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2020-12-28T07:24:53Z

Zhu Suyao: /* Zhou Shuyao 周书尧 */

==Cao Runxin 曹润鑫==
'''Zhu Ziqing'''

A third example, where an author shows another face in his essays is Zhu Ziqing. He is known as the author of the most often reprinted story-like Chinese essay "''Back View''" (Beiying), a standard school text. The success of this essay lies in the fact, that it applies to filial pity. From the reported fare-well scene with his father at the train station, he learned that his father loved him and that he had grown-up too now.
==Chang Huiyue 常慧月==
This self-reflective essay helped Zhu to find himself through the observation of the other (here his father). The 2nd often printed essay is also from Zhu. Parallelistic and repetitive structures are the driving factor in the atmospherical nebulous lyrical landscape desription "''The Moonlit Lotus Pond''", whose style easily may seem mannerist to the Western reader.

Zhu Ziqing supposedly opposed all political engagement and, wrote about unspectacular things. In Taiwan he became a type of substitute for the categorically refused state writer of the People’s Republic, Lu Xun, mainly because of Zhu’s supposed political independence.

通过他人的观察（这里主要指朱自清的父亲），这篇自我反省式的文章帮助朱自清认清了自己。经常出版的第二版本也来自朱自清。“荷塘月色”中描述的天空星云，抒情般的景色是通过平行结构和重复结构中展现出来的，这种风格使西方读者很容易辨别。

据称朱自清反对一切政治参与，只写不引人注意的事情。在台湾，主要因为朱自清的所谓政治独立，他因而代替了明确反对民国的作家鲁迅。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 14:33, 27 December 2020 (UTC)

==Chen Han 陈涵==
I would like to show with three examples that Zhu had absolutely clear political ideas: He had taken part in the demonstration March 18, 1926, which ended in a massacre. Zhu described this in ''"Report On the Massacre of the Government''"[ (Zhizhengfu da tusha ji).].

''Shots were still being fired, and the entrance of the east gate was packed with people. [...] Pushing and shoving, we climbed over them with great effort. We must have lost our senses then, not seeing, to our shame, the grotesqueness of our action. ''

我想用三个例子说明，朱自清有绝对明确的政治思想。1926年3月18日，他参加了示威游行，这场游行最终以屠杀告终。朱自清在《执政府大屠杀记》中对此进行了描述。

''这时枪声未歇，东门口拥塞得几乎水泄不通。[...] 我们便推推搡搡，拥挤着，挣扎着，从他们身上踏上去。那时理性真失了作用，竟恬然不以为怪似的。'' --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 26 December 2020 (UTC)

==Chen Hui 陈惠==
''[...]I was still walking on top of the people. No one dared to miss a single step, filing through the gate that divided safety from danger, one that would give us life or take our lives away. [...] My efforts finally brought me down to the ground, sealing my fate as I rolled down from the human pile. [...] I learned later that some of the people by the gate were dead, killed by the pistol squad firing from the other side of the gate. When I recall stepping over dead bodies, I cannot help but tremble with fear. [...]''
==Chen Jiangning 陈江宁==
From this experience, Zhu addresses directly the repsonsible political leaders:

''Duan Qirui, you must think about it! [...] How could we explain this to the world? [...] Granted, Duan Qirui and others could commit such atrocities without a thought; but how could we, the people of China, face the world with such a shameless government? [...] We, [...], must ask, „So many were killed—what should we do?“''
经过这次经验，朱直接给负责相关部门的政府官员写信道：“段祺瑞，你好好想一想！[…]我们要怎么跟世界人民解释？[…]当然了，段祺瑞和其他士兵不用想都会承认这次的暴行；但是，我们，作为中华人民共和国，怎么能以这样一种无耻的政府面对世界？，[…]我们，[…]必须要问，这么多人牺牲了，我们应该做什么？”--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 15:11, 27 December 2020 (UTC)

==Chen Jiaxin 陈佳欣==
In contrast, Lu Xun has portrayed the same massacre with sighing undertone and Zhou Zuoren bitter-humorously in his "''Ways to die''"[ (Si fa).] - in which he finds "to be shot" the best method to die. The supposedly less politically engaged Zhu shows here more engagement.

The essay "''Facing the New China''"[ (Xin Zhongguo zai wang zhong).] is Zhu's political manifest: He asks for democracy, enlightenment and an increase of the education level.
相比之下，鲁迅用悲伤的笔调描绘了同样的大屠杀，而周作人在他的《死亡之道》中讽刺地写道—他发现“被枪杀”是最好的死亡方法。据说较少参与政治的朱自清在这里表现出更多的参与。
文章《面对新中国》是朱自清的政治体现：他要求民主，启蒙和提高教育水平。--[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 06:51, 28 December 2020 (UTC)

==Chen Jingjing 陈静静==
''China has to be born again through democratization. [...] The people should express their own will, concentrate on their own strength. Every level of administration should build up on the expressed will and strength of the people and struggle for the majority and its greatest happiness. This means that the people govern, the people own, the people enjoy.''

A few weeks before his death, he demanded in the speech ''"Today's duty of the Intellectuals''"[ (Zhishifenzi jintian de renwu).] the participation of the intellectual in the struggle for a better society.

“中国必须通过民主化重生。[...]人们应该表达自己的意志，集中自己的力量。各级行政机关都应该建立在人民的意志和力量的基础之上，并且为大多数人及其最大化的幸福而奋斗。也就是民治，民有，民享。”

”中国必须用过民主化重生。[...]人们应当表达他们自身的意志，集中力量。各级政府都应建立在人民意志和力量基础之上，并为大部分人民及其最大幸福而奋斗。也就是民治、民有、民享。”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:15, 27 December 2020 (UTC)

在他去世的几周前，他在 “知识分子今天的职责”的演讲中要求知识分子参与建设更好的社会。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 11:31, 27 December 2020 (UTC)Chen Jingjing

==Chen Sha 陈莎==
With only a handful of essays I have demonstrated, that the picture of these three authors changes substantially, if we read carefully also their less known essayistic work. Imagine now how the picture of 20th century Chinese literature might change, if the literary histories and anthologies would not only tell the history of drama, fiction and poetry, but would also grant the essay its proper place. The following part of my paper are results of my monograph on the 20th century Chinese essay.
==Chen Sunfu 谌孙福==
'''The essay boom as a mirror reflecting growing individuality, participation in the public sphere, and the giddy-paced character of modern Chinese society'''

Acquiring an overview of the essay and assessing its essence has required extensive research in bookstores and libraries, in the People's Republic of China, Taiwan, Hong Kong and the United States for available resources in the form of essay book collections as well as secondary literature dealing with the essay.

'''散文潮就像一面镜子，反映出了日渐显著的个体性、公众场合的参与度和现代中国社会令人眼花缭乱的种种特质'''

对散文进行全面审视，并分析其内在本质，要求我们在中华人民共和国、台湾、香港和美国的各大书店、图书馆开展广泛研究，获取散文集或涉及散文主题的二次文献等可用资源。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 00:35, 28 December 2020 (UTC)

==Chen Yongxiang 陈永相==
I built a database for a statistical analysis to rank more than 5000 essays and 1400 essayists. It turned out that out of the top 60 most famous Chinese essays only 14 had been translated into English so far. The forthcoming collection of Tam King-fai adds 4 and my own one the remaining 42.

Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report[ (baogao wenxue) (Klaschka 1998).].

我建立了一个用于统计分析的数据库，对5000余篇散文和1400名散文家进行排名。事实证明，迄今为止，在中国最著名的60篇论文中，只有14篇被翻译成英文。谭景辉即将出版的散文选集另有新翻译的4篇，我自己则翻译余下的42篇。

分析表明，自1979年以来，总体上来说，散文发表有所增加，在“文化大革命”之后还出现了两次热潮，在1990年达到了新的高度。首次增加出现在20世纪20年代和30年代，此后便被报告文学所取代（Klaschka 1998）。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:41, 27 December 2020 (UTC)

==Cheng Yusi 成于思==
The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous essay bookseries[ sanwen congshu 散文叢書.].

The reason for the increase in essay production, which we can date right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in the sampling of 130 ‘representative’ books I was able to collect for the survey. There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s:

散文的发行于1920年至1930年达到繁盛主要原因在于新杂志的出现。新杂志成为了当代散文家以及散文丛书的载体。

散文发行量不断上升的原因，可以追溯到“文化大革命”时期的大清洗，造成了需求的积压。1980至1982年间印刷了一百万册散文集便很好的反映了上述观点。而这一数据仅包含于我为了调查而收录的130本代表性书目的样本中。20世纪90年代中期，中国散文盛行的原因有三点。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 07:17, 28 December 2020 (UTC)

==Deng Jinxia 邓锦霞==
1, The giddy-paced nature of current Chinese society with its demands for diverting and short texts, as Hall has put it: “[...] we live in an age of exposition”[ (Hall 1984:xiii).].

2, The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands.

3, A revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.

1，当前中国社会的快节奏需要分篇和短篇文本。正如霍尔所言，：“ ......我们生活在博览会时代。” [（Hall 1984：xiii）]。

2，对于正在增强的个人意识来说，散文是主观表达的最直接形式，甚至比具有韵律和形式要求的诗歌更直接。

3，通过散文讨论社会政治问题的兴趣的复兴，就像1920年代/ 30年代那样。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 14:35, 27 December 2020 (UTC)

==Ding Daifeng 丁代凤==
If we look carefully at essay collections not only published in the United States, but also in Hong Kong, Taiwan and the People’s Republic, we find the following three reasons for the under- and overestimation of single essayists or essays which correspond to regional differences:

1, EXOTIC In the United States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.

如果我们仔细观察在美国出版的，以及在香港、台湾和中华人民共和国出版的散文集，我们会发现以下三个原因导致人们低估和高估了回应地域差异的单个散文家或散文:

1、异国情调在美国，散文往往是根据西方人的口味来选择的，完全不知名的作者和老牌作家拥有一样多的空间。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:37, 26 December 2020 (UTC)

如果我们细细研读在美国出版的，以及在中国香港、台湾和大陆出版的散文集，我们会发现以下三个原因导致人们因地域差异而低估或高估了某些散文家或散文:

1、异国情调在美国，散文往往是根据西方人的口味来选择的，名不见经传的作者和著名的作家拥有同样多的市场。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 26 December 2020 (UTC)Mo Ling

==Fang Jieling 方洁玲==
2, SOCIO-POLITICAL In Taiwan, Lu Xun has been banned for a long time, but today, as the mentioned survey proofs, he ranks 12th among modern authors there. Wang Meng has been overestimated in the People’s Republic of China due to his political post.

3, PERSONAL Hong Kong literature on Yu Guangzhong has been censored by his disciple Huang Weiliang in favor for Yu.[ (see Lin Yaode 1989:50).]

Having named reasons for the essay boom and for the support for and the suppression of different actors in the cultural field of the essay, I would like to finish my paper by naming a few trends of the essay as they appear at the eve of the century.

2、社会政治在台湾，鲁迅被禁锢了很久，但如今，如上述调查证明，他在台湾现代作家中排名第12位。在中华人民共和国，王蒙因其政治职务而被高估。

3，个人在香港关于余光中的文学被他的弟子黄伟良检查和删节，他是赞成余光中的。（见林耀德1989：50）。

在列举了一些关于论文热潮以及在论文文化领域中对不同行为者的支持和压制的原因之后，我想通过列举几世纪前夕出现的一些论文趋势来结束我的论文。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 14:51, 27 December 2020 (UTC)

==Gan Fengyu 甘奉玉==
The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consumer-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be "art pourt l'art".

政治散文的主题从1907年兴起的启蒙教育散文转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影）都在讨论最佳社会制度，于是有关政治问题的主题复兴，但20世纪90年代时，主题又变成了非政治性，更加哲学道德的主题范畴，那会，散文家们首先对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:42, 27 December 2020

政治类散文的局部发展从1907年兴起的启蒙教育类转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影中）对于最佳社会制度的探讨使得政治话题再次变得火热。但20世纪90年代时，写作主题又转向非政治性，以及更加哲学道德的范畴，那会，散文家们首先会对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:53, 27 December 2020 (UTC)

==Gao Mingzhu 高明珠==
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing ("''On dreams''"[ "Shuo meng 說夢" On dreams in: Zhu Ziqing 1928.]) and Zhou Zuoren from 1917 ("''My own garden''"[ 9.1923.], "''The Fly''"[ 1924.], "''Reading on the Toilet''"[ 1936.]), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the newly encountered world of mass consumerism.

非政治类文章的局部发展始于朱自清以及周作人1917年开始写的每日随想（朱自清1928年发表的散文《说梦》；周作人1923年发表的《自己的园地》、1924年发表的《苍蝇》、1936年发表的《入厕读书》）。自1927年的修正，政治类文章成为主流，直到20世纪30年代末期，非政治类文章因为抗日战争的爆发完全消失。直到20世纪70年代，人民生活回归正常，非政治类文章才重新现世，由于消失太久，日常琐事成为当时热门的写作话题。20世纪90年代，由于政治话题热度的下降以及进入新时代为迎合广大群众而开发新话题的需要，非政治类文章又迎来一次高潮。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:46, 27 December 2020 (UTC)

==Gong Yumian 龚钰冕==
In the end of this century not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. Among the upper list places of the political essay after 1949 there are critical essays. For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.

在本世纪末，位于排行榜前列的不是政府要求的肯定性文本，而是非政治性的文章位于前列。尤其是从1923年到1928年，大部分非政治性文章可以追溯到共和党时代。这一观察结果得到上述统计分析结果的支持。在1949年以后的政治论文中，排名较高的有批评文章。在中华人民共和国，台湾和香港最常选择的论文中，道德和美学标准似乎已成为基础话题。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 06:56, 28 December 2020 (UTC)

==Gu Dongfang 顾东方==
A sign for the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation for customers (former: "readers"). Following the emotional essays of Zhu Ziqing who rank 1st and 2nd, ''nostalgia'' is the element of emotional identification in "''Wild vegetables of my home region''" by Zhou Zuoren, which ranks 3rd[ In Jia Pingwa's "Moon traces", which ranks 11, and in Ba Jin's "''Paradise for Birds''", which ranks 19]. Therefore one can state, that moving essays form the top.
==Guan Qinqing 管钦清==
In 1927, Chinese literature took the form of 'engaged literature'. In the 1980/90s, the discussion of politics in daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. In the later half of the 1990s, the master narrator himself seems to be lost within the subjectivity of individuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife.

1927年，中国文学出现了“参与文学”的形式。不同于那个时候，在20世纪90年代，有关日常利益的政治讨论只占很小的一部分。 20世纪80年代，包括诗歌和散文在内的所有流派都被批评家用来反对共产主义的主要叙事或毛泽东主义对艺术作为意识形态的理解。 20世纪90年代下半页，主讲者本人似乎迷失在个人的主观性以及越来越正式化但基本上空虚的城市生活的日常亵渎和平庸中。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:35, 28 December 2020 (UTC)

==Gui Yizhi 桂一枝==
In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only remiscent element left is the patriotism.[ ''Trends like the use of ordinary language'', which one finds in novels since 1993 (''Jia Pingwa'', Feidu; ''Gu Cheng'', Yingger) and New Borderlessness since 1995, cannot be proven in the essaywriting.The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable ''object d'art''.]

上个世纪90年代，80年代的政论文随笔文化逐渐隐没了，唯一剩下留有想象空间的元素就是爱国主义。[“比如使用普通语言的趋势”，这是从1993年以来在小说中发现的（“贾平凹”）费杜，古格，英格）以及自1995年以来，《新无边际》都无法在论文写作中得到证明，我们之所以没有找到后现代小说意义上的后现代散文，是因为文章的直接性：随笔作为一种体裁，是作者和读者之间的对话，而不是想要引起不同解释的原因或可能依赖于特殊形式或内容甚至是按顺序引用前现代特征的艺术品，这使它成为一个与众不同的“艺术品”。]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 13:06, 26 December 2020 (UTC)

'''References''' [partly mentioned with German translation] （不用翻）

Vera Schwarcz 1996, Vera Schwarcz, "The pain of sorrow: public uses of personal grief in modern China", in Daedalus: Journal of the American Academy of Arts and Sciences (Winter 1996)

Ba Jin 1982, Ba Jin: "Yi feng huixin 一封回信" (Ein Antwortbrief (26.10.1982)), in: Bing zhong ji 病中集 (Auf dem Krankenlager), Hongkong 香港 1984(?) (Series Suixiang lu 隨想錄 (Thoughts) Bd 4), 147 pp.

Ba Jin 1982a, Ba Jin: "Yi pian xuwen 一篇序文" (Ein Vorwort) [dated 1982.9/10], in: Ba Jin: Auf dem Krankenlager 1984

Ba Jin 1956, Ba Jin 巴金: "Duli sikao 獨立思考" (Unabhängig denken), in: Li Jisheng 李濟生, Li Xiaolin 李小林 (Hgg.): Ba Jin liushi nian wenxuan (1927 - 1986), Suixiang lu, zagan, sanwen, xuba, yanjiang, shuxin 巴金六十年文選（１９２７－１９８６）隨想錄·雜感·散文·序跋· 演講·書信 (Ba Jin. Werkauswahl aus 60 Jahren (1927 - 1986), Gedanken, vermischte Gefühle, Essays, Vor- und Nachworte, Reden, Briefe), Shanghai 上海: Shanghai wenyi chubanshe 上海文藝出版社 (Literatur- und Kunstverlag Shanghai), 1986.12, S. 461 - 462 [Datiert auf 1956.]

Ba Jin 1962, "Zuojia de yongqi yu zerenxin 作家的勇氣與責任心" (Mut und Verantwortungsbewußtsein der Schrifsteller) 1962; der Essay von Zhou Zuoren 周作人: "Wenxue tan 文學談" (Über Literatur), in: Tan long ji 談龍集 (Über Drachen. Sammlung), Shanghai 上海: Kaiming shudian 開明書店 (Kaiming Buchladen) 1927.12, Nachdruck: Hongkong 香港: Shiyong shuju 使用書局 (Praxisverlag) 1972.1, 310 S., S. 165 - 167

Zhou Zuoren 1919, Zhou Zuoren, "Zuxian chongbai 1919 (Ancestor Worship)," in Early Essays, op.cit., pp. 78

Zhou Zuoren 1920: Zhou Zuoren 周作人, Xin wenxue de yaoqiu 新文學的要求" (The demand of the New Literature) [lecture], in Beiping shaonian xuehui 北平少年學會 (Beiping youth conference) 1920.1.6, in: Zhang Ruoying 長若英: Xin wenxue yundong shi ziliao 新文學運動史資料 (Material on the history of the New Literature movement), Shanghai 上海: Guangming shuju 光明書局 (Guangming bookstore) (1934.9) ²1936.9, 291-296

Zhou Zuoren 1923, Zhou Zuoren: Yanzhicao ba (Preface to Yu Pingbo's Yanzhicao), in: Yongri ji (Book of Eternal Day), Shanghai: Beixin shuju 1929, 180-181

Zhou Zuoren 1929, Zhou Zuoren: Ertong de shu (The books of children), in: Chenbao fukan (1923.8.17)

Zhou Zuoren yuanliu, Zhou Zuoren: Zhongguo xin wenxue de yuanliu (Sources of New Chinese Literature), p 71

Zhou Zuoren 1932, Zhou Zuoren: Lun baguwen 1932, in: Kanyun ji p. 148

Source: NEAAS annual meeting 10/09/1999 New Haven (Yale University)

==Guo Lu 郭露==
'''Modern Chinese Literature and the Essay Genre: A New Perspective'''

''Martin Woesler''

In this paper, I will not recount the contents and propose interpretations of any essays, nor will I outline the main topics or styles of essaywriting in China, but I would like to take the opportunity to reflect a little bit on the phenomenon of the genre itself and discuss some conclusions and hypotheses with the attentive and critical audience which can be found at only a few places on earth, EALC at Harvard definitely being one of them.

《中国现代文学与散文体裁：以新视角》

''吴漠汀''

在本文中,我将不再赘述任何文章的内容和提出的观点,我也不会列出其主要主题或风格,但是我想借此机会,反映一些现象本身的类型，并与包括哈佛大学学生在内的观众对一些结论和假设进行探讨。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:16, 25 December 2020 (UTC)

《中国现代文学与散文体裁：新视角》

吴漠汀

本文将不再赘述或解释任何文章的内容，也不会列出中国散文的主要主题或风格。我想借此机会，反思体裁现象，同乐于助人、至关重要且世间少有的读者，包括哈佛大学东亚语言和文化学院的学生，对一些结论和假设进行探讨。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:28, 25 December 2020 (UTC)

==Han Haiyang 韩海洋==
'''1. The unknown genre'''

The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. In my paper I will ask, if the picture of literature can remain unchanged, if we take into consideration also the essay. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90, McDougall 1998);

'''1.未知体裁'''

二十世纪文选和选集里的文学史的叙述对于整个中国文学来说是不完整的：散文题材是缺失的。在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:09, 26 December 2020 (UTC)

'''1.未知体裁'''

20世纪选集所讲述的文学历史叙事，描绘了一幅不完整的中国文学图景:：散文题材是缺失的。在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:30, 26 December 2020 (UTC)

'''1.未知体裁'''

20世纪的选集和文集所讲述的文学史叙事，勾勒出一幅不完整的中国文学图景。散文的体裁是缺乏的。在我的论文中将要探讨如果我们把散文也考虑进去，文学的图景是否可以保持不变。长期以来，这一文体作为一种优秀的文体被忽视（马古利耶斯1949年，施密特-格林策1990年）或被忽略（麦克诺顿1974年，莱顿1988-90年，麦克杜格尔1998年）。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:23, 27 December 2020 (UTC)

==Han Wanzhen 韩宛真==
whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement. Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.

由于自民国初年五四运动确立的总叙事之后，对小说文学的重视和写作的白话化，因而它的系列小说，就一直受到重视。现代选本会让读者相信诗歌、小说、戏剧这三驾马车构成了中国现代文学创作的主干。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:20, 27 December 2020 (UTC)

==He Changqi 何长琦==
'''Excursion: Defining the essay as a non-fictional subjective representation in a free form'''

Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with xiaoshuo (fiction), sanwen (non-fictional prose)), lyrics (shige) and drama (xiqu). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term "wu yunwen" which corresponds to the term "epic" in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.
==Hu Baihui 胡百辉==
In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet. The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.
在抒情诗中，读者被鼓励去感受当下的感觉，并且常常是诗人的忏悔式的感觉。戏剧直接在独白或对话中回忆起一个自足的动作，以这种方式释放了读者/观众重新创造的想象力。散文作为史诗的一种体裁，是一种超脱的、非虚构的、自由形式的主观表现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 02:29, 27 December 2020 (UTC)

在抒情诗中，鼓励读者感受诗人当下的感觉，且这种感觉常常是诗人的忏悔。戏剧直接以独白或对话的方式回忆一个自足的动作，并通过这种方式释放了读者/观众再创造的想象力。散文作为史诗的一种体裁，是以自由的形式进行的一种分离的非虚构的主观表现。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:11, 27 December 2020 (UTC)

==Hu Huifang 胡慧芳==
"Essay", Chinese mostly ''sanwen'', is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Freedom in form and content is essential for the essay.

“散文”，中文主要是“散文”，是一个较短的、独立的非虚构散文文本的体裁术语，作者试图从主观的角度调解个人对一个对象或问题的体验。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。资源由散文家自主掌握，主题在更大的背景下被看到，甚至可以幽默地呈现。文章在形式和内容上的自由是必不可少的。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 13:22, 27 December 2020 (UTC)

“散文”是一种体裁术语，在汉语中也叫做“sanwen”，指篇幅较短、自成一体的非虚构散文文本，散文创作者可以从主观的角度，将个人的经验调和到事物或问题上。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。文章素材由散文家自主掌握，主题可以置于更大的背景之下，甚至可以一种幽默的方式呈现。散文的形式和内容都是自由的。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:36, 27 December 2020 (UTC)

“随笔”，中文名多为“散文”，是一种体裁术语，指篇幅较短、自成一体的非虚构散文文本，作者试图从主观视角来调和个人对对象或问题的经验。
散文试图从不同的方面进行联想，它不是作为日常使用的文本，而是作为艺术或教育要求的语言方式，虽然如此，还是以一种可理解的方式呈现。
资源由随笔作家独享，话题可以在更大的背景下展出，甚至可以幽默地呈现。形式和内容的自由对这篇随笔至关重要。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 14:38, 27 December 2020 (UTC)

==Hu Jin 胡瑾==
Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, a subcategorization in numerous small entities, like Zheng Mingli does with the essay, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.

不同的视角范围在国际上的文章体裁。体裁主要是通过对文学的学术研究，对文学进行专门的沉思，为了能够更容易地比较同类文本而进行的划分。另一方面，像郑明立对文章那样，以众多小实体进行细分，则是对这种细分的意义提出质疑，以参考解释学的研究成果。我们还必须时刻注意文学本身的变化和科学观点的相对性，即使其在国际上被接受，也是适时的。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 06:14, 28 December 2020 (UTC)

==Ji Tiantian 纪甜甜==
Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems. All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.

地域差异对散文的影响似乎不如对已确立的文体如短篇小说、小说的影响大，也远不如对诗歌的影响大。除散文外的其他文体被视为国际文体。我认为中西方散文也属于相同的国际文体，跨文化的相互作用也许可以在形式和内容上证明这一假设。

对于文章而言，比起短篇故事，小说等已存的体裁，区域差异似乎不那么重要，对于诗歌而言，区域差异更不重要。所有这些其他的体裁都被看作国际体裁。中国和西方的文章都属于同一国际体裁，这一假设也许可以通过形式和内容上的跨文化相互关系来证明。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 15:27, 27 December 2020 (UTC)

==Jiang Fengyi 蒋凤仪==

In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. This is a second hint that the modern Chinese essay belongs to the international genre of the essay.

在21世纪，世界共同发展，文化主要决定于现代化的水平。今天我们在刊物上看到的中国散文，已经具备了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文属于国际散文类别的第二个暗示。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 07:58, 25 December 2020 (UTC)

在21世纪，世界上的国家趋向于走到一起，而文化则主要取决于现代化水平。正如我们从现今报纸里面看到的那样，中国散文采用了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文开始趋同于国际散文体裁的第二个标志。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:27, 25 December 2020 (UTC)

21世纪，世界在共同成长，文化主要由现代化程度决定。我们今天在报纸上看到的中国散文，在形式和内容上都与西方散文相似，其目标群体也与之相似。这是中国现代散文属于国际散文的第二个暗示。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:44, 26 December 2020 (UTC)

在21世纪，世界共同发展，文化主要决定于现代化的水平。我们今天在报纸上看到的中国散文，已经呈现出西方散文的形式与内容，并且其目标群体也与西方散文不相上下。这是中国现代散文属于国际散文体裁的第二个迹象。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:17, 26 December 2020 (UTC)

==Jiang Hao 姜好==
Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 1992 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay).

尽管人们普遍接受用短小故事来翻译短篇小说，但两者的关系不如西方的散文和中国的同类文章密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)

尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系并不如西方散文与其中国同类文章密切。这个定义是我从5000多篇中国现代散文样本中得出的，也符合国际上对散文的特殊理解（继博尔兹于1992年 13:269-272 论西方散文的发展；布特莱姆于1989年论西方散文的理论）。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:34, 27 December 2020 (UTC)

尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系不如西方的散文和中国的对应定义密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 15:35, 27 December 2020 (UTC)

==Jiang Qiwei 蒋淇玮==
Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it "Chinese"? In the occidental essay the form seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework.

除了首先由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文有独特本土的特征。中文散文如何形成其特有文化，其中文性又由何组成？和中文散文相比，西方散文的文章形式似乎是更重要的分类标准。在中国，甚至有些文章内容相似，但形式和类别大相径庭。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:06, 25 December 2020 (UTC)

除了最初由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文具有独特的本土特色。中文散文如何形成其特有文化，其中文性又由何组成？与中文散文相比，西方散文的形式分类标准似乎更重要。在中国，有些文章甚至是内容相似，但形式和类别大相径庭。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 25 December 2020 (UTC)

除了周作人提倡采用英语散文风格所体现的全球化社会趋势外，中文散文还具有独特的本土特色。中文散文如何在文化上定义，其中国性又是什么？在西方文章中，形式似乎是比中国文章更重要的区分标准。在中国，甚至包括那些只有类似内容，却跨越了形式上的属相框架的文本。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:05, 27 December 2020 (UTC)

==Kang Haoyu 康浩宇==
This can be shown with Zheng Mingli, who subcategorises the "unfinished diary" or the "unfinished letter". Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Zheng Mingli: "essay in diary form" and "essay in letter form"), they are accepted as essays.

这一点可以从郑那里得到证明，他把“未完成的日记”或“未完成的信”分门别类。在西方语境中，这些文本属于个人使用的文本，因此属于非虚构的散文作品。只有当它们被改成散文(郑:“日记体散文”和“书信体散文”)后，它们才被接受为散文。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:07, 28 December 2020 (UTC)

==Kang Lingfeng 康灵凤==
'''The Chinese understanding of the genre is tendencially broader'''

This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén'' "non-rhythmic prose", which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with ''sanwen'' in the narrower meaning "short literary essay pieces".

Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.

'''中国人对这类体裁的理解区域广泛'''

在中国，这种对随笔的广泛认识可以直接追溯到“散文”一词在中文中所具有的“无韵散文”的内涵，“无韵散文”原本指所有的非虚构散文。从更广泛的意义来讲，个人或日常使用的文本也包括在内。但是，我只讨论“散文”的狭义意义，指的是“短篇文学随笔片段”。

更进一步的差异是，中国散文往往具有思想内容，并表现出重复、谚语使用等文体特征。

==Kong Xianghui 孔祥慧==
'''The Chinese essay is booming again in the 1980s and 1990s'''

Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'').[ Klaschka 1998.] The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文叢書 (essay bookseries).

20世纪80年代和90年代中国散文再次蓬勃发展
研究表明，1979年以后散文发表量普遍增加，在“文革”之后出现了两个高峰期。
散文出版量在1990年达到了一个新的高度。第一次增长出现在20世纪20年代和30年代，但是在此之后，散文的角色因为报告这一体裁(报告文学)而黯然失色。(Klaschka 1998。)在1920/30年代和1980/90年代，散文的繁荣在一定程度上得益于新杂志的出现，这些杂志是当代散文家发表文章的阵地，其大多属于散文丛书。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:22, 27 December 2020 (UTC)

'''二十世纪八九十年代中国散文再次蓬勃发展'''

相关分析表明，1979年后散文出版量普遍增加，在文化大革命后达到了两次顶峰。1990年，散文出版量明显再创新高。散文出版量的第一次增长出现在二十世纪二三十年代。随后，报告文学的出现使得散文黯然失色(Klaschka 1998.)二十世纪二三十年代和八九十年代散文出版量之所以猛然增长，部分原因在于作为当代散文家写作阵地的新杂志和众多散文丛书的出现。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 00:48, 28 December 2020 (UTC)

==Kong Yanan 孔亚楠==
The increase in essay production right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.

Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging xiangtu literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.

文化革命结束后，散文产量的增加导致需求积压，1980至1982年间，共有印刷了一百万册的散文集，这仅计算了我为调查收集的130本“代表性”书籍的样本中包含的藏书。

感谢一些年长的中国编者的作品，自20世纪70年代以来，整个散文文化是由杂志和报纸汇编而成的，并以大量选集的形式出版。这种文学繁荣堪比无题乡图文学的文化热，它是在台湾自我认同和独立运动的背景下兴起的。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:23, 27 December 2020 (UTC)

==Lei Fangyuan 雷方圆==
'''2. Why is the essay as abundant as fiction?'''

Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:

- The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political zawen of Lu Xun, until today are mostly presented in essay form). The impact on literary reflection and theory is shown in the collection "Modern Chinese Literary Thought" 1996. The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry. The poem is the genre of retreat from social life, from political issues and time references.

为什么论文像小说一样丰富？

让我列举几个原因，为什么这篇论文实际上与它的散文兄弟，小说以及抒情姐妹，诗歌一样丰富，以及为什么必须如此重视它：

-这篇文章在整个历史上都对中国社会产生了直接的影响（从清末到五四期间的改革思想，包括文学理论作品和鲁迅的日常政治杂文，直到今天大多以论文形式呈现）。对文学反思和理论的影响在1996年的“中国现代文学思想”合集中显示。随笔类型，其直接语言，与生活之间的联系（例如，其在适应文化大革命中的作用）的影响，并通过报纸直接接触个人读者。这种影响大于小说或诗歌的间接影响。这首诗是从社会生活，政治问题和时间参照中退缩的一种体裁。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 15:32, 27 December 2020 (UTC)

为什么散文像小说一样丰富？

让我举几个理由，为什么这篇文章实际上和它的散文兄弟、小说和它的抒情妹妹、诗歌一样丰富，为什么它必须被高度重视：

这篇文章对中国社会产生了直接的影响（从清末到五四时期的改革思想，以鲁迅的文学理论和日常政治面貌，直到今天，大多以散文的形式呈现）。对文学反思和理论的影响见1996年《中国现代文学思想集。散文体裁与其直接语言的影响，它与生活的联系(例如。它在接受文化革命方面的作用)，以及它通过报纸直接接触个人读者。这种影响大于小说或诗歌的间接影响。这首诗是从社会生活、政治问题和时间参考中退缩的体裁。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 03:49, 28 December 2020 (UTC)

==Lei Kuangxi 雷旷溪==
Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of novel and opera in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.

- The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.

胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌依赖于形象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。

-散文也比诗歌和小说更能反映社会的趋势。个人主义在随笔中表现得比在诗歌中更直接，但在内容和形式上都有局限性。短文的短暂性体现在短文的形式上，可以在上班路上的地铁里读，而在地铁里读诗，可能就不能那么随性的享受了。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 13:48, 26 December 2020 (UTC)Lei Kuangxi

胡适认为“诗”在现代化的过程中是最重要的，因为诗歌升华情感。但诗歌也依赖于意象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“散文”却能给事物命名，反映千变万化的生活。现代主体性就是以“散文”为工具建构的。

- 随笔也比诗歌和小说更能反映社会的发展趋势。个人主义在随笔中的表现比在诗歌中更直接，因为诗歌在内容和形式上对此有所限制。随笔的短暂性体现在随笔的形式上，人们可以在上班路上的地铁里阅读，而在地铁里读诗，可能就没有那么随性的享受。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:55, 26 December 2020 (UTC)

胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌也依赖意向和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。

-散文也比诗歌和小说更能反映社会的趋势。由于散文的内容和形式上受限，它比诗歌更能直接表达个人主义。散文很短，所以花时间少，可以在上班路上的地铁里读，但在地铁里读诗可能就不能那么随性的享受了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:54, 27 December 2020 (UTC)

==Li Haiquan 李海泉==
- The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too. The essay itself a genre of high actuality, if not simply the genre of today.

- The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society. Many authors turned to essay writing in the later periods of their lifes, like Lu Xun, Ba Jin, and Wang Meng.
[[Media:Example.ogg]]==Li Lili 李丽丽==
- The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[ Shenbao, Shibao etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his ''zawen''), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang lu'' derived).

“随笔”的产量超过了“小说”：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:33, 27 December 2020 (UTC)

“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:54, 25 December 2020 (UTC)

“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报社是控制政府的机构；另一方面，他主张审查制度，报纸作为20世纪初的一个大众媒体，以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:19, 27 December 2020 (UTC)

==Li Lingyue 李凌月==
'''3. Let us assign the essay its proper place'''
The consequence which must be driven from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place! I will describe the beginnings of the discovery of the essay.
Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.

3.让我们为散文指定其适当的位置，
由此得出的结论是:让我们为散文指定其适当的位置!我将描述发现这篇文章的开始。尽管从1979年开始，论文写作有所增加，但对这一现象的第一次理论反思却花了10年时间才出现。又过了10年，中国研究的国际学者才意识到这一现象。

3.让我们给作文赋予它应有的位置
从上面提出的论文的价值与价值之间的对比,由此得出的结论是:让我们给作文赋予它应有的位置!我将描述发现这篇文章的开始。尽管从1979年开始，散文写作有所增加，但有关这一现象的出现的第一次理论反思却花了10年时间。又过了10年，中国研究的国际学者才意识到这一现象。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 15:12, 27 December 2020 (UTC)

==Li Liqin 李丽琴==

In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).

20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。另外90年代的两次会议也没有趋于国际学术研究的动向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:54, 26 December 2020 (UTC)

20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。除此之外，20世纪90年代的两次会议也没有转向国际学术研究的方向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:37, 27 December 2020 (UTC)

==Li Luyi 李璐伊==
Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998) and for the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, ''Modern Chinese Literary Thought'' 1996).

Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.

在不早于上个世纪90年代下半叶之时，出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。（《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。

关于中国大陆，台湾地区和西方的散文评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:23, 27 December 2020 (UTC)

上世纪90年代后半期以前, 出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。（《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。中国大陆，台湾和西方对散文的评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:24, 27 December 2020 (UTC)

==Li Meng 李梦==
In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th. If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode 1989:50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.

Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation.
在台湾,鲁迅很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家印刷量最大的时候,鲁迅排在了第16位。如果只考虑现代作家,甚至排在了第12位。香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。
然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:16, 27 December 2020 (UTC)

在台湾,鲁迅的作品很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家作品印刷量最大的时候,鲁迅排在了第16位。如果只考虑现代作家,甚至排在了第12位。香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。

然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:39, 27 December 2020 (UTC)

==Li Yongshan 李泳珊==
Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai, Woesler) or already published (Pollard 1999). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. This year, scholars will meet on a first international conference on the essay (Achern, Germany August 25-26). In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays.
==Li Yu 李玉==
'''4. Taking into consideration the essay will rewrite the history of Chinese literature'''

I will give a few hints, what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Prusek and Anderson.

