 November 2020 (UTC)Lei Kuangxi<br /> <br /> ===Session 11,Topic 3: 目的论及其应用 Skopos Theory and its Applications===<br /> <br /> Classroom handout for download：[[Media:Skopos Theory and its Applications.docx]]--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:08, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download：[[Media:Skopos Theory and its Applications.pptx]]--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 05:16, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 4:语义翻译与交际翻译 The Semantic Translation and Communicative Translation=== <br /> <br /> Classroom handout for download:[[Media:The Semantic Translation and Communicative Translation.docx]]--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 16:30, 29 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:The Semantic Translation and Communicative Translation.ppt]]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:56, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 5: 奈达的功能对等理论及其在科技文英译汉中的应用 Nida's Functional Equivalence Theory and its Application in E-C Translation of EST===<br /> <br /> Classroom handout for download：[[Media:Nida’s_Functional_Equivalence_Theory_and_its_Application_in E-C_Translation_of_EST.docx]]--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:03, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory and its Application in E-C Translation of EST.pptx]]--[[User:Zhou Yuanqu|Zhou Yuanqu]]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:25, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 6:女性主义翻译 The Feminist Translation===<br /> <br /> Handout for download：[[Media:Feminist Translation.doc]]--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:07, 30 November 2020 (UTC)<br /> <br /> Classroom presentation：[[Media:Feminist Translation.pptx]]<br /> <br /> ==Session 12: Different Aspects==<br /> <br /> ===Homework from Session 11 (Nov 30, 2020), for Session 12 due on (Dec 7, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201207_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201207_trans|here]].<br /> <br /> ===Session 12, Topic 1: 政论文翻译 Translation of Political Text===<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.docx]]--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:21, 4 December 2020 (UTC)<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.pptx]] By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 12:30, 4 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 2: 诗歌翻译 Poem Translation===<br /> Classroom handout for download:[[Media:Poem Translation.pptx]]--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 14:59, 6 December 2020 (UTC)<br /> <br /> <br /> [[Media:Poem_Translation_handout.docx]] by Zhang Yujie&amp; Yang Hairong--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:14, 7 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 3: 旅游翻译 Tourism Translation===<br /> Classroom handout for download:[[Media:Tourism Translation.pptx]] by Tan Xinjie &amp; Wei Yafei --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:53, 5 December 2020 (UTC)Weiyafei <br /> <br /> <br /> [[Media:Tourism_Translation_handout.docx]] by Tan Xinjie &amp; Wei Yafei--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:06, 5 December 2020 (UTC)Wei Yafei<br /> <br /> ==Session 13: East West comparison==<br /> <br /> ===Homework from Session 12 (Nov 30, 2020), for Session 13 due on (Dec 14, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201214_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201214_trans|here]].<br /> <br /> ===Topic 1:严复和泰特勒翻译标准之对比 A Comparison between Yan Fu's and Tytler's Translation Criteria===<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.pptx]]--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:15, 14 December 2020 (UTC)Tang Ming<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.docx]]--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 06:52, 14 December 2020 (UTC)Ou Rong<br /> <br /> ===Topic 2:中西翻译发展比较Comparison of the Development of Chinese and Western Translation===<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.pptx]] by Liu Yi.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:38, 6 December 2020 (UTC)<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.doc]] by Tan Yuanyuan.