We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the ''yuanyang hudie pai'' played in the choir of different voices in the awoken intellectual debate in the beginning of this century.
==Lin Min 林敏==
The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.
==Lin Xin 林鑫==
In the following, I will name three aspects (chronologically sorted by past, modern and contemporary time) to hold the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.

'''5. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned'''

How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay are both in China and the West notes written on the margins of books, they are letters and travel notes.

下面，我将从三个方面(在时间顺序上按过去、现代、当代排序)来论述对散文的考量将改写中国文学史，改变我们目前对它的认识这一论点。

5. 古典和前现代散文记录了中国哲学，其早期的主体性，仍然是对中国本土传统的质疑。
中国散文在历史上要如何定位，它是如何产生的，它的共有背景是什么？一般来说，中国和西方的散文都是起源于写在书本空白处的笔记，是书信和游记。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:18, 27 December 2020 (UTC)

==Ling Zijin 凌子瑾==
These notes differed from the canonized literature through its informal style, its expression of individuality und subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.

From the very beginning, the essay was valued lower than poetry: the oldest reference this far for the term ''sanwen'' that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù.

这些注释与经典文学的不同之处在于它的非正式文体、个性与主体性的表现，其关于主体性的记载比中国第一部自传体小说《红楼梦》更早。
从一开始,这篇文章的价值被认为低于诗歌:我在罗大經(?1240- 1248年)中发现了最古老的参考术语“散文”(?从1240年- 1248年之后)声明:“诗骚妙天下，而散文颇觉琐碎局促。”--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 07:18, 28 December 2020 (UTC)

==Liu Bo 刘博==
詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatels, is limited.) (''Helin yulu''). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.

In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge.

“詩騷妙天下，而散文頗覺瑣碎局促。”罗大京提到的另一个骂名，是形式上的：与具有高度艺术性和长达一个世纪传统的诗歌写作相比，散文中直接的、白话文式的语言在他看来并不那么有价值。
在西方，16世纪晚期出现了一种真正的“散文写作艺术”，作为一种传播重组知识的媒介。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:50, 27 December 2020 (UTC)

“诗騷妙天下，而散文颇觉瑣碎局促。”罗大经提出的另一个责难，是形式上的。在他看来，与高度艺术化的百年诗词写作传统相比，散文直接的、白话文式的语言没有什么价值。
在西方，真正的 “散文写作艺术 ”是在16世纪末作为重组知识的一种媒介出现的。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:30, 27 December 2020 (UTC)

==Liu Jinxingqi 刘金惺琦==
The reorganization originated from the observations of Kopernikus, which destroyed the whole conception of the world of the Middle Age.

In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters. The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of sǎn 散 as (to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''.
==Liu Liu 刘柳==
Xunzi delivered the prototype of the later essay with his philosophical treatises. They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience. The individuality is still a main characteristic of the essay today.

During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written at the paper margins originated the ''biji'' µ§°O (occasional notes), flourishing in the Ming Dynasty.

荀子的哲学论著是后世散文的雏形，它们是哲学教学论文的早期形式。其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。

历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:25, 25 December 2020 (UTC)

荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，这些散文中传授的普遍定理不仅有引用经典著作，还首次借鉴其个人经历。这种个体性在当代的散文中仍有保留。

历朝历代，散文通过一些子类别得以呈现，如明朝盛行的在书页边上写的读书注释，它就是源于笔记。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:47, 25 December 2020 (UTC)

荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。

历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:20, 27 December 2020 (UTC)

==Liu Ou 刘欧==
The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as a genre of its own originated in China not before the Qing ²M dynastie, when numerous essay anthologies were compiled.

Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences.

边缘主义是中西早期散文的一个纽带。散见的笔记包含了私人的历史记录，轶事，交谈和个人沉思。然而，尽管当时的散文选集众多，但将视散文作为一种文体的意识，清朝之前并没有出现。

考虑到当时的社会历史背景，人们在旧社会时，对短篇故事和小说的看法不同：散文更接近现实生活，因为它们表达了个人的困惑和经历。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:15, 27 December 2020 (UTC)

边缘主义是中西早期散文传统的一个纽带。偶尔的笔记可以包含私人的历史笔记，轶事，交流和沉思。然而，尽管当时中国散文选集有很多，一直到清朝之后我们才将散文视作一种文体意识。
考虑到当时的社会历史背景，人们对旧社会的看法与短篇小说和小说不同：散文更接近现实生活，因为它们表达了个人的问题和经历。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:43, 27 December 2020 (UTC)

==Liu Yangnuo 刘洋诺==
Until now, the Chinese pre-''Hongloumeng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.

Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the "Eight legged essay" as as appealing and intoxicating as the "pleasure of doing opium.'' (Zhou 1932:148).

目前为止，中国红楼梦前的个体文学还只是通过诗中的间接语言与我们对话。通过重拾散文，我们可以知晓不同观点和社会历史状况等文学创作的丰富源泉。
现代散文之前的文学并不限于形式上受限制的八股文，一方面鲁迅本人也有一些散文是用八股文写成的，但另一方面他又把八股文当作古代社会的代名词。周作人把 "八股文 "的语言节奏看作是 "做鸦片的快感 "一样令人陶醉。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 08:42, 25 December 2020 (UTC)

直到现在，中国前“红楼梦”的个体文学只能通过诗歌的间接语言与我们对话。重新发掘这些散文，我们可以拥有丰富的观点来源，社会历史图片等。

前现代散文文学不仅仅包括它最为人所知的例子，正式的、有限制性的“八卦文”。鲁迅自己的一些文章就是用“八卦文”写的，但是在另一方面又把它当作古代社会的同义词。周作人认为《八股文》的语言节奏就像“吸鸦片的快感”一样令人陶醉。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 09:07, 25 December 2020 (UTC)

==Liu Yi 刘艺==
But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, Zhou Yuanliu:71).

Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''Wenyi zai dao'' (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.

但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。

新儒家强调''文''（散文）是传播''道''的最重要工具：''文以载道''（文以载道）。如果我们从文体的角度来重新解读这句话，我们可以说，当时的散文已经被视为表达真理、主体性和自我的重要工具。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:01, 25 December 2020 (UTC)

但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。

理学强调“文”（散文）是传播“道”的最重要工具：“文以载道”。（以文学为载体的方式）。如果我们从体裁的角度来重新解读这一措辞，可以说，散文已成为表达真理、主体性和自我的重要工具。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:53, 27 December 2020 (UTC)

==Liu Yiyu 刘怡瑜==
Liang Qichao developed a ''xīn wéntǐ'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.

'''6. The essay as the medium of modernity, the questioning of the genuiness of the Chinese essay'''

To solve first of all the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Lin Shu: ''Irving'' 1907, ''Addison'' 1911).

梁启超研究出了一种新文体，这种文体受西方的语言所影响。但是这篇散文在报纸成为大众媒体之后才开始流行开来，成为所说的“白话”。

6.散文作为现代化的媒介，质疑了中国散文的真实性。
首先要解决的问题就是中国散文是源自本土传统还是西方翻译，有人认为两者都有所相关:散文意外地以中文译文的形式受引入到1907年的文学改革运动作家群体中来。(林纾:欧文，1907，爱迪森，1911)--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 02:12, 28 December 2020 (UTC)

==Liu Zhiwei 刘智伟==
The current form of the genre is mostly based on the influence of Western essay translations. First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only. A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).

This is older than the ones referred to in the ''Large Chinese Dictionary'' of Morohashi (Morohashi undated) and in the ''Encyclopaedic Dictionary of the Chinese Language'' 1966.

==Lou Cancan 娄灿灿==
Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars. Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin 1992, Fan Peisong 1993; for Western impact in general see Průšek 1964, Gálik 1966, McDougall 1971. Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition.

然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:57, 26 December 2020 (UTC)

然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:07, 26 December 2020 (UTC)

==Luo Weijia 罗维嘉==
How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement. All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1933, the anarchist and later member of the Guomindang Wu Zhihui [1934]. Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition:

以五四运动传奇作者为例可以看出个人观点对历史事实的叙述的影响有多大。这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:19, 27 December 2020 (UTC)

以五四运动传奇作家为例可以看出个人观点对史实叙述的影响有多大。这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:14, 27 December 2020 (UTC)

==Luo Yuqing 罗雨晴==
for example, Lu Xun with his theory "'Zhǎnkāi' shuō yǔ 'méngyá' lùn “展開”說與“萌芽”論"" (Theory of "Starting" and "Blossoming") came to see the fighting and critical character of the essay of the Jin dynasty (265 - 420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the ''biji'' (occasional notes) of the Ming, although he still tried to integrate the English essay in his "Gonganpài yu Yīngguo xiaopin 'hecheng' lun 公安派與英國小品“合成”論" (Theory of the Synthesis of the Gongan School and the English Essay).

例如，鲁迅以其“开始”与“绽放”的理论，将晋代散文的战斗性和批判性视为中国散文的“父”，周作人则先是英文散文（1921年）出发，之后是明朝“笔记”（随心记录），尽管他仍试图在公干派与英国小品合成论中中融入英文文章。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:09, 27 December 2020 (UTC)

例如，鲁迅的“展开”说与“萌芽”论认为晋代散文的攻击性与批判性是中国散文的先祖。周作人则将英语散文视为明朝“笔记”的先祖，在公安派英国小品“合成”论中，他努力使英文散文与他的理论合成一体。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 02:44, 28 December 2020 (UTC)

==Ma Juan 马娟==
Wang Zengqi regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays (Wang Zengqi 1993). The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay. One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.

王曾祺遗憾的是，“五四”时期的中国民族散文传统没有重新开始，也没有在当代散文中延续(王曾祺1993)。中国的文章是一个很好的研究对象，因为人们可以指望它来证明文章的任何理论。人们几乎可以在每个时期找到每个主题的例子，这仅仅是因为这篇文章的主题范围很广。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 02:29, 28 December 2020 (UTC)

王曾祺遗憾的是，“五四”时期的中国民族散文传统没有被拾起，也没有在当代散文中延续(王曾祺1993)。中国的文章是一个很好的研究对象，因为人们可以指望它来证明文章的所有理论。人们几乎可以在每个时期找到每个主题的例子，这仅仅是因为这篇文章的主题范围很广。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:09, 28 December 2020 (UTC)

==Ma Shuya 马淑雅==
When Zhou Zuoren showed that only seven months after the incident at Marco Polo bridge it was again possible to write about a candy seller (1924), he was critizised as "paralyzing" (Lu Xun 1934, Zhu Zhaoluo 1943). When he wrote a piece on the "Fly", he was reproached with dealing with subjects of minor importance. Reproaches like this lie in the very nature of the genre, since ''marginalism'' is substantial to the essay. The mentioned formal reproach of Luo Dajing can be found again in the 1990s, Hong Kong students critisized the literary style as it appears in Ba Jins "Thoughts" (Suixiang lu) as too direct and too less artful. But this perspective does not recognize the very nature of the essay, which is a very individual expression of an author's thoughts and not bound to tradition, and therefore much more free also in content.
==Ma Zhixing 马智星==
The essay - from its very nature free and independant - almost disappeared in the time of the Cultural Revolution and - except for the ideologically influenced essays - had a hard struggle between Yan'an and the loss of moral legitimacy by the leadership in 1989.

The essay was ''the'' genre of the modernizing society of the early 20th century. Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming "needs" of society, which also claimed the author to be one of its products.
==Meng Ying 孟莹==
But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is "a genre of self-reflection". Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art.

I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).
==Mo Ling 莫玲==
Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays. I mention only Zhou Zuoren. His ideas connected him spiritually to his contemporary collegues in Europe, Japan and America, but these where ideas for which China turned out to be not yet ready. At that time, China had taken a road which led away from progress, wealth, freedom and spiritual enlightenment. The consequences have yet to be overcome.

除开关注作家的小说和诗歌之外，如果我们对他们的散文有所涉猎，就会发现他们不仅对文学整体的理解发生了变化，单个作者的观点也发生了变化。仅就周作人来说，他的思想在精神上把他和他在欧洲、日本和美国的同伴们联系在一起，但是这些设想在中国行不通。当时的中国走的是一条远离进步、财富、自由和精神启蒙的道路，这一现状还并没有得到改变。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:34, 26 December 2020 (UTC)Mo Ling

如果我们考虑到散文，不仅文学作为一个整体的理解会改变，而且如果我们不仅看到他们的小说或诗歌，而且看到他们的散文，单个作者的观点也会改变。我只提周作人,他的想法在精神上把他和他在欧洲、日本和美国的当代同事联系在一起，但这些想法在中国还中国行不通。那时，中国已经走上了一条远离进步、财富、自由和精神启蒙的道路。其后果还有待克服。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:27, 27 December 2020 (UTC)

==Mo Nan 莫南==
In 1927, Chinese literature has taken the form of 'engaged literature'. The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology.
==Nie Xiaolou 聂晓楼==
Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be "art pourt l'art".
==Ou Rong 欧蓉==
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing ("Shuo meng 說夢" On dreams in: Zhu Ziqing 1928) and Zhou Zuoren from 1917 (My own garden 9.1923, "The Fly" 1924, "Reading on the Toilet" 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.
==Ouyang Jinglan 欧阳静兰==
I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda. This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character.
==Ouyang Ling 欧阳玲==
In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.

Taking into account of a genre shifts the whole perspective on literature, taking into account the essayistic works of an author shifts also the view of the author. I will name only one author as an example for a modern essayist: Zhou Zuoren.

20世纪90年代，20、30年代民国时期的文本和当代的文本一样也经常被重印。显然，我们可得出一个结论：20世纪50年代的那些政治宣传文只能留存在特殊的政治文章选集当中，到了21世纪初，就不再有作者去写这类文章，也不会有中国读者去看这类文章了。

考虑到整个体裁对整个文学角度的转变，以及散文作品反映出的作者观点的变化，我只举一位现代散文家的例子：周作人。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:47, 25 December 2020 (UTC)

20世纪90年代，20-30年代民国时期的文章仍然和当代的同类文章一样经常被重印。显然，我们可以得出一个结论：20世纪50年代的政治宣传类散文只保存在专门的政治散文集中，到21世纪初，不再有人去写，也不再有人读这类文章了。

一种文学体裁会转变整个文学的视角，一位作家的散文作品，同样也会转变对这个作家的看法。我只以一位现代散文家为例：周作人。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:02, 25 December 2020 (UTC)

==Peng Dan 彭丹==
'''Zhou Zuoren'''

I mentioned already his theoretical contribution to the Chinese essayism, but still, his essays have been neglected until the 1980s. The reason does not lie in literary quality, but in political valuing. The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that the theoretical May Fourth genius "degenerated" and later became a "traitor". Publishing in the Japanese sponsored magazines ''Reminiscences'',* and ''Chinese Literature'', he was blamed together with Zhu Pu and Yuan Xi of collaboration. An unanswered question is, why another author, who published there, Zhang Ailing, was never reproached with collaboratorship. The difference between all of them is that Zhang Ailing tried to avoid political committments, whereas Zhou felt guilty, Zhu justified it and Yuan simply accepted it.

我已经提到了他对中国散文主义的理论贡献，但直到20世纪80年代，他的散文一直被忽视。原因不在于文学品质，而在于政治价值。周作人是五四理论天才的“堕落”，后来成为“叛徒”。在日本赞助的《回忆》、《中国文学》等杂志上发表，他与朱璞、袁熙的合作受到指责。一个没有回答的问题是为什么另一位在那里发表文章的作者张爱玲从来没有受到过合作者的指责。两者的区别在于张爱玲试图避免政治承诺，而周作人感到内疚，朱璞证明了这一点，袁熙简单地接受了这一点。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 03:44, 28 December 2020 (UTC)

周作人
我已经提到了他对中国散文主义的理论贡献，但直到20世纪80年代，他的散文一直被忽视。原因不在于其作品的文学品质，而在于政治价值。中华人民共和国官方文学史对周作人的主要理论叙述是，周作人是五四天才的“堕落”，后来成为“叛徒”。在日本赞助的杂志《回忆录》和《中国文学》上发表的著作中，他与朱璞、袁熙的合作受到指责。一个没有回答的问题是为什么在那里发表文章的另一位作者张爱玲从来没有因为合作而受到指责。两者的区别在于张爱玲试图避免政治承诺，而周作人感到内疚，朱璞证明了这一点，袁熙简单地接受了这一点。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 07:19, 28 December 2020 (UTC)

==Peng Juan 彭娟==
''The 'mainstream' writers took an affirmative approach in their writing, whereas the other writers formed a minority. The individual authors did not necessarily belong to either one of these groups throughout their life, but may have moved between them. Since the essay is a medium which enables the individual to express thoughts directly, the writers chosen for this paper can be classified according to their position.''

''Yu Guangzhong's essay'' "The wolves are coming" ''shows that the ideological perspective did not only harm mainland essaywriting.''
==Peng Ruihong 彭锐宏==
In his small literary pieces, Zhou tried to aesthetizise the little things of the everyday life out of the subjective experience of his private space. The major contribution of Zhou Zuoren is, that he set the turning point in Chinese essay writing with his call for writing short literary pieces (''Meiwen'' 1921).

In foreign literature there is the so-called ''lunwen'' 論文 (treatise), which is roughly divided into two groups: the reflecting ones, piping 批評 (critical), are scientific articles. The others are ''jishu'' 記述 (descriptive) and ''yishuxing'' 藝術性 (artistic), they are also called ''meiwen'' 美文 (aesthetic essay). Within these texts, one can distinguish between ''xushi'' 敘事 (narrative) and ''shuqing'' 抒情 (lyric). But there are also mixed texts. [...] I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn’t that be wonderful?

周作人在他的文学小品中，试图将日常生活中的小事从私人空间的主观体验中审美化。周作人的主要贡献在于，他以号召写短篇文艺作品（《美文》1921），开创了中国散文写作的转折点。

在外国文学中，有所谓''lunwen''论文，大致分为两类：反映的，管批评的，是科学文章。其他的是''jishu''记述（描述性）和''yishuxing''艺术性，它们也被称为''meiwen''美文。在这些文章中，我们可以区分''xushi''敘事和''shuqing''抒情。但也有混杂的文字。[......]我希望美学文章受到鼓励，能够回来，为《新文学》开辟一个新的领域。那岂不妙哉？

==Peng Xiaoling 彭小玲==
With these words from the essay "''The aesthetic essay''" this new vernacular form was defined. This starting point founded a whole new tradition of essay writing in China. Contemporary writers called this piece the "king of essays".

In order to bring this new form to his compatriots, he tried to find similiarities with the ''xiaopinwen'' of the Ming dynasty. He further discussed these thoughts in his essay theory. In his own essays, he profited a lot from ancient ''suibi''. Later he further developed his literary theory towards an up and down of two trends. In the modernizing society, he advocated the liberation of women and asked to "treat children as full subjects with their own external and internal lives" and to "make children the essence of children's literature" (Zhou 1923). He promoted the ''baguwen'' and the independance of literature from politics and effected the literary scene and the development towards a modern Chinese society especially between 1917 and 1938.

“美学散文”中的这些词语定义了这种新的白话形式。这个起点在中国建立了一种新的散文写作传统。当代作家称此作品为“散文之王”。

为了将这种新形式带给他的同胞，他试图找到其与明朝“小品文”的相似之处。他在散文理论中进一步讨论了这些思想。他自己的散文也从古代的“随笔”中受益匪浅。后来，他将文学理论朝着上下两种趋势进一步发展。在现代化社会中，他呼吁解放妇女、“将儿童看作具有外在和内在生命的完整主体”以及“让儿童成为儿童文学的本质”（Zhou 1923）。他提倡“八股文”和文学脱离政治的独立性，这对文学界产生了影响，并推动了中国向近代社会尤其是1917年至1938年的发展。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:48, 25 December 2020 (UTC)

==Peng Yongliang 彭永亮==
With this theoretical foundation and his own vo'luÉminous essayistic work, Zhou Zuoren through the example of his own form of short literary pieces within this genre, fought at that stage of the development of his literary theory like Benjamin Henri Constant de Rebecque 130 years ago in France for the idea "l'art pour l'art" , for individuality and independance of the writer, for disinterested literature. The jugdment, that Zhou was an apolitical author cannot be proved with his essays. Instead, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance (Zhou 1929:180-181).
==Peng Yuzhi 彭育志==
In fact he saw himself as ‘patriotic underground fighter’ and looked at the collaboration with the Japanese puppet regime as a forced one, following his attempted assasination, through which his driver had lost his life. His own concept of essay writing served less the needs of the building of a nation-state and comes closer to the ideal of the individual.

"I don't really know why, but I am feeling as if I am born into a dark age. I admit, that our forests are not inhabited by dragons, tigers and wolves, but shapeless "monsters" and "goblins" are still creeping around and try to swallow our souls. [...] What alarms me most, is the absence of freedom in this prison, into which we writers have been thrown."
==Qi Kai 漆凯==
Confronting tradition and progress in the essay "''Ancestor Worship''", he is in favor of the latter, since past could only become present through changes (Zhou 1919:7-8).

Benjamin Henri Constant de Rebecque (1767 - 1830) war französischer Romanschriftsteller und liberaler Politiker, der neben der Freiheit der Kunst nach der Französischen Revolution die Einführung der konstitutionellen Monarchie nach englischem Vorbild forderte.

面对“祖先崇拜”中的传统和进步，他赞成后者，因为过去只能通过变化才能变成现在(周1919：7-8)。

本杰明·亨利·康斯坦德·丽贝卡(Benjamin Henri Constant de Rebecca，1767-1830)是一位法国小说家和自由主义政治家，除了法国大革命后的艺术自由外，他还呼吁引入以英国模式为基础的君主立宪制。--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 06:39, 28 December 2020 (UTC)

==Qu Miao 瞿淼==
Siehe ''Journal'' (10.2.1804). Die "Kunst um der Kunst willen" propagierte die Zweckfreiheit der Kunst. Im Gegensatz dazu versteht sich die engagierte Literatur. Die Parallele zwischen Zhou Zuorens Literaturverständnis und dem Konzept "Kunst um der Kunst willen" zieht auch Wolff: ''Chou Tso-jen'' 1971, S. 84.

Siehe Zhou Zuoren: ''Der Ursprung der neuen chinesischen Literatur'' 1934, S. 95 - 98; vgl. auch Chen Zizhan: ''Vorträge zur chinesischen Literaturgeschichte'' 1937, Bd 3, pp. 416 - 422, besonders S. 422. Hinweis in: H. Martin: "''Liang Qichao on Poetry Reform''" 1996, Bd 1, S. 213.

见“期刊”（102.4804 年）。“艺术之艺术”宣传了艺术目的自由。相比之下，承诺的文学是可以理解的。周作人对文学的理解与“艺术之艺术”概念之间的相似之处也吸引了沃尔夫：“周作人”，1971 年 84.

参见周作人：“中国新文学的起源”，1934 年，第 95-98 页；另见陈子赞：“中国文学史讲座”，1937 年，第 3 卷，第 416-422 页，特别是 p422。注：H。马丁：“梁启超诗歌改革”，1996 年，第 1 卷，p213--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:55, 27 December 2020 (UTC)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:57, 27 December 2020 (UTC)

==Quan Meixin 全美欣==
Regarding Zhou Zuoren, I want to correct the official assessment of the People’s Republic, that his work would have experienced a caesura in 1938. In order to explain his opposition of the propaganda to build up national heroes about 1937 and his collaboration from 1939, it has been said officially, that his thoughts had "duoluo 墮落" (degenerated) at that time (Zhu Jinshun 1990:59). In fact, this caesura, namely the change in the style and subject in his essays on literature, art etc. to ''zhengjing'' 正經 (serious, intentional essays), and ''xianshi'' 閑適 (essays for one’s own enjoyment) is located not before his outlawing through Mao Zedong (1942), and his arrest through the Guomindang (1945).
==Sagara Seydou ==
Therefore not the Japanese suppressors are responsible for the retreat of this great writer, but his Chinese compatriots'.

On the basis of the stigma of the 'traitor', he has been undervalued until now. That his work in the 1990s is almost as often published as Lu Xun's and Zhu Ziqing's shows that his texts finally experience a more positive literaric evaluation through the audience, which now must be registered also by scholars.

因此，不是日本的压制者对这位伟大作家的退缩负责，而是他的中国同胞的退缩.
根据“叛徒”的污名，他一直被低估。他在1990年代的著作几乎与鲁迅和朱自清的著作一样频繁地出版，这表明他的著作最终在听众中得到了更为积极的文学评价，现在也必须由学者进行注册.

因此，不是日本侵略者造成了这位伟大作家的退缩，而是他的中国同胞们。由于背负着“叛徒”的污名，他一直未受到重视。20世纪90年代，他的作品出版频繁，几乎与鲁迅和朱自清等同，这表明这些作品在读者中收到了更为积极的评价，这一点也获得了当代学者的认可。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:47, 28 December 2020 (UTC)

==Shi Diwen 石迪文==
Another example of a misread Zhou Zuoren is his short essay on "''The Fly''", where he describes his changing attitude towards flies, which he had played with as child but later disgusted when he learned about their danger of passing on diseases. ”''The fly''” shows Zhou Zuoren’s strength to describe details and make them a real topic by recalling memories on them or describing a change of perspective on them. Zhou summarized the philosophical wisdom he learnt from this, that people did not judge on things objectively, but were likely to praise or damn things.
==Shi Haiyao 石海瑶==
The official reading re¬proaches Zhou that he "saw only the fly and not the cosmos" , a quotation of the young Zhou about a position he himself clearly opposed.

His ability to chat about the more pleasent things in life is displayed in his essay ”Birds’ twitter”. In ”''Peking cakes and sweet-meat''” and in ”''Wild vegetable of my home region''”, Zhou Zuoren shows his ability to make the reader feel at home at a region, where he feels at home himself, by describing the customs and special regional food.

Siehe Zhou Zuoren: "Cangying 蒼蠅" (Die Stubenfliege), in: ''Chenbao fujuan'' 晨报副镌 (Beilage zur Morgenpost) (1924.7.13). Eine Zu¬sammenfassung des Inhalts findet sich in: Yu Daxiang (Hg.): ''Auswahllexikon chinesischer Essays mit Inhaltsangaben und Analysen'' 1993.

''Siehe Vollständige chinesische Anthologie der Wissenschaften - Bd Chinesische Literatur'' 1988, Bd 2, S. 1300. Dies spielt auf den Essay "''Cangying'' 蒼蠅" (Die Stubenfliege), in: Zhou Zuoren: ''Zhi Tang. Sammlung'' 1933 an.（文献无需翻译）

官方的解读指责他“只看到了渺小，而没有看到伟大”，这是对年轻的周作人的引用，他自己明确反对该立场。
他谈论生活中更愉快的事情，在他推特的文章“鸟”中得到了展示。在“北京蛋糕和甜食”与“我家乡的野菜”中，周作人通过描述风俗和特殊的地区食物，展示了他让读者感到宾至如归的能力。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:37, 27 December 2020 (UTC)

==Si Yu 司妤==
His piece ”''Bitter rain''” shows the atmosphere, for what his essays had been labelled ”bitter tea”: There remains a taste in one’s mouth after reading. If you compare Lu Xun’s ”''On tea drinking''” (Yang/Yang 1961 3:325-326) with Zhou Zuoren’s essay with the same title, you see the difference of ”short and to the point” and ”eloquent and well-read”. ”''First love''” is more hilarious. The essay ”''Three different ways to die''” shows that Zhou Zuoren can compete with his elder brother in sarcasm. Lu Xun's essay on the same subject, the massacre on March 18, 1926, was a sight.

他的作品《苦雨》展现出了这种氛围，因此他的文章被称为“苦茶”：阅读完之后能感到余味悠长。如果你对比鲁迅和周作人的《论饮茶》(Yang/Yang 1961 3:325-326)，你可以看到“短小精辟”和“雄辩易读”的区别。《初恋》是最欢乐的作品。文章《三种不同的死法》表明周作人在讽刺小说方面足以与他的哥哥抗衡。鲁迅的同题作文《1926年3月18日的大屠杀》让人眼前一亮。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:36, 27 December 2020 (UTC)

==Song Jianru 宋建茹==
Zhou asks for the ”best” way to die and favors the short and painless one. In ”''On alcohol''” and ”''The awning bunk boat''” Zhou Zuoren continues the tradition of late Ming ''biji''.

'''7. The essay as a snapshot of contemporary thoughts'''

''What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.''

==Su Lin 苏琳==
The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a consciously “corrected” truth.
==Tan Xingyue 谭星越==
The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (Wang Meng: "''Anxiang'' 安详" (Serene) 1992, "''Zuohao ni ziji de shi'' 做好你自己的事" (First make your own things in a good way) 1994).
==Tan Xinjie 谭鑫洁==
These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.

Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive ("''Shanxi opera''", Jia Pingwa 1984) or negative world ("''The nightmare''", Si Yu 1995).

From the essay, we can see contemporary trends of literature, which are also reasons for the increase in volume of this genre in the 1990s:

这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。
20世纪80年代和90年代的其他散文虽是一种新的主观主义，其目标是摆脱当代的矛盾，但是通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。
从这篇文章中，我们可以看到当代文学的趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:30, 27 December 2020 (UTC)

这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。
20世纪80年代和90年代的其他散文是一种新的个人主义，其目标是远离当代的矛盾，但通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。
从这篇文章中，我们可以看到文学的时代趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 14:44, 27 December 2020 (UTC)

==Tan Yuanyuan 谭媛媛==
- The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall 1984:xiii);

- The increasing consciousness of indivi¬duality for which the essay is the most direct form of subjecti¬ve expression, even more direct than the poem with its metrical and formal demands;

- A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.

- The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.

- 当下中国社会的浮躁节奏，对转折性和短文的要求。"[...]我们生活在一个论述的时代"(Hall 1984:xiii)。

- 越发增加的独立意识，对其而言，文章是最直接的主体表达形式，甚至比诗的格律和形式要求更直接。

- 通过散文这一媒介讨论社会政治问题的兴趣的复苏，就像20世纪20/30年代的情况一样。

- 日常生活的平庸性通过成为文学话题而变得自觉，最常见的是日常生活的文体--散文。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:06, 25 December 2020 (UTC)

-当前中国社会节奏轻快，要求有趣味的短文：“[…]我们生活在一个博览会时代”（大厅1984:xiii）；

-对于个人二元性意识的增强，散文是主体性表达的最直接形式，甚至比诗歌的韵律和形式要求更直接；

-通过这篇文章讨论社会政治问题的兴趣的复复苏，如同20世纪20年代或30年代的情况一样。

-日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:59, 25 December 2020 (UTC)

==Tang Bei 汤蓓==
- The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays.

- Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.

- 中国社会的去意识形态化。如今在最前列的不是政府要求的平权文，而是非政治性的文章，大多是民国时期的文章，特别是1923年至1928年的。上述统计分析的结果也支持这一观点。1949年以后的政论文多为批评性散文。

- 关于散文集的编纂：对于中华人民共和国、台湾和香港最常被选中的文集来说，道德和审美标准似乎是其基础。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:19, 28 December 2020 (UTC)

==Tang Ming 唐铭==
This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publis¬hing houses with an orientation toward customers (former: "readers").

- The criteria for essay best sellers in the P.R. of China are the following: In the most often printed essay "''The Back View''", filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous "''The Moonlit Lotus Pond''", both written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader.
==Tang Yiran 汤伊然==
Nostalgic home feelings are the emotional identification element in "''Wild vegetables of my home region''" by Wang Zengqi. Therefore one can state, that moving es¬says form the top.

- ''In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in¬dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.''

乡愁是汪曾祺《家乡的野菜》中的情感认同元素。因此可以说，动人的散文构成了上。

- 在90年代后半期，在日趋形式化但实质上空虚的城市生活中，作者自己似乎也迷失在个体的主体性和日常的亵渎性与平庸性中。时间失去了价值，因为越来越多的日常活动被机械和自闭的行为所充斥。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 07:09, 28 December 2020 (UTC)

==Tao Ye 陶冶==
''In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph'' China can say no! – Possibilities for politics and emotions in the period after the cold war (''No''! 1996).

- ''The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art.''
==Wang Meiling 王美玲==
''Also trends like the use of ordinary language, which one finds in novels since 1993 (Jia Pingwa, Feidu; Gu Cheng, Yingger) and'' New Borderlessness ''since'' 1995, ''cannot be pro-ven in the essaywriting. ''

- Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being "''The Small Dog Baodi''", written by Ba Jin 1981, in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before ("''In memoriam of Xiao Shan II''", Ba Jin 1984).

另外像1993年以来的小说（贾平凹、飞渡；顾城、莺歌）和1995年以来的《新无界》中发现的普通语言的使用趋势，也不能在散文写作中得到证明。

- 另外，王德威在老舍、茅盾、沈从文身上看到的小说现实主义，也证明了对一些文章的理解是有帮助的，其中之一是1981年巴金写的《小狗包弟》，作者变成了一个叙述者，用寓言式而不是像以前那样用描述式的真实来叙述'文革'的记忆（《纪念萧山二号》，巴金1984）。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 06:46, 28 December 2020 (UTC)

==Wang Xuan 王轩==
Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Der-Wei Wang 1992), helpful for the reading of Wang Zengqi's "''Rain in Kunming''" as well as for Jia Pingwa's "''Shanxi opera''".
类似的还有想象怀旧的概念，正如王功权所说的沈从文作品中虚构的真实（王大卫·德维王1992），有助于解读汪曾祺的《昆明雨》，也有助于贾平凹的《山西剧》。

- The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing fictional truth through the metaphor of his dog Baodi.
施瓦茨在“隐喻话语”中所表达的“个人悲伤”概念，有助于我们理解巴金是如何克服他以“存在的真理”而闻名的，却通过他的狗“宝坻”的隐喻而获得更具说服力的虚构真相。

Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.（文献无需翻译）

''Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay "The nightmare", where Si Yu appears as a de-constructionist, the I-narrator even is drawn near to suicide.''（文献无需翻译）

And maybe for Xie Bingxins* reflections on her experience as one of the chosen voluntaries of the Wuhan military academy: She insisted to remain a lifelong "woman soldier" .（文献无需翻译）

==Wang Yu 王煜==
'''8. Discussion: Is the genre of the essay the form of literary expression in 21st century China?'''

Regarding the future of the Chinese literature, we can only speculate. But out the risk of being wild and provocative, I would like to suggest some questions for considering the place of the essay in the field of Chinese literature and literary studies.

- People have less time for actions like reading, and get used to reduced visualized information through the Internet. Will the brevity of the essay make it the ideal medium?

8. 讨论：在21世纪中国，散文体裁是文学表达形式么？

关于中国文学的未来，我们只能猜测。但除开可能会变得狂热和具有挑衅性的危险外，我想就散文在中国文学和文学研究领域的地位提些问题。
人们很少有时间去阅读，并且习惯于网上简略的可视信息。散文的精简会使其成为一个理想的媒介么？--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 06:40, 28 December 2020 (UTC)

8. 讨论：在21世纪中国，散文体裁是文学表达形式么？

关于中国文学的未来，我们只能猜测。但出于狂妄和挑衅的风险，我想提出一些问题，以考虑散文在中国文学和文学研究领域的地位。

- 人们阅读等行动的时间少了，也习惯了通过网络减少视觉化的信息。散文的简洁性是否会使其成为理想的媒介？--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 06:49, 28 December 2020 (UTC)

==Wang Yuan 王源==
- If the Chinese people are rediscovering their individuality, will the essay allow them to express individual thoughts more directly?

- Modern societies are characterized by TV culture, mass consumption, and the loss of consciousness of one's own tradition, often partly due to the American impact on national cultures. Is the essay less bound to the restrictions of tradition, especially compared to the poem and thus more adaptable to the modern phenomenon of mass consumption?

==Wei Honglang 韦洪朗==
- The alienation and the anonymity of citylife worldwide, in China is combined with a loss of traditional values like ideology, family, solidarity etc. in favor of the concept of profit for oneself, - if this has produced a longing for new orientation, will it possibly be filled by morally guiding essays or nationalistic thinking?

- 在中国，世界范围内城市生活的异化和互相不认识的现象与传统价值观如意识形态、家庭、团圆等的丧失结合在一起，有利于为自己谋利的观念，如果这已经产生了对新方向的渴望，这个领域能否被道德指导性文章或民族主义思想所填补呢？--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 11:35, 27 December 2020 (UTC)

《红楼梦》与其他世界文学作品的相似性——推荐《红楼梦》列入世界记忆遗产名录

'''Commonness between the Red Chamber Dreams and other World Literature Novels – Proposing the Red Chamber Dreams to the World Documentary Heritage List'''（修改）

吴漠汀，湖南师范大学 Martin Woesler, Hunan Normal University

Source: Lecture at Harvard University, Cambridge, MA USA, 14.3.2000（文献无需翻译）

==Wei Yafei 魏亚菲==
'''Abstract'''

In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the Red Chamber Dreams, they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. ''The Red Chamber Dreams'' function worldwide.

摘要

在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它生长于现有文学之中，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次的德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 07:03, 28 December 2020 (UTC)Wei yafei

在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中衍生出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，甚至于他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:09, 25 December 2020 (UTC)

==Wen Sixing 文偲荇==
''The Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。（修改）

多元一体

'''Key words'''

Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

“红楼梦”是一个多元的中国文化综合体，是中国文化的体现和精髓，但它也具有全球影响力，因此应该被授予“世界文献遗产”的荣誉。（修改<nowiki>Insert non-formatted text here</nowiki>）

多元一体

'''Key words'''

Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage
--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:29, 25 December 2020 (UTC)

《红楼梦》是一个中国文化综合体，展示着中国文化的精髓的同时也极具全球影响力，理应被列入世界记忆遗产名录。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:00, 26 December 2020 (UTC)

《红楼梦》是一个中国文化的综合体，它展示着中国文化的精髓并极具全球影响力，因此它应该被列入世界记忆文献遗产名录。
关键词
西方文化，传统保护，德国翻译，中国文化具像化表现，全球兼容，世界遗产文献
--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 07:10, 28 December 2020 (UTC)Wei yafei

==Wen Xiaoyi 文晓艺==
'''1. Chinese Ethics'''

To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

==Wu Kai 吴恺==
'''2. Compatibility
'''
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel.

'''2. 兼容性
'''
为什么《红楼梦》在世界范围内广泛流传，甚至在翻译领域中也取得了世界文学的地位？

首先，《红楼梦》和世界小说一样，是一部娱乐文学。与戏剧中的每一个元素都是强制性的，在整体结构中起作用的戏剧相比，小说的行动路线本身更简单，也不那么重要，大部分场景或情节都松散地组合在一起，这和小说更广泛的主题相吻合。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:29, 27 December 2020 (UTC)

==Wu Qi 吴琪==
However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the ''Shuihuzhuan'' and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

'''3. Impact of translator’s native culture on the translation process'''

There are intercultural parallels between the ''Red Chamber Dreams'' and Western works of literature.

然而，《红楼梦》章回结构不连续来自于《水浒传》中几乎没有联系的章回的传统，这是朝着章回更连贯、与故事线一致以及更集中于较少主角的方向迈出的一步。因此，《红楼梦》明显向西方小说传统迈进了一步，可能是因为西方对清代的影响越来越大。

'''3.译者的本土文化对翻译过程的影响'''

《红楼梦》和西方文学作品之间有跨文化的相似之处。
--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:54, 27 December 2020 (UTC)

==Wu Qiong 吴琼==
These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the ''Dreams'' will immediately think of.

'''4. The novel as embodiment of “Zeitgeist”'''

According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s ''Ilias'', which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality.
==Wu Xiang 邬香==
The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

小说作为一种文学题材不再仅仅记录一种文化，而是用沃尔特·本杰明的话来代表历史的有机物。因此，卢卡奇对这部小说的理解从历史转向哲学。一部小说被理解为其历史时代的典型小说，这部小说会体现时代精神（时代精神）。

The ''Red Chamber Dreams'' are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng.

《红楼梦》是在满族统治原汉族掌管的明朝（当时是一个多民族、跨文化的社会）和贵族家庭遭受皇位更迭影响的背景下写成的，曹氏家族受到康熙的扶植和雍正的迫害。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:04, 27 December 2020 (UTC)

==Wu Yilu 吴一露==
While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Mann, including the turn to arts and music).

虽然作者在他的时代无法批判皇帝的制度和权力，但在小说中，他通过家族的日益衰败（修行道教、休闲、写诗、艺术和音乐，而不是为了能够谋生而学习）和自己没有实现作为家族继承人的期望中寻找受迫害的罪责，来接受这种生活。这种对没落家庭颓废的描述，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:35, 27 December 2020 (UTC)

虽然作者在他的时代无法批判帝制和皇权，但在小说中，他为家族的日益衰败（参加道教、娱乐、诗歌、艺术和音乐活动，而不是为了谋生而学习）和自己作为家族继承人没有实现家族期望感到自责，通过这样做，他也对这种生活做妥协。这种对没落家族颓废状况的描写，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 15:08, 27 December 2020 (UTC)

==Wu Zijia 吴子佳==

Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the Dream appears as a documentary historical novel very much like Günter Grass’ The Tin Drum 1959.

'''5. Coming-of-age and Alienation'''

Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment.

此外，《红楼梦》对清初社会各阶层生活的详细描写，与君特·格拉斯的《铁皮鼓1959》非常相似，《铁皮鼓1959》是一部纪实历史小说。

“5. 成熟和异化”

抛弃《红楼梦》中天堂般的花园，是离开受保护的童年，进入复杂的成人世界的象征。随着乔治·卢卡奇的小说理论，主人公开始对他的生活感觉产生疑问，在小说中，主人公的自我一直与他的环境作斗争。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 16:23, 27 December 2020 (UTC)Wu Zijia

==Xiao Shuangling 肖双玲==
However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life. Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged.

然而，曹雪芹的信息不仅是“失乐园”的信息，而是他本人的一生。尽管不如他的家人仍然享有皇帝的宠爱时富裕，但清初中国有一个工资体系和一个完整的社会网络，在那里他获得了足够的收入以独立于自己的富裕亲戚，可以有选择性地接受工作在大自然的小房子里过着轻松的生活，与家人和朋友共度时光，遵循自己的兴趣，例如读书，写作和喝酒，为孩子们放风筝和思考处境不利的人。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:38, 26 December 2020 (UTC)Xiao Shuangling

然而，曹雪芹所传达的信息并不是简单的“失乐园”，相反，他把自己的生活过得很好。虽然比起他的家族享受皇帝的宠爱，他过得没有那么富裕，但清初中国有一套薪俸制度和一张完整的社会网，他获得了足够的收入，可以独立于富贵亲戚，可以有选择性地接受工作，可以在大自然的小房子里过着悠闲的生活，可以与家人和朋友共度时光，可以追随自己的兴趣，例如读书，写作和饮酒，可以为孩子们做风筝，可以为弱势群体着想。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:27, 27 December 2020 (UTC)

==Xiao Ting 肖婷==
Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

曹雪芹对自己所处的时代和中国的文化成就有充分的认识，他熟悉社会的方方面面，他观察细致，叙事娴熟。他能把小说的结尾构思为对小说中人物不同性格的探讨，从而体现出他对人生的思考和对人性多样性的理解。他能够把握 "时间精神"(Zeitgeist)，并以他的亲身经历为材料创造了一部成熟的绝世之作，这不仅是为他的家庭、为清人、为中国人，更是为全人类。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:29, 26 December 2020 (UTC)Xiao Ting

曹雪芹充分了解自己所处的时代和中国的文化成就，熟悉社会的不同层次，是一个细致的观察者和娴熟的叙述者。他可能将小说的结局概念化为对小说中人物不同性格的讨论，从而表现出他对生活的反思和对人性多样性的心理理解。他能够把握“时代精神”(时代精神)，并以他的自传体经历，为他的家庭，为清朝人，为中国人，为人类创造了一部永恒的成长小说。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:01, 26 December 2020 (UTC)

曹雪芹对自己所处的时代和中国的文化成就了如指掌，他熟悉社会的不同层面，他是一个细致的观察者和娴熟的叙述者。因此，他在小说中对人的不同个性的理解和对小说中人物性格的多样性进行了概念化的探讨。他能够把握“时代精神”，用他的自传体经历，不仅为他的家庭，为清朝的中国人，为中国人民，而且为人类，创作了一部永恒的成人小说。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:43, 26 December 2020 (UTC)Xiao Shuangling

==Xiao Xi 肖茜==
This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel ''Candide or Optimism''《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.
这种成熟的传统小说也是一个欧洲人,像启蒙哲学家伏尔泰在欧洲同时间出版的的小说《老实人》(1759)。伏尔泰笔下的老实人不得不离开童年的奢华天堂，为追求真爱而奋斗，但他的主要学习内容却更为悲观，因为伏尔泰的小说与莱布尼茨截然相反，莱布尼茨乐观地认为中国是“所有世界中最好的”。最近的研究发现，中国对欧洲启蒙哲学家的影响要大得多，我们可以肯定，曹雪芹对欧洲的一些文学传统也有所了解。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:34, 27 December 2020 (UTC)Xiao Xi

这种成熟的传统小说也是一个欧洲人,像启蒙运动哲学家伏尔泰在欧洲同时间出版的的小说《老实人》(1759年)。伏尔泰笔下的老实人不得不离开童年的奢华天堂，为追求真爱而奋斗，但他的主要学习内容却更为悲观，因为伏尔泰的小说与莱布尼茨截然相反，莱布尼茨乐观地认为中国是“所有世界中最好的”。最近的研究发现，中国对欧洲启蒙运动哲学家的影响要大得多，我们可以肯定，曹雪芹对欧洲的一些文学传统也有所了解。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 04:33, 28 December 2020 (UTC)

==Xiao Yining 肖伊宁==
Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: ''Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802).

德国读者对主人公的生平及其发展、家族世代的命运都很熟悉，德国读者把这种类型的小说称为“教育小说”或“成长小说”。在德国,关于成长小说的体裁有着悠久的传统,它的形状更由单个字符,它更多的是被塑造为教师的单个人物(歌德：'Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802)。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 14:59, 27 December 2020 (UTC)Xiao Yining

==Xie Fan 解帆==
Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in ''Wilhelm Meister'' this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

'''6. Pornography and True Love, female rivals'''

Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit.

与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，这通过莎士比亚的经典戏剧得以体现。传统可以作为方向标，但主人公的个性需要通过解放才能发展，这是一种智慧，我们可以以上提过包括《梦》的所有小说中学习。
“6.色情与真爱，女性对手"
性是人类的一种基本需求，在不同文化中展现出不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是有固定程式的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:37, 25 December 2020 (UTC)

与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，在《威廉·迈斯特》中，莎士比亚戏剧中复兴的经典作品代表了这一点。传统可以给予导向，但主人公的个性需要通过解放来发展是一种智慧，我们可以从包括《梦》在内的所有小说中学习。
“6。色情与真爱，女性对手"
性是人类的一种基本需求，在各种文化中形成了不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是程式化的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:37, 26 December 2020 (UTC)

==Xie Ziyi 谢子熠==
In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.

The best study on ''qing'' passion in the Dreams is the one by Anthony Yu, who understood it as ''desire'' and as the central motif of the ''Dreams''. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

==Xu Jia 徐佳==
In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).

In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.

在《梦》的框架故事中，叙述者有意识地站在了反对低级动作和刻板色情文学的立场上，也站在了反对普遍存在的言情小说的立场上（以美丽的才女和通过公务员考试最终获得地位和财富的穷书生为经典角色）。

在第一章中，他说："年轻人的真情实感......至今无人报道"。

"情色场面以体面和联想的方式描述（"云和雨的游戏"），同时表现出另一种开放性，例如对双性恋的开放。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:35, 27 December 2020 (UTC)Xu Jia

在《梦》的框架故事中，叙述者有意识地反对低俗的动作和陈规定型的色情文学，反对流传甚广的浪漫小说（以美丽的才女和通过公务员制度最终获得受人尊敬的地位的穷困书生为经典角色）。

在第一章中，他说：“关于年轻人的真实感受，[……]到目前为止还没有人报道过。”

情色场景被描述成一个体面和联想的方式（“云和雨的游戏”），同时显示了另一个开放性的性质，例如对双性恋。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:03, 27 December 2020 (UTC)Xiao Yining

==Xu Jing 许晶==
The ''Dreams'' narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the ''Dream'' and ''Faust'', the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.

《梦》讲述了一对不幸的恋人的故事。在西方，不幸恋人也有文学传统，即他们构成了一个原型，例如Hero和Leander，Pyramus和Thisbe，Tristan和Isolde，Flore和Blanscheflur以及Troilus和Cressida，后者被认为是Arthur Brookes的模型，他在1562年撰写了《罗密欧与朱丽叶》，从而直接影响了莎士比亚。

玛丽安·加利克（Mariann Galik）认为《梦》和《浮士德》都是吸引我们的永恒女性的中心主题，顾城则称其为“永恒的处女”。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 00:25, 28 December 2020 (UTC)

这些梦讲述了一对不幸的恋人的故事。不幸的恋人也有西方文学的传统,他们构成一个原型,如英雄和利安得、皮拉摩斯和提斯柏,特里斯坦与伊索尔德,凝花和Blanscheflur特洛伊罗斯和克雷西达,后者被认为是阿瑟·布鲁克斯的模型,他在1562年写了《罗密欧与朱丽叶》,从而直接影响了莎士比亚。
玛丽安·加利克认为《梦》和《浮士德》都是吸引我们的永恒女性的中心主题，顾城则称其为“永恒的处女”。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 07:23, 28 December 2020 (UTC)

==Xu Jing 许静==
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in the Keller 凯勒 ''The Green Henry'' 《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth and Lin Daiyu are similar, e.g. they both strive for real love (Zhuang 2011).

在歌德的成长小说''Wilhelm Meisters Wanderjahre''中，我们发现了类似的女性竞争主题，在凯勒''The Green Henry''（《绿衣亨利》1855）中，男主人公父亲早亡，母亲养育其成人。在简-奥斯汀的''Pride and Prejudice''（《傲慢与偏见》1813）中，伊丽莎白和林黛玉是相似的，比如她们都追求真爱（庄2011）。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 03:38, 28 December 2020 (UTC)

==Xu Mengdie 徐梦蝶==
'''7. Feudal society and slavery'''

A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, would exclude slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals.

封建社会和奴隶
一种普遍的解释是，贾宝玉对家庭成员和奴隶一视同仁，这将成为奴隶解放的宣言。我并不同意这个解释，因为亚里士多德的民主就排除了奴隶的投票权。所以，我们并不能用现代观念去评判过去。在我看来，贾宝玉并不是和不平等作斗争，而是把人视作群体和个人。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 09:55, 25 December 2020 (UTC)Xu Mengdie

一种普遍的解释是，贾宝玉对家庭成员和奴隶的平等对待是解放奴隶的宣言。我也不同意这种解释，因为亚里士多德，当他要求民主的时候，会排除奴隶的投票权。所以我们不能用现代的概念来判断过去。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人看成是群体和个人。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:31, 25 December 2020 (UTC)

许多人认为，贾宝玉对家庭成员和仆人的平等对待是解放奴隶的宣言。我也不同意这种看法。因为当亚里士多德要求民主时，奴隶并没有投票权。所以我们不能用现代的概念来判断过去发生的事。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人分为是群体和个人。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:03, 27 December 2020 (UTC)

人们普遍认为贾宝玉对待家庭成员和奴隶的平等对待是解放奴隶的宣言。我不同意这种解释，因为亚里士多德吁民主时，会将奴隶从投票权中剔除。所以我们不能用现代观点评判古人。我认为，贾宝玉并不是在为不平等而做斗争，而是将人区分为人或是个体。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 12:02, 27 December 2020 (UTC)

==Xu Pengfei 许鹏飞==
Also the understanding of the servants as slaves does not match the description in the Dream, since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with slave. Therefore, the translator preferred “servant” over “slave” in the translation.

另外，把仆人理解为奴隶也与《红楼梦》中所描述的不符，因为有些仆人自己也有仆人，他们离开贾家后，家人会照顾他们，为他们婚配，并且贾正把女儿迎春称为“丫头”，所以用奴隶来翻译这个词是不合适的。因此，译者在翻译中更倾向于“仆人”而不是“奴隶”。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:14, 25 December 2020 (UTC)Xu Pengfei

而且把仆人理解为奴隶与《红楼梦》中的描写不符，因为有些仆人自己还有仆人，贾府会在她们离府的时候为她们寻一门亲事，作为贾府对她们的照料；贾政也把自己的女儿迎春喊作 “丫头”，所以把这些翻译成奴隶是不合适的。因此英文翻译中采用“servant”会比“slave”更为合适。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 10:08, 25 December 2020 (UTC)Xu Mengdie

==Yang Chenting 杨晨婷==
Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

2009年，莫言代表中国作为主宾国参加法兰克福书展时，他在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的印象是，两者都没有表达这个愿望，但这是后来的概念和解释，而我们不应该以此来判断过去。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:36, 25 December 2020 (UTC)Yang chenting

2009年，莫言代表中国作为主宾国参加法兰克福书展时，在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的感觉是，两者都没有表达这个愿望，但这是后来的概念和解释，我们不应该以此来判断过去。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:43, 25 December 2020 (UTC)

==Yang Hairong 杨海容==
'''8. Tragedy of all tragedies'''

Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''.

8.所有悲剧的悲剧成分

亚里士多德在《悲剧论》（诗学VI）中解释说，悲剧使人们比喜剧更能吸引人，因为他们“模仿（mimēsis）一种严肃、完整和有程度的行动”（Aristotle 1971，51）。欧洲的悲剧部分归因于亚里斯多德作品《喜剧》的丢失。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:16, 27 December 2020 (UTC)

8.所有悲剧含有的悲剧成分

亚里士多德在《悲剧论》（诗学VI）中解释道，悲剧之所以比戏剧更加动人，是因为它们“模仿（mimēsis）一种严肃、完整且具有一定规模的行动”（Aristotle 1971，51）。悲剧在欧洲拥有崇高地位部分归因于亚里士多德的作品《论喜剧》的失传。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:42, 27 December 2020 (UTC)

==Yang Hui 阳慧==
While Europe has the Hamlet as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”.

尽管欧洲将“哈姆雷特”作为悲剧的悲剧，但长期以来中国传统文学中缺乏悲剧文学的现象一直令人遗憾。王国伟把“梦”看作“一切悲剧的悲剧”。对王国伟来说，浮士德和贾宝玉的苦难是小说的核心。然而，许多学者认为，浮士德主义是中国文化的核心。

在 18 世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:40, 27 December 2020 (UTC)

欧洲悲剧中以《哈姆雷特》为悲剧，而中国文学传统中悲剧文学的缺失，长期以来被人们所惋惜。王国维认为《梦》是“所有悲剧中的悲剧”。对王国维来说，浮士德和贾宝玉的苦难是小说的中心。然而，许多学者认为浮士德主义是中国文化的核心。

在18世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:36, 27 December 2020 (UTC)Xiao Xi

==Yang Yi 杨逸==
It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

它作为一场解放运动在18世纪的伦敦、巴黎和德国发展起来，并证明了悲剧并非只发生在统治者身上，也可能发生在下层贵族和普通公民身上。《梦》与欧洲资产阶级悲剧同时上演，讲述的是一个中层贵族家庭失去头衔和特权的悲剧故事。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 03:31, 28 December 2020 (UTC)

==Yang Yue 杨悦==

'''9. “Non-Binary” Novels'''

One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

9. “非二进制小说”

可爱而神秘的主角贾宝玉是吸引西方读者的其中一点。由于他开放的双性恋倾向以及对同伴的兴趣，无论他们的社会地位如何，他彰显“现代”气质或至少不属于那个时代。他与传统学习的斗争使他显得富有同情心，他与世隔绝的漫长状态使他既具有永恒的品格又具有神秘感。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:17, 27 December 2020 (UTC)

“非二元”小说

一个吸引西方读者的东西是可爱而神秘的主人公贾宝玉。由于他开放的双性恋倾向和他对伴侣的兴趣，不管他们的社会地位如何，他显得“现代”或至少在时间上流离失所。他与传统学习的斗争使他显得富有同情心，他从世界上长期的狂喜给了他永恒的性格和神秘的气息。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:43, 27 December 2020 (UTC)

==Yang Ziling 杨子泠==
With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the ''Heart Sutra''. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

随着梦中主人公的双性取向，小说呈现出非二元性。
卡尔·海因茨·波尔认为，二进制只是表面现象，最终起决定性作用的是“心经”。今天，这部小说被列为非二元文学的一个流派（参见https://www.goodreads.com/list/tag/non-binary)，其中的反差被解构主义地化解了。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 05:01, 28 December 2020 (UTC)

==Yao Cheng 姚诚==
'''10. Foreign Cultures in the Red Chamber Dreams'''

Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties, especially the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel.

10.红楼梦中的异邦文化
红楼梦中经常出现各种各样的异邦文化元素，例如许多贾府物品带有异国情调，并以新奇用品的形式呈现给贾府，尤其是提到的与宝玉同龄的金发女孩（结合了不同的来历和文化，包括欧洲，日本，中国），金发女孩也多次在绘画中出现，其中一次是为有翅膀的天使的形象。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:47, 27 December 2020 (UTC)

10.红楼梦中的异邦文化

红楼梦中经常出现各种各样的异邦文化元素，例如许多贾府物品带有异国情调，并是以新奇的形式呈现给贾府的，尤其是其中提到的与宝玉同龄的金发女孩（结合了不同的来历和文化，包括欧洲，日本，中国），金发女孩也多次在绘画中出现，有一次是以带翅膀的天使的形象出现。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 03:36, 28 December 2020 (UTC)

==Yao Jia 姚佳==
The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.
我们在描述宗教服饰时也能见识不同传统的玩味结合，它带有不同宗教的特点。同样，道士和儒士也可一起出现。曹雪芹想表现出小说的丰富性和多样性，这也与小说的诸多题材和社会层面有关。在书中甚至可以找到各种基督教的主题，比如第120章贾宝玉不被父亲认可，贾宝玉消失，这些都与耶稣基督平行。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 00:10, 28 December 2020 (UTC)

宗教服饰带有不同宗教的特点，在描述一种宗教服饰时，我们也能体味不同宗教传统的玩味结合。同样，道士和儒士也可一起出现。曹雪芹想表现出小说的丰富性和多样性，同时也要展现出小说的众多主题和社会层次。在书中甚至可以找到各种基督教的主题，比如第120章贾宝玉不被父亲认可，以及贾宝玉消失的时候，这些都与耶稣基督平行。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 00:43, 28 December 2020 (UTC)

==Yi Huan 易欢==
The variety of cultures is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the Red Chamber Dreams as “World Documentary Heritage”.

'''References'''（参考文献不用翻译）

Anthony, C. Yu. (2001). ''Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber''. Princeton University Press.

Aristotle. (1971). ''Poetics''. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). ''Der Traum der Roten Kammer oder Die Geschichte vom Stein'' [''Red Chamber Dreams or The Story of the Stone''], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. ''Hong lou meng xue kan'' 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. ''Journal of Sino-Western Communications'' 2 (2010.12) 2:81-107

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. ''Journal of Language Teaching and Research'', Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

==Yi Zichu 义子楚==
'''Virtual Communication Between Machines with the Human as Their Object
'''

A new stage of multimodal communication after oral, written, printed, electronic and machine-human communication

Martin Woesler, Hunan Normal University

'''Abstract'''

Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.

机器之间以人为对象的虚拟通信

口头，书面，印刷，电子和人机交流之后的多模式交流进入新阶段

湖南师范大学马丁·沃斯勒

摘要

卢曼和贝克尔描述了从口头交流（媒体时代1.0）到脚本（2.0），从印刷品（3.0）到数字通信（4.0）的发展。在所有这些阶段中，技术仅起到辅助作用。
--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:33, 28 December 2020 (UTC)

卢曼和贝克尔描述了从口头交流（媒体时代1.0）到脚本（2.0），从印刷品（3.0）最终到数字通信（4.0）的发展。在所有这些阶段中，技术仅起到辅助作用。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 05:05, 28 December 2020 (UTC)

==You Yuting 游雨婷==
This paper argues, that there is a fundamentally new media epoch of “virtual communication” (communication 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).

Algorithms do not only listen to oral or read written human communication (between humans or between humans and bots), but they analyze multimodal communication (including likes, behaviour, surfing habits, mobility profile, values, dreams, aims, beliefs etc.), compare them with Big Data (e.g. cloud data) and base decisions of manipulation on a prediction of behavior according to a personality profile and correlations.

本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管，人类成为分析和操纵的对象(如顾客、选民等)。

算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:34, 26 December 2020 (UTC)

本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管世界，人类成为分析和操纵的对象(如顾客、选民等)。

算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:47, 27 December 2020 (UTC)

==Yu Ni 余妮==
These algorithms target not only the explicit communications, but the emotions and thoughts of humans too and predict future behavior, therefore allowing simulations of reality. Mightier algorithms have also taken over decision-making roles in societies where they: replace human court decisions, fine tune just-in-time and on-demand production, censor chatrooms etc. Sets of algorithms help to manage smart cities and a whole society.

这些算法不仅针对明确的交流，也针对人类的情绪和思想，并预测未来的行为，因此允许模拟现实。更强大的算法也在社会中占据了决策角色：取代人类法庭的判决，及时微调和按需制作，审查聊天室等。一套算法有助于管理智慧城市和整个社会。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:34, 27 December 2020 (UTC)

----

==Yuan Shiqi 袁诗琦==
Although the human is still part of the communication, especially as the analyzed object and the target of the manipulation, the human is often unaware of the virtual communication and a passive receiver of the machine’s decisions, while the main actors in the virtual communication are machines.

虽然人仍然是通信的一部分，特别是作为被分析的对象和操纵的目标，但是人往往没有意识到虚拟通信和机器决策的被动接受者，而虚拟通信的主要参与者是机器。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:55, 25 December 2020 (UTC)

尽管人类仍然是交流活动的一个组成部分，特别是作为被分析的对象和操纵的目标，但是人类往往没有意识到，自己是虚拟沟通和机器决策的被动接受者，而虚拟沟通的主导者是机器。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:11, 25 December 2020 (UTC)

虽然人仍然是构成通信的一部分，尤其是作为分析对象和操纵目标，但人往往没有意识到人们在虚拟通信中扮演机器决策的被动接受者，而机器才是主要参与者。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:42, 25 December 2020 (UTC)

==Yuan Tianyi 袁天翼==
Research describes these forms of virtual communication, finds evidence in social management systems and credit systems (in Germany, we have the “Schufa”, in the USA there are big players in credit history, which leads to credit-orientation and gamification of human life) or customized (fake) news filter bubbles and in customized consumption offers (Amazon, Facebook, Google, Netflix) and analyzes benefits, including security enhancements through such virtual communication.

研究对这些形式的虚拟沟通进行了描述，在社会管理系统、信用系统（定制的（虚假）新闻筛选泡沫）和定制的消费商（亚马逊、脸书、谷歌、网飞）里面找到了证据（德国有“Schufa”，美国则因为信用史有重大人物而使得社会信用至上并日趋游戏化），并对益处加以分析，这些益处包含通过这类虚拟沟通提升安全。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:20, 25 December 2020 (UTC)

研究描述了这些虚拟通信的形式，在社会管理系统和信用系统中找到证据（在德国，我们有 "Schufa"，在美国有信用记录的大玩家，这导致了信用导向和人类生活的游戏化）或定制化（假）新闻过滤气泡，以及在定制化的消费优惠中（亚马逊，Facebook，谷歌，Netflix），并分析了好处，包括通过这种虚拟通信增强安全性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:03, 25 December 2020 (UTC)

==Yuan Yuchen 袁雨晨==
But research also has the duty to warn of abuse or harmful developments and to raise ethical questions. Exoskeletal ethics, imposed by gamifications like credit systems, especially need to be valued against intrinsic ethics.

'''Introduction'''

In this paper dealing with machine to machine communication, I skip the machines assisting humans to make their life more convenient (ranging from “The milk is out, please add the usual amount of milk to the delivery list,” to “The old lady has not left her bed this morning, I’ll better call the doctor”).

但研究也有责任对滥用或有害的发展发出警告，同时要对引起的伦理问题也要承担责任。特别是信用体系游戏化所造成的外骨骼伦理问题更需要得到重视，要反对内在的伦理问题。

引言

本论文在涉及机器与机器之间的交流时，我不考虑那些帮助人类让生活更便捷的机器（从“牛奶没了，请在送货单上加平常剂量的牛奶”到“老太太今早卧床不起，我最好叫医生吧”）。
--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:10, 25 December 2020 (UTC)

但研究也有责任对滥用或有害的发展提出警告，并提出伦理问题。特别是信用体系等游戏化所强加的外骨骼伦理，更需要对照内在伦理加以重视。

引言

在本文中涉及机器与机器之间的交流，我跳过了机器协助人类提高生活便利的内容（从 "牛奶没了，请把平时的牛奶量加到送货单上"，到 "老太太今天早上还没下床，我还是叫医生吧"。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:40, 26 December 2020 (UTC)Xiao Ting

==Zeng Fangyuan 曾芳缘==
Instead, I deal with communication like: “Let’s create a user personality profile and compare it with Big Data to learn how I can best catch this user’s attention and make him/her vote for presidential candidate A or B.”; “Let’s check this users’ mouse movements and compare it with Big Data to get a correlation to estimate if (and if “yes” when) he will get Parkinson, to decide whether or not to deny him the loan or health insurance.”
实际上，本人研究涉及的方面如下：比如，“让我们创建一名用户的个性化主界面，并将其与大数据进行比对，学习如何最好的吸引该用户的注意，让他/她投票给总统候选人甲或乙。”“让我们检查这名用户鼠标的运动轨迹，通过与大数据进行比对，建立关联，来估计他是否会得帕金森。如果他患有帕金森疾病，我们会决定是否需要对他的贷款或医疗保险的申请予以拒绝。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:41, 26 December 2020 (UTC)

==Zeng Liang 曾良==
“Let’s check this users sexual orientation, religious beliefs, fears, secrets like adultery etc. to blackmail him to get ransom money for my programmer.”; or even “Let’s use this user’s location to aim the killer drone.”

The current neoliberal system with Amazon, Facebook, WhatsApp, Instagram, Google, Netflix etc. provides incentives to collect as much user data as possible and to abuse user data for manipulation, which creates huge profits.

“让我们检查该用户的性取向、宗教信仰、恐惧、诸如通奸之类的秘密去勒索他为我的程序员去获取赎金”。或者甚至“使用用户的位置瞄准杀手无人机。”

当前具有亚马逊、脸谱网、瓦茨艾普、照片墙、谷歌、奈飞等的新自由主义系统激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:04, 25 December 2020 (UTC)

"让我们查一查这个用户的性取向、宗教信仰、恐惧、通奸等秘密，以勒索他为我的程序员获取赎金。"；甚至"利用这个用户的位置来瞄准杀手无人机。"
目前亚马逊、脸书、WhatsApp、Instagram、谷歌、奈飞等的新自由主义体系，为收集尽可能多的用户数据，并滥用用户数据，从而创造了巨大的利润。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:39, 25 December 2020 (UTC)Yang chenting

“让我们检查该用户的性取向、宗教信仰、惧怕的事物、诸如通奸之类的秘密，从而勒索他让我的程序员获取赎金”。更有甚时，“让我们使用用户的位置让攻击机瞄准他。”

当前亚马逊、脸书、联络电话、Instagram、谷歌、网飞等的新自由主义的系统软件，激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:53, 26 December 2020 (UTC)

==Zeng Xinyuan 曾心媛==
Very much like the financial crisis, which was caused by the unregulated use of derivatives, this is a systemic development, which currently follows a path to enslave the human race under the control of algorithms for the benefit of tech companies. The enslavement has already begun, as we can see from the world wide addiction to social media, from the growing mass of conspiracy theorists and from the polarization of the USA over Trump or the polarization of Great Britain over the Brexit.

这与因不受监管地使用衍生品导致的金融危机非常相似。这是一个系统性的发展，它目前走的是一条用算法控制奴役人们，为科技公司谋利的道路。从全世界对社交媒体的沉迷，从越来越多的阴谋论者，从美国对特朗普的两极分化或英国对英国脱欧的两极分化，我们都可以看出，奴役已经开始。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:07, 27 December 2020 (UTC)

==Zeng Yanhu 曾雁湖==
'''1 History of Media Epochs'''

Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.

This paper argues, that there is a fundamentally new stage of “virtual communication” (media epoch 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).

卢曼和贝克尔描述了从口头（媒体时代1.0）到文字（2.0）的通讯发展，再到印刷（3.0）数字通讯（4.0）
在所有这些阶段中，科技都只起到了协助作用。

本文认为，从根本上来说，“虚拟沟通”处于新阶段（媒体时代5.0），其中人工智能（由人类初始化）已被接管，人类已成为分析和操纵的对象（如顾客，选民等）--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:56, 26 December 2020 (UTC)

==Zhang Hu 张虎==
While Luhmann would still summarize this under digital communication, I see a full new quality here, and have therefore coined the term “communication 5.0” or “virtual communication” for it. In Luhmann’s view, the computer consists out of the “surface” of the machine (the visible interfaces like screen, keyboard, mouse) and the “depth” of the machine (the invisible, often incomprehensive inside).

虽然卢曼仍然会在数字通信中总结这一点，但我在这里看到了一个全新的品质，因此创造了术语“通信5.0”或“虚拟通信”。在卢曼看来，计算机是由机器的“表面”(屏幕、键盘、鼠标等可见界面)和机器的“内里”(看不见的、内部不全面的部分)组成的。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:41, 25 December 2020 (UTC)

==Zhang Hui 张慧==
However, we are almost constantly producing data, with our chats and geotracked movements, with our addiction to social media, our carrying of cell phones and more and more smart devices at all times, and we are therefore an object of analysis by algorithms.

The traditional setting of a communicative act blurs: The machine can directly communicate with the human (there the Turing test marks a threshold), and, after a certain complexity, it can hide its machine nature.

但是，我们几乎一直在通过聊天和地理位置追踪运动，不断沉迷于社交媒体，携带手机以及越来越多的智能设备来生成数据，因此，我们一直是通过算法进行分析的对象。

交流行为的传统设置变得模糊：机器可以直接与人类交流（图灵测试标记了阈值），并且在经过一定的复杂性之后，它可以隐藏机器的本质。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:49, 25 December 2020 (UTC)

然而，我们几乎在不断地产生数据，我们的聊天和地理追踪的动作，我们对社交媒体的沉迷，我们随时携带手机和越来越多的智能设备，因而成为算法分析的对象。

传统的交流行为的设定模糊了。机器可以直接与人类交流（图灵测试标志着一个门槛），在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:03, 25 December 2020 (UTC)
然而，我们几乎是在不断地产生数据，我们的聊天和追踪移动，我们对社交媒体的沉迷，我们无时无刻都带着手机和越来越多的智能设备，因此我们是算法分析的对象。
传统的交流行为设定是模糊的:机器可以直接与人类交流(图灵测试在这里标记了一个阈值)，并且在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:49, 27 December 2020 (UTC)

==Zhang Ling 张玲==
The machine can also indirectly communicate with the human by simply analyzing humans’ verbal communication, non-verbal multimodal communication, behavior, personality etc. and interacting with the human with, or without, revealing its existence. A human, growing up in a filter bubble and believing in conspiracy theories is one such example: The human has been manipulated by social media and news which prefer lies over truth.

机器还可以通过简单地分析人类的语言交流、非语言的多模态交流、行为、个性等，并与人类进行交互，从而间接地与人类进行交流，从而揭示人类的存在。一个在过滤器泡沫中成长并相信阴谋论的人就是这样一个例子：人们被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:33, 27 December 2020 (UTC)

机器也可以通过简单地分析人类的语言交流、非语言多模态交流、行为、个性等与人类进行交流，或者间接地与人类进行互动，从而揭示人类的存在。一个在过滤气泡中长大、相信阴谋论的人就是这样一个例子:这个人一直被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:45, 27 December 2020 (UTC)

==Zhang Peiwen 张佩闻==
Without even noticing that there was an interaction taking place between the human and the machine, the human has lost his/her independence to the machine.

'''2 Types of communicative acts'''

1.Texts (oral and written comments/chat texts/blogs/emails)

2.Surf behavior (websites visited)

3.Consumer behavior (purchases)

4.Likes (see OCEAN, UEBA)

5.Duration/Attention (see UEBA)

6.habits/repetitiveness/occurrences (is an element of analysis in different AI apps/tools)
甚至没有注意到人与机器之间发生的互动，人已经失去了他/她对机器的独立性。

"两种类型的交际行为"

1.
文本(口头和书面评论/聊天文本/博客/电子邮件)

2.
上网行为(浏览网站)

3.
消费者行为(购买)

4.
喜欢(参见OCEAN, UEBA)

5.
持续时间/关注(见UEBA)

6.
习惯/重复/出现(是不同AI应用/工具的分析元素)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:46, 27 December 2020 (UTC)

==Zhang Qi 张琪==
7.Unconscious, often unique data allowing identification (way of writing, mouse movements pattern, see Raj Kannan 2020)

8.social interaction incl. friendships, sexual relationships

9.mobility behavior/pattern (e.g. immediate environment – e.g. unconsciously recording the inside of houses while playing “Pokemon Go”), travel: Travel Behavior (Yu Cui et al. 2018)

7，无意识且通常唯一的数据可以识别（书写方式，鼠标移动方式，请参见Raj Kannan 2020）

8.社交互动，包括友谊，性关系

9.出行行为/模式（例如周围环境-例如在玩``口袋妖怪Go''时不自觉地记录房屋内部），旅行：出行行为（于翠等人，2018年）--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:24, 27 December 2020 (UTC)

==Zhang Weihong 张维虹==
'''3 Types of analysis'''

1.General (User and Entity Behavior Analytics UEBA: AI-assisted cybersecurity tools like by Gartner, Inc.)

2.True identity (e.g.: mouse movements, face recognition, find real name) (Verschuere 2016)

3.Personality profile: Big Five Personality Inventory: Openness to Experience, Consciousness, Extroversion, Agreeableness, Neuroticism “OCEAN” (Golbeck 2011), by only analyzing the users' likes, Facebook can generate personality profiles (AI-Demand 2020)

4.Mobility profile/pattern

'''3种分析类型'''

1.概况（用户和实体行为分析:AI辅助的网络安全工具，如美国Gartner公司提供的）

2.真实身份（例如:鼠标移动，人脸识别，查找真实姓名）（Verschuere，2016）

3.个人简介:五大人格清单:开放体验，意识，外向，宜人，神经质海洋（Golbeck，2011），仅通过分析用户的喜好，脸书就可以生成个人简历（AI-Demand，2020）

4..流动概况/模式

==Zhang Xueyi 张雪仪==
5.Health situation (health apps, ai supported disease research, see Daley 2020)

6.Job situation/job market (Talent Search People 2020 analyzes the job market, and classifies 4 different AI systems: 1. systems that think like humans, 2. systems that act like humans, 3. systems that think rationally, and 4.) systems that act rationally.)