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 15:47, 6 December 2020 (UTC)<br /> <br /> ===Topic 3:中西文化差异对翻译的影响The Influence of Chinese and Western Cultural Differences on Translation===<br /> [[Media:Handout-The Influence of Chinese and Western Cultural Differences on Translation.doc]] by Yang Yue--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:10, 10 December 2020 (UTC)<br /> [[Media:The Influence of Chinese and Western Cultural Differences on Translation.pptx]] by Yi Zichu--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 05:01, 10 December 2020 (UTC)<br /> <br /> ===Topic 4:中国佛经翻译与圣经翻译的比较Comparison Between the translation of Buddhist scriptures of China and Bible translation===<br /> [[Media:The Comparison of the Chinese translation of Buddhist Scriptures and Bible translation.pptx]]by Xiao Ting--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:54, 13 December 2020 (UTC)Xiao Ting<br /> <br /> [[Media:The Comparison of the Chinese Translation of Buddhist Scriptures and Bible Translation.docx]]--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:07, 13 December 2020 (UTC)Xu Jia<br /> <br /> ===Topic 5:20世纪中叶以来中西翻译理论对比 Comparison of Chinese and Western translation theories since the mid-term of the 20th century===<br /> <br /> [[Media:Comparison of Chinese and Western translation theories since the mid-term of the 20th century by Mo Ling.pptx]]--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:38, 11 December 2020 (UTC)Mo Ling<br /> <br /> [[Media:Handout of comparison of Chinese and Western translation theories since the mid-term of the 20th century by Yuan Tianyi.doc]]<br /> <br /> ===Topic 6；中西思维方式差异在翻译中的体现——以习语为例 The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example===<br /> <br /> Classroom handout for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.docx]]--[[User:Chen Sha|Chen Sha]] --[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.pptx]] By Chen Jiangning --[[User:Chen Sha|Chen Jiangning]]--[[User:Chen Sha|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> ==Session 14: Strategies==<br /> ===Homework from Session 13 (Dec 14, 2020), for Session 14 due on (Dec 21, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201221_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201221_trans|here]].<br /> <br /> ===Topic 1；阿拉伯大征服时代与翻译学 The Era of Arab Conquest and Translatology===<br /> <br /> Classroom handout for download: [[Media:The Era of Arab Conquest and Translatology.docx]] Ma Zhixing＆Wu kai --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Era of Arab Conquest and Translatology.ppt]] Ma Zhixing＆Wu kai --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)<br /> <br /> ===Topic 2；韦努蒂的抵抗式翻译策略 Resistancy Translation Strategy—Lawrence Venuti===<br /> <br /> Classroom handout for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.docx]] Tang Yiran&amp;Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC) <br /> <br /> Classroom presentation for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.ppt]] Tang Yiran&amp;Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC)<br /> <br /> ===Topic 3；英日译本对照--以《雪国》为例The Contrast of Japanese-English Translation--Taking &quot;Snow Country&quot; as an Example===<br /> <br /> Classroom handout for download: [[Media:The Contrast of Differences in Japanese-English Xie Ziyi&amp; Peng Yongliang.docx]] <br /> --[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Contrast of Differences in Japanese-English Xie Ziyi&amp; Peng Yongliang.pptx]] <br /> --[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)<br /> <br /> ==Session 15: Contemporary Translation Theories==<br /> <br /> ===Homework from Session 14 (Dec 21, 2020), for Session 15 due on (Dec 28, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201228_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201228_trans|here]].<br /> <br /> <br /> ===Topic 1 Contemporary Translation Theories ===<br /> <br /> Classroom handout for download: [[Media:Contemporary Translation Theories.docx]] <br /> <br /> <br /> Classroom presentation for download: [[Media:Contemporary Translation Theories.pptx]] <br /> --[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:07, 27 December 2020 (UTC)<br /> <br /> ==Session 16: Final Discussion==<br /> <br /> ==List of topics for presentations and handouts in class==<br /> 1 Emergence: <br /> 孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源<br /> <br /> 2 History: <br /> 周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史<br /> <br /> 3 Development: <br /> 韩宛真 邓锦霞: 机器翻译的发展; 蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展<br /> <br /> 4 Early Literary Examples: <br /> 许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟<br /> <br /> 5 Early Theories: <br /> 徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试<br /> <br /> 6 (Western) Theories: <br /> 康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派<br /> <br /> 7 Methods: <br /> 甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦<br /> <br /> 8 Style: <br /> 孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳<br /> <br /> 9 Translation Studies: <br /> 罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略<br /> <br /> 10 Theory and Practice: <br /> 彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓 王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅; 阳慧 张佩闻; <br /> <br /> 11 Different Aspects: <br /> 周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; <br /> <br /> 12 East West Comparison: <br /> 唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳：中国佛经翻译和圣经翻译的比较; 莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异在翻译中的体现--以习语为例。