5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)

6.就业形势/就业市场（2020年《人才搜索人》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:33, 27 December 2020 (UTC)

5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)

6.就业形势/就业市场（《人才搜索人 2020》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:58, 27 December 2020 (UTC)

==Zhang Yinliu 张银柳==
7.Financial credit-worthiness: E.g. German Schufa company uses AI in addition to human expertise for evaluations, see Banken-Technologie 2020. Banken-Technologie 2020. Schufa’s attempt to gain access to customers’ bank account transfer information was discussed in the news.

8.Consumer Behavior: e.g. the "clickworker" company analyses and optimizes customers' searches in respect to a client company's goals/products with the help of AI (clickworker 2019)

9.Secrets (like adultery)

7.财务信誉度：例如,德国Schufa公司除使用人类专业知识外还使用AI进行评估,请参阅Banken科技2020。新闻中讨论了Schufa尝试访问客户的银行帐户转账信息的尝试。

8，消费者行为：例如在微软的帮助下，``clickworker''公司根据客户公司的目标/产品分析并优化了客户的搜索（clickworker 2019）

9，秘密（如通奸）--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 03:59, 28 December 2020 (UTC)

==Zhang Yu 张瑜==
'''4 Unique quality of media epoch 5.0'''[ I have coined the terms “media epoch 5.0” and “virtual communication” I have developed it from concepts like „Industry 4.0“ in Germany and the four media epochs Luhmann and Baecker developed (by Baecker called 1.0 … 4.0). There are several authors speculating about the media epoch 4.0, like Ray Kurzweil. The Age of Intelligent Machines. 1990.]

1.the human switches from active to passive

2.the human switches from subject to object

3.the human becomes addicted to social media, which enhances depression (Van Den Eijnden et al. 2016, Jasso-Medrano et al. 2018, Shensa et al. 2017)

4.the human switches from puppeteer, or entity with seemingly free will, to puppet

5.nature of the internet turns from freedom to surveillance

4.媒介5.0时代的独特品质 [我创造了 "媒介5.0时代"和 "虚拟通信 "这两个词，它们是从德国的“工业4.0”以及卢曼和贝克提出的媒介4.0时代（贝克称之为1.0...4.0）等概念发展而来的。一些作者揣测媒介4.0时代这个词的含义，比如1990年出版的雷-库兹韦尔的《灵魂机器时代》]

1.人从主动到被动的转换

2.人从主体到客体的转换

3.人沉迷于社交媒体，提高了患抑郁症的风险

4.人从木偶操纵者或看似拥有自由意志的实体到木偶人的转换

5.互联网的性质从自由到监测的转换--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:25, 26 December 2020 (UTC)

==Zhang Yujie 张毓婕==
6.direct communication turns into indirect communication (humans may not be aware of this communication/analysis)

7.explicit communication (voice, words) turns into implicit communication (preferences/thoughts/dreams/wishes/ values (first experiments with brain scanners in worker hats have started in Shanghai and Peking))

8.man-man communication turns to man-machine communication (phone bot) to machine-machine

9.4.0 was from centralization to decentralization, 5.0 is partial centralization and partial decentralization, but also concentration

6，直接交流变成间接交流（人们自己可能没有意识到这种交流/分析）。

7，明确的交流（声音，文字）变成隐性的交流（偏好/想法/梦想/愿望/价值观（上海和北京已开始在工人的帽子上使用脑扫描仪进行首次实验））。

8，人与人之间的通信变成了人与机器之间的通信（电话机器人）再到机器与机器之间的通信。

9.4.0是从集中到分散，5.0是部分集中和部分分散，也有集中。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:52, 27 December 2020 (UTC)

==Zhang Yuxing 张宇星==
So far, mass media has been considered one-way. The interaction and processing of data of millions of individual users seemed simply too much work. In the age of virtual communication, the media epoch 5.0, mass media is individualized and interactive and therefore even more influential.

'''5 Types of manipulation (consciously or unconsciously, sometimes half-consciously)
'''

1.Priming by unconscious advertisements: Influencing consumer decisions

2.Filter bubbles => supports conspiracy theories, influences judgments

到目前为止，大众媒体一直被认为是单一的。数百万个人用户数据的交互和处理似乎太费力。在虚拟传播时代，即媒体时代5.0，大众传媒是个性化和互动的，因此更具影响力。

'''5 种操纵类型（有意识或无意识，有时是半意识的）'''

1.无意识广告发布：影响消费者决策

2.过滤泡沫=>支持阴谋论，影响判断--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:08, 26 December 2020 (UTC)

==Zhao Xi 赵茜==
3.Nature of social media: lies spread 6 times faster than truth. (Vosoughi et al. 2018).

4.Change of political attitude: Case Cambridge Analytica: Helped minority to win election by manipulating young people of majority not to vote (Do so: Don’t vote campaign, Oddleifson 2020); Trump election and Brexit were won by manipulation

5.Use of private information/dependencies to obtain advantages (blackmailing for money or for conducting crimes etc.)

6.Identity theft

3.社交媒体的本质：谎言的传播速度比真理快 6 倍。（Vosoughi等人，2018年）。

4.改变政治态度：案例剑桥分析：通过操纵多数年轻人不投票帮助少数民族赢得选举（这样做：不要投票竞选。奥德利夫森 2020年）；特朗普选举和英国脱欧通过操纵获胜

5.利用私人信息/依赖关系获取好处（勒索钱财或犯罪等）

6.身份盗窃--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:18, 27 December 2020 (UTC)

3.社交媒体的性质：谎言传播速度是真相的6倍。（Vosoughi等人，2018年）。
4.政治态度的改变：剑桥分析案例：通过操纵大多数年轻人不投票帮助少数人赢得选举（Do Do Do:Do not vote campaign，Oddleifson 2020）；特朗普选举和脱欧是通过操纵赢得的
5.利用私人信息/依赖性获取利益（勒索钱财或犯罪等）
6.身份盗窃--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:03, 27 December 2020 (UTC)

==Zhao Xiaoyan 赵晓燕==
'''6 Consequences'''

1.Virtual Communication is mostly “hidden”, the human is mostly unaware of it, but may endure the consequences (policeman may detain suspect simply because the face recognition glass recognizes a pedestrian passing by and assesses him/her as “dangerous”; loan is declined; insurance company declines to accept new customer)

6.后果

1.虚拟通讯大多是 "隐蔽 "的，人多半不知道，但可能会承受后果（警察可能仅仅因为人脸识别玻璃识别出路过的行人，并评估其为 "危险 "而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新的客户）--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:02, 25 December 2020 (UTC)

6.后果

1.虚拟通信通常是“隐藏的”，人类大多数情况下是不知道的，但可能会承受后果（警察可能只是因为面部识别玻璃杯识别出行人经过并将他/她评估为“危险”而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:05, 25 December 2020 (UTC)

'''6.后果
'''

1.大多情况下，虚拟通信是“隐藏的”，人类也没有意识到这一点，但可能会承担由此带来的后果（警察可能会因为面部识别玻璃检测到行人通过，并将其评估为“危险人物”而将嫌疑犯拘留‘贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:29, 26 December 2020 (UTC)

==Zheng Huajun 郑华君==
2.User becomes transparent (government can fight terrorism, any user can be blackmailed, jealous spouse can check on adultery)

3.Less will to communicate and discuss (since positions are too far apart)

4.Populists and populist views gain supporters

5.Polarization of Society

6.There is an incentive not to reveal how much one knows about the object, because the object then could question the legality, the system etc.

7.Last resort, the thinking, is tackled: Machine interprets “real” attitudes, not lip-service words

2.用户变得透明化（政府可以反恐，任何用户都可以被拉黑，嫉妒的配偶可以查奸情）

3.交流讨论意愿较弱（因为立场相差太远）

4.民粹主义者和民粹主义观点获得支持者

5.社会的两极分化

6.有动机不透露自己对对象了解多少，因为对象就可能质疑合法性、制度等。

7.最后的手段—思维，已经被破解：机器解释的是 "真实 "的态度，而不是口头禅--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:03, 27 December 2020 (UTC)

2.用户变得透明（政府可以反恐，任何用户都可以被勒索，嫉妒的配偶可以调查奸情）

3.缺乏沟通和讨论的意愿（因为立场相差太远）

4.民粹主义者和民粹主义观点获得支持者

5.社会两极分化

6.有动机不透露自己对客体了解多少，因为客体可能会质疑其合法性、制度等。

7.最后一个办法是思考：机器解释的是“真实”的态度，而不是口头禅--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:42, 27 December 2020 (UTC)

2.用户变得透明(政府可以打击恐怖主义，任何用户都可以被勒索，嫉妒的配偶可以遏制通奸)。

3.缺乏沟通和讨论的意愿(因为职位相距太远)。

4.民粹主义和民粹主义观点获得支持。

5.社会两极分化。

英译汉有一种动机是不透露一个人对该对象了解多少，因为该对象可能会对合法性、制度等提出质疑。

7.最后要解决的是思维问题：机器解释的是“真实”的态度，而不是口惠而实不至的话--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 06:41, 28 December 2020 (UTC)

==Zhou Luoping 周罗平==
8.The knowing ones (algorithms, hackers, controllers of algorithms) have power over the unknowing ones (victims)

9.Exoskeleton ethics (like points/awards for measurable performances) reduce incentives to build inner ethics
'''
7 Simulation of the imminent future'''

1.The imminent future behavior of a human can be predicted

2.With many analyzed humans, the imminent future of reality can be predicted => simulation

8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模8拟即将到来的未来
1.人类即将发生的未来行为是可以预测的
2.有了许多被分析的人类，现实的即将到来的未来可以被预测=>模拟--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:00, 27 December 2020 (UTC)

8.已知的人（算法、黑客、算法的控制者）比未知im min的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模拟迫近的未来
1.人类的迫近未来行为是可以预测的
2.在分析了许多人类后，我们便可预测现实的迫近未来=>模拟--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:22, 27 December 2020 (UTC)

8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模8拟即将到来的未来
1.人类即将发生的未来行为是可以预测的
2.通过大量分析人类，现实里马上到来的未来便可预测到=>模拟--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:32, 27 December 2020 (UTC)

==Zhou Shiqing 周诗卿==
Is this an Orwellian dystopia or reality? Some cases of the above listed phenomena have been documented. However, we are still at the beginning of “little” AI development (optimizing existing processes) and on the brink of a much more powerful development, that of “big” AI (rethinking whole industries, being able to reproduce and enhance itself). (cf. Euchner 2019).

==Zhou Shuyao 周书尧==
'''8 Conclusion and Outlook'''

Data has succeeded oil as the most valuable resource for today’s economy. Big Tech companies already use users’ data and make big profits with it while legislation is delayed and national boundaries (which do not exist for the Tech companies) are struggled over.
Although input-legitimized liberal democracies and market economies, like that of the European Union, still protect privacy and data security, US- and China-based technology companies are already penetrating the European market.

'''8 结论与展望'''

数据已经取代石油成为当今经济中最有价值的资源。大型科技公司已经在使用用户的数据并从中牟取暴利，与此同时，立法被拖延，国界（不存在科技公司）正在为之苦苦挣扎。

尽管像欧盟这样的以输入合法化的自由民主国家和市场经济，仍然保护着隐私和数据安全，但是中美两国的科技公司已经开始渗透欧洲市场。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:59, 27 December 2020 (UTC)

'''8 结论与展望'''

数据已经取代石油成为当今经济中最具价值的资源。大型科技公司已经利用用户的数据来牟取暴利的同时，与之相关的立法却被推迟，受到数据突破国界（对于科技公司来说没有国界）的挑战。
尽管像欧盟一样以输入合法化的自由民主国家和市场经济仍在保护隐私和数据安全，但中美两国的科技公司已经开始打入欧洲市场。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 07:23, 28 December 2020 (UTC)

==Zhou Siqing 周思庆==
We need to raise awareness and guide the youth to be careful with screen time and what they share online. We need to avoid addiction to social media.

'''The algorithms do not just check which film to suggest viewing next, they have started to invade the innermost sanctum of personality, our thoughts, dreams, wishes, visions, hopes, fears and secrets.
'''
'''
The listed consequences document a fundamental change of paradigms:
'''
我们需要提高意识，引导青少年注意屏幕时间和他们在网上分享的东西。我们需要避免沉迷于社交媒体。

'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''

所列出的后果证明了范式的根本变化:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:38, 26 December 2020 (UTC)

我们需要提高意识，引导青少年留意屏幕时间和网上分享，需要避免沉迷于社交媒体。

'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''

所列出的后果证明了范式的基本变化:--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:11, 26 December 2020 (UTC)

==Zhou Yiwen 周艺文==
'''The cause-based decision-making by humans with established institutions like politicians, judges etc. is being replaced with correlation-based decision-making by algorithms which often serve the profit interests of tech companies or the political interests of election-manipulators.
'''

AI took the wrong development path, when it changed from serving humans to trying to manipulate humans for economic or political profit. When AI is used to educate citizens – like helping German customers to keep a clean credit history and a good credit score – then it changes the behavior of citizens to an exoskeletal ethic.

人类通过建立政治、法官等制度所形成的原因导向的决策方法正在被算法形成的关联导向的决策方法所取代，算法通常为科技公司的利润利益或选举操纵者的政治利益服务。

人工智能走上了错误的发展道路，它从为人类服务变成了试图为了经济或政治利益而操纵人类。当人工智能被用于教育公民——比如帮助德国客户保持干净的信用历史和良好的信用评分——它就会改变公民的行为，使其成为一种外骨骼伦理。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:42, 27 December 2020 (UTC)

==Zhou Yuanqu 周园曲==
However, animals with an exoskeleton reduce their inside muscles and develop a soft inside, making them totally incapable of living without the exoskeleton. An exoskeletal ethic, giving reward points, for example, for behavior which is deemed positive and subtracting points for behavior which is deemed negative, deprives the human of the natural learning and developing process, in a social environment, of his responsibility and inner ethical judgment. If you were to meet a human with exoskeletal ethics and one who has inner ethics, whom would you trust more?

但是，具有外骨骼的动物会减少其内部肌肉并发展出柔软的内部，从而使它们完全没有外骨骼就无法生存。骨骼外伦理，例如，对于被认为是积极的行为给予奖励积分，而对于被认为是消极的行为给予减分，这剥夺了人类在社会环境中的自然学习和发展过程的责任和内在的道德判断力。如果遇到一个具有骨骼外伦理和内心道德的人，你会更信任谁？--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:10, 28 December 2020 (UTC)

==Zhou Yujuan 周玉娟==
If we want to avoid the consequences listed in point 6, the public needs to become aware of this and nations and supranational organizations need to define legislation to a) protect privacy and data security, and b) give the user the control over his/her data including the commercial use of it where they earn a share from the profit made with the usage of his/her data.

==Zhu Meimei 祝美梅==
'''9 Outlook'''

We need to accept, that the development is irreversible. Every new technology has created fears. Important is, that we become aware of the developments and adjust where the development heads into the wrong direction. We need set the right framework and incentives that the new technology stays on track to serve humanity.

'''9展望'''

我们必须承认，发展是不可逆转的。每一项新技术都在某种程度上引发了恐慌。然后重要的事情是，我们开始意识到，并调整那些朝错误方向进行的发展。我们需要制定正确的构架和激励措施，让新技术继续稳定地为人类服务。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 03:06, 28 December 2020 (UTC)

'''9展望'''

我们不得不承认，这种发展是不可逆转的。每一项新技术都会引发恐慌。重要的是，我们要意识到这些发展，并调整错误的发展方向。我们需要建立正确的框架和激励机制，使新技术能够继续为人类服务。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 04:04, 28 December 2020 (UTC)

==Zhu Suyao 朱素瑶==
New developments open new possibilities. We need to make sure that not only a few tech companies and terrorists use this powerful new technology to achieve their goals, but that the mass of smart device users emancipate themselves from addiction to and manipulation by technology and gain back their dignity, privacy and free will.

'''References
'''
（参考文献不用翻译）

AI-Demand. (2020). www.ai-demand.com/insights/data/big-data/big-data-and-facebook-the-heavenly-pair-that-isnt-quite-in-heaven/

Baecker, Dirk. (2007). ''Studien zur nächsten Gesellschaft''. Frankfurt 2007

Banken-Technologie. (2020). 26. Handelsblatt Jahrestagung. Banken-Technologie. „New Normal” in der Finanzwirtschaft: digital – intelligent – automatisiert – hybrid. 2. und 3.12.2020, Digital [Conference Announcement] https://veranstaltungen.handelsblatt.com/bankentechnologie/ki-machine-learning-finanzanalyse/

Booth, T. "Cambridge Analytica controversy must spur researchers to update data ethics." ''Nature'' 555.7698 (2018): 559-560.

Clickworker. (2019). www.clickworker.com/2019/04/30/ai-for-ecommerce/

Cui, Yu, Qing He, and Alireza Khani. (2018). Travel behavior classification: an approach with social network and deep learning. ''Transportation research record'', 2672(47), 68-80. https://par.nsf.gov/servlets/purl/10109453

Daley, Sam. (2020). 32 Examples of AI in Healthcare that Will Make you Feel better about the Future (July 4, 2019, updated July 29, 2020). builtin.com/artificial-intelligence/artificial-intelligence-healthcare

Euchner, Jim. (2019). Little ai, Big AI—Good AI, Bad AI. Terminology Management 62:3, 10-12. pdf:

https://www.tandfonline.com/doi/pdf/10.1080/08956308.2019.1587280?needAccess=true

Golbeck, Jennifer, Cristina Robles, and Karen Turner. (2011). "Predicting personality with social media." ''CHI'11 extended abstracts on human factors in computing systems''. 2011. 253-262.

Jasso-Medrano, José Luis, and Fuensanta Lopez-Rosales. (2018). "Measuring the relationship between social media use and addictive behavior and depression and suicide ideation among university students." Computers in Human Behavior 87: 183-191.

Luhmann, Niklas. (1997). ''Die Gesellschaft der Gesellschaft''. 1997

Oddleifson, Evan. 2020, The Effects of Modern Data Analytics in Electoral Politics: Cambridge Analytica’s Suppression of Voter Agency and the Implications for Global Politics, ''Political Sciences Undergraduate Review'' 5 (2020) 7, 1-7.

https://journals.library.ualberta.ca/psur/index.php/psur/article/view/130/90/130-Article%20Text-642-1-10-20200401.pdf

Raj Kannan, J., Sabitha, R., Karthik, S., & Shanthini, J. (2020). Mouse Movement Pattern Based Analysis of Customer Behavior (CBA-MMP) Using Cloud Data Analytics. ''Wireless Personal Communications'', OnlineFirst, 1-17.

Ruan, Lotus, et al. "One App, Two Systems: How WeChat uses one censorship policy in China and another internationally." (2016).
Shensa, Ariel, et al. (2017). "Problematic social media use and depressive symptoms among US young adults: A nationally-representative study." ''Social Science & Medicine ''182: 150-157.

Talent Search People. (2020). How Will Artificial Intelligence Affect the Job Market? www.talentsearchpeople.com/en/blog/494-how-will-artificial-intelligence-affect-the-job-market/.

Van Den Eijnden, Regina JJM, Jeroen S. Lemmens, and Patti M. Valkenburg. (2016). "The social media disorder scale." ''Computers in Human Behavior ''61: 478-487.

Verschuere, Bruno, and Bennett Kleinberg. "ID‐check: Online Concealed Information Test reveals true identity." ''Journal of forensic sciences'' 61 (2016): S237-S240.

Vosoughi, Soroush, Deb Roy, and Sinan Aral. (2018). The spread of true and false news online. Science 359.6380: 1146-1151.. science.sciencemag.org/content/359/6380/1146

新发展提供了新可能。我们需要确保除了少数的技术公司和恐怖分子使用这一强大的新技术来达到他们的目的，还需要确保大量的智能设备的使用者不再沉迷于其中，不再被技术操控，从而重拾尊严，重获隐私和实现意志自由。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 06:51, 28 December 2020 (UTC)

==Zhu Xu 朱旭==
'''Bio'''

Martin Woesler, PhD, is Jean Monnet Chair in European Studies with Hunan Normal University since 2020. At its Foreign Studies College, he is Distinguished Professor of Chinese Studies, Translation Studies and Comparative Literature since 2019. Woesler was elected Academian of the European Academy of Sciences and Arts, Salzburg in 2019.
Woesler has co-edited the books "China's Digital Dream", "Ethics of Information Society" and Springer has scheduled to publish the book "Diverse Voices in Chinese Translation and Interpretation" including his book chapter "Modern Interpreting with Digital and Technical Aids" in February 2021.

个人简历

自2020年起，吴漠汀（Martin Woesler）博士是湖南师范大学欧洲研究的讲座教授。自2019年来，他在湖师大外国语学院担任中国文化研究、翻译研究和比较文学的特聘教授。2019年，吴教授当选萨尔茨堡欧洲科学与艺术学院院士。吴教授曾与人合编《中国的数字梦想》、《信息社会伦理学》等书。施普林格（Springer）已计划于2021年2月出版《中国笔译与口译中的多种声音》一书，其中包括他的《数字与技术辅助的现代口译》一章。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:26, 27 December 2020 (UTC)

==Zou Xinyu 邹鑫雨==
Woesler was a Senior Fellow of the German Science Foundation's (Deutsche Forschungsgemeinschaft) Research College "Media Cultures of Computer Simulations" 2019‐2020 and hosted a related workshop with Bertelsmann Foundation in 2020. Woesler is also a researcher with Witten/Herdecke University, Germany, investigating the impact of daily screen time of children and of young people on their health.

20201228 trans

2020-12-28T07:23:26Z

Zhu Suyao: /* Zhou Shuyao 周书尧 */

==Cao Runxin 曹润鑫==
'''Zhu Ziqing'''

A third example, where an author shows another face in his essays is Zhu Ziqing. He is known as the author of the most often reprinted story-like Chinese essay "''Back View''" (Beiying), a standard school text. The success of this essay lies in the fact, that it applies to filial pity. From the reported fare-well scene with his father at the train station, he learned that his father loved him and that he had grown-up too now.
==Chang Huiyue 常慧月==
This self-reflective essay helped Zhu to find himself through the observation of the other (here his father). The 2nd often printed essay is also from Zhu. Parallelistic and repetitive structures are the driving factor in the atmospherical nebulous lyrical landscape desription "''The Moonlit Lotus Pond''", whose style easily may seem mannerist to the Western reader.

Zhu Ziqing supposedly opposed all political engagement and, wrote about unspectacular things. In Taiwan he became a type of substitute for the categorically refused state writer of the People’s Republic, Lu Xun, mainly because of Zhu’s supposed political independence.

通过他人的观察（这里主要指朱自清的父亲），这篇自我反省式的文章帮助朱自清认清了自己。经常出版的第二版本也来自朱自清。“荷塘月色”中描述的天空星云，抒情般的景色是通过平行结构和重复结构中展现出来的，这种风格使西方读者很容易辨别。

据称朱自清反对一切政治参与，只写不引人注意的事情。在台湾，主要因为朱自清的所谓政治独立，他因而代替了明确反对民国的作家鲁迅。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 14:33, 27 December 2020 (UTC)

==Chen Han 陈涵==
I would like to show with three examples that Zhu had absolutely clear political ideas: He had taken part in the demonstration March 18, 1926, which ended in a massacre. Zhu described this in ''"Report On the Massacre of the Government''"[ (Zhizhengfu da tusha ji).].

''Shots were still being fired, and the entrance of the east gate was packed with people. [...] Pushing and shoving, we climbed over them with great effort. We must have lost our senses then, not seeing, to our shame, the grotesqueness of our action. ''

我想用三个例子说明，朱自清有绝对明确的政治思想。1926年3月18日，他参加了示威游行，这场游行最终以屠杀告终。朱自清在《执政府大屠杀记》中对此进行了描述。

''这时枪声未歇，东门口拥塞得几乎水泄不通。[...] 我们便推推搡搡，拥挤着，挣扎着，从他们身上踏上去。那时理性真失了作用，竟恬然不以为怪似的。'' --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 26 December 2020 (UTC)

==Chen Hui 陈惠==
''[...]I was still walking on top of the people. No one dared to miss a single step, filing through the gate that divided safety from danger, one that would give us life or take our lives away. [...] My efforts finally brought me down to the ground, sealing my fate as I rolled down from the human pile. [...] I learned later that some of the people by the gate were dead, killed by the pistol squad firing from the other side of the gate. When I recall stepping over dead bodies, I cannot help but tremble with fear. [...]''
==Chen Jiangning 陈江宁==
From this experience, Zhu addresses directly the repsonsible political leaders:

''Duan Qirui, you must think about it! [...] How could we explain this to the world? [...] Granted, Duan Qirui and others could commit such atrocities without a thought; but how could we, the people of China, face the world with such a shameless government? [...] We, [...], must ask, „So many were killed—what should we do?“''
经过这次经验，朱直接给负责相关部门的政府官员写信道：“段祺瑞，你好好想一想！[…]我们要怎么跟世界人民解释？[…]当然了，段祺瑞和其他士兵不用想都会承认这次的暴行；但是，我们，作为中华人民共和国，怎么能以这样一种无耻的政府面对世界？，[…]我们，[…]必须要问，这么多人牺牲了，我们应该做什么？”--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 15:11, 27 December 2020 (UTC)

==Chen Jiaxin 陈佳欣==
In contrast, Lu Xun has portrayed the same massacre with sighing undertone and Zhou Zuoren bitter-humorously in his "''Ways to die''"[ (Si fa).] - in which he finds "to be shot" the best method to die. The supposedly less politically engaged Zhu shows here more engagement.

The essay "''Facing the New China''"[ (Xin Zhongguo zai wang zhong).] is Zhu's political manifest: He asks for democracy, enlightenment and an increase of the education level.
相比之下，鲁迅用悲伤的笔调描绘了同样的大屠杀，而周作人在他的《死亡之道》中讽刺地写道—他发现“被枪杀”是最好的死亡方法。据说较少参与政治的朱自清在这里表现出更多的参与。
文章《面对新中国》是朱自清的政治体现：他要求民主，启蒙和提高教育水平。--[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 06:51, 28 December 2020 (UTC)

==Chen Jingjing 陈静静==
''China has to be born again through democratization. [...] The people should express their own will, concentrate on their own strength. Every level of administration should build up on the expressed will and strength of the people and struggle for the majority and its greatest happiness. This means that the people govern, the people own, the people enjoy.''

A few weeks before his death, he demanded in the speech ''"Today's duty of the Intellectuals''"[ (Zhishifenzi jintian de renwu).] the participation of the intellectual in the struggle for a better society.

“中国必须通过民主化重生。[...]人们应该表达自己的意志，集中自己的力量。各级行政机关都应该建立在人民的意志和力量的基础之上，并且为大多数人及其最大化的幸福而奋斗。也就是民治，民有，民享。”

”中国必须用过民主化重生。[...]人们应当表达他们自身的意志，集中力量。各级政府都应建立在人民意志和力量基础之上，并为大部分人民及其最大幸福而奋斗。也就是民治、民有、民享。”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:15, 27 December 2020 (UTC)

在他去世的几周前，他在 “知识分子今天的职责”的演讲中要求知识分子参与建设更好的社会。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 11:31, 27 December 2020 (UTC)Chen Jingjing

==Chen Sha 陈莎==
With only a handful of essays I have demonstrated, that the picture of these three authors changes substantially, if we read carefully also their less known essayistic work. Imagine now how the picture of 20th century Chinese literature might change, if the literary histories and anthologies would not only tell the history of drama, fiction and poetry, but would also grant the essay its proper place. The following part of my paper are results of my monograph on the 20th century Chinese essay.
==Chen Sunfu 谌孙福==
'''The essay boom as a mirror reflecting growing individuality, participation in the public sphere, and the giddy-paced character of modern Chinese society'''

Acquiring an overview of the essay and assessing its essence has required extensive research in bookstores and libraries, in the People's Republic of China, Taiwan, Hong Kong and the United States for available resources in the form of essay book collections as well as secondary literature dealing with the essay.

'''散文潮就像一面镜子，反映出了日渐显著的个体性、公众场合的参与度和现代中国社会令人眼花缭乱的种种特质'''

对散文进行全面审视，并分析其内在本质，要求我们在中华人民共和国、台湾、香港和美国的各大书店、图书馆开展广泛研究，获取散文集或涉及散文主题的二次文献等可用资源。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 00:35, 28 December 2020 (UTC)

==Chen Yongxiang 陈永相==
I built a database for a statistical analysis to rank more than 5000 essays and 1400 essayists. It turned out that out of the top 60 most famous Chinese essays only 14 had been translated into English so far. The forthcoming collection of Tam King-fai adds 4 and my own one the remaining 42.

Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report[ (baogao wenxue) (Klaschka 1998).].

我建立了一个用于统计分析的数据库，对5000余篇散文和1400名散文家进行排名。事实证明，迄今为止，在中国最著名的60篇论文中，只有14篇被翻译成英文。谭景辉即将出版的散文选集另有新翻译的4篇，我自己则翻译余下的42篇。

分析表明，自1979年以来，总体上来说，散文发表有所增加，在“文化大革命”之后还出现了两次热潮，在1990年达到了新的高度。首次增加出现在20世纪20年代和30年代，此后便被报告文学所取代（Klaschka 1998）。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:41, 27 December 2020 (UTC)

==Cheng Yusi 成于思==
The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous essay bookseries[ sanwen congshu 散文叢書.].

The reason for the increase in essay production, which we can date right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in the sampling of 130 ‘representative’ books I was able to collect for the survey. There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s:

散文的发行于1920年至1930年达到繁盛主要原因在于新杂志的出现。新杂志成为了当代散文家以及散文丛书的载体。

散文发行量不断上升的原因，可以追溯到“文化大革命”时期的大清洗，造成了需求的积压。1980至1982年间印刷了一百万册散文集便很好的反映了上述观点。而这一数据仅包含于我为了调查而收录的130本代表性书目的样本中。20世纪90年代中期，中国散文盛行的原因有三点。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 07:17, 28 December 2020 (UTC)

==Deng Jinxia 邓锦霞==
1, The giddy-paced nature of current Chinese society with its demands for diverting and short texts, as Hall has put it: “[...] we live in an age of exposition”[ (Hall 1984:xiii).].

2, The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands.

3, A revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.

1，当前中国社会的快节奏需要分篇和短篇文本。正如霍尔所言，：“ ......我们生活在博览会时代。” [（Hall 1984：xiii）]。

2，对于正在增强的个人意识来说，散文是主观表达的最直接形式，甚至比具有韵律和形式要求的诗歌更直接。

3，通过散文讨论社会政治问题的兴趣的复兴，就像1920年代/ 30年代那样。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 14:35, 27 December 2020 (UTC)

==Ding Daifeng 丁代凤==
If we look carefully at essay collections not only published in the United States, but also in Hong Kong, Taiwan and the People’s Republic, we find the following three reasons for the under- and overestimation of single essayists or essays which correspond to regional differences:

1, EXOTIC In the United States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.

如果我们仔细观察在美国出版的，以及在香港、台湾和中华人民共和国出版的散文集，我们会发现以下三个原因导致人们低估和高估了回应地域差异的单个散文家或散文:

1、异国情调在美国，散文往往是根据西方人的口味来选择的，完全不知名的作者和老牌作家拥有一样多的空间。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:37, 26 December 2020 (UTC)

如果我们细细研读在美国出版的，以及在中国香港、台湾和大陆出版的散文集，我们会发现以下三个原因导致人们因地域差异而低估或高估了某些散文家或散文:

1、异国情调在美国，散文往往是根据西方人的口味来选择的，名不见经传的作者和著名的作家拥有同样多的市场。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 26 December 2020 (UTC)Mo Ling

==Fang Jieling 方洁玲==
2, SOCIO-POLITICAL In Taiwan, Lu Xun has been banned for a long time, but today, as the mentioned survey proofs, he ranks 12th among modern authors there. Wang Meng has been overestimated in the People’s Republic of China due to his political post.

3, PERSONAL Hong Kong literature on Yu Guangzhong has been censored by his disciple Huang Weiliang in favor for Yu.[ (see Lin Yaode 1989:50).]

Having named reasons for the essay boom and for the support for and the suppression of different actors in the cultural field of the essay, I would like to finish my paper by naming a few trends of the essay as they appear at the eve of the century.

2、社会政治在台湾，鲁迅被禁锢了很久，但如今，如上述调查证明，他在台湾现代作家中排名第12位。在中华人民共和国，王蒙因其政治职务而被高估。

3，个人在香港关于余光中的文学被他的弟子黄伟良检查和删节，他是赞成余光中的。（见林耀德1989：50）。

在列举了一些关于论文热潮以及在论文文化领域中对不同行为者的支持和压制的原因之后，我想通过列举几世纪前夕出现的一些论文趋势来结束我的论文。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 14:51, 27 December 2020 (UTC)

==Gan Fengyu 甘奉玉==
The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consumer-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be "art pourt l'art".

政治散文的主题从1907年兴起的启蒙教育散文转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影）都在讨论最佳社会制度，于是有关政治问题的主题复兴，但20世纪90年代时，主题又变成了非政治性，更加哲学道德的主题范畴，那会，散文家们首先对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:42, 27 December 2020

政治类散文的局部发展从1907年兴起的启蒙教育类转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影中）对于最佳社会制度的探讨使得政治话题再次变得火热。但20世纪90年代时，写作主题又转向非政治性，以及更加哲学道德的范畴，那会，散文家们首先会对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:53, 27 December 2020 (UTC)

==Gao Mingzhu 高明珠==
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing ("''On dreams''"[ "Shuo meng 說夢" On dreams in: Zhu Ziqing 1928.]) and Zhou Zuoren from 1917 ("''My own garden''"[ 9.1923.], "''The Fly''"[ 1924.], "''Reading on the Toilet''"[ 1936.]), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the newly encountered world of mass consumerism.

非政治类文章的局部发展始于朱自清以及周作人1917年开始写的每日随想（朱自清1928年发表的散文《说梦》；周作人1923年发表的《自己的园地》、1924年发表的《苍蝇》、1936年发表的《入厕读书》）。自1927年的修正，政治类文章成为主流，直到20世纪30年代末期，非政治类文章因为抗日战争的爆发完全消失。直到20世纪70年代，人民生活回归正常，非政治类文章才重新现世，由于消失太久，日常琐事成为当时热门的写作话题。20世纪90年代，由于政治话题热度的下降以及进入新时代为迎合广大群众而开发新话题的需要，非政治类文章又迎来一次高潮。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:46, 27 December 2020 (UTC)

==Gong Yumian 龚钰冕==
In the end of this century not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. Among the upper list places of the political essay after 1949 there are critical essays. For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.

在本世纪末，位于排行榜前列的不是政府要求的肯定性文本，而是非政治性的文章位于前列。尤其是从1923年到1928年，大部分非政治性文章可以追溯到共和党时代。这一观察结果得到上述统计分析结果的支持。在1949年以后的政治论文中，排名较高的有批评文章。在中华人民共和国，台湾和香港最常选择的论文中，道德和美学标准似乎已成为基础话题。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 06:56, 28 December 2020 (UTC)

==Gu Dongfang 顾东方==
A sign for the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation for customers (former: "readers"). Following the emotional essays of Zhu Ziqing who rank 1st and 2nd, ''nostalgia'' is the element of emotional identification in "''Wild vegetables of my home region''" by Zhou Zuoren, which ranks 3rd[ In Jia Pingwa's "Moon traces", which ranks 11, and in Ba Jin's "''Paradise for Birds''", which ranks 19]. Therefore one can state, that moving essays form the top.
==Guan Qinqing 管钦清==
In 1927, Chinese literature took the form of 'engaged literature'. In the 1980/90s, the discussion of politics in daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. In the later half of the 1990s, the master narrator himself seems to be lost within the subjectivity of individuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife.

1927年，中国文学出现了“参与文学”的形式。不同于那个时候，在20世纪90年代，有关日常利益的政治讨论只占很小的一部分。 20世纪80年代，包括诗歌和散文在内的所有流派都被批评家用来反对共产主义的主要叙事或毛泽东主义对艺术作为意识形态的理解。 20世纪90年代下半页，主讲者本人似乎迷失在个人的主观性以及越来越正式化但基本上空虚的城市生活的日常亵渎和平庸中。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:35, 28 December 2020 (UTC)

==Gui Yizhi 桂一枝==
In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only remiscent element left is the patriotism.[ ''Trends like the use of ordinary language'', which one finds in novels since 1993 (''Jia Pingwa'', Feidu; ''Gu Cheng'', Yingger) and New Borderlessness since 1995, cannot be proven in the essaywriting.The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable ''object d'art''.]

上个世纪90年代，80年代的政论文随笔文化逐渐隐没了，唯一剩下留有想象空间的元素就是爱国主义。[“比如使用普通语言的趋势”，这是从1993年以来在小说中发现的（“贾平凹”）费杜，古格，英格）以及自1995年以来，《新无边际》都无法在论文写作中得到证明，我们之所以没有找到后现代小说意义上的后现代散文，是因为文章的直接性：随笔作为一种体裁，是作者和读者之间的对话，而不是想要引起不同解释的原因或可能依赖于特殊形式或内容甚至是按顺序引用前现代特征的艺术品，这使它成为一个与众不同的“艺术品”。]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 13:06, 26 December 2020 (UTC)

'''References''' [partly mentioned with German translation] （不用翻）

Vera Schwarcz 1996, Vera Schwarcz, "The pain of sorrow: public uses of personal grief in modern China", in Daedalus: Journal of the American Academy of Arts and Sciences (Winter 1996)

Ba Jin 1982, Ba Jin: "Yi feng huixin 一封回信" (Ein Antwortbrief (26.10.1982)), in: Bing zhong ji 病中集 (Auf dem Krankenlager), Hongkong 香港 1984(?) (Series Suixiang lu 隨想錄 (Thoughts) Bd 4), 147 pp.

Ba Jin 1982a, Ba Jin: "Yi pian xuwen 一篇序文" (Ein Vorwort) [dated 1982.9/10], in: Ba Jin: Auf dem Krankenlager 1984

Ba Jin 1956, Ba Jin 巴金: "Duli sikao 獨立思考" (Unabhängig denken), in: Li Jisheng 李濟生, Li Xiaolin 李小林 (Hgg.): Ba Jin liushi nian wenxuan (1927 - 1986), Suixiang lu, zagan, sanwen, xuba, yanjiang, shuxin 巴金六十年文選（１９２７－１９８６）隨想錄·雜感·散文·序跋· 演講·書信 (Ba Jin. Werkauswahl aus 60 Jahren (1927 - 1986), Gedanken, vermischte Gefühle, Essays, Vor- und Nachworte, Reden, Briefe), Shanghai 上海: Shanghai wenyi chubanshe 上海文藝出版社 (Literatur- und Kunstverlag Shanghai), 1986.12, S. 461 - 462 [Datiert auf 1956.]

Ba Jin 1962, "Zuojia de yongqi yu zerenxin 作家的勇氣與責任心" (Mut und Verantwortungsbewußtsein der Schrifsteller) 1962; der Essay von Zhou Zuoren 周作人: "Wenxue tan 文學談" (Über Literatur), in: Tan long ji 談龍集 (Über Drachen. Sammlung), Shanghai 上海: Kaiming shudian 開明書店 (Kaiming Buchladen) 1927.12, Nachdruck: Hongkong 香港: Shiyong shuju 使用書局 (Praxisverlag) 1972.1, 310 S., S. 165 - 167

Zhou Zuoren 1919, Zhou Zuoren, "Zuxian chongbai 1919 (Ancestor Worship)," in Early Essays, op.cit., pp. 78

Zhou Zuoren 1920: Zhou Zuoren 周作人, Xin wenxue de yaoqiu 新文學的要求" (The demand of the New Literature) [lecture], in Beiping shaonian xuehui 北平少年學會 (Beiping youth conference) 1920.1.6, in: Zhang Ruoying 長若英: Xin wenxue yundong shi ziliao 新文學運動史資料 (Material on the history of the New Literature movement), Shanghai 上海: Guangming shuju 光明書局 (Guangming bookstore) (1934.9) ²1936.9, 291-296

Zhou Zuoren 1923, Zhou Zuoren: Yanzhicao ba (Preface to Yu Pingbo's Yanzhicao), in: Yongri ji (Book of Eternal Day), Shanghai: Beixin shuju 1929, 180-181

Zhou Zuoren 1929, Zhou Zuoren: Ertong de shu (The books of children), in: Chenbao fukan (1923.8.17)

Zhou Zuoren yuanliu, Zhou Zuoren: Zhongguo xin wenxue de yuanliu (Sources of New Chinese Literature), p 71

Zhou Zuoren 1932, Zhou Zuoren: Lun baguwen 1932, in: Kanyun ji p. 148

Source: NEAAS annual meeting 10/09/1999 New Haven (Yale University)

==Guo Lu 郭露==
'''Modern Chinese Literature and the Essay Genre: A New Perspective'''

''Martin Woesler''

In this paper, I will not recount the contents and propose interpretations of any essays, nor will I outline the main topics or styles of essaywriting in China, but I would like to take the opportunity to reflect a little bit on the phenomenon of the genre itself and discuss some conclusions and hypotheses with the attentive and critical audience which can be found at only a few places on earth, EALC at Harvard definitely being one of them.

《中国现代文学与散文体裁：以新视角》

''吴漠汀''

在本文中,我将不再赘述任何文章的内容和提出的观点,我也不会列出其主要主题或风格,但是我想借此机会,反映一些现象本身的类型，并与包括哈佛大学学生在内的观众对一些结论和假设进行探讨。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:16, 25 December 2020 (UTC)

《中国现代文学与散文体裁：新视角》

吴漠汀

本文将不再赘述或解释任何文章的内容，也不会列出中国散文的主要主题或风格。我想借此机会，反思体裁现象，同乐于助人、至关重要且世间少有的读者，包括哈佛大学东亚语言和文化学院的学生，对一些结论和假设进行探讨。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:28, 25 December 2020 (UTC)

==Han Haiyang 韩海洋==
'''1. The unknown genre'''

The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. In my paper I will ask, if the picture of literature can remain unchanged, if we take into consideration also the essay. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90, McDougall 1998);

'''1.未知体裁'''

二十世纪文选和选集里的文学史的叙述对于整个中国文学来说是不完整的：散文题材是缺失的。在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:09, 26 December 2020 (UTC)

'''1.未知体裁'''

20世纪选集所讲述的文学历史叙事，描绘了一幅不完整的中国文学图景:：散文题材是缺失的。在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:30, 26 December 2020 (UTC)

'''1.未知体裁'''

20世纪的选集和文集所讲述的文学史叙事，勾勒出一幅不完整的中国文学图景。散文的体裁是缺乏的。在我的论文中将要探讨如果我们把散文也考虑进去，文学的图景是否可以保持不变。长期以来，这一文体作为一种优秀的文体被忽视（马古利耶斯1949年，施密特-格林策1990年）或被忽略（麦克诺顿1974年，莱顿1988-90年，麦克杜格尔1998年）。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:23, 27 December 2020 (UTC)

==Han Wanzhen 韩宛真==
whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement. Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.

由于自民国初年五四运动确立的总叙事之后，对小说文学的重视和写作的白话化，因而它的系列小说，就一直受到重视。现代选本会让读者相信诗歌、小说、戏剧这三驾马车构成了中国现代文学创作的主干。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:20, 27 December 2020 (UTC)

==He Changqi 何长琦==
'''Excursion: Defining the essay as a non-fictional subjective representation in a free form'''

Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with xiaoshuo (fiction), sanwen (non-fictional prose)), lyrics (shige) and drama (xiqu). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term "wu yunwen" which corresponds to the term "epic" in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.
==Hu Baihui 胡百辉==
In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet. The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.
在抒情诗中，读者被鼓励去感受当下的感觉，并且常常是诗人的忏悔式的感觉。戏剧直接在独白或对话中回忆起一个自足的动作，以这种方式释放了读者/观众重新创造的想象力。散文作为史诗的一种体裁，是一种超脱的、非虚构的、自由形式的主观表现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 02:29, 27 December 2020 (UTC)

在抒情诗中，鼓励读者感受诗人当下的感觉，且这种感觉常常是诗人的忏悔。戏剧直接以独白或对话的方式回忆一个自足的动作，并通过这种方式释放了读者/观众再创造的想象力。散文作为史诗的一种体裁，是以自由的形式进行的一种分离的非虚构的主观表现。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:11, 27 December 2020 (UTC)

==Hu Huifang 胡慧芳==
"Essay", Chinese mostly ''sanwen'', is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Freedom in form and content is essential for the essay.

“散文”，中文主要是“散文”，是一个较短的、独立的非虚构散文文本的体裁术语，作者试图从主观的角度调解个人对一个对象或问题的体验。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。资源由散文家自主掌握，主题在更大的背景下被看到，甚至可以幽默地呈现。文章在形式和内容上的自由是必不可少的。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 13:22, 27 December 2020 (UTC)

“散文”是一种体裁术语，在汉语中也叫做“sanwen”，指篇幅较短、自成一体的非虚构散文文本，散文创作者可以从主观的角度，将个人的经验调和到事物或问题上。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。文章素材由散文家自主掌握，主题可以置于更大的背景之下，甚至可以一种幽默的方式呈现。散文的形式和内容都是自由的。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:36, 27 December 2020 (UTC)

“随笔”，中文名多为“散文”，是一种体裁术语，指篇幅较短、自成一体的非虚构散文文本，作者试图从主观视角来调和个人对对象或问题的经验。
散文试图从不同的方面进行联想，它不是作为日常使用的文本，而是作为艺术或教育要求的语言方式，虽然如此，还是以一种可理解的方式呈现。
资源由随笔作家独享，话题可以在更大的背景下展出，甚至可以幽默地呈现。形式和内容的自由对这篇随笔至关重要。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 14:38, 27 December 2020 (UTC)

==Hu Jin 胡瑾==
Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, a subcategorization in numerous small entities, like Zheng Mingli does with the essay, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.

不同的视角范围在国际上的文章体裁。体裁主要是通过对文学的学术研究，对文学进行专门的沉思，为了能够更容易地比较同类文本而进行的划分。另一方面，像郑明立对文章那样，以众多小实体进行细分，则是对这种细分的意义提出质疑，以参考解释学的研究成果。我们还必须时刻注意文学本身的变化和科学观点的相对性，即使其在国际上被接受，也是适时的。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 06:14, 28 December 2020 (UTC)

==Ji Tiantian 纪甜甜==
Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems. All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.

地域差异对散文的影响似乎不如对已确立的文体如短篇小说、小说的影响大，也远不如对诗歌的影响大。除散文外的其他文体被视为国际文体。我认为中西方散文也属于相同的国际文体，跨文化的相互作用也许可以在形式和内容上证明这一假设。

对于文章而言，比起短篇故事，小说等已存的体裁，区域差异似乎不那么重要，对于诗歌而言，区域差异更不重要。所有这些其他的体裁都被看作国际体裁。中国和西方的文章都属于同一国际体裁，这一假设也许可以通过形式和内容上的跨文化相互关系来证明。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 15:27, 27 December 2020 (UTC)

==Jiang Fengyi 蒋凤仪==

In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. This is a second hint that the modern Chinese essay belongs to the international genre of the essay.

在21世纪，世界共同发展，文化主要决定于现代化的水平。今天我们在刊物上看到的中国散文，已经具备了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文属于国际散文类别的第二个暗示。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 07:58, 25 December 2020 (UTC)

在21世纪，世界上的国家趋向于走到一起，而文化则主要取决于现代化水平。正如我们从现今报纸里面看到的那样，中国散文采用了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文开始趋同于国际散文体裁的第二个标志。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:27, 25 December 2020 (UTC)

21世纪，世界在共同成长，文化主要由现代化程度决定。我们今天在报纸上看到的中国散文，在形式和内容上都与西方散文相似，其目标群体也与之相似。这是中国现代散文属于国际散文的第二个暗示。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:44, 26 December 2020 (UTC)

在21世纪，世界共同发展，文化主要决定于现代化的水平。我们今天在报纸上看到的中国散文，已经呈现出西方散文的形式与内容，并且其目标群体也与西方散文不相上下。这是中国现代散文属于国际散文体裁的第二个迹象。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:17, 26 December 2020 (UTC)

==Jiang Hao 姜好==
Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 1992 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay).

尽管人们普遍接受用短小故事来翻译短篇小说，但两者的关系不如西方的散文和中国的同类文章密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)

尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系并不如西方散文与其中国同类文章密切。这个定义是我从5000多篇中国现代散文样本中得出的，也符合国际上对散文的特殊理解（继博尔兹于1992年 13:269-272 论西方散文的发展；布特莱姆于1989年论西方散文的理论）。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:34, 27 December 2020 (UTC)

尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系不如西方的散文和中国的对应定义密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 15:35, 27 December 2020 (UTC)

==Jiang Qiwei 蒋淇玮==
Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it "Chinese"? In the occidental essay the form seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework.

除了首先由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文有独特本土的特征。中文散文如何形成其特有文化，其中文性又由何组成？和中文散文相比，西方散文的文章形式似乎是更重要的分类标准。在中国，甚至有些文章内容相似，但形式和类别大相径庭。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:06, 25 December 2020 (UTC)

除了最初由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文具有独特的本土特色。中文散文如何形成其特有文化，其中文性又由何组成？与中文散文相比，西方散文的形式分类标准似乎更重要。在中国，有些文章甚至是内容相似，但形式和类别大相径庭。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 25 December 2020 (UTC)

除了周作人提倡采用英语散文风格所体现的全球化社会趋势外，中文散文还具有独特的本土特色。中文散文如何在文化上定义，其中国性又是什么？在西方文章中，形式似乎是比中国文章更重要的区分标准。在中国，甚至包括那些只有类似内容，却跨越了形式上的属相框架的文本。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:05, 27 December 2020 (UTC)

==Kang Haoyu 康浩宇==
This can be shown with Zheng Mingli, who subcategorises the "unfinished diary" or the "unfinished letter". Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Zheng Mingli: "essay in diary form" and "essay in letter form"), they are accepted as essays.

这一点可以从郑那里得到证明，他把“未完成的日记”或“未完成的信”分门别类。在西方语境中，这些文本属于个人使用的文本，因此属于非虚构的散文作品。只有当它们被改成散文(郑:“日记体散文”和“书信体散文”)后，它们才被接受为散文。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:07, 28 December 2020 (UTC)

==Kang Lingfeng 康灵凤==
'''The Chinese understanding of the genre is tendencially broader'''

This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén'' "non-rhythmic prose", which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with ''sanwen'' in the narrower meaning "short literary essay pieces".

Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.

'''中国人对这类体裁的理解区域广泛'''

在中国，这种对随笔的广泛认识可以直接追溯到“散文”一词在中文中所具有的“无韵散文”的内涵，“无韵散文”原本指所有的非虚构散文。从更广泛的意义来讲，个人或日常使用的文本也包括在内。但是，我只讨论“散文”的狭义意义，指的是“短篇文学随笔片段”。

更进一步的差异是，中国散文往往具有思想内容，并表现出重复、谚语使用等文体特征。

==Kong Xianghui 孔祥慧==
'''The Chinese essay is booming again in the 1980s and 1990s'''

Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'').[ Klaschka 1998.] The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文叢書 (essay bookseries).

20世纪80年代和90年代中国散文再次蓬勃发展
研究表明，1979年以后散文发表量普遍增加，在“文革”之后出现了两个高峰期。
散文出版量在1990年达到了一个新的高度。第一次增长出现在20世纪20年代和30年代，但是在此之后，散文的角色因为报告这一体裁(报告文学)而黯然失色。(Klaschka 1998。)在1920/30年代和1980/90年代，散文的繁荣在一定程度上得益于新杂志的出现，这些杂志是当代散文家发表文章的阵地，其大多属于散文丛书。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:22, 27 December 2020 (UTC)

'''二十世纪八九十年代中国散文再次蓬勃发展'''

相关分析表明，1979年后散文出版量普遍增加，在文化大革命后达到了两次顶峰。1990年，散文出版量明显再创新高。散文出版量的第一次增长出现在二十世纪二三十年代。随后，报告文学的出现使得散文黯然失色(Klaschka 1998.)二十世纪二三十年代和八九十年代散文出版量之所以猛然增长，部分原因在于作为当代散文家写作阵地的新杂志和众多散文丛书的出现。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 00:48, 28 December 2020 (UTC)

==Kong Yanan 孔亚楠==
The increase in essay production right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.

Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging xiangtu literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.

文化革命结束后，散文产量的增加导致需求积压，1980至1982年间，共有印刷了一百万册的散文集，这仅计算了我为调查收集的130本“代表性”书籍的样本中包含的藏书。

感谢一些年长的中国编者的作品，自20世纪70年代以来，整个散文文化是由杂志和报纸汇编而成的，并以大量选集的形式出版。这种文学繁荣堪比无题乡图文学的文化热，它是在台湾自我认同和独立运动的背景下兴起的。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:23, 27 December 2020 (UTC)

==Lei Fangyuan 雷方圆==
'''2. Why is the essay as abundant as fiction?'''

Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:

- The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political zawen of Lu Xun, until today are mostly presented in essay form). The impact on literary reflection and theory is shown in the collection "Modern Chinese Literary Thought" 1996. The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry. The poem is the genre of retreat from social life, from political issues and time references.

为什么论文像小说一样丰富？

让我列举几个原因，为什么这篇论文实际上与它的散文兄弟，小说以及抒情姐妹，诗歌一样丰富，以及为什么必须如此重视它：

-这篇文章在整个历史上都对中国社会产生了直接的影响（从清末到五四期间的改革思想，包括文学理论作品和鲁迅的日常政治杂文，直到今天大多以论文形式呈现）。对文学反思和理论的影响在1996年的“中国现代文学思想”合集中显示。随笔类型，其直接语言，与生活之间的联系（例如，其在适应文化大革命中的作用）的影响，并通过报纸直接接触个人读者。这种影响大于小说或诗歌的间接影响。这首诗是从社会生活，政治问题和时间参照中退缩的一种体裁。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 15:32, 27 December 2020 (UTC)

为什么散文像小说一样丰富？

让我举几个理由，为什么这篇文章实际上和它的散文兄弟、小说和它的抒情妹妹、诗歌一样丰富，为什么它必须被高度重视：

这篇文章对中国社会产生了直接的影响（从清末到五四时期的改革思想，以鲁迅的文学理论和日常政治面貌，直到今天，大多以散文的形式呈现）。对文学反思和理论的影响见1996年《中国现代文学思想集。散文体裁与其直接语言的影响，它与生活的联系(例如。它在接受文化革命方面的作用)，以及它通过报纸直接接触个人读者。这种影响大于小说或诗歌的间接影响。这首诗是从社会生活、政治问题和时间参考中退缩的体裁。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 03:49, 28 December 2020 (UTC)

==Lei Kuangxi 雷旷溪==
Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of novel and opera in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.

- The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.

胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌依赖于形象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。

-散文也比诗歌和小说更能反映社会的趋势。个人主义在随笔中表现得比在诗歌中更直接，但在内容和形式上都有局限性。短文的短暂性体现在短文的形式上，可以在上班路上的地铁里读，而在地铁里读诗，可能就不能那么随性的享受了。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 13:48, 26 December 2020 (UTC)Lei Kuangxi

胡适认为“诗”在现代化的过程中是最重要的，因为诗歌升华情感。但诗歌也依赖于意象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“散文”却能给事物命名，反映千变万化的生活。现代主体性就是以“散文”为工具建构的。

- 随笔也比诗歌和小说更能反映社会的发展趋势。个人主义在随笔中的表现比在诗歌中更直接，因为诗歌在内容和形式上对此有所限制。随笔的短暂性体现在随笔的形式上，人们可以在上班路上的地铁里阅读，而在地铁里读诗，可能就没有那么随性的享受。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:55, 26 December 2020 (UTC)

胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌也依赖意向和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。

-散文也比诗歌和小说更能反映社会的趋势。由于散文的内容和形式上受限，它比诗歌更能直接表达个人主义。散文很短，所以花时间少，可以在上班路上的地铁里读，但在地铁里读诗可能就不能那么随性的享受了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:54, 27 December 2020 (UTC)

==Li Haiquan 李海泉==
- The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too. The essay itself a genre of high actuality, if not simply the genre of today.

- The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society. Many authors turned to essay writing in the later periods of their lifes, like Lu Xun, Ba Jin, and Wang Meng.
[[Media:Example.ogg]]==Li Lili 李丽丽==
- The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[ Shenbao, Shibao etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his ''zawen''), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang lu'' derived).

“随笔”的产量超过了“小说”：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:33, 27 December 2020 (UTC)

“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:54, 25 December 2020 (UTC)

“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报社是控制政府的机构；另一方面，他主张审查制度，报纸作为20世纪初的一个大众媒体，以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:19, 27 December 2020 (UTC)

==Li Lingyue 李凌月==
'''3. Let us assign the essay its proper place'''
The consequence which must be driven from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place! I will describe the beginnings of the discovery of the essay.
Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.

3.让我们为散文指定其适当的位置，
由此得出的结论是:让我们为散文指定其适当的位置!我将描述发现这篇文章的开始。尽管从1979年开始，论文写作有所增加，但对这一现象的第一次理论反思却花了10年时间才出现。又过了10年，中国研究的国际学者才意识到这一现象。

3.让我们给作文赋予它应有的位置
从上面提出的论文的价值与价值之间的对比,由此得出的结论是:让我们给作文赋予它应有的位置!我将描述发现这篇文章的开始。尽管从1979年开始，散文写作有所增加，但有关这一现象的出现的第一次理论反思却花了10年时间。又过了10年，中国研究的国际学者才意识到这一现象。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 15:12, 27 December 2020 (UTC)

==Li Liqin 李丽琴==

In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).

20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。另外90年代的两次会议也没有趋于国际学术研究的动向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:54, 26 December 2020 (UTC)

20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。除此之外，20世纪90年代的两次会议也没有转向国际学术研究的方向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:37, 27 December 2020 (UTC)

==Li Luyi 李璐伊==
Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998) and for the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, ''Modern Chinese Literary Thought'' 1996).

Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.

在不早于上个世纪90年代下半叶之时，出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。（《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。

关于中国大陆，台湾地区和西方的散文评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:23, 27 December 2020 (UTC)

上世纪90年代后半期以前, 出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。（《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。中国大陆，台湾和西方对散文的评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:24, 27 December 2020 (UTC)

==Li Meng 李梦==
In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th. If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode 1989:50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.

Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation.
在台湾,鲁迅很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家印刷量最大的时候,鲁迅排在了第16位。如果只考虑现代作家,甚至排在了第12位。香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。
然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:16, 27 December 2020 (UTC)

在台湾,鲁迅的作品很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家作品印刷量最大的时候,鲁迅排在了第16位。如果只考虑现代作家,甚至排在了第12位。香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。

然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:39, 27 December 2020 (UTC)

==Li Yongshan 李泳珊==
Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai, Woesler) or already published (Pollard 1999). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. This year, scholars will meet on a first international conference on the essay (Achern, Germany August 25-26). In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays.
==Li Yu 李玉==
'''4. Taking into consideration the essay will rewrite the history of Chinese literature'''

I will give a few hints, what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Prusek and Anderson.

We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the ''yuanyang hudie pai'' played in the choir of different voices in the awoken intellectual debate in the beginning of this century.
==Lin Min 林敏==
The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.
==Lin Xin 林鑫==
In the following, I will name three aspects (chronologically sorted by past, modern and contemporary time) to hold the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.

'''5. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned'''

How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay are both in China and the West notes written on the margins of books, they are letters and travel notes.

下面，我将从三个方面(在时间顺序上按过去、现代、当代排序)来论述对散文的考量将改写中国文学史，改变我们目前对它的认识这一论点。

5. 古典和前现代散文记录了中国哲学，其早期的主体性，仍然是对中国本土传统的质疑。
中国散文在历史上要如何定位，它是如何产生的，它的共有背景是什么？一般来说，中国和西方的散文都是起源于写在书本空白处的笔记，是书信和游记。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:18, 27 December 2020 (UTC)

==Ling Zijin 凌子瑾==
These notes differed from the canonized literature through its informal style, its expression of individuality und subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.

From the very beginning, the essay was valued lower than poetry: the oldest reference this far for the term ''sanwen'' that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù.

这些注释与经典文学的不同之处在于它的非正式文体、个性与主体性的表现，其关于主体性的记载比中国第一部自传体小说《红楼梦》更早。
从一开始,这篇文章的价值被认为低于诗歌:我在罗大經(?1240- 1248年)中发现了最古老的参考术语“散文”(?从1240年- 1248年之后)声明:“诗骚妙天下，而散文颇觉琐碎局促。”--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 07:18, 28 December 2020 (UTC)

==Liu Bo 刘博==
詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatels, is limited.) (''Helin yulu''). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.

In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge.

“詩騷妙天下，而散文頗覺瑣碎局促。”罗大京提到的另一个骂名，是形式上的：与具有高度艺术性和长达一个世纪传统的诗歌写作相比，散文中直接的、白话文式的语言在他看来并不那么有价值。
在西方，16世纪晚期出现了一种真正的“散文写作艺术”，作为一种传播重组知识的媒介。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:50, 27 December 2020 (UTC)

“诗騷妙天下，而散文颇觉瑣碎局促。”罗大经提出的另一个责难，是形式上的。在他看来，与高度艺术化的百年诗词写作传统相比，散文直接的、白话文式的语言没有什么价值。
在西方，真正的 “散文写作艺术 ”是在16世纪末作为重组知识的一种媒介出现的。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:30, 27 December 2020 (UTC)

==Liu Jinxingqi 刘金惺琦==
The reorganization originated from the observations of Kopernikus, which destroyed the whole conception of the world of the Middle Age.

In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters. The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of sǎn 散 as (to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''.
==Liu Liu 刘柳==
Xunzi delivered the prototype of the later essay with his philosophical treatises. They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience. The individuality is still a main characteristic of the essay today.

During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written at the paper margins originated the ''biji'' µ§°O (occasional notes), flourishing in the Ming Dynasty.

荀子的哲学论著是后世散文的雏形，它们是哲学教学论文的早期形式。其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。

历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:25, 25 December 2020 (UTC)

荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，这些散文中传授的普遍定理不仅有引用经典著作，还首次借鉴其个人经历。这种个体性在当代的散文中仍有保留。

历朝历代，散文通过一些子类别得以呈现，如明朝盛行的在书页边上写的读书注释，它就是源于笔记。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:47, 25 December 2020 (UTC)

荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。

历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:20, 27 December 2020 (UTC)

==Liu Ou 刘欧==
The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as a genre of its own originated in China not before the Qing ²M dynastie, when numerous essay anthologies were compiled.

Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences.

边缘主义是中西早期散文的一个纽带。散见的笔记包含了私人的历史记录，轶事，交谈和个人沉思。然而，尽管当时的散文选集众多，但将视散文作为一种文体的意识，清朝之前并没有出现。

考虑到当时的社会历史背景，人们在旧社会时，对短篇故事和小说的看法不同：散文更接近现实生活，因为它们表达了个人的困惑和经历。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:15, 27 December 2020 (UTC)

边缘主义是中西早期散文传统的一个纽带。偶尔的笔记可以包含私人的历史笔记，轶事，交流和沉思。然而，尽管当时中国散文选集有很多，一直到清朝之后我们才将散文视作一种文体意识。
考虑到当时的社会历史背景，人们对旧社会的看法与短篇小说和小说不同：散文更接近现实生活，因为它们表达了个人的问题和经历。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:43, 27 December 2020 (UTC)

==Liu Yangnuo 刘洋诺==
Until now, the Chinese pre-''Hongloumeng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.

Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the "Eight legged essay" as as appealing and intoxicating as the "pleasure of doing opium.'' (Zhou 1932:148).

目前为止，中国红楼梦前的个体文学还只是通过诗中的间接语言与我们对话。通过重拾散文，我们可以知晓不同观点和社会历史状况等文学创作的丰富源泉。
现代散文之前的文学并不限于形式上受限制的八股文，一方面鲁迅本人也有一些散文是用八股文写成的，但另一方面他又把八股文当作古代社会的代名词。周作人把 "八股文 "的语言节奏看作是 "做鸦片的快感 "一样令人陶醉。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 08:42, 25 December 2020 (UTC)

直到现在，中国前“红楼梦”的个体文学只能通过诗歌的间接语言与我们对话。重新发掘这些散文，我们可以拥有丰富的观点来源，社会历史图片等。

前现代散文文学不仅仅包括它最为人所知的例子，正式的、有限制性的“八卦文”。鲁迅自己的一些文章就是用“八卦文”写的，但是在另一方面又把它当作古代社会的同义词。周作人认为《八股文》的语言节奏就像“吸鸦片的快感”一样令人陶醉。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 09:07, 25 December 2020 (UTC)

==Liu Yi 刘艺==
But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, Zhou Yuanliu:71).

Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''Wenyi zai dao'' (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.

但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。

新儒家强调''文''（散文）是传播''道''的最重要工具：''文以载道''（文以载道）。如果我们从文体的角度来重新解读这句话，我们可以说，当时的散文已经被视为表达真理、主体性和自我的重要工具。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:01, 25 December 2020 (UTC)

但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。

理学强调“文”（散文）是传播“道”的最重要工具：“文以载道”。（以文学为载体的方式）。如果我们从体裁的角度来重新解读这一措辞，可以说，散文已成为表达真理、主体性和自我的重要工具。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:53, 27 December 2020 (UTC)

==Liu Yiyu 刘怡瑜==
Liang Qichao developed a ''xīn wéntǐ'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.

'''6. The essay as the medium of modernity, the questioning of the genuiness of the Chinese essay'''

To solve first of all the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Lin Shu: ''Irving'' 1907, ''Addison'' 1911).

梁启超研究出了一种新文体，这种文体受西方的语言所影响。但是这篇散文在报纸成为大众媒体之后才开始流行开来，成为所说的“白话”。

6.散文作为现代化的媒介，质疑了中国散文的真实性。
首先要解决的问题就是中国散文是源自本土传统还是西方翻译，有人认为两者都有所相关:散文意外地以中文译文的形式受引入到1907年的文学改革运动作家群体中来。(林纾:欧文，1907，爱迪森，1911)--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 02:12, 28 December 2020 (UTC)

==Liu Zhiwei 刘智伟==
The current form of the genre is mostly based on the influence of Western essay translations. First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only. A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).

This is older than the ones referred to in the ''Large Chinese Dictionary'' of Morohashi (Morohashi undated) and in the ''Encyclopaedic Dictionary of the Chinese Language'' 1966.

==Lou Cancan 娄灿灿==
Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars. Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin 1992, Fan Peisong 1993; for Western impact in general see Průšek 1964, Gálik 1966, McDougall 1971. Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition.

然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:57, 26 December 2020 (UTC)

然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:07, 26 December 2020 (UTC)

==Luo Weijia 罗维嘉==
How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement. All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1933, the anarchist and later member of the Guomindang Wu Zhihui [1934]. Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition:

以五四运动传奇作者为例可以看出个人观点对历史事实的叙述的影响有多大。这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:19, 27 December 2020 (UTC)

以五四运动传奇作家为例可以看出个人观点对史实叙述的影响有多大。这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:14, 27 December 2020 (UTC)

==Luo Yuqing 罗雨晴==
for example, Lu Xun with his theory "'Zhǎnkāi' shuō yǔ 'méngyá' lùn “展開”說與“萌芽”論"" (Theory of "Starting" and "Blossoming") came to see the fighting and critical character of the essay of the Jin dynasty (265 - 420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the ''biji'' (occasional notes) of the Ming, although he still tried to integrate the English essay in his "Gonganpài yu Yīngguo xiaopin 'hecheng' lun 公安派與英國小品“合成”論" (Theory of the Synthesis of the Gongan School and the English Essay).

例如，鲁迅以其“开始”与“绽放”的理论，将晋代散文的战斗性和批判性视为中国散文的“父”，周作人则先是英文散文（1921年）出发，之后是明朝“笔记”（随心记录），尽管他仍试图在公干派与英国小品合成论中中融入英文文章。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:09, 27 December 2020 (UTC)

例如，鲁迅的“展开”说与“萌芽”论认为晋代散文的攻击性与批判性是中国散文的先祖。周作人则将英语散文视为明朝“笔记”的先祖，在公安派英国小品“合成”论中，他努力使英文散文与他的理论合成一体。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 02:44, 28 December 2020 (UTC)

==Ma Juan 马娟==
Wang Zengqi regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays (Wang Zengqi 1993). The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay. One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.

王曾祺遗憾的是，“五四”时期的中国民族散文传统没有重新开始，也没有在当代散文中延续(王曾祺1993)。中国的文章是一个很好的研究对象，因为人们可以指望它来证明文章的任何理论。人们几乎可以在每个时期找到每个主题的例子，这仅仅是因为这篇文章的主题范围很广。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 02:29, 28 December 2020 (UTC)

王曾祺遗憾的是，“五四”时期的中国民族散文传统没有被拾起，也没有在当代散文中延续(王曾祺1993)。中国的文章是一个很好的研究对象，因为人们可以指望它来证明文章的所有理论。人们几乎可以在每个时期找到每个主题的例子，这仅仅是因为这篇文章的主题范围很广。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:09, 28 December 2020 (UTC)

==Ma Shuya 马淑雅==
When Zhou Zuoren showed that only seven months after the incident at Marco Polo bridge it was again possible to write about a candy seller (1924), he was critizised as "paralyzing" (Lu Xun 1934, Zhu Zhaoluo 1943). When he wrote a piece on the "Fly", he was reproached with dealing with subjects of minor importance. Reproaches like this lie in the very nature of the genre, since ''marginalism'' is substantial to the essay. The mentioned formal reproach of Luo Dajing can be found again in the 1990s, Hong Kong students critisized the literary style as it appears in Ba Jins "Thoughts" (Suixiang lu) as too direct and too less artful. But this perspective does not recognize the very nature of the essay, which is a very individual expression of an author's thoughts and not bound to tradition, and therefore much more free also in content.
==Ma Zhixing 马智星==
The essay - from its very nature free and independant - almost disappeared in the time of the Cultural Revolution and - except for the ideologically influenced essays - had a hard struggle between Yan'an and the loss of moral legitimacy by the leadership in 1989.

The essay was ''the'' genre of the modernizing society of the early 20th century. Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming "needs" of society, which also claimed the author to be one of its products.
==Meng Ying 孟莹==
But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is "a genre of self-reflection". Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art.

I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).
==Mo Ling 莫玲==
Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays. I mention only Zhou Zuoren. His ideas connected him spiritually to his contemporary collegues in Europe, Japan and America, but these where ideas for which China turned out to be not yet ready. At that time, China had taken a road which led away from progress, wealth, freedom and spiritual enlightenment. The consequences have yet to be overcome.

除开关注作家的小说和诗歌之外，如果我们对他们的散文有所涉猎，就会发现他们不仅对文学整体的理解发生了变化，单个作者的观点也发生了变化。仅就周作人来说，他的思想在精神上把他和他在欧洲、日本和美国的同伴们联系在一起，但是这些设想在中国行不通。当时的中国走的是一条远离进步、财富、自由和精神启蒙的道路，这一现状还并没有得到改变。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:34, 26 December 2020 (UTC)Mo Ling

如果我们考虑到散文，不仅文学作为一个整体的理解会改变，而且如果我们不仅看到他们的小说或诗歌，而且看到他们的散文，单个作者的观点也会改变。我只提周作人,他的想法在精神上把他和他在欧洲、日本和美国的当代同事联系在一起，但这些想法在中国还中国行不通。那时，中国已经走上了一条远离进步、财富、自由和精神启蒙的道路。其后果还有待克服。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:27, 27 December 2020 (UTC)

==Mo Nan 莫南==
In 1927, Chinese literature has taken the form of 'engaged literature'. The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology.
==Nie Xiaolou 聂晓楼==
Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be "art pourt l'art".
==Ou Rong 欧蓉==
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing ("Shuo meng 說夢" On dreams in: Zhu Ziqing 1928) and Zhou Zuoren from 1917 (My own garden 9.1923, "The Fly" 1924, "Reading on the Toilet" 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.
==Ouyang Jinglan 欧阳静兰==
I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda. This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character.
==Ouyang Ling 欧阳玲==
In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.

Taking into account of a genre shifts the whole perspective on literature, taking into account the essayistic works of an author shifts also the view of the author. I will name only one author as an example for a modern essayist: Zhou Zuoren.

20世纪90年代，20、30年代民国时期的文本和当代的文本一样也经常被重印。显然，我们可得出一个结论：20世纪50年代的那些政治宣传文只能留存在特殊的政治文章选集当中，到了21世纪初，就不再有作者去写这类文章，也不会有中国读者去看这类文章了。

考虑到整个体裁对整个文学角度的转变，以及散文作品反映出的作者观点的变化，我只举一位现代散文家的例子：周作人。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:47, 25 December 2020 (UTC)

20世纪90年代，20-30年代民国时期的文章仍然和当代的同类文章一样经常被重印。显然，我们可以得出一个结论：20世纪50年代的政治宣传类散文只保存在专门的政治散文集中，到21世纪初，不再有人去写，也不再有人读这类文章了。

一种文学体裁会转变整个文学的视角，一位作家的散文作品，同样也会转变对这个作家的看法。我只以一位现代散文家为例：周作人。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:02, 25 December 2020 (UTC)

==Peng Dan 彭丹==
'''Zhou Zuoren'''

I mentioned already his theoretical contribution to the Chinese essayism, but still, his essays have been neglected until the 1980s. The reason does not lie in literary quality, but in political valuing. The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that the theoretical May Fourth genius "degenerated" and later became a "traitor". Publishing in the Japanese sponsored magazines ''Reminiscences'',* and ''Chinese Literature'', he was blamed together with Zhu Pu and Yuan Xi of collaboration. An unanswered question is, why another author, who published there, Zhang Ailing, was never reproached with collaboratorship. The difference between all of them is that Zhang Ailing tried to avoid political committments, whereas Zhou felt guilty, Zhu justified it and Yuan simply accepted it.