<br /> <br /> 13 Strategies: <br /> 吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠<br /> <br /> 14 Contemporary translation Theories: <br /> Sagara Seydo Nguyen, Thuy Hien (Helen)<br /> <br /> ==List of Topics for final exam papers in Translation Studies==<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> Ideas<br /> *literal vs. free<br /> *Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization<br /> *unit of translation<br /> *contrastive analysis<br /> *the equivalence problem (functional, dynamic)<br /> *translatability vs untranslatability <br /> *SLT vs TLT relation<br /> *translation types, strategies, styles, methods<br /> *communication factors, translator role in social setting<br /> *cognitive factors<br /> *machine translation<br /> *translation quality assessment<br /> *translation ethics / manipulation etc.<br /> <br /> <br /> Suggested topics for final exam papers (chapters of book on translation studies)<br /> <br /> Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.<br /> <br /> Here is the link to the list: [[Topics in Translation Studies]]<br /> <br /> =Final Exam Papers=<br /> &lt;span style=&quot;color:red&quot;&gt;The deadline has been extended to '''Dec 21, 2020'''. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until Dec 19. The author then finalizes (works in the suggestions) until the final deadline Dec 21!&lt;/span&gt;<br /> ==Structure==<br /> 需要有topic、学生姓名、学号、专业、Abstract、Key words、题目、摘要、关键词、不同的章回（比如1. Introduction、2. Nida’s Theory、3. ……、4.……、5. Conclusion、References)、然后还需要每个阶段以后有来源。一个阶段不要超过100英文词。每个章回会有几个阶段没问题。每个阶段以后需要一个同学的这个阶段的修改。<br /> <br /> ==Tips for writing your final exam paper: How to indicate your references==<br /> *You can use the existing book chapters here as an example.<br /> *Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Do '''not''' write any references like in one of the sample chapters:<br /> <br /> [1] dsalkfkdsa<br /> <br /> [2] adsfadsfag<br /> <br /> But only the following way:<br /> <br /> (Liu Miqing 2010, 17) in the text<br /> <br /> and then<br /> <br /> '''References'''<br /> *Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.<br /> <br /> Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):<br /> = = Topic = =<br /> &lt; c e n t e r &gt; Student Name, Student no. &lt; / c e n t e r &gt;<br /> = = = Abstract = = =<br /> This chapter is on ....<br /> = = = Key Words = = =<br /> Egg, Hen<br /> = = = 题目 = = =<br /> = = = 摘要 = = =<br /> = = = 关键词 = = =<br /> = = = Introduction = = =<br /> Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.<br /> = = = The Egg = = =<br /> Bla, bla, bla<br /> = = = The Hen = = =<br /> Bla, bla, bla<br /> = = = Conclusion = = =<br /> Bla, bla, bla<br /> = = = References = = =<br /> Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT<br /> <br /> ==Sample papers==<br /> You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with &quot;Sample paper&quot;.<br /> * A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories<br /> * An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications<br /> * Comparative Study on Functional Equivalence Theory and Skopos Theroy<br /> * Comparison of Derrida’s and Benjamin’s Translation View<br /> * Impacts of Western Translation Theories on The Translator’s Guide to Chinglish<br /> * On the Comparison between &quot;Sublimation&quot; an &quot;Functonal Equivalence&quot; Theories<br /> * Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics<br /> * The Translation of Culture-loaded Words in Chinese-English Communication<br /> * Translators' Views on Translation Influence Their Translation Behavior<br /> <br /> ==Website to write your final exam paper on==<br /> [[20220112_final_exam|final exam page]]<br /> <br /> As a reference, here is the information about last year's final exam papers:<br /> <br /> The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).<br /> <br /> Here you can write your Final Exam Papers:<br /> <br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_1 Part 1, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_2 Part 2, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_3 Part 3, students: 蒋凤仪 Jiang Fengyi， 雷旷溪 Lei Kuangxi, 郑华君 Zheng Huajun, 文晓艺 Wen Xiaoyi, 陶冶 Tao Ye, 孔亚楠 Kong Yanan, 陈江宁 Chen Jiangning]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_4 Part 4, students: 杨海容 Yang Hairong，游雨婷 You Yuting，王源 Wang Yuan，徐佳 Xu Jia，凌子瑾 Ling Zijin，石迪文 Shi Diwen，张玲 Zhang Ling，曾心媛 Zeng Xinyuan，姚诚 Yao Cheng，朱旭 Zhu Xu，许鹏飞 Xu Pengfei，赵晓燕 Zhao Xiaoyan，张琪 Zhang Qi，周园曲 Zhou Yuanqu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_5 Part 5, students: 李玉 Li Yu，林敏 Lin Min，文偲荇 Wen Sixing， 周诗卿 Zhou Shiqing，朱素瑶 Zhu Suyao，胡百辉 Hu Baihui，马智星 Ma Zhixing, 胡瑾 Hu Jin，张毓婕 Zhang Yujie，顾东方 Gu Dongfang，高明珠 Gao Mingzhu，张虎 Zhang Hu，李璐伊 Li Luyi，袁诗琦 Yuan Shiqi，王美玲 Wang Meiling，康浩宇 Kang Haoyu，王轩 Wang Xuan，陈永相 Chen Yongxiang，莫玲 Mo Ling，袁天翼 Yuan Tianyi]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_6 Part 6, students:汤蓓 Tang Bei欧蓉 Ou