我已经提到了他对中国散文主义的理论贡献，但直到20世纪80年代，他的散文一直被忽视。原因不在于文学品质，而在于政治价值。周作人是五四理论天才的“堕落”，后来成为“叛徒”。在日本赞助的《回忆》、《中国文学》等杂志上发表，他与朱璞、袁熙的合作受到指责。一个没有回答的问题是为什么另一位在那里发表文章的作者张爱玲从来没有受到过合作者的指责。两者的区别在于张爱玲试图避免政治承诺，而周作人感到内疚，朱璞证明了这一点，袁熙简单地接受了这一点。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 03:44, 28 December 2020 (UTC)

周作人
我已经提到了他对中国散文主义的理论贡献，但直到20世纪80年代，他的散文一直被忽视。原因不在于其作品的文学品质，而在于政治价值。中华人民共和国官方文学史对周作人的主要理论叙述是，周作人是五四天才的“堕落”，后来成为“叛徒”。在日本赞助的杂志《回忆录》和《中国文学》上发表的著作中，他与朱璞、袁熙的合作受到指责。一个没有回答的问题是为什么在那里发表文章的另一位作者张爱玲从来没有因为合作而受到指责。两者的区别在于张爱玲试图避免政治承诺，而周作人感到内疚，朱璞证明了这一点，袁熙简单地接受了这一点。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 07:19, 28 December 2020 (UTC)

==Peng Juan 彭娟==
''The 'mainstream' writers took an affirmative approach in their writing, whereas the other writers formed a minority. The individual authors did not necessarily belong to either one of these groups throughout their life, but may have moved between them. Since the essay is a medium which enables the individual to express thoughts directly, the writers chosen for this paper can be classified according to their position.''

''Yu Guangzhong's essay'' "The wolves are coming" ''shows that the ideological perspective did not only harm mainland essaywriting.''
==Peng Ruihong 彭锐宏==
In his small literary pieces, Zhou tried to aesthetizise the little things of the everyday life out of the subjective experience of his private space. The major contribution of Zhou Zuoren is, that he set the turning point in Chinese essay writing with his call for writing short literary pieces (''Meiwen'' 1921).

In foreign literature there is the so-called ''lunwen'' 論文 (treatise), which is roughly divided into two groups: the reflecting ones, piping 批評 (critical), are scientific articles. The others are ''jishu'' 記述 (descriptive) and ''yishuxing'' 藝術性 (artistic), they are also called ''meiwen'' 美文 (aesthetic essay). Within these texts, one can distinguish between ''xushi'' 敘事 (narrative) and ''shuqing'' 抒情 (lyric). But there are also mixed texts. [...] I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn’t that be wonderful?

周作人在他的文学小品中，试图将日常生活中的小事从私人空间的主观体验中审美化。周作人的主要贡献在于，他以号召写短篇文艺作品（《美文》1921），开创了中国散文写作的转折点。

在外国文学中，有所谓''lunwen''论文，大致分为两类：反映的，管批评的，是科学文章。其他的是''jishu''记述（描述性）和''yishuxing''艺术性，它们也被称为''meiwen''美文。在这些文章中，我们可以区分''xushi''敘事和''shuqing''抒情。但也有混杂的文字。[......]我希望美学文章受到鼓励，能够回来，为《新文学》开辟一个新的领域。那岂不妙哉？

==Peng Xiaoling 彭小玲==
With these words from the essay "''The aesthetic essay''" this new vernacular form was defined. This starting point founded a whole new tradition of essay writing in China. Contemporary writers called this piece the "king of essays".

In order to bring this new form to his compatriots, he tried to find similiarities with the ''xiaopinwen'' of the Ming dynasty. He further discussed these thoughts in his essay theory. In his own essays, he profited a lot from ancient ''suibi''. Later he further developed his literary theory towards an up and down of two trends. In the modernizing society, he advocated the liberation of women and asked to "treat children as full subjects with their own external and internal lives" and to "make children the essence of children's literature" (Zhou 1923). He promoted the ''baguwen'' and the independance of literature from politics and effected the literary scene and the development towards a modern Chinese society especially between 1917 and 1938.

“美学散文”中的这些词语定义了这种新的白话形式。这个起点在中国建立了一种新的散文写作传统。当代作家称此作品为“散文之王”。

为了将这种新形式带给他的同胞，他试图找到其与明朝“小品文”的相似之处。他在散文理论中进一步讨论了这些思想。他自己的散文也从古代的“随笔”中受益匪浅。后来，他将文学理论朝着上下两种趋势进一步发展。在现代化社会中，他呼吁解放妇女、“将儿童看作具有外在和内在生命的完整主体”以及“让儿童成为儿童文学的本质”（Zhou 1923）。他提倡“八股文”和文学脱离政治的独立性，这对文学界产生了影响，并推动了中国向近代社会尤其是1917年至1938年的发展。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:48, 25 December 2020 (UTC)

==Peng Yongliang 彭永亮==
With this theoretical foundation and his own vo'luÉminous essayistic work, Zhou Zuoren through the example of his own form of short literary pieces within this genre, fought at that stage of the development of his literary theory like Benjamin Henri Constant de Rebecque 130 years ago in France for the idea "l'art pour l'art" , for individuality and independance of the writer, for disinterested literature. The jugdment, that Zhou was an apolitical author cannot be proved with his essays. Instead, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance (Zhou 1929:180-181).
==Peng Yuzhi 彭育志==
In fact he saw himself as ‘patriotic underground fighter’ and looked at the collaboration with the Japanese puppet regime as a forced one, following his attempted assasination, through which his driver had lost his life. His own concept of essay writing served less the needs of the building of a nation-state and comes closer to the ideal of the individual.

"I don't really know why, but I am feeling as if I am born into a dark age. I admit, that our forests are not inhabited by dragons, tigers and wolves, but shapeless "monsters" and "goblins" are still creeping around and try to swallow our souls. [...] What alarms me most, is the absence of freedom in this prison, into which we writers have been thrown."
==Qi Kai 漆凯==
Confronting tradition and progress in the essay "''Ancestor Worship''", he is in favor of the latter, since past could only become present through changes (Zhou 1919:7-8).

Benjamin Henri Constant de Rebecque (1767 - 1830) war französischer Romanschriftsteller und liberaler Politiker, der neben der Freiheit der Kunst nach der Französischen Revolution die Einführung der konstitutionellen Monarchie nach englischem Vorbild forderte.

面对“祖先崇拜”中的传统和进步，他赞成后者，因为过去只能通过变化才能变成现在(周1919：7-8)。

本杰明·亨利·康斯坦德·丽贝卡(Benjamin Henri Constant de Rebecca，1767-1830)是一位法国小说家和自由主义政治家，除了法国大革命后的艺术自由外，他还呼吁引入以英国模式为基础的君主立宪制。--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 06:39, 28 December 2020 (UTC)

==Qu Miao 瞿淼==
Siehe ''Journal'' (10.2.1804). Die "Kunst um der Kunst willen" propagierte die Zweckfreiheit der Kunst. Im Gegensatz dazu versteht sich die engagierte Literatur. Die Parallele zwischen Zhou Zuorens Literaturverständnis und dem Konzept "Kunst um der Kunst willen" zieht auch Wolff: ''Chou Tso-jen'' 1971, S. 84.

Siehe Zhou Zuoren: ''Der Ursprung der neuen chinesischen Literatur'' 1934, S. 95 - 98; vgl. auch Chen Zizhan: ''Vorträge zur chinesischen Literaturgeschichte'' 1937, Bd 3, pp. 416 - 422, besonders S. 422. Hinweis in: H. Martin: "''Liang Qichao on Poetry Reform''" 1996, Bd 1, S. 213.

见“期刊”（102.4804 年）。“艺术之艺术”宣传了艺术目的自由。相比之下，承诺的文学是可以理解的。周作人对文学的理解与“艺术之艺术”概念之间的相似之处也吸引了沃尔夫：“周作人”，1971 年 84.

参见周作人：“中国新文学的起源”，1934 年，第 95-98 页；另见陈子赞：“中国文学史讲座”，1937 年，第 3 卷，第 416-422 页，特别是 p422。注：H。马丁：“梁启超诗歌改革”，1996 年，第 1 卷，p213--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:55, 27 December 2020 (UTC)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:57, 27 December 2020 (UTC)

==Quan Meixin 全美欣==
Regarding Zhou Zuoren, I want to correct the official assessment of the People’s Republic, that his work would have experienced a caesura in 1938. In order to explain his opposition of the propaganda to build up national heroes about 1937 and his collaboration from 1939, it has been said officially, that his thoughts had "duoluo 墮落" (degenerated) at that time (Zhu Jinshun 1990:59). In fact, this caesura, namely the change in the style and subject in his essays on literature, art etc. to ''zhengjing'' 正經 (serious, intentional essays), and ''xianshi'' 閑適 (essays for one’s own enjoyment) is located not before his outlawing through Mao Zedong (1942), and his arrest through the Guomindang (1945).
==Sagara Seydou ==
Therefore not the Japanese suppressors are responsible for the retreat of this great writer, but his Chinese compatriots'.

On the basis of the stigma of the 'traitor', he has been undervalued until now. That his work in the 1990s is almost as often published as Lu Xun's and Zhu Ziqing's shows that his texts finally experience a more positive literaric evaluation through the audience, which now must be registered also by scholars.

因此，不是日本的压制者对这位伟大作家的退缩负责，而是他的中国同胞的退缩.
根据“叛徒”的污名，他一直被低估。他在1990年代的著作几乎与鲁迅和朱自清的著作一样频繁地出版，这表明他的著作最终在听众中得到了更为积极的文学评价，现在也必须由学者进行注册.

因此，不是日本侵略者造成了这位伟大作家的退缩，而是他的中国同胞们。由于背负着“叛徒”的污名，他一直未受到重视。20世纪90年代，他的作品出版频繁，几乎与鲁迅和朱自清等同，这表明这些作品在读者中收到了更为积极的评价，这一点也获得了当代学者的认可。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:47, 28 December 2020 (UTC)

==Shi Diwen 石迪文==
Another example of a misread Zhou Zuoren is his short essay on "''The Fly''", where he describes his changing attitude towards flies, which he had played with as child but later disgusted when he learned about their danger of passing on diseases. ”''The fly''” shows Zhou Zuoren’s strength to describe details and make them a real topic by recalling memories on them or describing a change of perspective on them. Zhou summarized the philosophical wisdom he learnt from this, that people did not judge on things objectively, but were likely to praise or damn things.
==Shi Haiyao 石海瑶==
The official reading re¬proaches Zhou that he "saw only the fly and not the cosmos" , a quotation of the young Zhou about a position he himself clearly opposed.

His ability to chat about the more pleasent things in life is displayed in his essay ”Birds’ twitter”. In ”''Peking cakes and sweet-meat''” and in ”''Wild vegetable of my home region''”, Zhou Zuoren shows his ability to make the reader feel at home at a region, where he feels at home himself, by describing the customs and special regional food.

Siehe Zhou Zuoren: "Cangying 蒼蠅" (Die Stubenfliege), in: ''Chenbao fujuan'' 晨报副镌 (Beilage zur Morgenpost) (1924.7.13). Eine Zu¬sammenfassung des Inhalts findet sich in: Yu Daxiang (Hg.): ''Auswahllexikon chinesischer Essays mit Inhaltsangaben und Analysen'' 1993.

''Siehe Vollständige chinesische Anthologie der Wissenschaften - Bd Chinesische Literatur'' 1988, Bd 2, S. 1300. Dies spielt auf den Essay "''Cangying'' 蒼蠅" (Die Stubenfliege), in: Zhou Zuoren: ''Zhi Tang. Sammlung'' 1933 an.（文献无需翻译）

官方的解读指责他“只看到了渺小，而没有看到伟大”，这是对年轻的周作人的引用，他自己明确反对该立场。
他谈论生活中更愉快的事情，在他推特的文章“鸟”中得到了展示。在“北京蛋糕和甜食”与“我家乡的野菜”中，周作人通过描述风俗和特殊的地区食物，展示了他让读者感到宾至如归的能力。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:37, 27 December 2020 (UTC)

==Si Yu 司妤==
His piece ”''Bitter rain''” shows the atmosphere, for what his essays had been labelled ”bitter tea”: There remains a taste in one’s mouth after reading. If you compare Lu Xun’s ”''On tea drinking''” (Yang/Yang 1961 3:325-326) with Zhou Zuoren’s essay with the same title, you see the difference of ”short and to the point” and ”eloquent and well-read”. ”''First love''” is more hilarious. The essay ”''Three different ways to die''” shows that Zhou Zuoren can compete with his elder brother in sarcasm. Lu Xun's essay on the same subject, the massacre on March 18, 1926, was a sight.

他的作品《苦雨》展现出了这种氛围，因此他的文章被称为“苦茶”：阅读完之后能感到余味悠长。如果你对比鲁迅和周作人的《论饮茶》(Yang/Yang 1961 3:325-326)，你可以看到“短小精辟”和“雄辩易读”的区别。《初恋》是最欢乐的作品。文章《三种不同的死法》表明周作人在讽刺小说方面足以与他的哥哥抗衡。鲁迅的同题作文《1926年3月18日的大屠杀》让人眼前一亮。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:36, 27 December 2020 (UTC)

==Song Jianru 宋建茹==
Zhou asks for the ”best” way to die and favors the short and painless one. In ”''On alcohol''” and ”''The awning bunk boat''” Zhou Zuoren continues the tradition of late Ming ''biji''.

'''7. The essay as a snapshot of contemporary thoughts'''

''What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.''

==Su Lin 苏琳==
The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a consciously “corrected” truth.
==Tan Xingyue 谭星越==
The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (Wang Meng: "''Anxiang'' 安详" (Serene) 1992, "''Zuohao ni ziji de shi'' 做好你自己的事" (First make your own things in a good way) 1994).
==Tan Xinjie 谭鑫洁==
These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.

Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive ("''Shanxi opera''", Jia Pingwa 1984) or negative world ("''The nightmare''", Si Yu 1995).

From the essay, we can see contemporary trends of literature, which are also reasons for the increase in volume of this genre in the 1990s:

这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。
20世纪80年代和90年代的其他散文虽是一种新的主观主义，其目标是摆脱当代的矛盾，但是通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。
从这篇文章中，我们可以看到当代文学的趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:30, 27 December 2020 (UTC)

这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。
20世纪80年代和90年代的其他散文是一种新的个人主义，其目标是远离当代的矛盾，但通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。
从这篇文章中，我们可以看到文学的时代趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 14:44, 27 December 2020 (UTC)

==Tan Yuanyuan 谭媛媛==
- The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall 1984:xiii);

- The increasing consciousness of indivi¬duality for which the essay is the most direct form of subjecti¬ve expression, even more direct than the poem with its metrical and formal demands;

- A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.

- The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.

- 当下中国社会的浮躁节奏，对转折性和短文的要求。"[...]我们生活在一个论述的时代"(Hall 1984:xiii)。

- 越发增加的独立意识，对其而言，文章是最直接的主体表达形式，甚至比诗的格律和形式要求更直接。

- 通过散文这一媒介讨论社会政治问题的兴趣的复苏，就像20世纪20/30年代的情况一样。

- 日常生活的平庸性通过成为文学话题而变得自觉，最常见的是日常生活的文体--散文。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:06, 25 December 2020 (UTC)

-当前中国社会节奏轻快，要求有趣味的短文：“[…]我们生活在一个博览会时代”（大厅1984:xiii）；

-对于个人二元性意识的增强，散文是主体性表达的最直接形式，甚至比诗歌的韵律和形式要求更直接；

-通过这篇文章讨论社会政治问题的兴趣的复复苏，如同20世纪20年代或30年代的情况一样。

-日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:59, 25 December 2020 (UTC)

==Tang Bei 汤蓓==
- The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays.

- Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.

- 中国社会的去意识形态化。如今在最前列的不是政府要求的平权文，而是非政治性的文章，大多是民国时期的文章，特别是1923年至1928年的。上述统计分析的结果也支持这一观点。1949年以后的政论文多为批评性散文。

- 关于散文集的编纂：对于中华人民共和国、台湾和香港最常被选中的文集来说，道德和审美标准似乎是其基础。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:19, 28 December 2020 (UTC)

==Tang Ming 唐铭==
This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publis¬hing houses with an orientation toward customers (former: "readers").

- The criteria for essay best sellers in the P.R. of China are the following: In the most often printed essay "''The Back View''", filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous "''The Moonlit Lotus Pond''", both written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader.
==Tang Yiran 汤伊然==
Nostalgic home feelings are the emotional identification element in "''Wild vegetables of my home region''" by Wang Zengqi. Therefore one can state, that moving es¬says form the top.

- ''In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in¬dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.''

乡愁是汪曾祺《家乡的野菜》中的情感认同元素。因此可以说，动人的散文构成了上。

- 在90年代后半期，在日趋形式化但实质上空虚的城市生活中，作者自己似乎也迷失在个体的主体性和日常的亵渎性与平庸性中。时间失去了价值，因为越来越多的日常活动被机械和自闭的行为所充斥。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 07:09, 28 December 2020 (UTC)

==Tao Ye 陶冶==
''In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph'' China can say no! – Possibilities for politics and emotions in the period after the cold war (''No''! 1996).

- ''The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art.''
==Wang Meiling 王美玲==
''Also trends like the use of ordinary language, which one finds in novels since 1993 (Jia Pingwa, Feidu; Gu Cheng, Yingger) and'' New Borderlessness ''since'' 1995, ''cannot be pro-ven in the essaywriting. ''

- Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being "''The Small Dog Baodi''", written by Ba Jin 1981, in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before ("''In memoriam of Xiao Shan II''", Ba Jin 1984).

另外像1993年以来的小说（贾平凹、飞渡；顾城、莺歌）和1995年以来的《新无界》中发现的普通语言的使用趋势，也不能在散文写作中得到证明。

- 另外，王德威在老舍、茅盾、沈从文身上看到的小说现实主义，也证明了对一些文章的理解是有帮助的，其中之一是1981年巴金写的《小狗包弟》，作者变成了一个叙述者，用寓言式而不是像以前那样用描述式的真实来叙述'文革'的记忆（《纪念萧山二号》，巴金1984）。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 06:46, 28 December 2020 (UTC)

==Wang Xuan 王轩==
Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Der-Wei Wang 1992), helpful for the reading of Wang Zengqi's "''Rain in Kunming''" as well as for Jia Pingwa's "''Shanxi opera''".
类似的还有想象怀旧的概念，正如王功权所说的沈从文作品中虚构的真实（王大卫·德维王1992），有助于解读汪曾祺的《昆明雨》，也有助于贾平凹的《山西剧》。

- The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing fictional truth through the metaphor of his dog Baodi.
施瓦茨在“隐喻话语”中所表达的“个人悲伤”概念，有助于我们理解巴金是如何克服他以“存在的真理”而闻名的，却通过他的狗“宝坻”的隐喻而获得更具说服力的虚构真相。

Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.（文献无需翻译）

''Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay "The nightmare", where Si Yu appears as a de-constructionist, the I-narrator even is drawn near to suicide.''（文献无需翻译）

And maybe for Xie Bingxins* reflections on her experience as one of the chosen voluntaries of the Wuhan military academy: She insisted to remain a lifelong "woman soldier" .（文献无需翻译）

==Wang Yu 王煜==
'''8. Discussion: Is the genre of the essay the form of literary expression in 21st century China?'''

Regarding the future of the Chinese literature, we can only speculate. But out the risk of being wild and provocative, I would like to suggest some questions for considering the place of the essay in the field of Chinese literature and literary studies.

- People have less time for actions like reading, and get used to reduced visualized information through the Internet. Will the brevity of the essay make it the ideal medium?

8. 讨论：在21世纪中国，散文体裁是文学表达形式么？

关于中国文学的未来，我们只能猜测。但除开可能会变得狂热和具有挑衅性的危险外，我想就散文在中国文学和文学研究领域的地位提些问题。
人们很少有时间去阅读，并且习惯于网上简略的可视信息。散文的精简会使其成为一个理想的媒介么？--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 06:40, 28 December 2020 (UTC)

8. 讨论：在21世纪中国，散文体裁是文学表达形式么？

关于中国文学的未来，我们只能猜测。但出于狂妄和挑衅的风险，我想提出一些问题，以考虑散文在中国文学和文学研究领域的地位。

- 人们阅读等行动的时间少了，也习惯了通过网络减少视觉化的信息。散文的简洁性是否会使其成为理想的媒介？--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 06:49, 28 December 2020 (UTC)

==Wang Yuan 王源==
- If the Chinese people are rediscovering their individuality, will the essay allow them to express individual thoughts more directly?

- Modern societies are characterized by TV culture, mass consumption, and the loss of consciousness of one's own tradition, often partly due to the American impact on national cultures. Is the essay less bound to the restrictions of tradition, especially compared to the poem and thus more adaptable to the modern phenomenon of mass consumption?

==Wei Honglang 韦洪朗==
- The alienation and the anonymity of citylife worldwide, in China is combined with a loss of traditional values like ideology, family, solidarity etc. in favor of the concept of profit for oneself, - if this has produced a longing for new orientation, will it possibly be filled by morally guiding essays or nationalistic thinking?

- 在中国，世界范围内城市生活的异化和互相不认识的现象与传统价值观如意识形态、家庭、团圆等的丧失结合在一起，有利于为自己谋利的观念，如果这已经产生了对新方向的渴望，这个领域能否被道德指导性文章或民族主义思想所填补呢？--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 11:35, 27 December 2020 (UTC)

《红楼梦》与其他世界文学作品的相似性——推荐《红楼梦》列入世界记忆遗产名录

'''Commonness between the Red Chamber Dreams and other World Literature Novels – Proposing the Red Chamber Dreams to the World Documentary Heritage List'''（修改）

吴漠汀，湖南师范大学 Martin Woesler, Hunan Normal University

Source: Lecture at Harvard University, Cambridge, MA USA, 14.3.2000（文献无需翻译）

==Wei Yafei 魏亚菲==
'''Abstract'''

In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the Red Chamber Dreams, they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. ''The Red Chamber Dreams'' function worldwide.

摘要

在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它生长于现有文学之中，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次的德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 07:03, 28 December 2020 (UTC)Wei yafei

在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中衍生出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，甚至于他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:09, 25 December 2020 (UTC)

==Wen Sixing 文偲荇==
''The Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。（修改）

多元一体

'''Key words'''

Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

“红楼梦”是一个多元的中国文化综合体，是中国文化的体现和精髓，但它也具有全球影响力，因此应该被授予“世界文献遗产”的荣誉。（修改<nowiki>Insert non-formatted text here</nowiki>）

多元一体

'''Key words'''

Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage
--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:29, 25 December 2020 (UTC)

《红楼梦》是一个中国文化综合体，展示着中国文化的精髓的同时也极具全球影响力，理应被列入世界记忆遗产名录。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:00, 26 December 2020 (UTC)

《红楼梦》是一个中国文化的综合体，它展示着中国文化的精髓并极具全球影响力，因此它应该被列入世界记忆文献遗产名录。
关键词
西方文化，传统保护，德国翻译，中国文化具像化表现，全球兼容，世界遗产文献
--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 07:10, 28 December 2020 (UTC)Wei yafei

==Wen Xiaoyi 文晓艺==
'''1. Chinese Ethics'''

To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

==Wu Kai 吴恺==
'''2. Compatibility
'''
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel.

'''2. 兼容性
'''
为什么《红楼梦》在世界范围内广泛流传，甚至在翻译领域中也取得了世界文学的地位？

首先，《红楼梦》和世界小说一样，是一部娱乐文学。与戏剧中的每一个元素都是强制性的，在整体结构中起作用的戏剧相比，小说的行动路线本身更简单，也不那么重要，大部分场景或情节都松散地组合在一起，这和小说更广泛的主题相吻合。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:29, 27 December 2020 (UTC)

==Wu Qi 吴琪==
However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the ''Shuihuzhuan'' and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

'''3. Impact of translator’s native culture on the translation process'''

There are intercultural parallels between the ''Red Chamber Dreams'' and Western works of literature.

然而，《红楼梦》章回结构不连续来自于《水浒传》中几乎没有联系的章回的传统，这是朝着章回更连贯、与故事线一致以及更集中于较少主角的方向迈出的一步。因此，《红楼梦》明显向西方小说传统迈进了一步，可能是因为西方对清代的影响越来越大。

'''3.译者的本土文化对翻译过程的影响'''

《红楼梦》和西方文学作品之间有跨文化的相似之处。
--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:54, 27 December 2020 (UTC)

==Wu Qiong 吴琼==
These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the ''Dreams'' will immediately think of.

'''4. The novel as embodiment of “Zeitgeist”'''

According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s ''Ilias'', which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality.
==Wu Xiang 邬香==
The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

小说作为一种文学题材不再仅仅记录一种文化，而是用沃尔特·本杰明的话来代表历史的有机物。因此，卢卡奇对这部小说的理解从历史转向哲学。一部小说被理解为其历史时代的典型小说，这部小说会体现时代精神（时代精神）。

The ''Red Chamber Dreams'' are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng.

《红楼梦》是在满族统治原汉族掌管的明朝（当时是一个多民族、跨文化的社会）和贵族家庭遭受皇位更迭影响的背景下写成的，曹氏家族受到康熙的扶植和雍正的迫害。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:04, 27 December 2020 (UTC)

==Wu Yilu 吴一露==
While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Mann, including the turn to arts and music).

虽然作者在他的时代无法批判皇帝的制度和权力，但在小说中，他通过家族的日益衰败（修行道教、休闲、写诗、艺术和音乐，而不是为了能够谋生而学习）和自己没有实现作为家族继承人的期望中寻找受迫害的罪责，来接受这种生活。这种对没落家庭颓废的描述，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:35, 27 December 2020 (UTC)

虽然作者在他的时代无法批判帝制和皇权，但在小说中，他为家族的日益衰败（参加道教、娱乐、诗歌、艺术和音乐活动，而不是为了谋生而学习）和自己作为家族继承人没有实现家族期望感到自责，通过这样做，他也对这种生活做妥协。这种对没落家族颓废状况的描写，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 15:08, 27 December 2020 (UTC)

==Wu Zijia 吴子佳==

Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the Dream appears as a documentary historical novel very much like Günter Grass’ The Tin Drum 1959.

'''5. Coming-of-age and Alienation'''

Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment.

此外，《红楼梦》对清初社会各阶层生活的详细描写，与君特·格拉斯的《铁皮鼓1959》非常相似，《铁皮鼓1959》是一部纪实历史小说。

“5. 成熟和异化”

抛弃《红楼梦》中天堂般的花园，是离开受保护的童年，进入复杂的成人世界的象征。随着乔治·卢卡奇的小说理论，主人公开始对他的生活感觉产生疑问，在小说中，主人公的自我一直与他的环境作斗争。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 16:23, 27 December 2020 (UTC)Wu Zijia

==Xiao Shuangling 肖双玲==
However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life. Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged.

然而，曹雪芹的信息不仅是“失乐园”的信息，而是他本人的一生。尽管不如他的家人仍然享有皇帝的宠爱时富裕，但清初中国有一个工资体系和一个完整的社会网络，在那里他获得了足够的收入以独立于自己的富裕亲戚，可以有选择性地接受工作在大自然的小房子里过着轻松的生活，与家人和朋友共度时光，遵循自己的兴趣，例如读书，写作和喝酒，为孩子们放风筝和思考处境不利的人。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:38, 26 December 2020 (UTC)Xiao Shuangling

然而，曹雪芹所传达的信息并不是简单的“失乐园”，相反，他把自己的生活过得很好。虽然比起他的家族享受皇帝的宠爱，他过得没有那么富裕，但清初中国有一套薪俸制度和一张完整的社会网，他获得了足够的收入，可以独立于富贵亲戚，可以有选择性地接受工作，可以在大自然的小房子里过着悠闲的生活，可以与家人和朋友共度时光，可以追随自己的兴趣，例如读书，写作和饮酒，可以为孩子们做风筝，可以为弱势群体着想。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:27, 27 December 2020 (UTC)

==Xiao Ting 肖婷==
Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

曹雪芹对自己所处的时代和中国的文化成就有充分的认识，他熟悉社会的方方面面，他观察细致，叙事娴熟。他能把小说的结尾构思为对小说中人物不同性格的探讨，从而体现出他对人生的思考和对人性多样性的理解。他能够把握 "时间精神"(Zeitgeist)，并以他的亲身经历为材料创造了一部成熟的绝世之作，这不仅是为他的家庭、为清人、为中国人，更是为全人类。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:29, 26 December 2020 (UTC)Xiao Ting

曹雪芹充分了解自己所处的时代和中国的文化成就，熟悉社会的不同层次，是一个细致的观察者和娴熟的叙述者。他可能将小说的结局概念化为对小说中人物不同性格的讨论，从而表现出他对生活的反思和对人性多样性的心理理解。他能够把握“时代精神”(时代精神)，并以他的自传体经历，为他的家庭，为清朝人，为中国人，为人类创造了一部永恒的成长小说。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:01, 26 December 2020 (UTC)

曹雪芹对自己所处的时代和中国的文化成就了如指掌，他熟悉社会的不同层面，他是一个细致的观察者和娴熟的叙述者。因此，他在小说中对人的不同个性的理解和对小说中人物性格的多样性进行了概念化的探讨。他能够把握“时代精神”，用他的自传体经历，不仅为他的家庭，为清朝的中国人，为中国人民，而且为人类，创作了一部永恒的成人小说。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:43, 26 December 2020 (UTC)Xiao Shuangling

==Xiao Xi 肖茜==
This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel ''Candide or Optimism''《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.
这种成熟的传统小说也是一个欧洲人,像启蒙哲学家伏尔泰在欧洲同时间出版的的小说《老实人》(1759)。伏尔泰笔下的老实人不得不离开童年的奢华天堂，为追求真爱而奋斗，但他的主要学习内容却更为悲观，因为伏尔泰的小说与莱布尼茨截然相反，莱布尼茨乐观地认为中国是“所有世界中最好的”。最近的研究发现，中国对欧洲启蒙哲学家的影响要大得多，我们可以肯定，曹雪芹对欧洲的一些文学传统也有所了解。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:34, 27 December 2020 (UTC)Xiao Xi

这种成熟的传统小说也是一个欧洲人,像启蒙运动哲学家伏尔泰在欧洲同时间出版的的小说《老实人》(1759年)。伏尔泰笔下的老实人不得不离开童年的奢华天堂，为追求真爱而奋斗，但他的主要学习内容却更为悲观，因为伏尔泰的小说与莱布尼茨截然相反，莱布尼茨乐观地认为中国是“所有世界中最好的”。最近的研究发现，中国对欧洲启蒙运动哲学家的影响要大得多，我们可以肯定，曹雪芹对欧洲的一些文学传统也有所了解。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 04:33, 28 December 2020 (UTC)

==Xiao Yining 肖伊宁==
Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: ''Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802).

德国读者对主人公的生平及其发展、家族世代的命运都很熟悉，德国读者把这种类型的小说称为“教育小说”或“成长小说”。在德国,关于成长小说的体裁有着悠久的传统,它的形状更由单个字符,它更多的是被塑造为教师的单个人物(歌德：'Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802)。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 14:59, 27 December 2020 (UTC)Xiao Yining

==Xie Fan 解帆==
Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in ''Wilhelm Meister'' this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

'''6. Pornography and True Love, female rivals'''

Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit.

与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，这通过莎士比亚的经典戏剧得以体现。传统可以作为方向标，但主人公的个性需要通过解放才能发展，这是一种智慧，我们可以以上提过包括《梦》的所有小说中学习。
“6.色情与真爱，女性对手"
性是人类的一种基本需求，在不同文化中展现出不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是有固定程式的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:37, 25 December 2020 (UTC)

与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，在《威廉·迈斯特》中，莎士比亚戏剧中复兴的经典作品代表了这一点。传统可以给予导向，但主人公的个性需要通过解放来发展是一种智慧，我们可以从包括《梦》在内的所有小说中学习。
“6。色情与真爱，女性对手"
性是人类的一种基本需求，在各种文化中形成了不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是程式化的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:37, 26 December 2020 (UTC)

==Xie Ziyi 谢子熠==
In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.

The best study on ''qing'' passion in the Dreams is the one by Anthony Yu, who understood it as ''desire'' and as the central motif of the ''Dreams''. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

==Xu Jia 徐佳==
In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).

In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.

在《梦》的框架故事中，叙述者有意识地站在了反对低级动作和刻板色情文学的立场上，也站在了反对普遍存在的言情小说的立场上（以美丽的才女和通过公务员考试最终获得地位和财富的穷书生为经典角色）。

在第一章中，他说："年轻人的真情实感......至今无人报道"。

"情色场面以体面和联想的方式描述（"云和雨的游戏"），同时表现出另一种开放性，例如对双性恋的开放。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:35, 27 December 2020 (UTC)Xu Jia

在《梦》的框架故事中，叙述者有意识地反对低俗的动作和陈规定型的色情文学，反对流传甚广的浪漫小说（以美丽的才女和通过公务员制度最终获得受人尊敬的地位的穷困书生为经典角色）。

在第一章中，他说：“关于年轻人的真实感受，[……]到目前为止还没有人报道过。”

情色场景被描述成一个体面和联想的方式（“云和雨的游戏”），同时显示了另一个开放性的性质，例如对双性恋。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:03, 27 December 2020 (UTC)Xiao Yining

==Xu Jing 许晶==
The ''Dreams'' narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the ''Dream'' and ''Faust'', the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.

《梦》讲述了一对不幸的恋人的故事。在西方，不幸恋人也有文学传统，即他们构成了一个原型，例如Hero和Leander，Pyramus和Thisbe，Tristan和Isolde，Flore和Blanscheflur以及Troilus和Cressida，后者被认为是Arthur Brookes的模型，他在1562年撰写了《罗密欧与朱丽叶》，从而直接影响了莎士比亚。

玛丽安·加利克（Mariann Galik）认为《梦》和《浮士德》都是吸引我们的永恒女性的中心主题，顾城则称其为“永恒的处女”。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 00:25, 28 December 2020 (UTC)

这些梦讲述了一对不幸的恋人的故事。不幸的恋人也有西方文学的传统,他们构成一个原型,如英雄和利安得、皮拉摩斯和提斯柏,特里斯坦与伊索尔德,凝花和Blanscheflur特洛伊罗斯和克雷西达,后者被认为是阿瑟·布鲁克斯的模型,他在1562年写了《罗密欧与朱丽叶》,从而直接影响了莎士比亚。
玛丽安·加利克认为《梦》和《浮士德》都是吸引我们的永恒女性的中心主题，顾城则称其为“永恒的处女”。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 07:23, 28 December 2020 (UTC)

==Xu Jing 许静==
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in the Keller 凯勒 ''The Green Henry'' 《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth and Lin Daiyu are similar, e.g. they both strive for real love (Zhuang 2011).

在歌德的成长小说''Wilhelm Meisters Wanderjahre''中，我们发现了类似的女性竞争主题，在凯勒''The Green Henry''（《绿衣亨利》1855）中，男主人公父亲早亡，母亲养育其成人。在简-奥斯汀的''Pride and Prejudice''（《傲慢与偏见》1813）中，伊丽莎白和林黛玉是相似的，比如她们都追求真爱（庄2011）。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 03:38, 28 December 2020 (UTC)

==Xu Mengdie 徐梦蝶==
'''7. Feudal society and slavery'''

A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, would exclude slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals.

封建社会和奴隶
一种普遍的解释是，贾宝玉对家庭成员和奴隶一视同仁，这将成为奴隶解放的宣言。我并不同意这个解释，因为亚里士多德的民主就排除了奴隶的投票权。所以，我们并不能用现代观念去评判过去。在我看来，贾宝玉并不是和不平等作斗争，而是把人视作群体和个人。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 09:55, 25 December 2020 (UTC)Xu Mengdie

一种普遍的解释是，贾宝玉对家庭成员和奴隶的平等对待是解放奴隶的宣言。我也不同意这种解释，因为亚里士多德，当他要求民主的时候，会排除奴隶的投票权。所以我们不能用现代的概念来判断过去。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人看成是群体和个人。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:31, 25 December 2020 (UTC)

许多人认为，贾宝玉对家庭成员和仆人的平等对待是解放奴隶的宣言。我也不同意这种看法。因为当亚里士多德要求民主时，奴隶并没有投票权。所以我们不能用现代的概念来判断过去发生的事。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人分为是群体和个人。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:03, 27 December 2020 (UTC)

人们普遍认为贾宝玉对待家庭成员和奴隶的平等对待是解放奴隶的宣言。我不同意这种解释，因为亚里士多德吁民主时，会将奴隶从投票权中剔除。所以我们不能用现代观点评判古人。我认为，贾宝玉并不是在为不平等而做斗争，而是将人区分为人或是个体。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 12:02, 27 December 2020 (UTC)

==Xu Pengfei 许鹏飞==
Also the understanding of the servants as slaves does not match the description in the Dream, since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with slave. Therefore, the translator preferred “servant” over “slave” in the translation.

另外，把仆人理解为奴隶也与《红楼梦》中所描述的不符，因为有些仆人自己也有仆人，他们离开贾家后，家人会照顾他们，为他们婚配，并且贾正把女儿迎春称为“丫头”，所以用奴隶来翻译这个词是不合适的。因此，译者在翻译中更倾向于“仆人”而不是“奴隶”。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:14, 25 December 2020 (UTC)Xu Pengfei

而且把仆人理解为奴隶与《红楼梦》中的描写不符，因为有些仆人自己还有仆人，贾府会在她们离府的时候为她们寻一门亲事，作为贾府对她们的照料；贾政也把自己的女儿迎春喊作 “丫头”，所以把这些翻译成奴隶是不合适的。因此英文翻译中采用“servant”会比“slave”更为合适。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 10:08, 25 December 2020 (UTC)Xu Mengdie

==Yang Chenting 杨晨婷==
Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

2009年，莫言代表中国作为主宾国参加法兰克福书展时，他在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的印象是，两者都没有表达这个愿望，但这是后来的概念和解释，而我们不应该以此来判断过去。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:36, 25 December 2020 (UTC)Yang chenting

2009年，莫言代表中国作为主宾国参加法兰克福书展时，在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的感觉是，两者都没有表达这个愿望，但这是后来的概念和解释，我们不应该以此来判断过去。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:43, 25 December 2020 (UTC)

==Yang Hairong 杨海容==
'''8. Tragedy of all tragedies'''

Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''.