Rong，谭星越 Tan Xingyue，周罗平 Zhou Luoping，龚钰冕 Gong Yumian，邹鑫雨 Zou Xinyu， 陈惠 Chen Hui，罗雨晴 Luo Yuqing，谭鑫洁 Tan Xinjie]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_7 Part 7, students:曾雁湖 Zeng Yanhu，邓锦霞 Deng Jinxia，姜好 Jiang Hao，管钦清 Guan Qinqing，唐铭 Tang Ming，娄灿灿 Lou Cancan，丁代凤 Ding Daifeng，苏琳 Su Lin，徐佳 Xu Jia， 刘艺 Liu Yi，李凌月 Li Lingyue，马娟 Ma Juan，吴琪 Wu Qi，姚佳 Yao Jia，李海泉 Li Haiquan，吴琼 Wu Qiong，杨子泠 Yang Ziling，林敏 Lin Min，彭锐宏 Peng Ruihong ，汤伊然 Tang Yiran，阳慧 Yang Hui，刘智伟 Liu Zhiwei]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_8 Part 8, students: 王煜 Wang Yu，方洁玲 Fang Jieling，许静 Xu Jing，周书尧 Zhou Shuyao，彭永亮 Peng Yongliang，宋建茹 Song Jianru，韦洪朗 Wei Honglang，魏亚菲 Wei Yafei，张雪仪 Zhang Xueyi，甘奉玉 Gan Fengyu，赵茜 Zhao Xi，吴恺 Wu Kai，周艺文 Zhou Yiwen，张维虹 Zhang Weihong，司妤 Si Yu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_9 Part 9, students: 易欢 Yi Huan，曾良 Zeng Liang，义子楚 Yi Zichu，欧阳玲 Ouyang Ling，石海瑶 Shi Haiyao，胡慧芳 Hu Huifang，吴一露 Wu Yilu，纪甜甜 Ji Tiantian, 桂一枝 Gui Yizhi，刘欧 Liu Ou，祝美梅 Zhu Meimei，谭媛媛 Tan Yuanyuan，张银柳 Zhang Yinliu，李泳珊 Li Yongshan，聂晓楼 Nie Xiaolou]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_10 Part 10, students:陈静静 Chen Jingjing， Thuy Hien Nguyen Thuy Hien，肖茜 Xiao Xi，余妮 Yu Ni，韩宛真 Han Wanzhen，陈佳欣 Chen Jiaxin，成于思 Cheng Yusi，方洁玲 Fang Jieling，张慧 Zhang Hui，吴子佳 Wu Zijia，孔祥慧 Kong Xianghui，许晶 Xu Jing，周玉娟 Zhou Yujuan，曹润鑫 Cao Runxin，肖伊宁 Xiao Yining, Sagara Seydou，欧阳静兰 Ouyang Jinglan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_11 Part 11, students:李丽琴 Li Liqin, 张瑜 Zhang Yu, 刘怡瑜 Liu Yiyu, 李梦 Li Meng, 林鑫 Lin Xin, 罗维嘉 Luo Weijia, 漆凯 Qi Kai, 郭露 Guo Lu，张宇星 Zhang Yuxing, 陈涵 Chen Han, 李丽丽 Li Lili, 刘柳 Liu Liu, 陈莎 Chen Sha, 徐梦蝶 Xu Mengdie,彭丹 Peng Dan， 谢子熠 Xie Ziyi，莫南 Mo Nan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_12 Part 12, students: 全美欣 Quan Meixin，何长琦 He Changqi，刘博 Liu Bo，刘金惺琦 liu Jinxingqi，谌孙福 Chen Sunfu，曾芳缘 Zeng Fangyuan，肖婷 Xiao Ting，常慧月 Chang Huiyue，彭娟 Peng Juan，彭小玲 Peng Xiaoling，杨悦 Yang Yue，肖双玲 Xiao Shuangling，彭育志 Peng Yuzhi，孟莹 Meng Ying]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_13 Part 13, students: 杨晨婷 Yang Chenting, 康灵凤 Kang Lingfeng，杨逸 Yang Yi, 马淑雅 Ma Shuya, 雷方圆 Lei Fangyuan, 张佩闻 Zhang Peiwen]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_14 Part 14, students:周思庆 Zhou Siqing，蒋淇玮 Jiang Qiwei，瞿淼 Qu Miao，韩海洋 Han Haiyang，刘金惺琦 liu jinxingqi，解帆 Xie Fan，刘洋诺 Liu Yangnuo，袁雨晨 Yuan Yuchen，邬香 Wu Xiang]<br /> <br /> =Benefits=<br /> This course is registered as a &quot;EU Expert&quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.<br /> <br /> =Misplaced things=<br /> Handout 4 of Ren Xin --<br /> 贺骥.“世界文学”概念:维兰德首创：<br /> Summary： 主要讲述了人们发现维兰德首次提出“世界文学”的过程，维兰德对“世界文学”的概念以及与歌德的比较。<br /> <br /> 一、为何说维兰德首创“世界文学”？<br /> 1987 年，德国学者魏茨( Hans-Joachim Weitz，1904—2001) 在《阿卡迪亚》杂志上发表了一篇题为《维兰德是“世界文学”一词的首创者》的短文。魏茨声称他发现了德国作家维兰德( Christoph Martin Wieland，1733—1813) 在1790 至1813 年间亲笔书写的一则手记中首次提到“世界文学”。但维兰德于1813 年1 月20 日去世，他的同时代人并不知道他写有这则手记，歌德在不知情的情况下从1827 年1 月15 日起多次使用了“世界文学”这个词。维兰德与歌德对于“世界文学”的概念相近，但他没有详细论证。所以说，“世界文学”一次是维兰德首创，歌德第一次明确提出的<br /> 二、维兰德“世界文学”的概念与歌德的比较<br /> 1. 维兰德在创作早期作品时：世界文学就是世界各民族的文学名作的总集。该观点体现在《民族文学》文学是世界各民族的共同精神财富，世界文学就是所有时代所有民族的典范作品总集。<br /> 2. 和歌德一样，维兰德的世界文学概念带有言必称希腊的欧洲中心主义色彩，他的世界文学乃是以古希腊罗马文学为正典、以欧洲文学为核心的世界各民族文学经典的总集。“阅读最优秀的作家的杰作”乃是维兰德“世界文学”概念的核心: 杰作即古往今来世界各民族的文学经典。<br /> 3. 维兰德认为优秀作品的形成过程: 首先作家必须以阅世高人的文化修养和娴熟的艺术技巧创造有审美价值的“文学杰作”；其次是后世“最优秀的人们”对这些杰作的“宣扬”和“奉为样板”。<br /> <br /> 三、“世界文学”概念有三种定义: <br /> ( 1) 广义的“世界文学”指的是所有民族和所有时代文学作品的总和( Gesamtliteratur) ; <br /> ( 2) 狭义的“世界文学”指的是超时代的、具有普遍审美价值的世界各民族文学的典范作品总集( Kanon) ，换言之，“世界文学”就是具有世界声誉的文学杰作的荟萃，这种精英主义意义上的“世界文学”概念在当今学界占据了主导地位; <br /> ( 3) 歌德于1827 年提出的文学发展蓝图，它指的是国际性的文学交往( Kommunikation der Literatur) 和文化接触，交往的结果就是具有特性的各民族文学的融合。<br /> <br /> Reference: <br /> 贺骥.“世界文学”概念:维兰德首创[J].社会科学,2014(07):176-182. --[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 13:24, 13 April 2018 (UTC)<br /> <br /> <br /> <br /> [1]文飙.阿拉伯民间文学的珍品《一千零一夜》.<br /> 1.流传情况： <br /> 《一千零一夜》早在公元六世纪左右已在波斯、伊拉克和埃及产生并流传着。公元十世纪阿拨斯王朝统治时代汇集成书,后又经过数百年不断搜集、整理、加工和修改；大约到十六世纪才形成比较完整的总集。<br /> 2.故事发生的地点：多在当时阿拉伯世界两大中心城市— 巴格达及开罗。<br /> 3.《一千零一夜》，中文另一译名为《天方夜谭( 谈) 》的原因：<br /> 这个译名的来源说明中世纪时期阿拉伯帝国与中国的关系。阿拉伯半岛的麦加城在帝国中称为“ 圣城”, 城内有古庙名“ 天房”, 中国古嫂都译为“ 天方”, 实即“ 天房”之误。我国明朝以前称阿拉伯为黑衣大食国，明朝以后则称为“ 天方国”, 这就是旧译本称为《天方夜谭》的原因。<br /> 4.故事内容： 《一千零一夜》是一部包罗万象的民间故事集, 有格言、谚语、童话, 王子公主的恋爱故事, 及市民冒险故事。这些故事的主角从底层的劳苦大众到最高的统治者哈里发。能够比较全面而深刻地反映中世纪东方的社会生活。<br /> 5.《一千零一夜》的起源：<br /> 在古代印度和中国为海岛中,有一个萨桑国。残暴的国王山鲁亚尔每夜娶一王后,翌晨即杀掉再娶。老百姓受此威胁,十分恐怖,纷纷携儿带女逃走,致使城中十室九空。然而国王仍照例命令宰相寻找女子供他虐杀。一天，宰相找遍民间，没找到一个,便满怀恐惧、忧郁地转回府邸来。宰相的大女儿山鲁佐德见父亲情状,问明情由,执意让父亲把她嫁给国王,宰相不得已才把女儿送进宫去。山鲁佐德一见国王,就悲伤地哭泣起来，她希望国王允许她在死之前能和妹妹再见一面,国王同意了,派人到宰相家召敦亚佐德进宫。姐妹俩高高兴兴地坐在床脚下谈笑。其时,敦亚佐德请求姐姐讲个故事消磨时间。山鲁佐德便征得国王许可,开始讲起故事来,借以引动国王的好奇心和兴趣,从而免遭杀戮。这样,日复一日,山鲁佐德一直讲了一千零一个夜晚,最后，终于使国王悔悟。<br /> 6.影响：<br /> 《一千零一夜》在世界各国广为传播。<br /> 它最早介绍到欧洲,对西方文化起过一定的积极作用,许多欧美文学艺术家,如但丁、乔叟、薄伽丘、莎士比亚、塞万提斯、莱辛等都或多或少地受到它的直接或间接的影响。 <br /> 在我国，早在六十多年以前就有了《一千零一夜》的译本。<br /> <br /> <br /> [2]冯辉.略论《一千零一夜》对世界文学的借鉴与影响.<br /> 摘要：《一千零一夜》对世界文学的借鉴与影响。荷马史诗中的巨人故事对《一千零一夜》的启发 ,《一千零一夜》对法国、英国、德国、中国作家的影响。 <br /> 一、流传情况：<br /> 1.流传时间：多数学者认为:它的故事和手抄本在中近东地区开始流传的年代约在8 世纪中叶—9 世纪中叶。一些世界文学史家则认为:大约在十字军东征时期(1095— 1291), 《一千零一夜》的故事已通过民间传到欧洲。<br /> 2.流传情况： <br /> a. 18 世纪初, 法国人加朗根据叙利亚抄本, 首次把《一千零一夜》译成法文出版, 以后在欧洲出现了各种文字的译本。<br /> b. 中国1900 年有过译本, 以后不断的出现多种白话文本。新中国成立后, 纳训选译的3 卷本以及80 年代出版的全译本1 —6 卷, 收集了275 个故事。<br /> 二、《一千零一夜》对古希腊荷马史诗巨人故事的借鉴<br /> 《一千零一夜》第4 卷第172 个故事《辛伯达航海的故事》写三次航海的故事, 可以看出受到古希腊荷马史诗《奥德修纪》中独眼巨人故事的影响, 又带有阿拉伯民族的特色。<br /> 三、《一千零一夜》对世界文学的影响：<br /> 1.文艺复兴人文主义作家对《一千零一夜》中故事的扬弃与创新<br /> a)法国：《一千零一夜》第2 卷第75 个故事《阿里·艾尔哲明的故事》与法国文艺复兴时期拉伯雷《巨人传》中第三代国王庞大固埃出生时的行囊装载十分相似。<br /> b)英国：在《一千零一夜》第3 卷第152 个故事的《亚历山大大帝和弱小民族的故事》与英国文艺复兴时期的作家莎士比亚的《哈姆雷特》中有类似的情节，两个故事有历史延续性与巧妙的联系。<br /> 《一千零一夜》：<br /> 东征西讨的希腊国王亚历山大,一次路过一个弱小国家, 其民众各自门前准备好了坟墓, 家家一贫如洗, 安贫乐道, 所以并不怕亚历山大来争夺地盘。亚历山大十分好奇, 亲自见他们的国王。国王拿了两个头骨, 告诉他这是两个国王的头骨, 一个生前暴虐, 死后安拉让他下地狱;一个生前公正廉明, 爱护百姓, 死后安拉让他升入天堂。国王又问亚历山大:“ 到底你是这两个帝王中的哪一个呢?”年青的亚历山大受了感动, 要这个国王做他的宰相。国王拒绝了他, 说他虽拥有一个大帝国, 却有许多仇敌。国王虽穷, 他所有的一切“ 仅仅是知足” 。亚历山大感慨万千,告辞归去, 不再侵犯他们。<br /> 《哈姆雷特》：第五幕第一场墓地对话中 <br /> 哈姆雷特面对死人头骨说道:“ 要是我们用想像推测下去, 谁知道亚历山大的高贵的尸体, 不就是塞在酒桶口上的泥土?”“ 凯撒死了, 你尊严的尸体, 也许变了泥把破墙填砌, 啊! 他从前是何等的英雄, 现在只好替人挡风遮雨。”<br /> c)意大利：意大利文艺复兴时期的小说家卜伽丘的《十日谈》中的贵妇宴请国王吃鸡宴, 以打退国王邪念的故事, 在《一千零一夜》第4 卷第175 个故事《宰相夫人的故事》中有类似情节。<br /> 2.对18 世纪英国现实主义小说家笛福《鲁宾逊飘流记》的影响<br /> 把《辛伯达航海的故事》与《鲁宾逊飘流记》相比较, 辛伯达可以说是鲁宾逊典型的雏型与前身, 鲁宾逊则更加丰富, 更带时代特点。<br /> 1)不同点： <br /> 辛伯达是中世纪阿拉伯人中积极进取, 发展海外贸易,不断向外开拓勇于冒险的新兴商人, 他开初坐享父亲遗产,挥霍一空, 最后决定变卖家产七次到海上做冒险生意。<br /> 鲁宾逊是18 世纪英国资本主义原始积累时期的新资产阶级商人的代表, 父亲没有给他丰厚的资产, 他本人是不满现状的小商人, 三次海外冒险；<br /> 辛伯达是在第7次航海时在一个岛国居住了27 年才返回故乡, 鲁宾逊是在第三次航海时在一个荒岛上度过了28 年, 才返回故乡。<br /> 2)相似点：<br /> 两人都曾遭到过毁灭性的打击, 死里逃生,但每次都以顽强的毅力, 惊人的应变能力, 沉着应付, 化险为夷；发财致富的欲望, 对海外世界的好奇与向往, 每次都促使他们不安现状, 敢于做一次又一次的冒险。<br /> 3.对中国作家的影响<br /> 《一千零一夜》第1 卷第12 个故事《脚夫和巴格达三个女人的故事》中，脚夫诵的表达自己忠信的诗同中国现代作家钱钟书的长篇小说《围城》中的苏小姐自己写的诗相似。这里已改造成一首爱情诗, 方鸿渐当时并不知道是苏小姐自己写的诗, 说这首诗是借的外债,<br /> 四、小结<br /> 因为国别不同, 语言不通, 翻译技术有限，后来的作家们不一定能亲自看到这些《一千零一夜》中的故事原文。但阿拉伯文化与文学对欧洲文艺复兴运动及后来的世界文学的发展起到的推动作用和所作的贡献是世界发展史上所公认的事实。<br /> <br /> <br /> [3]陆英英.《一千零一夜》在欧洲.<br /> 摘要： 介绍了欧洲许多国家早期对《一千零一夜》的译本。《一千零一夜》译成欧洲各种文字后, 引起了欧洲人收集和研究东方文学的热望, 激起了他们了解东方的兴趣。《一千零一夜》对欧洲文学包括戏剧、小说、诗歌、诗剧都产生了巨大影响。<br /> 1.法国译本：<br /> A.1704-1717年出现的法国安东尼·加仑的译本是《一千零一夜》——最著名的译本。为了迎合读者掺杂了许多自己想象的情节<br /> B.1828年法国出版特雷布梯的译本 —— 增加情节，接近原版<br /> C.1969年出版了勒内赫瓦姆的《一千零一夜》译本 —— 忠于原作<br /> 2.英国译本（几乎都是从法国译本转译而来）： <br /> A.1811年乔纳森·斯科特出版的译本 —— 最突出<br /> B.1838年，亨利·托伦斯打算给译文加注释, 但他只译了五十夜就死了<br /> C.1839-1841年，爱德华·威廉·莱恩的《一千零一夜》三卷本（从阿文直译），删去了当时英国的道德传统所不能接受的故事, 并写了许多注释 —— 极具参考价值<br /> D.1885年，理查德·伯顿的译本出版 —— 最完备的译本<br /> E.英国军官伯顿（会讲阿拉伯语）—— 强烈殖民主义色彩<br /> 3.德国译本：<br /> A.第一个把《一千零一夜》译成德文的是东方学家冯哈曼尔。<br /> B.1837-1841年之间出现了凡勒的德译本 ——忠实原文，生涩<br /> C.东方学家莱塔马教授 —— 德国最著名的译本<br /> 4.罗马尼亚译本：<br /> A.1771年，出版的《哈伦·拉希德的故事》——罗马尼亚最早<br /> B.1783年，修道院主教罗法伊勒出版了根据希腊文译出的全译本<br /> C.1835-1838年格拉西姆·哥嘉出版《哈利曼或者阿拉伯神话故事》四卷本译本<br /> D.1966-1976，罗马尼亚最大出版社——梅纳法出版社出版了十四卷本的《一千零一夜》<br /> 5.俄文译本：<br /> A.萨利尔译的，东方学家卡利姆斯基出版的。<br /> B.高尔基于1904年也译过。<br /> C.列夫·托尔斯泰也译过几篇，如《皇帝和衬衣的故事》等。<br /> 6.捷克译本：<br /> 1958-1963年捷克斯洛伐克科学院出版的塔瓦外孜授译的《一千零一夜》全集。<br /> 7.波兰译本：<br /> 1774年出版了第一本——《阿拉伯传奇或一千零一夜》<br /> 8.威尼斯译本：<br /> 1757-1762年，出版了四卷本的《一千零一夜》和《一千零一日》故事集, 书名为《阿拉伯故事》。<br /> 9.希腊译本：<br /> 译者为布利兹威斯，译本分三卷。<br /> 10.此外还有葡萄牙语、荷兰语、丹麦语、瑞典语、匈牙利语等译本。<br /> 东方学家朝温在《阿拉伯著作一览》一书中用了一百二十页专门介绍《一千零一夜》的各种版本和文本。<br /> <br /> 参考文献：<br /> [1]文飙. 阿拉伯民间文学的珍品《一千零一夜》[J].徐州师范学院学报,1978(02):59-64.<br /> [2]冯辉. 略论《一千零一夜》对世界文学的借鉴与影响[J].河南教育学院学报(哲学社会科学版),2001(01):110-112.<br /> [3]陆英英.《一千零一夜》在欧洲[J].阿拉伯世界,1983(02):84-90. --[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 13:34, 16 April 2018 (UTC)<br /> <br /> <br /> [1]杨晓雨.佛经翻译与圣经翻译比较[J].考试周刊,2017(74):192. <br /> <br /> 摘要： 中国翻译史的源头是佛经翻译，而西方翻译史则始于另一部宗教巨著———圣经翻译。中国的佛经翻译和西方的圣经翻译虽然在具体内容、翻译分期、信徒和对应的时代背景等方面有所差异，但两者都经历了直译、意译、直意译相结合的发展历程。本文对比了佛经翻译和圣经翻译，探求宗教类文献翻译中的共同特点。<br /> 1.佛经翻译<br /> A.四个时期：<br /> a. 创立时期（东汉末年到西晋），代表人物有安世高和支谦；<br /> b.初步发展阶段是（晋代到隋朝），代表人物有道安和鸠摩罗什；<br /> c.鼎盛时期（唐朝），代表人物为玄奘、不空；<br /> d.逐渐结束于北宋。<br /> B.翻译形式<br /> 最初由西域僧人的梵语口授，再找汉人加以润饰。音译。<br /> 后来出现精通汉语的印度高僧和熟练掌握梵语的中国高僧。直译为主。<br /> C.翻译大家<br /> 三藏法师，从数量和翻译成就都无人能比。直译&amp;意译结合。<br /> 2.圣经翻译<br /> A.概况<br /> 圣经翻译是西方翻译史的起源。经历了希伯来文－希腊文－拉丁文的过程。<br /> B.流传形式：手写本。<br /> C.最早的圣经译本：公元前3-2世纪《圣经·旧约》（据《西方翻译简史》记载。后世也叫《七十子希腊文本》。<br /> 缺点：用词晦涩难懂，不易理解，跟当时的希腊语有较大的出入。<br /> 优点：此译本特别完整准确地还原了圣经原籍的内容。<br /> D.翻译大家：a. 西塞罗—西方翻译史上最早的翻译理论家，主张活译。<br /> b. 圣哲罗姆—翻译了第一部标准拉丁语圣经。直译和意译相结合。<br /> 3.佛经翻译和圣经翻译的相似性：<br /> 经历了直译—意译—直意译结合的过程。<br /> A.最初翻译时，中西译者都是逐字逐句的直译。<br /> 原因：宗教经典神圣不可侵犯，译经僧侣对宗教经典抱有虔诚态度；<br /> 由于译者身份的局限性，缺乏专业的语言翻译基础。<br /> B.随着经验的累积，译者们开始倡导意译。<br /> 代表人物：马丁路德<br /> 原因：受众人群都是普通老百姓，需要简单流畅、明晓易懂的语言才能让教义被大众所通晓。<br /> C.主张直译&amp;意译相结合。<br /> 代表人物：玄奘大师—《钦定本圣经》<br /> <br /> <br /> [2]顾颍.从佛经与《圣经》翻译看中西方翻译思想——《中西方翻译思想比较》评析[J].常熟理工学院学报,2008(03):122-124.<br /> <br /> 摘要：作者认为比利时学者安德烈勒菲弗尔（当代文学翻译学术带头人，较有影响力）由于对中国翻译史缺乏深入研究，对中国的佛经翻译了解不透彻，在《中西方翻译思想比较》中提出“西方译者更为忠实原文, 而中国译者则倾向于归化原文”的观点较为片面。并提出佛经翻译和圣经翻译的共有规律：直译、意译两原则交替主导翻译活动并趋于成熟，直至最终实现两者的有机融合。<br /> <br /> <br /> [3]姜晏.译介学视角下的中西方《圣经》翻译[J].青岛大学师范学院学报,2011,28(02):125-128.<br /> 摘要：《圣经》翻译的主要功能是服务于宗教的传播。