8.所有悲剧的悲剧成分

亚里士多德在《悲剧论》（诗学VI）中解释说，悲剧使人们比喜剧更能吸引人，因为他们“模仿（mimēsis）一种严肃、完整和有程度的行动”（Aristotle 1971，51）。欧洲的悲剧部分归因于亚里斯多德作品《喜剧》的丢失。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:16, 27 December 2020 (UTC)

8.所有悲剧含有的悲剧成分

亚里士多德在《悲剧论》（诗学VI）中解释道，悲剧之所以比戏剧更加动人，是因为它们“模仿（mimēsis）一种严肃、完整且具有一定规模的行动”（Aristotle 1971，51）。悲剧在欧洲拥有崇高地位部分归因于亚里士多德的作品《论喜剧》的失传。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:42, 27 December 2020 (UTC)

==Yang Hui 阳慧==
While Europe has the Hamlet as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”.

尽管欧洲将“哈姆雷特”作为悲剧的悲剧，但长期以来中国传统文学中缺乏悲剧文学的现象一直令人遗憾。王国伟把“梦”看作“一切悲剧的悲剧”。对王国伟来说，浮士德和贾宝玉的苦难是小说的核心。然而，许多学者认为，浮士德主义是中国文化的核心。

在 18 世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:40, 27 December 2020 (UTC)

欧洲悲剧中以《哈姆雷特》为悲剧，而中国文学传统中悲剧文学的缺失，长期以来被人们所惋惜。王国维认为《梦》是“所有悲剧中的悲剧”。对王国维来说，浮士德和贾宝玉的苦难是小说的中心。然而，许多学者认为浮士德主义是中国文化的核心。

在18世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:36, 27 December 2020 (UTC)Xiao Xi

==Yang Yi 杨逸==
It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

它作为一场解放运动在18世纪的伦敦、巴黎和德国发展起来，并证明了悲剧并非只发生在统治者身上，也可能发生在下层贵族和普通公民身上。《梦》与欧洲资产阶级悲剧同时上演，讲述的是一个中层贵族家庭失去头衔和特权的悲剧故事。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 03:31, 28 December 2020 (UTC)

==Yang Yue 杨悦==

'''9. “Non-Binary” Novels'''

One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

9. “非二进制小说”

可爱而神秘的主角贾宝玉是吸引西方读者的其中一点。由于他开放的双性恋倾向以及对同伴的兴趣，无论他们的社会地位如何，他彰显“现代”气质或至少不属于那个时代。他与传统学习的斗争使他显得富有同情心，他与世隔绝的漫长状态使他既具有永恒的品格又具有神秘感。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:17, 27 December 2020 (UTC)

“非二元”小说

一个吸引西方读者的东西是可爱而神秘的主人公贾宝玉。由于他开放的双性恋倾向和他对伴侣的兴趣，不管他们的社会地位如何，他显得“现代”或至少在时间上流离失所。他与传统学习的斗争使他显得富有同情心，他从世界上长期的狂喜给了他永恒的性格和神秘的气息。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:43, 27 December 2020 (UTC)

==Yang Ziling 杨子泠==
With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the ''Heart Sutra''. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

随着梦中主人公的双性取向，小说呈现出非二元性。
卡尔·海因茨·波尔认为，二进制只是表面现象，最终起决定性作用的是“心经”。今天，这部小说被列为非二元文学的一个流派（参见https://www.goodreads.com/list/tag/non-binary)，其中的反差被解构主义地化解了。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 05:01, 28 December 2020 (UTC)

==Yao Cheng 姚诚==
'''10. Foreign Cultures in the Red Chamber Dreams'''

Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties, especially the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel.

10.红楼梦中的异邦文化
红楼梦中经常出现各种各样的异邦文化元素，例如许多贾府物品带有异国情调，并以新奇用品的形式呈现给贾府，尤其是提到的与宝玉同龄的金发女孩（结合了不同的来历和文化，包括欧洲，日本，中国），金发女孩也多次在绘画中出现，其中一次是为有翅膀的天使的形象。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:47, 27 December 2020 (UTC)

10.红楼梦中的异邦文化

红楼梦中经常出现各种各样的异邦文化元素，例如许多贾府物品带有异国情调，并是以新奇的形式呈现给贾府的，尤其是其中提到的与宝玉同龄的金发女孩（结合了不同的来历和文化，包括欧洲，日本，中国），金发女孩也多次在绘画中出现，有一次是以带翅膀的天使的形象出现。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 03:36, 28 December 2020 (UTC)

==Yao Jia 姚佳==
The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.
我们在描述宗教服饰时也能见识不同传统的玩味结合，它带有不同宗教的特点。同样，道士和儒士也可一起出现。曹雪芹想表现出小说的丰富性和多样性，这也与小说的诸多题材和社会层面有关。在书中甚至可以找到各种基督教的主题，比如第120章贾宝玉不被父亲认可，贾宝玉消失，这些都与耶稣基督平行。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 00:10, 28 December 2020 (UTC)

宗教服饰带有不同宗教的特点，在描述一种宗教服饰时，我们也能体味不同宗教传统的玩味结合。同样，道士和儒士也可一起出现。曹雪芹想表现出小说的丰富性和多样性，同时也要展现出小说的众多主题和社会层次。在书中甚至可以找到各种基督教的主题，比如第120章贾宝玉不被父亲认可，以及贾宝玉消失的时候，这些都与耶稣基督平行。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 00:43, 28 December 2020 (UTC)

==Yi Huan 易欢==
The variety of cultures is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the Red Chamber Dreams as “World Documentary Heritage”.

'''References'''（参考文献不用翻译）

Anthony, C. Yu. (2001). ''Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber''. Princeton University Press.

Aristotle. (1971). ''Poetics''. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). ''Der Traum der Roten Kammer oder Die Geschichte vom Stein'' [''Red Chamber Dreams or The Story of the Stone''], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. ''Hong lou meng xue kan'' 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. ''Journal of Sino-Western Communications'' 2 (2010.12) 2:81-107

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. ''Journal of Language Teaching and Research'', Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

==Yi Zichu 义子楚==
'''Virtual Communication Between Machines with the Human as Their Object
'''

A new stage of multimodal communication after oral, written, printed, electronic and machine-human communication

Martin Woesler, Hunan Normal University

'''Abstract'''

Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.

机器之间以人为对象的虚拟通信

口头，书面，印刷，电子和人机交流之后的多模式交流进入新阶段

湖南师范大学马丁·沃斯勒

摘要

卢曼和贝克尔描述了从口头交流（媒体时代1.0）到脚本（2.0），从印刷品（3.0）到数字通信（4.0）的发展。在所有这些阶段中，技术仅起到辅助作用。
--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:33, 28 December 2020 (UTC)

卢曼和贝克尔描述了从口头交流（媒体时代1.0）到脚本（2.0），从印刷品（3.0）最终到数字通信（4.0）的发展。在所有这些阶段中，技术仅起到辅助作用。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 05:05, 28 December 2020 (UTC)

==You Yuting 游雨婷==
This paper argues, that there is a fundamentally new media epoch of “virtual communication” (communication 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).

Algorithms do not only listen to oral or read written human communication (between humans or between humans and bots), but they analyze multimodal communication (including likes, behaviour, surfing habits, mobility profile, values, dreams, aims, beliefs etc.), compare them with Big Data (e.g. cloud data) and base decisions of manipulation on a prediction of behavior according to a personality profile and correlations.

本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管，人类成为分析和操纵的对象(如顾客、选民等)。

算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:34, 26 December 2020 (UTC)

本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管世界，人类成为分析和操纵的对象(如顾客、选民等)。

算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:47, 27 December 2020 (UTC)

==Yu Ni 余妮==
These algorithms target not only the explicit communications, but the emotions and thoughts of humans too and predict future behavior, therefore allowing simulations of reality. Mightier algorithms have also taken over decision-making roles in societies where they: replace human court decisions, fine tune just-in-time and on-demand production, censor chatrooms etc. Sets of algorithms help to manage smart cities and a whole society.

这些算法不仅针对明确的交流，也针对人类的情绪和思想，并预测未来的行为，因此允许模拟现实。更强大的算法也在社会中占据了决策角色：取代人类法庭的判决，及时微调和按需制作，审查聊天室等。一套算法有助于管理智慧城市和整个社会。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:34, 27 December 2020 (UTC)

----

==Yuan Shiqi 袁诗琦==
Although the human is still part of the communication, especially as the analyzed object and the target of the manipulation, the human is often unaware of the virtual communication and a passive receiver of the machine’s decisions, while the main actors in the virtual communication are machines.

虽然人仍然是通信的一部分，特别是作为被分析的对象和操纵的目标，但是人往往没有意识到虚拟通信和机器决策的被动接受者，而虚拟通信的主要参与者是机器。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:55, 25 December 2020 (UTC)

尽管人类仍然是交流活动的一个组成部分，特别是作为被分析的对象和操纵的目标，但是人类往往没有意识到，自己是虚拟沟通和机器决策的被动接受者，而虚拟沟通的主导者是机器。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:11, 25 December 2020 (UTC)

虽然人仍然是构成通信的一部分，尤其是作为分析对象和操纵目标，但人往往没有意识到人们在虚拟通信中扮演机器决策的被动接受者，而机器才是主要参与者。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:42, 25 December 2020 (UTC)

==Yuan Tianyi 袁天翼==
Research describes these forms of virtual communication, finds evidence in social management systems and credit systems (in Germany, we have the “Schufa”, in the USA there are big players in credit history, which leads to credit-orientation and gamification of human life) or customized (fake) news filter bubbles and in customized consumption offers (Amazon, Facebook, Google, Netflix) and analyzes benefits, including security enhancements through such virtual communication.

研究对这些形式的虚拟沟通进行了描述，在社会管理系统、信用系统（定制的（虚假）新闻筛选泡沫）和定制的消费商（亚马逊、脸书、谷歌、网飞）里面找到了证据（德国有“Schufa”，美国则因为信用史有重大人物而使得社会信用至上并日趋游戏化），并对益处加以分析，这些益处包含通过这类虚拟沟通提升安全。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:20, 25 December 2020 (UTC)

研究描述了这些虚拟通信的形式，在社会管理系统和信用系统中找到证据（在德国，我们有 "Schufa"，在美国有信用记录的大玩家，这导致了信用导向和人类生活的游戏化）或定制化（假）新闻过滤气泡，以及在定制化的消费优惠中（亚马逊，Facebook，谷歌，Netflix），并分析了好处，包括通过这种虚拟通信增强安全性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:03, 25 December 2020 (UTC)

==Yuan Yuchen 袁雨晨==
But research also has the duty to warn of abuse or harmful developments and to raise ethical questions. Exoskeletal ethics, imposed by gamifications like credit systems, especially need to be valued against intrinsic ethics.

'''Introduction'''

In this paper dealing with machine to machine communication, I skip the machines assisting humans to make their life more convenient (ranging from “The milk is out, please add the usual amount of milk to the delivery list,” to “The old lady has not left her bed this morning, I’ll better call the doctor”).

但研究也有责任对滥用或有害的发展发出警告，同时要对引起的伦理问题也要承担责任。特别是信用体系游戏化所造成的外骨骼伦理问题更需要得到重视，要反对内在的伦理问题。

引言

本论文在涉及机器与机器之间的交流时，我不考虑那些帮助人类让生活更便捷的机器（从“牛奶没了，请在送货单上加平常剂量的牛奶”到“老太太今早卧床不起，我最好叫医生吧”）。
--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:10, 25 December 2020 (UTC)

但研究也有责任对滥用或有害的发展提出警告，并提出伦理问题。特别是信用体系等游戏化所强加的外骨骼伦理，更需要对照内在伦理加以重视。

引言

在本文中涉及机器与机器之间的交流，我跳过了机器协助人类提高生活便利的内容（从 "牛奶没了，请把平时的牛奶量加到送货单上"，到 "老太太今天早上还没下床，我还是叫医生吧"。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:40, 26 December 2020 (UTC)Xiao Ting

==Zeng Fangyuan 曾芳缘==
Instead, I deal with communication like: “Let’s create a user personality profile and compare it with Big Data to learn how I can best catch this user’s attention and make him/her vote for presidential candidate A or B.”; “Let’s check this users’ mouse movements and compare it with Big Data to get a correlation to estimate if (and if “yes” when) he will get Parkinson, to decide whether or not to deny him the loan or health insurance.”
实际上，本人研究涉及的方面如下：比如，“让我们创建一名用户的个性化主界面，并将其与大数据进行比对，学习如何最好的吸引该用户的注意，让他/她投票给总统候选人甲或乙。”“让我们检查这名用户鼠标的运动轨迹，通过与大数据进行比对，建立关联，来估计他是否会得帕金森。如果他患有帕金森疾病，我们会决定是否需要对他的贷款或医疗保险的申请予以拒绝。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:41, 26 December 2020 (UTC)

==Zeng Liang 曾良==
“Let’s check this users sexual orientation, religious beliefs, fears, secrets like adultery etc. to blackmail him to get ransom money for my programmer.”; or even “Let’s use this user’s location to aim the killer drone.”

The current neoliberal system with Amazon, Facebook, WhatsApp, Instagram, Google, Netflix etc. provides incentives to collect as much user data as possible and to abuse user data for manipulation, which creates huge profits.

“让我们检查该用户的性取向、宗教信仰、恐惧、诸如通奸之类的秘密去勒索他为我的程序员去获取赎金”。或者甚至“使用用户的位置瞄准杀手无人机。”

当前具有亚马逊、脸谱网、瓦茨艾普、照片墙、谷歌、奈飞等的新自由主义系统激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:04, 25 December 2020 (UTC)

"让我们查一查这个用户的性取向、宗教信仰、恐惧、通奸等秘密，以勒索他为我的程序员获取赎金。"；甚至"利用这个用户的位置来瞄准杀手无人机。"
目前亚马逊、脸书、WhatsApp、Instagram、谷歌、奈飞等的新自由主义体系，为收集尽可能多的用户数据，并滥用用户数据，从而创造了巨大的利润。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:39, 25 December 2020 (UTC)Yang chenting

“让我们检查该用户的性取向、宗教信仰、惧怕的事物、诸如通奸之类的秘密，从而勒索他让我的程序员获取赎金”。更有甚时，“让我们使用用户的位置让攻击机瞄准他。”

当前亚马逊、脸书、联络电话、Instagram、谷歌、网飞等的新自由主义的系统软件，激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:53, 26 December 2020 (UTC)

==Zeng Xinyuan 曾心媛==
Very much like the financial crisis, which was caused by the unregulated use of derivatives, this is a systemic development, which currently follows a path to enslave the human race under the control of algorithms for the benefit of tech companies. The enslavement has already begun, as we can see from the world wide addiction to social media, from the growing mass of conspiracy theorists and from the polarization of the USA over Trump or the polarization of Great Britain over the Brexit.

这与因不受监管地使用衍生品导致的金融危机非常相似。这是一个系统性的发展，它目前走的是一条用算法控制奴役人们，为科技公司谋利的道路。从全世界对社交媒体的沉迷，从越来越多的阴谋论者，从美国对特朗普的两极分化或英国对英国脱欧的两极分化，我们都可以看出，奴役已经开始。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:07, 27 December 2020 (UTC)

==Zeng Yanhu 曾雁湖==
'''1 History of Media Epochs'''

Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.

This paper argues, that there is a fundamentally new stage of “virtual communication” (media epoch 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).

卢曼和贝克尔描述了从口头（媒体时代1.0）到文字（2.0）的通讯发展，再到印刷（3.0）数字通讯（4.0）
在所有这些阶段中，科技都只起到了协助作用。

本文认为，从根本上来说，“虚拟沟通”处于新阶段（媒体时代5.0），其中人工智能（由人类初始化）已被接管，人类已成为分析和操纵的对象（如顾客，选民等）--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:56, 26 December 2020 (UTC)

==Zhang Hu 张虎==
While Luhmann would still summarize this under digital communication, I see a full new quality here, and have therefore coined the term “communication 5.0” or “virtual communication” for it. In Luhmann’s view, the computer consists out of the “surface” of the machine (the visible interfaces like screen, keyboard, mouse) and the “depth” of the machine (the invisible, often incomprehensive inside).

虽然卢曼仍然会在数字通信中总结这一点，但我在这里看到了一个全新的品质，因此创造了术语“通信5.0”或“虚拟通信”。在卢曼看来，计算机是由机器的“表面”(屏幕、键盘、鼠标等可见界面)和机器的“内里”(看不见的、内部不全面的部分)组成的。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:41, 25 December 2020 (UTC)

==Zhang Hui 张慧==
However, we are almost constantly producing data, with our chats and geotracked movements, with our addiction to social media, our carrying of cell phones and more and more smart devices at all times, and we are therefore an object of analysis by algorithms.

The traditional setting of a communicative act blurs: The machine can directly communicate with the human (there the Turing test marks a threshold), and, after a certain complexity, it can hide its machine nature.

但是，我们几乎一直在通过聊天和地理位置追踪运动，不断沉迷于社交媒体，携带手机以及越来越多的智能设备来生成数据，因此，我们一直是通过算法进行分析的对象。

交流行为的传统设置变得模糊：机器可以直接与人类交流（图灵测试标记了阈值），并且在经过一定的复杂性之后，它可以隐藏机器的本质。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:49, 25 December 2020 (UTC)

然而，我们几乎在不断地产生数据，我们的聊天和地理追踪的动作，我们对社交媒体的沉迷，我们随时携带手机和越来越多的智能设备，因而成为算法分析的对象。

传统的交流行为的设定模糊了。机器可以直接与人类交流（图灵测试标志着一个门槛），在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:03, 25 December 2020 (UTC)
然而，我们几乎是在不断地产生数据，我们的聊天和追踪移动，我们对社交媒体的沉迷，我们无时无刻都带着手机和越来越多的智能设备，因此我们是算法分析的对象。
传统的交流行为设定是模糊的:机器可以直接与人类交流(图灵测试在这里标记了一个阈值)，并且在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:49, 27 December 2020 (UTC)

==Zhang Ling 张玲==
The machine can also indirectly communicate with the human by simply analyzing humans’ verbal communication, non-verbal multimodal communication, behavior, personality etc. and interacting with the human with, or without, revealing its existence. A human, growing up in a filter bubble and believing in conspiracy theories is one such example: The human has been manipulated by social media and news which prefer lies over truth.

机器还可以通过简单地分析人类的语言交流、非语言的多模态交流、行为、个性等，并与人类进行交互，从而间接地与人类进行交流，从而揭示人类的存在。一个在过滤器泡沫中成长并相信阴谋论的人就是这样一个例子：人们被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:33, 27 December 2020 (UTC)

机器也可以通过简单地分析人类的语言交流、非语言多模态交流、行为、个性等与人类进行交流，或者间接地与人类进行互动，从而揭示人类的存在。一个在过滤气泡中长大、相信阴谋论的人就是这样一个例子:这个人一直被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:45, 27 December 2020 (UTC)

==Zhang Peiwen 张佩闻==
Without even noticing that there was an interaction taking place between the human and the machine, the human has lost his/her independence to the machine.

'''2 Types of communicative acts'''

1.Texts (oral and written comments/chat texts/blogs/emails)

2.Surf behavior (websites visited)

3.Consumer behavior (purchases)

4.Likes (see OCEAN, UEBA)

5.Duration/Attention (see UEBA)

6.habits/repetitiveness/occurrences (is an element of analysis in different AI apps/tools)
甚至没有注意到人与机器之间发生的互动，人已经失去了他/她对机器的独立性。

"两种类型的交际行为"

1.
文本(口头和书面评论/聊天文本/博客/电子邮件)

2.
上网行为(浏览网站)

3.
消费者行为(购买)

4.
喜欢(参见OCEAN, UEBA)

5.
持续时间/关注(见UEBA)

6.
习惯/重复/出现(是不同AI应用/工具的分析元素)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:46, 27 December 2020 (UTC)

==Zhang Qi 张琪==
7.Unconscious, often unique data allowing identification (way of writing, mouse movements pattern, see Raj Kannan 2020)

8.social interaction incl. friendships, sexual relationships

9.mobility behavior/pattern (e.g. immediate environment – e.g. unconsciously recording the inside of houses while playing “Pokemon Go”), travel: Travel Behavior (Yu Cui et al. 2018)

7，无意识且通常唯一的数据可以识别（书写方式，鼠标移动方式，请参见Raj Kannan 2020）

8.社交互动，包括友谊，性关系

9.出行行为/模式（例如周围环境-例如在玩``口袋妖怪Go''时不自觉地记录房屋内部），旅行：出行行为（于翠等人，2018年）--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:24, 27 December 2020 (UTC)

==Zhang Weihong 张维虹==
'''3 Types of analysis'''

1.General (User and Entity Behavior Analytics UEBA: AI-assisted cybersecurity tools like by Gartner, Inc.)

2.True identity (e.g.: mouse movements, face recognition, find real name) (Verschuere 2016)

3.Personality profile: Big Five Personality Inventory: Openness to Experience, Consciousness, Extroversion, Agreeableness, Neuroticism “OCEAN” (Golbeck 2011), by only analyzing the users' likes, Facebook can generate personality profiles (AI-Demand 2020)

4.Mobility profile/pattern

'''3种分析类型'''

1.概况（用户和实体行为分析:AI辅助的网络安全工具，如美国Gartner公司提供的）

2.真实身份（例如:鼠标移动，人脸识别，查找真实姓名）（Verschuere，2016）

3.个人简介:五大人格清单:开放体验，意识，外向，宜人，神经质海洋（Golbeck，2011），仅通过分析用户的喜好，脸书就可以生成个人简历（AI-Demand，2020）

4..流动概况/模式

==Zhang Xueyi 张雪仪==
5.Health situation (health apps, ai supported disease research, see Daley 2020)

6.Job situation/job market (Talent Search People 2020 analyzes the job market, and classifies 4 different AI systems: 1. systems that think like humans, 2. systems that act like humans, 3. systems that think rationally, and 4.) systems that act rationally.)

5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)

6.就业形势/就业市场（2020年《人才搜索人》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:33, 27 December 2020 (UTC)

5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)

6.就业形势/就业市场（《人才搜索人 2020》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:58, 27 December 2020 (UTC)

==Zhang Yinliu 张银柳==
7.Financial credit-worthiness: E.g. German Schufa company uses AI in addition to human expertise for evaluations, see Banken-Technologie 2020. Banken-Technologie 2020. Schufa’s attempt to gain access to customers’ bank account transfer information was discussed in the news.

8.Consumer Behavior: e.g. the "clickworker" company analyses and optimizes customers' searches in respect to a client company's goals/products with the help of AI (clickworker 2019)

9.Secrets (like adultery)

7.财务信誉度：例如,德国Schufa公司除使用人类专业知识外还使用AI进行评估,请参阅Banken科技2020。新闻中讨论了Schufa尝试访问客户的银行帐户转账信息的尝试。

8，消费者行为：例如在微软的帮助下，``clickworker''公司根据客户公司的目标/产品分析并优化了客户的搜索（clickworker 2019）

9，秘密（如通奸）--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 03:59, 28 December 2020 (UTC)

==Zhang Yu 张瑜==
'''4 Unique quality of media epoch 5.0'''[ I have coined the terms “media epoch 5.0” and “virtual communication” I have developed it from concepts like „Industry 4.0“ in Germany and the four media epochs Luhmann and Baecker developed (by Baecker called 1.0 … 4.0). There are several authors speculating about the media epoch 4.0, like Ray Kurzweil. The Age of Intelligent Machines. 1990.]

1.the human switches from active to passive

2.the human switches from subject to object

3.the human becomes addicted to social media, which enhances depression (Van Den Eijnden et al. 2016, Jasso-Medrano et al. 2018, Shensa et al. 2017)

4.the human switches from puppeteer, or entity with seemingly free will, to puppet

5.nature of the internet turns from freedom to surveillance

4.媒介5.0时代的独特品质 [我创造了 "媒介5.0时代"和 "虚拟通信 "这两个词，它们是从德国的“工业4.0”以及卢曼和贝克提出的媒介4.0时代（贝克称之为1.0...4.0）等概念发展而来的。一些作者揣测媒介4.0时代这个词的含义，比如1990年出版的雷-库兹韦尔的《灵魂机器时代》]

1.人从主动到被动的转换

2.人从主体到客体的转换

3.人沉迷于社交媒体，提高了患抑郁症的风险

4.人从木偶操纵者或看似拥有自由意志的实体到木偶人的转换

5.互联网的性质从自由到监测的转换--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:25, 26 December 2020 (UTC)

==Zhang Yujie 张毓婕==
6.direct communication turns into indirect communication (humans may not be aware of this communication/analysis)

7.explicit communication (voice, words) turns into implicit communication (preferences/thoughts/dreams/wishes/ values (first experiments with brain scanners in worker hats have started in Shanghai and Peking))

8.man-man communication turns to man-machine communication (phone bot) to machine-machine

9.4.0 was from centralization to decentralization, 5.0 is partial centralization and partial decentralization, but also concentration

6，直接交流变成间接交流（人们自己可能没有意识到这种交流/分析）。

7，明确的交流（声音，文字）变成隐性的交流（偏好/想法/梦想/愿望/价值观（上海和北京已开始在工人的帽子上使用脑扫描仪进行首次实验））。

8，人与人之间的通信变成了人与机器之间的通信（电话机器人）再到机器与机器之间的通信。

9.4.0是从集中到分散，5.0是部分集中和部分分散，也有集中。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:52, 27 December 2020 (UTC)

==Zhang Yuxing 张宇星==
So far, mass media has been considered one-way. The interaction and processing of data of millions of individual users seemed simply too much work. In the age of virtual communication, the media epoch 5.0, mass media is individualized and interactive and therefore even more influential.

'''5 Types of manipulation (consciously or unconsciously, sometimes half-consciously)
'''

1.Priming by unconscious advertisements: Influencing consumer decisions

2.Filter bubbles => supports conspiracy theories, influences judgments

到目前为止，大众媒体一直被认为是单一的。数百万个人用户数据的交互和处理似乎太费力。在虚拟传播时代，即媒体时代5.0，大众传媒是个性化和互动的，因此更具影响力。

'''5 种操纵类型（有意识或无意识，有时是半意识的）'''

1.无意识广告发布：影响消费者决策

2.过滤泡沫=>支持阴谋论，影响判断--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:08, 26 December 2020 (UTC)

==Zhao Xi 赵茜==
3.Nature of social media: lies spread 6 times faster than truth. (Vosoughi et al. 2018).

4.Change of political attitude: Case Cambridge Analytica: Helped minority to win election by manipulating young people of majority not to vote (Do so: Don’t vote campaign, Oddleifson 2020); Trump election and Brexit were won by manipulation

5.Use of private information/dependencies to obtain advantages (blackmailing for money or for conducting crimes etc.)

6.Identity theft

3.社交媒体的本质：谎言的传播速度比真理快 6 倍。（Vosoughi等人，2018年）。

4.改变政治态度：案例剑桥分析：通过操纵多数年轻人不投票帮助少数民族赢得选举（这样做：不要投票竞选。奥德利夫森 2020年）；特朗普选举和英国脱欧通过操纵获胜

5.利用私人信息/依赖关系获取好处（勒索钱财或犯罪等）

6.身份盗窃--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:18, 27 December 2020 (UTC)

3.社交媒体的性质：谎言传播速度是真相的6倍。（Vosoughi等人，2018年）。
4.政治态度的改变：剑桥分析案例：通过操纵大多数年轻人不投票帮助少数人赢得选举（Do Do Do:Do not vote campaign，Oddleifson 2020）；特朗普选举和脱欧是通过操纵赢得的
5.利用私人信息/依赖性获取利益（勒索钱财或犯罪等）
6.身份盗窃--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:03, 27 December 2020 (UTC)

==Zhao Xiaoyan 赵晓燕==
'''6 Consequences'''

1.Virtual Communication is mostly “hidden”, the human is mostly unaware of it, but may endure the consequences (policeman may detain suspect simply because the face recognition glass recognizes a pedestrian passing by and assesses him/her as “dangerous”; loan is declined; insurance company declines to accept new customer)

6.后果

1.虚拟通讯大多是 "隐蔽 "的，人多半不知道，但可能会承受后果（警察可能仅仅因为人脸识别玻璃识别出路过的行人，并评估其为 "危险 "而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新的客户）--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:02, 25 December 2020 (UTC)

6.后果

1.虚拟通信通常是“隐藏的”，人类大多数情况下是不知道的，但可能会承受后果（警察可能只是因为面部识别玻璃杯识别出行人经过并将他/她评估为“危险”而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:05, 25 December 2020 (UTC)

'''6.后果
'''

1.大多情况下，虚拟通信是“隐藏的”，人类也没有意识到这一点，但可能会承担由此带来的后果（警察可能会因为面部识别玻璃检测到行人通过，并将其评估为“危险人物”而将嫌疑犯拘留‘贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:29, 26 December 2020 (UTC)

==Zheng Huajun 郑华君==
2.User becomes transparent (government can fight terrorism, any user can be blackmailed, jealous spouse can check on adultery)

3.Less will to communicate and discuss (since positions are too far apart)

4.Populists and populist views gain supporters

5.Polarization of Society

6.There is an incentive not to reveal how much one knows about the object, because the object then could question the legality, the system etc.

7.Last resort, the thinking, is tackled: Machine interprets “real” attitudes, not lip-service words

2.用户变得透明化（政府可以反恐，任何用户都可以被拉黑，嫉妒的配偶可以查奸情）

3.交流讨论意愿较弱（因为立场相差太远）

4.民粹主义者和民粹主义观点获得支持者

5.社会的两极分化

6.有动机不透露自己对对象了解多少，因为对象就可能质疑合法性、制度等。

7.最后的手段—思维，已经被破解：机器解释的是 "真实 "的态度，而不是口头禅--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:03, 27 December 2020 (UTC)

2.用户变得透明（政府可以反恐，任何用户都可以被勒索，嫉妒的配偶可以调查奸情）

3.缺乏沟通和讨论的意愿（因为立场相差太远）

4.民粹主义者和民粹主义观点获得支持者

5.社会两极分化

6.有动机不透露自己对客体了解多少，因为客体可能会质疑其合法性、制度等。

7.最后一个办法是思考：机器解释的是“真实”的态度，而不是口头禅--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:42, 27 December 2020 (UTC)

2.用户变得透明(政府可以打击恐怖主义，任何用户都可以被勒索，嫉妒的配偶可以遏制通奸)。

3.缺乏沟通和讨论的意愿(因为职位相距太远)。

4.民粹主义和民粹主义观点获得支持。

5.社会两极分化。

英译汉有一种动机是不透露一个人对该对象了解多少，因为该对象可能会对合法性、制度等提出质疑。

7.最后要解决的是思维问题：机器解释的是“真实”的态度，而不是口惠而实不至的话--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 06:41, 28 December 2020 (UTC)

==Zhou Luoping 周罗平==
8.The knowing ones (algorithms, hackers, controllers of algorithms) have power over the unknowing ones (victims)

9.Exoskeleton ethics (like points/awards for measurable performances) reduce incentives to build inner ethics
'''
7 Simulation of the imminent future'''

1.The imminent future behavior of a human can be predicted

2.With many analyzed humans, the imminent future of reality can be predicted => simulation

8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模8拟即将到来的未来
1.人类即将发生的未来行为是可以预测的
2.有了许多被分析的人类，现实的即将到来的未来可以被预测=>模拟--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:00, 27 December 2020 (UTC)

8.已知的人（算法、黑客、算法的控制者）比未知im min的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模拟迫近的未来
1.人类的迫近未来行为是可以预测的
2.在分析了许多人类后，我们便可预测现实的迫近未来=>模拟--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:22, 27 December 2020 (UTC)

8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模8拟即将到来的未来
1.人类即将发生的未来行为是可以预测的
2.通过大量分析人类，现实里马上到来的未来便可预测到=>模拟--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:32, 27 December 2020 (UTC)

==Zhou Shiqing 周诗卿==
Is this an Orwellian dystopia or reality? Some cases of the above listed phenomena have been documented. However, we are still at the beginning of “little” AI development (optimizing existing processes) and on the brink of a much more powerful development, that of “big” AI (rethinking whole industries, being able to reproduce and enhance itself). (cf. Euchner 2019).

==Zhou Shuyao 周书尧==
'''8 Conclusion and Outlook'''

Data has succeeded oil as the most valuable resource for today’s economy. Big Tech companies already use users’ data and make big profits with it while legislation is delayed and national boundaries (which do not exist for the Tech companies) are struggled over.
Although input-legitimized liberal democracies and market economies, like that of the European Union, still protect privacy and data security, US- and China-based technology companies are already penetrating the European market.

'''8 结论与展望'''

数据已经取代石油成为当今经济中最有价值的资源。大型科技公司已经在使用用户的数据并从中牟取暴利，与此同时，立法被拖延，国界（不存在科技公司）正在为之苦苦挣扎。

尽管像欧盟这样的以输入合法化的自由民主国家和市场经济，仍然保护着隐私和数据安全，但是中美两国的科技公司已经开始渗透欧洲市场。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:59, 27 December 2020 (UTC)

8 结论与展望

数据已经取代石油成为当今经济中最具价值的资源。大型科技公司已经利用用户的数据来牟取暴利的同时，与之相关的立法却被推迟，受到数据突破国界（对于科技公司来说没有国界）的挑战。
尽管像欧盟一样以输入合法化的自由民主国家和市场经济仍在保护隐私和数据安全，但中美两国的科技公司已经开始打入欧洲市场。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 07:23, 28 December 2020 (UTC)

==Zhou Siqing 周思庆==
We need to raise awareness and guide the youth to be careful with screen time and what they share online. We need to avoid addiction to social media.

'''The algorithms do not just check which film to suggest viewing next, they have started to invade the innermost sanctum of personality, our thoughts, dreams, wishes, visions, hopes, fears and secrets.
'''
'''
The listed consequences document a fundamental change of paradigms:
'''
我们需要提高意识，引导青少年注意屏幕时间和他们在网上分享的东西。我们需要避免沉迷于社交媒体。

'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''

所列出的后果证明了范式的根本变化:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:38, 26 December 2020 (UTC)

我们需要提高意识，引导青少年留意屏幕时间和网上分享，需要避免沉迷于社交媒体。

'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''

所列出的后果证明了范式的基本变化:--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:11, 26 December 2020 (UTC)

==Zhou Yiwen 周艺文==
'''The cause-based decision-making by humans with established institutions like politicians, judges etc. is being replaced with correlation-based decision-making by algorithms which often serve the profit interests of tech companies or the political interests of election-manipulators.
'''

AI took the wrong development path, when it changed from serving humans to trying to manipulate humans for economic or political profit. When AI is used to educate citizens – like helping German customers to keep a clean credit history and a good credit score – then it changes the behavior of citizens to an exoskeletal ethic.

人类通过建立政治、法官等制度所形成的原因导向的决策方法正在被算法形成的关联导向的决策方法所取代，算法通常为科技公司的利润利益或选举操纵者的政治利益服务。

人工智能走上了错误的发展道路，它从为人类服务变成了试图为了经济或政治利益而操纵人类。当人工智能被用于教育公民——比如帮助德国客户保持干净的信用历史和良好的信用评分——它就会改变公民的行为，使其成为一种外骨骼伦理。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:42, 27 December 2020 (UTC)

==Zhou Yuanqu 周园曲==
However, animals with an exoskeleton reduce their inside muscles and develop a soft inside, making them totally incapable of living without the exoskeleton. An exoskeletal ethic, giving reward points, for example, for behavior which is deemed positive and subtracting points for behavior which is deemed negative, deprives the human of the natural learning and developing process, in a social environment, of his responsibility and inner ethical judgment. If you were to meet a human with exoskeletal ethics and one who has inner ethics, whom would you trust more?

但是，具有外骨骼的动物会减少其内部肌肉并发展出柔软的内部，从而使它们完全没有外骨骼就无法生存。骨骼外伦理，例如，对于被认为是积极的行为给予奖励积分，而对于被认为是消极的行为给予减分，这剥夺了人类在社会环境中的自然学习和发展过程的责任和内在的道德判断力。如果遇到一个具有骨骼外伦理和内心道德的人，你会更信任谁？--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:10, 28 December 2020 (UTC)

==Zhou Yujuan 周玉娟==
If we want to avoid the consequences listed in point 6, the public needs to become aware of this and nations and supranational organizations need to define legislation to a) protect privacy and data security, and b) give the user the control over his/her data including the commercial use of it where they earn a share from the profit made with the usage of his/her data.

==Zhu Meimei 祝美梅==
'''9 Outlook'''

We need to accept, that the development is irreversible. Every new technology has created fears. Important is, that we become aware of the developments and adjust where the development heads into the wrong direction. We need set the right framework and incentives that the new technology stays on track to serve humanity.