但译者们对其“创造性叛逆”的翻译，使得《圣经》对世界各民族语言，包括对中国语言文学都产生了深远影响，同时推动各国文化交流、促进不同思想的包容。<br /> <br /> 1.翻译不只是语言文字的转换，而是应关注原文在外语和本族语转换过程中的信息的失落、变形、增添、扩散等问题。<br /> 2.《圣经》翻译对西方各国（民族）语言的影响 —— 不分析译本翻译的好坏，而是分析译本对译入语国家或民族的文化和语言所产生的影响。<br /> A.4世纪，乌裴拉主教翻译成东日耳曼语。<br /> 8、9世纪，阿尔弗雷得等翻译成古英语。<br /> 这些标志着民族语言翻译的开始。<br /> B.《圣经》翻译在13世纪达到了新的高潮。<br /> C.马丁路德：把《圣经》新约和旧约翻译成德语，并且翻译成能被大众所接受的语言。他认为翻译就是让外语成为译者的本土化语言。<br /> 作用：消除了普通人对《圣经》的语言障碍，对统一德语和发展德语做出贡献。<br /> D.威廉廷代尔的译本成为英国翻译史上最著名的英王钦定本的主要参照本。<br /> 作用：完全符合英语的用法习惯，增加了英语的表现力；<br /> 对英国散文、语言和文化发展起到了不可估量的作用。<br /> 3.《圣经》在汉译中的创造性叛逆<br /> A.创造的叛逆性翻译是为了使《圣经》在新的环境中易于被受众接受。<br /> B.特征：<br /> a.显著的归化特征：吴经熊采用骚体，把外国的体裁中国化。<br /> 吴经熊翻译的《新约全集》:“天主聖子耶穌基督福音之濫觴，正如《意灑雅先知書》之所記云:吾遣使者，以先啟行; 為爾前驅，備爾行程。”<br /> b.误译：严复的译本以中国士大夫为主要读者，因此他的译本符合士大夫的价值观，同时也降低阅读难度。<br /> c.改编或删节：严复考虑到中国读者几千年来的儒家文化熏陶，迎合中国道德伦理和文化。<br /> 4.《圣经》汉译对中国语言文学的影响<br /> a.丰富了汉语词汇，为现代汉语带来许多新意象和表达方式。如，天堂、伊甸园等。<br /> b.影响中国现代文学的创作主体，许多意象来源于《圣经》中的典故。<br /> c.影响许多中国著名的作家和文学理论家。如，鲁迅、冰心、徐志摩等。<br /> <br /> <br /> [4] 曾志琼.浅析“圣经故事”包含的男权思想及其危害[J].西昌学院学报(自然科学版),2004(04):21-23.<br /> <br /> 《圣经》中包含的男权思想：<br /> 1.创世纪故事中包含的男权思想。<br /> a.在上帝创世的神话中，男性亚当是用象征承载人类生命的泥土按上帝的形象创造出来的，而女性夏娃是作为男性的附属品用亚当的肋骨而创造出来的，目的是为亚当消除孤独寂寞。<br /> b.创世纪故事中，包含“女人是祸水”思想。作为女性象征的夏娃经不住蛇的诱惑，偷吃了禁果，使人类受到上帝的惩罚，开始了苦难。<br /> 2.“圣经故事”中的先知先觉、基督英雄们都是男性。<br /> 人类历史的英雄史都是谱写男性的。整个圣经故事都是以男性英雄为主线而描绘基督教历史的。从最早制造方舟振救人类的挪亚，到带领以色列人出埃及，使以色列人摆脱埃及法老贵族奴役的摩西，到带领以色列人力战外族，为以色列人开缰拓土的约书亚，再到带领以色列人雪耻，赶走外族，使以色列人建国的大卫以及拯救人类的耶稣等等。<br /> 3.婚姻家庭中的男权思想、夫权思想 <br /> a.嫡长子制，忽视女性后代的存在。<br /> b.多妻制。基督英雄们都是妻妾成群，可以主人的身份任意拥有女人。<br /> c.休妻制。女性不论犯不犯错都可能被休。甚至可以被男性当财产、畜生一样送人。<br /> <br /> <br /> [5]菲利斯·特丽波,周辉.女性主义诠释学与圣经研究[J].圣经文学研究, 2009(00):35-44.<br /> 摘要：作者认为出现在父权制社会的圣经充满了男性形象和语言，对《圣经》进行重新的诠释，以挑战圣经中的父权制。焦点是希伯来圣经，重点不仅仅落在不利于女性的事例上。 考量了圣经中女性研究的三条女性主义进路。<br /> 1.阐释了一些不利于女性的故事。希伯来女子从生到死都属于男人，遭受到男性权威的虐待、凌辱。<br /> 2.重申被忽视的女性作为上帝的篇章和反抗父权制文化的女性形象。<br /> 3.利用前两种方式，同情地重新讲述关于妇女的故事<br /> （作者菲利斯·特丽波被认为是在圣经文本基础上探索妇女与性别问题的领袖人物）<br /> <br /> <br /> [6]林燕.女性主义圣经诠释概述[J].宗教学研究,2013(04):213-219.<br /> 女性经验是重新阐释圣经的基点。<br /> 女性主义圣经诠释随着女性神学的繁荣而发展。女性圣经诠释是不同于女性主义神学的独立学科，它具有独立的研究前提和范畴。<br /> 核心内容：对传统的圣经诠释和基督神学所建构的两性关系提出质疑和批判；寻找、重建圣经中被忽视、被遗忘的女性形象，恢复重建女性的地位和尊严；为争取女性在教会中担任圣职而斗争。<br /> <br /> 参考文献：<br /> [1]杨晓雨.佛经翻译与圣经翻译比较[J].考试周刊,2017(74):192. <br /> [2]顾颍.从佛经与《圣经》翻译看中西方翻译思想——《中西方翻译思想比较》评析[J].常熟理工学院学报,2008(03):122-124.<br /> [3]姜晏.译介学视角下的中西方《圣经》翻译[J].青岛大学师范学院学报,2011,28(02):125-128.<br /> [4]曾志琼.浅析“圣经故事”包含的男权思想及其危害[J].西昌学院学报(自然科学版),2004(04):21-23. <br /> [5]菲利斯·特丽波,周辉.女性主义诠释学与圣经研究[J].圣经文学研究,2009(00):35-44.<br /> [6]林燕.女性主义圣经诠释概述[J].宗教学研究,2013(04):213-219.--[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 02:42, 4 June 2018 (UTC)<br /> <br /> <br /> 《霍乱时期的爱情》<br /> 加夫列尔·加西亚·马尔克斯——拉美魔幻现实主义的领军人物<br /> 1967年，《百年孤独》；1982年， 获诺贝尔奖；1985年，《霍乱时期的爱情》<br /> 故事是以费尔明娜和阿里萨、乌尔比诺医生爱恨悲欢的三角恋为主线，以阿里萨与其余622名女性形形色色的性欲与真情为副线。小说采用了顺时叙述。以乌尔比诺的棋友之死为故事的开始，先后讲述了：医生的婚后生活；阿里萨和费尔明娜如诗如梦的初恋，乌尔比诺追求费尔明娜并与之结婚；阿里萨的失望心情和纵欲寻欢；费尔明娜婚后生活的不快和孀居的孤独；阿里萨耐心点燃费尔明娜心中的爱火。<br /> 一.主要人物：<br /> 1.阿里萨：喜欢阅读、喜欢写诗。多愁善感，阴郁。一生中有过623个女人，但费尔明娜是他一生的挚爱。最后在他并不怎么上心的航运公司里获得了董事长的职位。<br /> “费尔明娜，我等待这个机会，已经有51年9个月零4天了，在这段时间里，我一直爱着你，从我第一眼见到你，直到现在，我第一次向你表达我的誓言，我永远爱你，忠贞不渝。”这句话是在等待了半个世纪终于等到费尔明娜的丈夫死去后，阿里萨在葬礼之后再一次对费尔明娜隔了51年的第二次表白。<br /> 2.费尔明娜：她是骡子商人的女儿，美丽、智慧并且高傲。被阿里萨追求却遭到父亲的强烈反对，后来嫁给医生乌尔比诺。<br /> 3.乌尔比诺医生：擅长治疗霍乱的医生，黄金单身汉，知识渊博，外表帅气（虽然电影里图片很猥琐），热爱城市并致力于为他的城市他的家乡奉献，但实际上骨子里较懦弱，在和费尔明娜的婚姻里婆媳关系不合，他不敢冲撞他的母亲。“只有上帝知道我有多爱你。”<br /> <br /> 二.爱情&amp;霍乱的隐喻关系<br /> 1.在追求费尔明娜的过程中，阿里萨生理和心理都经受了如霍乱症状一般的痛苦。在阿里萨对费尔明娜一见钟情后，“他开始寡言少语，茶饭不思，辗转反侧，彻夜难眠”。<br /> 等待费尔明娜回第一封信的时候“他腹泻，吐绿水，晕头转向，常常突然昏厥，脉搏微弱，呼吸沉重，像垂死之人一样冒着虚汗…”这些症状和霍乱的症状很相似。但事实上阿里萨并没有患上霍乱，后边医生的检查也可以证实。<br /> 所以，我们可以这样认为：爱情，在阿里萨身上的表现就如同霍乱对人的侵袭一样。在这本书中，霍乱也就代表爱情，所有的症状都是变相的爱。<br /> 但不同的是：疾病带来的恐惧是自私的，是从自我角度出发的，是害怕失去自己；而爱情带来的恐惧常常源自于所爱之人，是害怕失去对方。<br /> <br /> 2.在中国古代文学里也有关于爱情对疾病的意象。<br /> 在中国，因爱情引起的疾病叫做“相思病”，一般是因对某人的思念而生病。表现为焦虑、食欲不振、失眠、幻想、晕厥等类似生病的身体状态。<br /> 很著名的例子就是《红楼梦》中的林黛玉人物形象。 还有《西厢记》张生为崔莺莺“为伊消得人憔悴”也是“相思病”的例子。这样的例证还有很多。<br /> 问题：如果爱情是一种病，能致病，那么医生能不能诊断并治愈因爱情引起的疾病呢？<br /> 大家都知道，林黛玉的身体一向比较弱，但是住在大观园中可以让黛玉有很好的物质条件治疗或者从中医角度来讲“调养”她的身体。看当时最好的医生, 吃的是最难得到的药材做成的药。可是在听到宝玉和宝钗成亲的消息后还是郁郁而终。说明在中国的古典文学中，医生并不可以治愈爱情引起的相思病。<br /> 我们再看西方文学里《变形记》——“所有人都知道, 真正的疾病和爱情疾病是很相似的: 意识变得虚弱, 眼神变得憔悴,膝盖变得无力… 上帝啊! 医生们真是无知啊! ”<br /> 还有《霍乱》里，母亲担心阿里萨得了霍乱,去看了医生。做了很多必要的医疗检查, 最后通过对阿里萨的性格了解以及与阿里萨的谈话确定了病因。医生最后能确诊阿里萨的爱情疾病并不是因为他高超的医术或者他的各种医学常识, 而是因为他本人的年纪来带的阅历以及对爱情和对阿里萨的了解得出的结论。<br /> 以及小说里医术高超的乌比尔诺医生, 虽然有广博深人的医学知识储量, 他研究霍乱是为了在医学层面上彻彻底底的治疗它。他一点也不懂爱, 不懂爱情。所以，乌比尔诺医生也不具有诊断爱情疾病的能力。<br /> 所以，中西方古典的文学作品中, 医生是并不赋有能力来诊断和治疗爱情所引起的疾病的。<br /> <br /> 三.主人公的青年、中年、老年三个阶段他们的爱情。<br /> a.青年阶段——浪漫疯狂，以阿里萨和费尔明娜的初恋为主。因费尔明娜的醒悟接着拒绝阿里萨而结束——“不，请别这样，忘了吧”、“今天见到您，我发现我们之间不过是一场幻觉”。这个时期，阿里萨是以等待、信还有音乐追求费尔明娜的，我认为这三项几乎是在所有的爱情中都会或多或少起到作用的。<br /> 等待。自从阿里萨对费尔明娜一见倾心之后，他就每天在费尔明娜上学必经的道路上，捧着一本诗集在一棵杏树下假装看书，只为了一天能匆匆忙忙地看上她四次，风雨无阻。<br /> 信。最初阿里萨缺乏勇气向费尔明娜说出自己的爱意，于是开始给费尔明娜写信，从一张便条最后变成了70页的情书。也是在频繁通信中，打动了费尔明娜。<br /> 音乐。在因费尔明娜失眠的夜晚，他在费尔明娜的窗外演奏自创的爱的华尔兹。费尔明娜也是在他的音乐中更深刻的了解他。<br /> 总的来说，青年时期：他们的相爱过程短，不成熟，更多的是幻想。<br /> <br /> b.中年阶段，主要是费尔明娜与乌尔比诺医生的婚姻以及阿里萨漫长的等待中的孤独狩猎生涯。<br /> 费&amp;阿：隐秘顽强。阿里萨单相思，对抗时间和死亡。<br /> 阿里萨在被拒绝：先是自虐，后转移对费尔明娜及她丈夫的怨恨与诅咒，随后又对费尔明娜宽恕，决定和费尔明娜留在同一个城市，并且开始新一轮漫长的等待，他的单相思——对抗时间和死亡，等乌比尔诺医生死去。<br /> 爱情的失败也让阿里萨意识到自己的身份和社会地位配不上费尔明娜，逼迫着自己去经营生活，改变自己的社会地位。<br /> 阿里萨猎艳：通过性寻找爱，消除内心孤独感<br /> 同时他和众多女人发生肉体关系。但其实正是通过和其他女人的相处，来消除内心的孤独感，弥补得不到费尔明娜爱情的缺失。他也更加确认费尔明娜对他的不可替代，是他一生唯一的挚爱。<br /> 费&amp;乌：世俗婚姻。陪伴，稳定、平淡。<br /> 在费尔明娜与乌尔比诺医生的婚姻中，他们互相陪伴，平淡也稳定。只有一次例外，就是乌尔比诺出轨芭芭拉林奇小姐，被费尔明娜发现后，医生经过长时间的内心矛盾并最终坦白。<br /> <br /> c.老年阶段——理性智慧，以费尔明娜和阿里萨的黄昏恋为主。<br /> 阿里萨一直坚持到了医生去世。他以他的坚持和耐心打动了费尔明娜，让费尔明娜愿意接受他。他们开始了一段旅行，旅行结束的时候因为他们不愿面对现实所以不愿回去，最后乘着以霍乱为帆的船继续航行。<br /> <br /> 四.小说里讲述的各种各样的爱情可能。<br /> 开篇摄影师赫雷米亚与黑白混血女人之间隐蔽的恋情；<br /> 阿里萨和费尔明娜持续了半个世纪的柏拉图式的精神恋爱（包括他们青涩纯粹的初恋与年老时的黄昏恋）；<br /> 阿里萨对费尔明娜忠贞不渝的单相思；<br /> 费尔明娜与乌尔比诺医生的世俗婚姻爱情；<br /> 乌尔比诺与林奇小姐战战兢兢的婚外恋；<br /> 阿里萨和众多女人们纯粹的肉欲追逐的露水爱情；<br /> 阿里萨与14岁少女的洛丽塔式的忘年恋…<br /> 忠贞的爱、雀跃的爱、逃离的爱、私通的爱、狂热的爱、转瞬即逝的爱、生死相依的爱…<br /> 不同层次不同角色不同性质的爱情，这篇小说也堪称是“爱情的教科书”“陈列爱情的博物馆”<br /> <br /> 五.除了爱情之外的其他主题。<br /> 1.衰老。儿童摄影师赫雷米亚德圣阿莫尔的自杀；<br /> 岁月加于人的痕迹——表现在岁月加于主人公身上的痕迹（蹒跚的步态、上楼梯的速度、意外的跌倒、满是皱纹的皮肤、稀疏的头发）；<br /> 乌尔比诺医生、阿里萨想尽办法延缓衰老 <br /> 2.死亡。小说中提到最多的是霍乱，也是整个故事发生的宏大背景。<br /> 借以描写这种难以治愈、神秘莫测的疾病来写死亡。因为霍乱预示着死亡，而且在当时几乎就等于死亡，当时地的生产力水平和医学发展不足以让人们去抗衡。<br /> 当人们被生理上的痛楚折磨时，往往无力也无心开出精神上的花朵。然而小说中描写的就是这样一种稀有的生命之花，因为爱情有勇气与苦难和死亡的疾病抗争。<br /> <br /> 阿里萨一生都在追求费尔米纳的爱情，即使面临死亡的抉择也义无反顾: 冷酷无情的费尔米纳的父亲最初阻挠女儿与他的爱情时，甚至用死亡来威胁阿里萨，但是阿里萨毫无畏惧，“‘朝我开枪吧!’他说，把一只手放在胸口上，‘没有比为爱情而死更光荣的事情了’”。因为有了爱情，所以阿里萨充满了无畏的勇气。他为了爱情不怕死，并且崇尚为爱而死。<br /> 同时阿里萨的爱情之路实质上是一直与死亡作斗争，他到年老时害怕衰老和死亡，因为他明白，只有乌尔比诺医生死去，他才有机会再接近费尔米纳，因此，他努力与时间、衰老、死亡作斗争，他要为爱好好活着，战胜时间，战胜衰老，跨越死亡，他要活过乌尔比诺，才能重获费尔明娜。<br /> 所以说这两个主题实际上也是与爱情密切相关的，因爱情而起的，可以归结到爱情主题上。<br /> <br /> 参考文献：<br /> 1.於珍珍.《霍乱时期的爱情》中的医生形象分析[J].才智,2014(32):318-319.<br /> 2.荣利. “滥情”的痴情者[D].浙江师范大学,2015.<br /> 3.谈清妍.爱情的乌托邦——解读《霍乱时期的爱情》中的爱情与死亡[J].襄樊学院学报,2009,30(06):51-54.<br /> 4.高小斐,孙世友.悲欢离合五十年——浅论《霍乱时期的爱情》中的爱情[J].才智, 2014(16):288.<br /> 5.李贞琤.疾病缠绕下的爱情——马尔克斯小说爱情主题与疾病主题关系探究[J].开封教育学院学报,2017,37(12):38-39+42.<br /> 6.姚婧.情感的疾病化书写——解读《霍乱时期的爱情》[J].名作欣赏,2015(17):125-128.--[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 03:00, 4 June 2018 (UTC)<br /> <br /> handout of张传伟<br /> 世界主义与世界文学<br /> 一、世界主义<br /> <br /> 1、世界文学的定义：<br /> (1) 各民族优秀文学的经典之总汇；<br /> (2) 一种用于从总体上研究、评价和批评文学的全球的、跨文化的和比较的视角；(3)不同语言中的文学生产、流通、翻译和批评性选择的发展演变过程。<br /> <br /> 2、形成和发展<br /> （1）词源探究<br /> 作为一个跨学科的理论概念和批评话语，世界主义可以追踪到古希腊的哲学思想那里，甚至这个术语本身就出自希腊语。我们今天在英文中所描述的世界主义( cosmopolitanism) 是由两个词组成的:cosmos在希腊语中，意为宇宙或世界，polis意为城市或城邦。这样我们就有了“世界”这个词。那些信仰其伦理道德的人便被人称为“世界主义者”( cosmopolites)，而他们的主张和理论教义便被称为“世界主义”。这就是世界主义概念就其字面意义而言的形成。<br /> （2）后世发展<br /> 世界主义通常在三个层面得到讨论:哲学的、政治学和社会学的以及文化和文学的层面。哲学维度的世界主义可以追溯到柏拉图和亚里士多德的著作，这两位希腊先哲本质上并不赞成世界主义，在他们看来，人们通常生活在自己的城邦，并且依恋特定的政治教义，所以很容易与之相认同。当他们的城邦遭受外敌入侵时，公民们便会奋起抗击，保卫自己的城邦。对这些古希腊人来说，好的公民不应当与外邦人分享过多的利益。这一观点后来逐步发展为爱国主义和民族主义。在中国，爱国主义和民族主义对那些试图形成独特的中华民族和文化认同的知识分子一直有着极大的吸引力，一个特例就是五四时期，当时虽曾有人鼓吹过世界主义，但很快就销声匿迹，淹没在民族主义的汪洋大海中了，其原因恰在于当时的中国文化土壤和时代精神并不适合世界主义驻足。<br /> 但并不是所有古希腊先哲们都反对世界主义，另一些思想较为开放且见多识广的古希腊知识分子，尤其是犬儒派哲人迪奥格尼斯(Diogenes)则鼓吹一种较为普世的伦理道德，因为他并不把自己局限于特定的城邦，甚至公开宣称:“我是一个世界公民。”从此，“世界公民”(citizen of the world)便成了所有信奉世界主义的人所致力于追求的理想。当然，他们所追求的并非是特定的民族—国家的利益，而更是一种普世价值和全人类的共同利益。他们的这种理想和追求并不满足于局限在哲学和社会政治层面，他们还试图将其推而广之。<br /> 当代学者在讨论世界主义时很少引证这些远古时期的观点，但其中的某些观点却依然在现代哲学家的著作中得到响应和发展。启蒙时期的哲学家如康德则表示了对其的莫大兴趣，提出一种世界主义的法律或权利。19 世纪以前的不同形式的世界主义仅仅停留在哲学家的假想和论辩层面上的话，那么自19 世纪以来，那些有远大抱负的人便逐渐开始将世界主义付诸实践了，从哥伦布发现“新大陆”到世界贸易航线形成等都为全球化的进程奠定了基础。<br /> <br /> 二、世界文学<br /> <br /> 1、源起<br /> 歌德是德语“世界文学”( Weltliteratur) 一词的创制者，也是第一个明确提出世界文学观念的人。歌德关于世界文学的论述集中在1827-1830年间，归纳起来有三个要点: 其一，世界文学是一个对话和流通的平台，各民族文学可以通过进入这个平台相互交流、取长补短、相得益彰。其二，世界文学是一个合乎世界主义的理想，能够推动各民族文学逐渐打破孤立割裂状态，影响融合而形成一个有机的统一体。其三，世界文学是彰显民族文学价值的场所。歌德就站在德国的角度谈论世界文学，他渴望本民族文学在推动世界文学形成过程中扮演“光荣的”、“美好的”角色，对其他民族文学(例如法国文学) 所处的优势地位则十分敏感。<br /> <br /> 2、“世界文学”内涵<br /> 在《什么是世界文学？》一书中，丹穆若什以世界、文本和读者为中心，进一步阐释“世界文学”的三重定义：“世界文学是民族文学间的椭圆折射”“世界文学是从翻译中获益的文学”“世界文学不是指一套经典文本，而是指一种阅读模式——一种以超然的态度进入与我们自身时空不同的世界的形式”。首先，“椭圆折射”利用椭圆具备两个焦点的特性，指代世界文学的双重性质。世界文学具有两个核心要点——源文化和主体文化。一部文学作品如果想成为世界文学的一部分，需要从源文化出发，被他国文化空间接受。“接受”过程与接受主体的民族文化传统和价值需求相关。因此，世界文学既与源文化相关，又与主体文化相关，是一种双重折射。仔细分析，世界文学双重折射特性表明世界文学作品并非静止、孤立，而是在不同国家、不同文化间互相流通、交流、传播、碰撞。世界文学作品，不仅受到源文化熏陶，也经过主体文化的接受和改造。其次，由于语言障碍，世界文学作品的传播和流通必须依赖文学翻译。但是，文学语言在翻译过程中会有得失。丹穆若什认为翻译中对于得失的衡量是区分民族文学与世界文学的标志。具体来看，在翻译中受损的文学，“通常局限于本民族或本地区的传统内”；从翻译中获益的文学，“进入世界文学的范畴”。他进一步指出，民族文学进入世界文学，当范围扩大后，“风格上的损失会被深度上的扩张所抵消”。由此看出，世界文学作品源于民族文学而高于民族文学，价值取向超越民族特性，拥有“世界性”。最后，丹穆若什认为世界文学并非经典文本的简单集合，而是通过一种阅读，使读者超越自身时空，进入更加广阔的世界。作为阅读模式，一部作品能否成为世界文学，取决于其他国家、民族读者的阅读效果。一旦外国作品开始在读者脑中发生共鸣，世界文学就开始活动。这种“共鸣”，实际是不同民族文学作品的相同价值取向的融汇。作品自身价值取向被本国以外读者认可，超越民族性，成为世界性价值。由此看来，世界文学不代表文学作品数量的多少，而是作为一种阅读模式，“可以通过少量作品来深入体验，也可以通过大量作品来广泛探寻”，在世界范围内寻找共鸣。<br /> <br /> 3、“世界文学”与“世界的文学”<br /> 一般而言，“世界文学”和“世界的文学”这两个概念多半是在明确的不同语境中被运用：若说“世界文学”依然意味着作品之无可非议的重要性，那么，“世界的文学”则更多地指向世界上那些不怎么有名、却能展示新方向的文学；它们不同凡响、颇有魅力，却还未在读者意识中占有重要位置。也就是说，“世界的文学”未必就是审美和经典意义的上乘之作，或得到广泛接受的作品。谈论“世界的文学”，人们面对的是浩繁的书卷，无数作品和文化传统，难以把握的界线，并在挑选时怀有开放态度。<br /> 20 世纪70 年代，世界体系理论( World System Theory) 兴起于美国，对世界文学观念产生重大影响。以美国著名社会学家伊曼纽尔·沃勒斯坦( Immanuel Wallerstein) 为代表的世界体系理论的核心，是把人类社会看成一个由结构性经济联系及各种内在制度制约的一体化的体系，以此作为考察社会发展变迁的分析单位。这是对20 世纪五六十年代兴盛的以民族国家为分析单位、研究人类社会发展变迁的经典现代化理论的反拨。<br /> <br /> 4、世界文学与比较文学<br /> 世界文学与比较文学的关系引起西方学者的重视。一种声音认为，世界文学相比于比较文学，只是在原有学科体系基础上扩大比较范围。如大卫·费里斯指出：“比较文学应成为世界文学，只是扩大比较范围，比较方法不变。”另一种声音认为，比较文学与世界文学并行不悖，相互作用。“国别文学、比较文学和世界文学彼此间保持动态相互作用关系，都无法完全取代对方。”②对于读者来讲，世界文学仅存于国家空间。比如中国读者阅读海明威《老人与海》，即使该作品在世界范围内得到广泛认可，作为世界文学作品享誉中外，但对于中国读者而言，阅读的只是一部美国小说而已。比较研究作为方法，通用于国别文学、比较文学和世界文学研究。但是，如库班指出，“世界文学接受文本，即使代表特别的国家精神……也能穿过甚至超越他们的国家，语言和历史起源，有效解域本身”，世界文学关注世界性，超越民族性。今天西方学者老话重提，有一些新的阐释，但是，作为克服比较文学危机、面向未来的比较文学学科理论，尚缺乏指导性意义。全世界比较文学学者必须寻求比较文学理论的新突破。<br /> <br /> 三、中国文学的世界化与世界文学的中国化<br /> <br /> 1、中国文学的世界化<br /> 中国文学世界化并不只是中国作家获得国际大奖或是中国作家作品被翻译介绍到外国。世界化是中国文学作为全球化时代世界文学的主体之一，在世界文学中体现出中国主体性。<br /> 马克思《路易·波拿巴的雾月十八日》中说：“就像一个刚学会一种新语言的人总是要把它翻译成本国语言一样；只有当他能够不必在心里把新语言翻译成本国语言，当他能够忘掉本国语言来运用新语言的时候，他才算领会了新语言的精神，才算是运用自如。”后现代批评家们奉为圭臬的这篇名著中，马克思的话说出了中国的世界文学认证的真正价值。全球化时代中，世界文学是对自我认证，也是对他人的认证，中国文学从世界文学得到认证，同样，世界文学从中国文学得到认证。<br /> <br /> 2、世界文学的“中国化”<br /> 世界文学的“中国化”指很多学者表示怀疑，以为是将世界文学作品按中国的观念进行改造，甚至变成“红色经典”。我们必须解释清楚：世界文学的中国化并不是用中国文学标准来“化”世界文学，而是建构中国的世界文学阐释理论体系。这是完全正当的无可非议的，中国文学从不追求“文化权力中心”。但是中国文学必须建立中国的世界文学视域，中国如何看待世界文学史理论、世界文学经典的选编与世界文学翻译，这三大要素，缺一不可。<br /> <br /> 参考文献<br /> [1]方维规.何谓世界文学?[J].文艺研究,2017(01):5-18.<br /> [2]曹顺庆,李斌.比较文学未来发展之路——世界文学与比较文学变异学[J].中国高校社会科学,2016(06):39-47+154.<br /> [3]方汉文.中国文学的世界化与世界文学的中国化[J].江南大学学报(人文社会科学版),2016,15(01):93-98.<br /> [4]王宁.世界文学语境中的中国当代文学[J].当代作家评论,2014(06):4-16+2.<br /> [5]王宁.世界主义、世界文学以及中国文学的世界性[J].中国比较文学,2014(01):11-26.<br /> [6]刘洪涛.世界文学观念的嬗变及其在中国的意义[J].中国比较文学,2012(04):9-21.<br /> <br /> 西方文学的翻译<br /> <br /> <br /> 一、翻译内容、技法叙事<br /> 清末颇为兴盛的外国小说翻译一方面介绍了西方的文化思想,另一方面明显的汉民族文化特征仍不容忽视。因为近代译者多具有根深蒂固的中国文化观念,因此他们在翻译过程中对原著进行特殊的、比较主观的处理是特定历史阶段的产物。<br /> 在西方小说文化思想内容的翻译方面,“西方宗教观、伦理观与中国具体国情不同,其文学作品必然与中国文化发生抵悟,翻译者趋于沟通的心理,尽可能地使译作。与中国文化相通。”<br /> 在叙事技法的传递方面,“早期小说译者的文学修养主要源于中国传统文化,其译作的小说文体形式必然采用中国原有的通俗小说文体——章回体。在原著风格的翻译方面,“早期小说译者在翻译小说时非常注重小说的读者群,这些读者多属具有一定文化修养的文人阶层,其思维方式、审美习惯皆己定型。翻译者如果想拥有庞大的读者群,其译作就应该考虑到中国读者的阅读习惯与审美情趣,突出小说消闲、怡情的文学特征。因此,外国小说译作的汉化便成了翻译者有意追求的一种语言风格。<br /> <br /> 二、翻译方法和翻译文体<br /> 由于文学意识的不自觉、白话语体表达的幼稚性以及受众对象的特殊性等原因,在近代的文学翻译中,归化的手法、文言的文体和意译的方法颇受青睐。因此,“这种译述、意译的风气使得早期文学翻译的体例很不完备。”文学革命爆发后,文学翻译的目标读者出现“平民化”倾向,文学翻译文体走向通俗化、大众化,同时由于文学翻译中文学意识的不断增强,直译方法逐渐为越来越多的译者所使用,文学翻译开始走向异化。<br /> <br /> 三、近代翻译与意识形态的相互关系<br /> 译入语文化中的主流意识形态对中国近代翻译选材有着不容忽视的影响和操控作用。1840年—1919年的中国翻译史印证了勒菲弗尔的翻译理论。通过研究这个时期的翻译史,我们可以清楚看到,翻译作品的兴盛是随着各个历史阶段的主流意识形态的变化而变化的。例如“甲午战争的失败把中华民族的生死存亡摆在每个人的面前，……此时的意识形态可以归纳为‘开民智、求变革’,其目的是为了唤醒全体国民,进行思想和现代意识启蒙。小说因为其易普及<br /> 性被选作变革工具,成为资产阶级改良派医治`社会病'的良方。”<br /> <br /> 四、近代翻译在文化和语言方面的属性<br /> 中国近代翻译有层次区别,早期的科技翻译不同于后来的社科、文学翻译,前者主要是技术问题,后者主要是文化和语言问题。众所周知，文化翻译往往涉及到深层的语言体系问题。近代社会译者所深谙的古代汉语体系决定了近代翻译文学从根本上具有中国“古代性”。这样,“翻译者总是用旧思想、旧思维来理解和表达西方新思想、新思维,总是在旧有的语言体系中寻找相对应或相似的术语、概念、范畴和话语方式,因此,西方思想文化在翻译的过程就不知不觉地变了形,变得本土化、民族化了。<br /> 五、近代翻译的动机及其所带来的影响<br /> 近代译者为了让时人了解西方民主思想和先进的科技知识,大多有目的地选择政治小说、科学小说、侦探小说加以引进,其翻译动机就是要救国启民,因此他们的翻译观明显具有功利主义的性质。这一点对于我们理解近代的小说翻译理论和翻译策略大有裨益,对于译文中普遍存在的删改现象也就能够给予合理的解释。他明确地谈到“他们企图用中国传统文化和文学的规范去干预原文本,以此来调整读者对译文的反应,避免可能造成的文化障碍。运用这种策略和方法的目的,无非是趋利避害,把原文本中有利于译文读者的信息翻译出来,对那些不利于一译文读者或不实用的信息避而不译。”<br /> 参考文献<br /> 【1】吴莎,屠国元.论中国近代翻译选材与意识形态的关系(1840-1919)[J].外语与外语教学,2007(11):38-40.<br /> 【2】顾建新.清末民初文学翻译方法与文学翻译文体的发展[J].外语教学,2004(06):50-54.<br /> 【3】韩永芝.从文化排斥与文化认同看清末外国小说翻译[J].解放军外国语学院学报,2001(05):66-69.<br /> 【4】高玉.论中国近代翻译文学的“古代性”[J].华中师范大学学报(人文社会科学版),2000(04):66-72.<br /> 【5】陆国飞.近代外国小说译介中的功利主义思想[J].学术界,2007(04):236-239.<br /> <br /> <br /> 外国诗歌翻译<br /> [1]郭建辉.外国诗歌的审美特征与外国诗歌的鉴赏[J].重庆工业高等专科学校学报,2001(03):93-95.<br /> 由于各民族的文化传统的不同影响，外国诗歌也呈现出不同的特点，详细分析了从《荷马史诗》与《圣经》到现代主义艾略特的《荒原》特点，以把握外国诗歌的审美特征。<br /> <br /> [2]河洛易.中国现代诗歌翻译概述[J].解放军外国语学院学报,2000(05):105-108.<br /> 作为中国20世纪的诗歌翻译来说, 大致可分为七个阶段：1、诗歌翻译的前奏曲——近代诗歌翻译 (1840 年鸦片战争到 1919年“五四”运动)；2、现代诗歌翻译的开创期 (从1919 年新青年社到 1930年“左联”成立)；3、现代诗歌翻译的中期 (从 1930 年“左联”成立到 1937 年抗战开始)；4、现代诗歌翻译的后期 (从 1937年抗战开始到1949年中华人民共和国成立)；5、当代“十七年”的诗歌翻译 (从 1949 年新中国成立到“文化大革命”前夕)；6、当代“文革十年”的诗歌翻译 (文革十年)；7、当代新时期的诗歌翻译 (1976 年至今)。<br /> 外国诗歌的翻译不是一个自我封闭的静态系统，而是一个不断自我调整和适应的开放系统。<br /> <br /> [3]熊辉.翻译诗歌对诗人创作的影响[J].文艺争鸣,2017(09):7-12.<br /> 翻译诗歌为百年新诗发展注入了生机和活力，学界目前多从创作技巧、形式艺术或思想情感的角度去论述前者对后者的影响，较少从创作实践的层面去思考二者的关联。实际上，新诗创作者由于接受了不同的文化而具有各自特殊的写作背景，翻译诗歌对新诗创作的影响也因为创作主体的多元化而呈现出复杂的格局：部分诗人直接阅读并翻译了外国诗歌，译诗对他们创作的影响主要停留在翻译过程或思维转换上；也有部分诗人通过阅读其他人翻译的作品而受到了译诗文本的影响，这部分人也包括那些参与翻译的诗人，因为他们自己在翻译诗歌的同时也可能会阅读别人的译作。<br /> <br /> [4]熊辉.外国诗歌的翻译与中国现代新诗的文体创新[J].上海师范大学学报(哲学社会科学版),2013,42(03):70-76.<br /> 外国诗歌的翻译有助于中国新诗的文体创新,作者从语言层面的创造新字、改进语言句法和表达方式,形式层面的创造新形式、引入新形式等方面展开论述。在此基础上分析了这种在翻译的过程中创新的文体所具有的文体特征和文化属性,进而表明外国诗歌的翻译对中国新诗文体创新具有带动作用。<br /> <br /> [5]李特夫,李国林.诗歌翻译研究:传统思路与现代视野[J].天津外国语学院学报,2004(01):31-36+47. <br /> 随着译学研究范式的转向、开拓与创新 ,各种译学思想得以不断重诂和修订，为我国诗歌翻译研究带来了新的启示。在对传统译诗观念进行简要回顾和思考的基础上，针对当前一些争议和疑难性问题提出了个人看法，并借鉴西方译论，就未来诗歌翻译研究有关问题进行了探讨。<br /> <br /> [[Media:Earliest_translations_from_the_West_to_Chinese_presentation_by_Lin_Li.pdf]]<br /> <br /> [[Media:The Arabian Nights_by_Wang_Xinyi.pdf]]<br /> <br /> [[Media:Lecture_The Arabian Nights_by_Wang_Xinyi.pdf]]</div>

Zhu Renduo