'''9展望'''

我们必须承认，发展是不可逆转的。每一项新技术都在某种程度上引发了恐慌。然后重要的事情是，我们开始意识到，并调整那些朝错误方向进行的发展。我们需要制定正确的构架和激励措施，让新技术继续稳定地为人类服务。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 03:06, 28 December 2020 (UTC)

'''9展望'''

我们不得不承认，这种发展是不可逆转的。每一项新技术都会引发恐慌。重要的是，我们要意识到这些发展，并调整错误的发展方向。我们需要建立正确的框架和激励机制，使新技术能够继续为人类服务。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 04:04, 28 December 2020 (UTC)

==Zhu Suyao 朱素瑶==
New developments open new possibilities. We need to make sure that not only a few tech companies and terrorists use this powerful new technology to achieve their goals, but that the mass of smart device users emancipate themselves from addiction to and manipulation by technology and gain back their dignity, privacy and free will.

'''References
'''
（参考文献不用翻译）

AI-Demand. (2020). www.ai-demand.com/insights/data/big-data/big-data-and-facebook-the-heavenly-pair-that-isnt-quite-in-heaven/

Baecker, Dirk. (2007). ''Studien zur nächsten Gesellschaft''. Frankfurt 2007

Banken-Technologie. (2020). 26. Handelsblatt Jahrestagung. Banken-Technologie. „New Normal” in der Finanzwirtschaft: digital – intelligent – automatisiert – hybrid. 2. und 3.12.2020, Digital [Conference Announcement] https://veranstaltungen.handelsblatt.com/bankentechnologie/ki-machine-learning-finanzanalyse/

Booth, T. "Cambridge Analytica controversy must spur researchers to update data ethics." ''Nature'' 555.7698 (2018): 559-560.

Clickworker. (2019). www.clickworker.com/2019/04/30/ai-for-ecommerce/

Cui, Yu, Qing He, and Alireza Khani. (2018). Travel behavior classification: an approach with social network and deep learning. ''Transportation research record'', 2672(47), 68-80. https://par.nsf.gov/servlets/purl/10109453

Daley, Sam. (2020). 32 Examples of AI in Healthcare that Will Make you Feel better about the Future (July 4, 2019, updated July 29, 2020). builtin.com/artificial-intelligence/artificial-intelligence-healthcare

Euchner, Jim. (2019). Little ai, Big AI—Good AI, Bad AI. Terminology Management 62:3, 10-12. pdf:

https://www.tandfonline.com/doi/pdf/10.1080/08956308.2019.1587280?needAccess=true

Golbeck, Jennifer, Cristina Robles, and Karen Turner. (2011). "Predicting personality with social media." ''CHI'11 extended abstracts on human factors in computing systems''. 2011. 253-262.

Jasso-Medrano, José Luis, and Fuensanta Lopez-Rosales. (2018). "Measuring the relationship between social media use and addictive behavior and depression and suicide ideation among university students." Computers in Human Behavior 87: 183-191.

Luhmann, Niklas. (1997). ''Die Gesellschaft der Gesellschaft''. 1997

Oddleifson, Evan. 2020, The Effects of Modern Data Analytics in Electoral Politics: Cambridge Analytica’s Suppression of Voter Agency and the Implications for Global Politics, ''Political Sciences Undergraduate Review'' 5 (2020) 7, 1-7.

https://journals.library.ualberta.ca/psur/index.php/psur/article/view/130/90/130-Article%20Text-642-1-10-20200401.pdf

Raj Kannan, J., Sabitha, R., Karthik, S., & Shanthini, J. (2020). Mouse Movement Pattern Based Analysis of Customer Behavior (CBA-MMP) Using Cloud Data Analytics. ''Wireless Personal Communications'', OnlineFirst, 1-17.

Ruan, Lotus, et al. "One App, Two Systems: How WeChat uses one censorship policy in China and another internationally." (2016).
Shensa, Ariel, et al. (2017). "Problematic social media use and depressive symptoms among US young adults: A nationally-representative study." ''Social Science & Medicine ''182: 150-157.

Talent Search People. (2020). How Will Artificial Intelligence Affect the Job Market? www.talentsearchpeople.com/en/blog/494-how-will-artificial-intelligence-affect-the-job-market/.

Van Den Eijnden, Regina JJM, Jeroen S. Lemmens, and Patti M. Valkenburg. (2016). "The social media disorder scale." ''Computers in Human Behavior ''61: 478-487.

Verschuere, Bruno, and Bennett Kleinberg. "ID‐check: Online Concealed Information Test reveals true identity." ''Journal of forensic sciences'' 61 (2016): S237-S240.

Vosoughi, Soroush, Deb Roy, and Sinan Aral. (2018). The spread of true and false news online. Science 359.6380: 1146-1151.. science.sciencemag.org/content/359/6380/1146

新发展提供了新可能。我们需要确保除了少数的技术公司和恐怖分子使用这一强大的新技术来达到他们的目的，还需要确保大量的智能设备的使用者不再沉迷于其中，不再被技术操控，从而重拾尊严，重获隐私和实现意志自由。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 06:51, 28 December 2020 (UTC)

==Zhu Xu 朱旭==
'''Bio'''

Martin Woesler, PhD, is Jean Monnet Chair in European Studies with Hunan Normal University since 2020. At its Foreign Studies College, he is Distinguished Professor of Chinese Studies, Translation Studies and Comparative Literature since 2019. Woesler was elected Academian of the European Academy of Sciences and Arts, Salzburg in 2019.
Woesler has co-edited the books "China's Digital Dream", "Ethics of Information Society" and Springer has scheduled to publish the book "Diverse Voices in Chinese Translation and Interpretation" including his book chapter "Modern Interpreting with Digital and Technical Aids" in February 2021.

个人简历

自2020年起，吴漠汀（Martin Woesler）博士是湖南师范大学欧洲研究的讲座教授。自2019年来，他在湖师大外国语学院担任中国文化研究、翻译研究和比较文学的特聘教授。2019年，吴教授当选萨尔茨堡欧洲科学与艺术学院院士。吴教授曾与人合编《中国的数字梦想》、《信息社会伦理学》等书。施普林格（Springer）已计划于2021年2月出版《中国笔译与口译中的多种声音》一书，其中包括他的《数字与技术辅助的现代口译》一章。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:26, 27 December 2020 (UTC)

==Zou Xinyu 邹鑫雨==
Woesler was a Senior Fellow of the German Science Foundation's (Deutsche Forschungsgemeinschaft) Research College "Media Cultures of Computer Simulations" 2019‐2020 and hosted a related workshop with Bertelsmann Foundation in 2020. Woesler is also a researcher with Witten/Herdecke University, Germany, investigating the impact of daily screen time of children and of young people on their health.

20201228 trans

2020-12-28T06:52:21Z

Zhu Suyao: /* Zhu Suyao 朱素瑶 */

==Cao Runxin 曹润鑫==
'''Zhu Ziqing'''

A third example, where an author shows another face in his essays is Zhu Ziqing. He is known as the author of the most often reprinted story-like Chinese essay "''Back View''" (Beiying), a standard school text. The success of this essay lies in the fact, that it applies to filial pity. From the reported fare-well scene with his father at the train station, he learned that his father loved him and that he had grown-up too now.
==Chang Huiyue 常慧月==
This self-reflective essay helped Zhu to find himself through the observation of the other (here his father). The 2nd often printed essay is also from Zhu. Parallelistic and repetitive structures are the driving factor in the atmospherical nebulous lyrical landscape desription "''The Moonlit Lotus Pond''", whose style easily may seem mannerist to the Western reader.

Zhu Ziqing supposedly opposed all political engagement and, wrote about unspectacular things. In Taiwan he became a type of substitute for the categorically refused state writer of the People’s Republic, Lu Xun, mainly because of Zhu’s supposed political independence.

通过他人的观察（这里主要指朱自清的父亲），这篇自我反省式的文章帮助朱自清认清了自己。经常出版的第二版本也来自朱自清。“荷塘月色”中描述的天空星云，抒情般的景色是通过平行结构和重复结构中展现出来的，这种风格使西方读者很容易辨别。

据称朱自清反对一切政治参与，只写不引人注意的事情。在台湾，主要因为朱自清的所谓政治独立，他因而代替了明确反对民国的作家鲁迅。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 14:33, 27 December 2020 (UTC)

==Chen Han 陈涵==
I would like to show with three examples that Zhu had absolutely clear political ideas: He had taken part in the demonstration March 18, 1926, which ended in a massacre. Zhu described this in ''"Report On the Massacre of the Government''"[ (Zhizhengfu da tusha ji).].

''Shots were still being fired, and the entrance of the east gate was packed with people. [...] Pushing and shoving, we climbed over them with great effort. We must have lost our senses then, not seeing, to our shame, the grotesqueness of our action. ''

我想用三个例子说明，朱自清有绝对明确的政治思想。1926年3月18日，他参加了示威游行，这场游行最终以屠杀告终。朱自清在《执政府大屠杀记》中对此进行了描述。

''这时枪声未歇，东门口拥塞得几乎水泄不通。[...] 我们便推推搡搡，拥挤着，挣扎着，从他们身上踏上去。那时理性真失了作用，竟恬然不以为怪似的。'' --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 26 December 2020 (UTC)

==Chen Hui 陈惠==
''[...]I was still walking on top of the people. No one dared to miss a single step, filing through the gate that divided safety from danger, one that would give us life or take our lives away. [...] My efforts finally brought me down to the ground, sealing my fate as I rolled down from the human pile. [...] I learned later that some of the people by the gate were dead, killed by the pistol squad firing from the other side of the gate. When I recall stepping over dead bodies, I cannot help but tremble with fear. [...]''
==Chen Jiangning 陈江宁==
From this experience, Zhu addresses directly the repsonsible political leaders:

''Duan Qirui, you must think about it! [...] How could we explain this to the world? [...] Granted, Duan Qirui and others could commit such atrocities without a thought; but how could we, the people of China, face the world with such a shameless government? [...] We, [...], must ask, „So many were killed—what should we do?“''
经过这次经验，朱直接给负责相关部门的政府官员写信道：“段祺瑞，你好好想一想！[…]我们要怎么跟世界人民解释？[…]当然了，段祺瑞和其他士兵不用想都会承认这次的暴行；但是，我们，作为中华人民共和国，怎么能以这样一种无耻的政府面对世界？，[…]我们，[…]必须要问，这么多人牺牲了，我们应该做什么？”--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 15:11, 27 December 2020 (UTC)

==Chen Jiaxin 陈佳欣==
In contrast, Lu Xun has portrayed the same massacre with sighing undertone and Zhou Zuoren bitter-humorously in his "''Ways to die''"[ (Si fa).] - in which he finds "to be shot" the best method to die. The supposedly less politically engaged Zhu shows here more engagement.

The essay "''Facing the New China''"[ (Xin Zhongguo zai wang zhong).] is Zhu's political manifest: He asks for democracy, enlightenment and an increase of the education level.
相比之下，鲁迅用悲伤的笔调描绘了同样的大屠杀，而周作人在他的《死亡之道》中讽刺地写道—他发现“被枪杀”是最好的死亡方法。据说较少参与政治的朱自清在这里表现出更多的参与。
文章《面对新中国》是朱自清的政治体现：他要求民主，启蒙和提高教育水平。--[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 06:51, 28 December 2020 (UTC)

==Chen Jingjing 陈静静==
''China has to be born again through democratization. [...] The people should express their own will, concentrate on their own strength. Every level of administration should build up on the expressed will and strength of the people and struggle for the majority and its greatest happiness. This means that the people govern, the people own, the people enjoy.''

A few weeks before his death, he demanded in the speech ''"Today's duty of the Intellectuals''"[ (Zhishifenzi jintian de renwu).] the participation of the intellectual in the struggle for a better society.

“中国必须通过民主化重生。[...]人们应该表达自己的意志，集中自己的力量。各级行政机关都应该建立在人民的意志和力量的基础之上，并且为大多数人及其最大化的幸福而奋斗。也就是民治，民有，民享。”

”中国必须用过民主化重生。[...]人们应当表达他们自身的意志，集中力量。各级政府都应建立在人民意志和力量基础之上，并为大部分人民及其最大幸福而奋斗。也就是民治、民有、民享。”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:15, 27 December 2020 (UTC)

在他去世的几周前，他在 “知识分子今天的职责”的演讲中要求知识分子参与建设更好的社会。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 11:31, 27 December 2020 (UTC)Chen Jingjing

==Chen Sha 陈莎==
With only a handful of essays I have demonstrated, that the picture of these three authors changes substantially, if we read carefully also their less known essayistic work. Imagine now how the picture of 20th century Chinese literature might change, if the literary histories and anthologies would not only tell the history of drama, fiction and poetry, but would also grant the essay its proper place. The following part of my paper are results of my monograph on the 20th century Chinese essay.
==Chen Sunfu 谌孙福==
'''The essay boom as a mirror reflecting growing individuality, participation in the public sphere, and the giddy-paced character of modern Chinese society'''

Acquiring an overview of the essay and assessing its essence has required extensive research in bookstores and libraries, in the People's Republic of China, Taiwan, Hong Kong and the United States for available resources in the form of essay book collections as well as secondary literature dealing with the essay.

'''散文潮就像一面镜子，反映出了日渐显著的个体性、公众场合的参与度和现代中国社会令人眼花缭乱的种种特质'''

对散文进行全面审视，并分析其内在本质，要求我们在中华人民共和国、台湾、香港和美国的各大书店、图书馆开展广泛研究，获取散文集或涉及散文主题的二次文献等可用资源。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 00:35, 28 December 2020 (UTC)

==Chen Yongxiang 陈永相==
I built a database for a statistical analysis to rank more than 5000 essays and 1400 essayists. It turned out that out of the top 60 most famous Chinese essays only 14 had been translated into English so far. The forthcoming collection of Tam King-fai adds 4 and my own one the remaining 42.

Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report[ (baogao wenxue) (Klaschka 1998).].

我建立了一个用于统计分析的数据库，对5000余篇散文和1400名散文家进行排名。事实证明，迄今为止，在中国最著名的60篇论文中，只有14篇被翻译成英文。谭景辉即将出版的散文选集另有新翻译的4篇，我自己则翻译余下的42篇。

分析表明，自1979年以来，总体上来说，散文发表有所增加，在“文化大革命”之后还出现了两次热潮，在1990年达到了新的高度。首次增加出现在20世纪20年代和30年代，此后便被报告文学所取代（Klaschka 1998）。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:41, 27 December 2020 (UTC)

==Cheng Yusi 成于思==
The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous essay bookseries[ sanwen congshu 散文叢書.].

The reason for the increase in essay production, which we can date right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in the sampling of 130 ‘representative’ books I was able to collect for the survey. There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s:
==Deng Jinxia 邓锦霞==
1, The giddy-paced nature of current Chinese society with its demands for diverting and short texts, as Hall has put it: “[...] we live in an age of exposition”[ (Hall 1984:xiii).].

2, The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands.

3, A revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.

1，当前中国社会的快节奏需要分篇和短篇文本。正如霍尔所言，：“ ......我们生活在博览会时代。” [（Hall 1984：xiii）]。

2，对于正在增强的个人意识来说，散文是主观表达的最直接形式，甚至比具有韵律和形式要求的诗歌更直接。

3，通过散文讨论社会政治问题的兴趣的复兴，就像1920年代/ 30年代那样。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 14:35, 27 December 2020 (UTC)

==Ding Daifeng 丁代凤==
If we look carefully at essay collections not only published in the United States, but also in Hong Kong, Taiwan and the People’s Republic, we find the following three reasons for the under- and overestimation of single essayists or essays which correspond to regional differences:

1, EXOTIC In the United States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.

如果我们仔细观察在美国出版的，以及在香港、台湾和中华人民共和国出版的散文集，我们会发现以下三个原因导致人们低估和高估了回应地域差异的单个散文家或散文:

1、异国情调在美国，散文往往是根据西方人的口味来选择的，完全不知名的作者和老牌作家拥有一样多的空间。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:37, 26 December 2020 (UTC)

如果我们细细研读在美国出版的，以及在中国香港、台湾和大陆出版的散文集，我们会发现以下三个原因导致人们因地域差异而低估或高估了某些散文家或散文:

1、异国情调在美国，散文往往是根据西方人的口味来选择的，名不见经传的作者和著名的作家拥有同样多的市场。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 26 December 2020 (UTC)Mo Ling

==Fang Jieling 方洁玲==
2, SOCIO-POLITICAL In Taiwan, Lu Xun has been banned for a long time, but today, as the mentioned survey proofs, he ranks 12th among modern authors there. Wang Meng has been overestimated in the People’s Republic of China due to his political post.

3, PERSONAL Hong Kong literature on Yu Guangzhong has been censored by his disciple Huang Weiliang in favor for Yu.[ (see Lin Yaode 1989:50).]

Having named reasons for the essay boom and for the support for and the suppression of different actors in the cultural field of the essay, I would like to finish my paper by naming a few trends of the essay as they appear at the eve of the century.

2、社会政治在台湾，鲁迅被禁锢了很久，但如今，如上述调查证明，他在台湾现代作家中排名第12位。在中华人民共和国，王蒙因其政治职务而被高估。

3，个人在香港关于余光中的文学被他的弟子黄伟良检查和删节，他是赞成余光中的。（见林耀德1989：50）。

在列举了一些关于论文热潮以及在论文文化领域中对不同行为者的支持和压制的原因之后，我想通过列举几世纪前夕出现的一些论文趋势来结束我的论文。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 14:51, 27 December 2020 (UTC)

==Gan Fengyu 甘奉玉==
The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consumer-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be "art pourt l'art".

政治散文的主题从1907年兴起的启蒙教育散文转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影）都在讨论最佳社会制度，于是有关政治问题的主题复兴，但20世纪90年代时，主题又变成了非政治性，更加哲学道德的主题范畴，那会，散文家们首先对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:42, 27 December 2020

政治类散文的局部发展从1907年兴起的启蒙教育类转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影中）对于最佳社会制度的探讨使得政治话题再次变得火热。但20世纪90年代时，写作主题又转向非政治性，以及更加哲学道德的范畴，那会，散文家们首先会对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:53, 27 December 2020 (UTC)

==Gao Mingzhu 高明珠==
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing ("''On dreams''"[ "Shuo meng 說夢" On dreams in: Zhu Ziqing 1928.]) and Zhou Zuoren from 1917 ("''My own garden''"[ 9.1923.], "''The Fly''"[ 1924.], "''Reading on the Toilet''"[ 1936.]), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the newly encountered world of mass consumerism.

非政治类文章的局部发展始于朱自清以及周作人1917年开始写的每日随想（朱自清1928年发表的散文《说梦》；周作人1923年发表的《自己的园地》、1924年发表的《苍蝇》、1936年发表的《入厕读书》）。自1927年的修正，政治类文章成为主流，直到20世纪30年代末期，非政治类文章因为抗日战争的爆发完全消失。直到20世纪70年代，人民生活回归正常，非政治类文章才重新现世，由于消失太久，日常琐事成为当时热门的写作话题。20世纪90年代，由于政治话题热度的下降以及进入新时代为迎合广大群众而开发新话题的需要，非政治类文章又迎来一次高潮。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:46, 27 December 2020 (UTC)

==Gong Yumian 龚钰冕==
In the end of this century not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. Among the upper list places of the political essay after 1949 there are critical essays. For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.
==Gu Dongfang 顾东方==
A sign for the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation for customers (former: "readers"). Following the emotional essays of Zhu Ziqing who rank 1st and 2nd, ''nostalgia'' is the element of emotional identification in "''Wild vegetables of my home region''" by Zhou Zuoren, which ranks 3rd[ In Jia Pingwa's "Moon traces", which ranks 11, and in Ba Jin's "''Paradise for Birds''", which ranks 19]. Therefore one can state, that moving essays form the top.
==Guan Qinqing 管钦清==
In 1927, Chinese literature took the form of 'engaged literature'. In the 1980/90s, the discussion of politics in daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. In the later half of the 1990s, the master narrator himself seems to be lost within the subjectivity of individuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife.

1927年，中国文学出现了“参与文学”的形式。不同于那个时候，在20世纪90年代，有关日常利益的政治讨论只占很小的一部分。 20世纪80年代，包括诗歌和散文在内的所有流派都被批评家用来反对共产主义的主要叙事或毛泽东主义对艺术作为意识形态的理解。 20世纪90年代下半页，主讲者本人似乎迷失在个人的主观性以及越来越正式化但基本上空虚的城市生活的日常亵渎和平庸中。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:35, 28 December 2020 (UTC)

==Gui Yizhi 桂一枝==
In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only remiscent element left is the patriotism.[ ''Trends like the use of ordinary language'', which one finds in novels since 1993 (''Jia Pingwa'', Feidu; ''Gu Cheng'', Yingger) and New Borderlessness since 1995, cannot be proven in the essaywriting.The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable ''object d'art''.]

上个世纪90年代，80年代的政论文随笔文化逐渐隐没了，唯一剩下留有想象空间的元素就是爱国主义。[“比如使用普通语言的趋势”，这是从1993年以来在小说中发现的（“贾平凹”）费杜，古格，英格）以及自1995年以来，《新无边际》都无法在论文写作中得到证明，我们之所以没有找到后现代小说意义上的后现代散文，是因为文章的直接性：随笔作为一种体裁，是作者和读者之间的对话，而不是想要引起不同解释的原因或可能依赖于特殊形式或内容甚至是按顺序引用前现代特征的艺术品，这使它成为一个与众不同的“艺术品”。]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 13:06, 26 December 2020 (UTC)

'''References''' [partly mentioned with German translation] （不用翻）

Vera Schwarcz 1996, Vera Schwarcz, "The pain of sorrow: public uses of personal grief in modern China", in Daedalus: Journal of the American Academy of Arts and Sciences (Winter 1996)

Ba Jin 1982, Ba Jin: "Yi feng huixin 一封回信" (Ein Antwortbrief (26.10.1982)), in: Bing zhong ji 病中集 (Auf dem Krankenlager), Hongkong 香港 1984(?) (Series Suixiang lu 隨想錄 (Thoughts) Bd 4), 147 pp.

Ba Jin 1982a, Ba Jin: "Yi pian xuwen 一篇序文" (Ein Vorwort) [dated 1982.9/10], in: Ba Jin: Auf dem Krankenlager 1984

Ba Jin 1956, Ba Jin 巴金: "Duli sikao 獨立思考" (Unabhängig denken), in: Li Jisheng 李濟生, Li Xiaolin 李小林 (Hgg.): Ba Jin liushi nian wenxuan (1927 - 1986), Suixiang lu, zagan, sanwen, xuba, yanjiang, shuxin 巴金六十年文選（１９２７－１９８６）隨想錄·雜感·散文·序跋· 演講·書信 (Ba Jin. Werkauswahl aus 60 Jahren (1927 - 1986), Gedanken, vermischte Gefühle, Essays, Vor- und Nachworte, Reden, Briefe), Shanghai 上海: Shanghai wenyi chubanshe 上海文藝出版社 (Literatur- und Kunstverlag Shanghai), 1986.12, S. 461 - 462 [Datiert auf 1956.]

Ba Jin 1962, "Zuojia de yongqi yu zerenxin 作家的勇氣與責任心" (Mut und Verantwortungsbewußtsein der Schrifsteller) 1962; der Essay von Zhou Zuoren 周作人: "Wenxue tan 文學談" (Über Literatur), in: Tan long ji 談龍集 (Über Drachen. Sammlung), Shanghai 上海: Kaiming shudian 開明書店 (Kaiming Buchladen) 1927.12, Nachdruck: Hongkong 香港: Shiyong shuju 使用書局 (Praxisverlag) 1972.1, 310 S., S. 165 - 167

Zhou Zuoren 1919, Zhou Zuoren, "Zuxian chongbai 1919 (Ancestor Worship)," in Early Essays, op.cit., pp. 78

Zhou Zuoren 1920: Zhou Zuoren 周作人, Xin wenxue de yaoqiu 新文學的要求" (The demand of the New Literature) [lecture], in Beiping shaonian xuehui 北平少年學會 (Beiping youth conference) 1920.1.6, in: Zhang Ruoying 長若英: Xin wenxue yundong shi ziliao 新文學運動史資料 (Material on the history of the New Literature movement), Shanghai 上海: Guangming shuju 光明書局 (Guangming bookstore) (1934.9) ²1936.9, 291-296

Zhou Zuoren 1923, Zhou Zuoren: Yanzhicao ba (Preface to Yu Pingbo's Yanzhicao), in: Yongri ji (Book of Eternal Day), Shanghai: Beixin shuju 1929, 180-181

Zhou Zuoren 1929, Zhou Zuoren: Ertong de shu (The books of children), in: Chenbao fukan (1923.8.17)

Zhou Zuoren yuanliu, Zhou Zuoren: Zhongguo xin wenxue de yuanliu (Sources of New Chinese Literature), p 71

Zhou Zuoren 1932, Zhou Zuoren: Lun baguwen 1932, in: Kanyun ji p. 148

Source: NEAAS annual meeting 10/09/1999 New Haven (Yale University)

==Guo Lu 郭露==
'''Modern Chinese Literature and the Essay Genre: A New Perspective'''

''Martin Woesler''

In this paper, I will not recount the contents and propose interpretations of any essays, nor will I outline the main topics or styles of essaywriting in China, but I would like to take the opportunity to reflect a little bit on the phenomenon of the genre itself and discuss some conclusions and hypotheses with the attentive and critical audience which can be found at only a few places on earth, EALC at Harvard definitely being one of them.

《中国现代文学与散文体裁：以新视角》

''吴漠汀''

在本文中,我将不再赘述任何文章的内容和提出的观点,我也不会列出其主要主题或风格,但是我想借此机会,反映一些现象本身的类型，并与包括哈佛大学学生在内的观众对一些结论和假设进行探讨。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:16, 25 December 2020 (UTC)

《中国现代文学与散文体裁：新视角》

吴漠汀

本文将不再赘述或解释任何文章的内容，也不会列出中国散文的主要主题或风格。我想借此机会，反思体裁现象，同乐于助人、至关重要且世间少有的读者，包括哈佛大学东亚语言和文化学院的学生，对一些结论和假设进行探讨。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:28, 25 December 2020 (UTC)

==Han Haiyang 韩海洋==
'''1. The unknown genre'''

The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. In my paper I will ask, if the picture of literature can remain unchanged, if we take into consideration also the essay. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90, McDougall 1998);

'''1.未知体裁'''

二十世纪文选和选集里的文学史的叙述对于整个中国文学来说是不完整的：散文题材是缺失的。在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:09, 26 December 2020 (UTC)

'''1.未知体裁'''

20世纪选集所讲述的文学历史叙事，描绘了一幅不完整的中国文学图景:：散文题材是缺失的。在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:30, 26 December 2020 (UTC)

'''1.未知体裁'''

20世纪的选集和文集所讲述的文学史叙事，勾勒出一幅不完整的中国文学图景。散文的体裁是缺乏的。在我的论文中将要探讨如果我们把散文也考虑进去，文学的图景是否可以保持不变。长期以来，这一文体作为一种优秀的文体被忽视（马古利耶斯1949年，施密特-格林策1990年）或被忽略（麦克诺顿1974年，莱顿1988-90年，麦克杜格尔1998年）。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:23, 27 December 2020 (UTC)

==Han Wanzhen 韩宛真==
whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement. Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.

由于自民国初年五四运动确立的总叙事之后，对小说文学的重视和写作的白话化，因而它的系列小说，就一直受到重视。现代选本会让读者相信诗歌、小说、戏剧这三驾马车构成了中国现代文学创作的主干。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:20, 27 December 2020 (UTC)

==He Changqi 何长琦==
'''Excursion: Defining the essay as a non-fictional subjective representation in a free form'''

Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with xiaoshuo (fiction), sanwen (non-fictional prose)), lyrics (shige) and drama (xiqu). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term "wu yunwen" which corresponds to the term "epic" in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.
==Hu Baihui 胡百辉==
In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet. The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.
在抒情诗中，读者被鼓励去感受当下的感觉，并且常常是诗人的忏悔式的感觉。戏剧直接在独白或对话中回忆起一个自足的动作，以这种方式释放了读者/观众重新创造的想象力。散文作为史诗的一种体裁，是一种超脱的、非虚构的、自由形式的主观表现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 02:29, 27 December 2020 (UTC)

在抒情诗中，鼓励读者感受诗人当下的感觉，且这种感觉常常是诗人的忏悔。戏剧直接以独白或对话的方式回忆一个自足的动作，并通过这种方式释放了读者/观众再创造的想象力。散文作为史诗的一种体裁，是以自由的形式进行的一种分离的非虚构的主观表现。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:11, 27 December 2020 (UTC)

==Hu Huifang 胡慧芳==
"Essay", Chinese mostly ''sanwen'', is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Freedom in form and content is essential for the essay.

“散文”，中文主要是“散文”，是一个较短的、独立的非虚构散文文本的体裁术语，作者试图从主观的角度调解个人对一个对象或问题的体验。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。资源由散文家自主掌握，主题在更大的背景下被看到，甚至可以幽默地呈现。文章在形式和内容上的自由是必不可少的。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 13:22, 27 December 2020 (UTC)

“散文”是一种体裁术语，在汉语中也叫做“sanwen”，指篇幅较短、自成一体的非虚构散文文本，散文创作者可以从主观的角度，将个人的经验调和到事物或问题上。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。文章素材由散文家自主掌握，主题可以置于更大的背景之下，甚至可以一种幽默的方式呈现。散文的形式和内容都是自由的。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:36, 27 December 2020 (UTC)

“随笔”，中文名多为“散文”，是一种体裁术语，指篇幅较短、自成一体的非虚构散文文本，作者试图从主观视角来调和个人对对象或问题的经验。
散文试图从不同的方面进行联想，它不是作为日常使用的文本，而是作为艺术或教育要求的语言方式，虽然如此，还是以一种可理解的方式呈现。
资源由随笔作家独享，话题可以在更大的背景下展出，甚至可以幽默地呈现。形式和内容的自由对这篇随笔至关重要。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 14:38, 27 December 2020 (UTC)

==Hu Jin 胡瑾==
Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, a subcategorization in numerous small entities, like Zheng Mingli does with the essay, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.

不同的视角范围在国际上的文章体裁。体裁主要是通过对文学的学术研究，对文学进行专门的沉思，为了能够更容易地比较同类文本而进行的划分。另一方面，像郑明立对文章那样，以众多小实体进行细分，则是对这种细分的意义提出质疑，以参考解释学的研究成果。我们还必须时刻注意文学本身的变化和科学观点的相对性，即使其在国际上被接受，也是适时的。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 06:14, 28 December 2020 (UTC)

==Ji Tiantian 纪甜甜==
Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems. All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.

地域差异对散文的影响似乎不如对已确立的文体如短篇小说、小说的影响大，也远不如对诗歌的影响大。除散文外的其他文体被视为国际文体。我认为中西方散文也属于相同的国际文体，跨文化的相互作用也许可以在形式和内容上证明这一假设。

对于文章而言，比起短篇故事，小说等已存的体裁，区域差异似乎不那么重要，对于诗歌而言，区域差异更不重要。所有这些其他的体裁都被看作国际体裁。中国和西方的文章都属于同一国际体裁，这一假设也许可以通过形式和内容上的跨文化相互关系来证明。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 15:27, 27 December 2020 (UTC)

==Jiang Fengyi 蒋凤仪==

In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. This is a second hint that the modern Chinese essay belongs to the international genre of the essay.

在21世纪，世界共同发展，文化主要决定于现代化的水平。今天我们在刊物上看到的中国散文，已经具备了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文属于国际散文类别的第二个暗示。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 07:58, 25 December 2020 (UTC)

在21世纪，世界上的国家趋向于走到一起，而文化则主要取决于现代化水平。正如我们从现今报纸里面看到的那样，中国散文采用了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文开始趋同于国际散文体裁的第二个标志。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:27, 25 December 2020 (UTC)

21世纪，世界在共同成长，文化主要由现代化程度决定。我们今天在报纸上看到的中国散文，在形式和内容上都与西方散文相似，其目标群体也与之相似。这是中国现代散文属于国际散文的第二个暗示。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:44, 26 December 2020 (UTC)

在21世纪，世界共同发展，文化主要决定于现代化的水平。我们今天在报纸上看到的中国散文，已经呈现出西方散文的形式与内容，并且其目标群体也与西方散文不相上下。这是中国现代散文属于国际散文体裁的第二个迹象。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:17, 26 December 2020 (UTC)

==Jiang Hao 姜好==
Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 1992 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay).

尽管人们普遍接受用短小故事来翻译短篇小说，但两者的关系不如西方的散文和中国的同类文章密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)

尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系并不如西方散文与其中国同类文章密切。这个定义是我从5000多篇中国现代散文样本中得出的，也符合国际上对散文的特殊理解（继博尔兹于1992年 13:269-272 论西方散文的发展；布特莱姆于1989年论西方散文的理论）。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:34, 27 December 2020 (UTC)

尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系不如西方的散文和中国的对应定义密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 15:35, 27 December 2020 (UTC)

==Jiang Qiwei 蒋淇玮==
Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it "Chinese"? In the occidental essay the form seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework.

除了首先由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文有独特本土的特征。中文散文如何形成其特有文化，其中文性又由何组成？和中文散文相比，西方散文的文章形式似乎是更重要的分类标准。在中国，甚至有些文章内容相似，但形式和类别大相径庭。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:06, 25 December 2020 (UTC)

除了最初由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文具有独特的本土特色。中文散文如何形成其特有文化，其中文性又由何组成？与中文散文相比，西方散文的形式分类标准似乎更重要。在中国，有些文章甚至是内容相似，但形式和类别大相径庭。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 25 December 2020 (UTC)

除了周作人提倡采用英语散文风格所体现的全球化社会趋势外，中文散文还具有独特的本土特色。中文散文如何在文化上定义，其中国性又是什么？在西方文章中，形式似乎是比中国文章更重要的区分标准。在中国，甚至包括那些只有类似内容，却跨越了形式上的属相框架的文本。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:05, 27 December 2020 (UTC)

==Kang Haoyu 康浩宇==
This can be shown with Zheng Mingli, who subcategorises the "unfinished diary" or the "unfinished letter". Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Zheng Mingli: "essay in diary form" and "essay in letter form"), they are accepted as essays.

这一点可以从郑那里得到证明，他把“未完成的日记”或“未完成的信”分门别类。在西方语境中，这些文本属于个人使用的文本，因此属于非虚构的散文作品。只有当它们被改成散文(郑:“日记体散文”和“书信体散文”)后，它们才被接受为散文。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:07, 28 December 2020 (UTC)

==Kang Lingfeng 康灵凤==
'''The Chinese understanding of the genre is tendencially broader'''

This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén'' "non-rhythmic prose", which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with ''sanwen'' in the narrower meaning "short literary essay pieces".

Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.

'''中国人对这类体裁的理解区域广泛'''

在中国，这种对随笔的广泛认识可以直接追溯到“散文”一词在中文中所具有的“无韵散文”的内涵，“无韵散文”原本指所有的非虚构散文。从更广泛的意义来讲，个人或日常使用的文本也包括在内。但是，我只讨论“散文”的狭义意义，指的是“短篇文学随笔片段”。

更进一步的差异是，中国散文往往具有思想内容，并表现出重复、谚语使用等文体特征。

==Kong Xianghui 孔祥慧==
'''The Chinese essay is booming again in the 1980s and 1990s'''

Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'').[ Klaschka 1998.] The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文叢書 (essay bookseries).

20世纪80年代和90年代中国散文再次蓬勃发展
研究表明，1979年以后散文发表量普遍增加，在“文革”之后出现了两个高峰期。
散文出版量在1990年达到了一个新的高度。第一次增长出现在20世纪20年代和30年代，但是在此之后，散文的角色因为报告这一体裁(报告文学)而黯然失色。(Klaschka 1998。)在1920/30年代和1980/90年代，散文的繁荣在一定程度上得益于新杂志的出现，这些杂志是当代散文家发表文章的阵地，其大多属于散文丛书。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:22, 27 December 2020 (UTC)

'''二十世纪八九十年代中国散文再次蓬勃发展'''

相关分析表明，1979年后散文出版量普遍增加，在文化大革命后达到了两次顶峰。1990年，散文出版量明显再创新高。散文出版量的第一次增长出现在二十世纪二三十年代。随后，报告文学的出现使得散文黯然失色(Klaschka 1998.)二十世纪二三十年代和八九十年代散文出版量之所以猛然增长，部分原因在于作为当代散文家写作阵地的新杂志和众多散文丛书的出现。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 00:48, 28 December 2020 (UTC)

==Kong Yanan 孔亚楠==
The increase in essay production right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.

Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging xiangtu literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.

文化革命结束后，散文产量的增加导致需求积压，1980至1982年间，共有印刷了一百万册的散文集，这仅计算了我为调查收集的130本“代表性”书籍的样本中包含的藏书。

感谢一些年长的中国编者的作品，自20世纪70年代以来，整个散文文化是由杂志和报纸汇编而成的，并以大量选集的形式出版。这种文学繁荣堪比无题乡图文学的文化热，它是在台湾自我认同和独立运动的背景下兴起的。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:23, 27 December 2020 (UTC)

==Lei Fangyuan 雷方圆==
'''2. Why is the essay as abundant as fiction?'''

Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:

- The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political zawen of Lu Xun, until today are mostly presented in essay form). The impact on literary reflection and theory is shown in the collection "Modern Chinese Literary Thought" 1996. The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry. The poem is the genre of retreat from social life, from political issues and time references.

为什么论文像小说一样丰富？

让我列举几个原因，为什么这篇论文实际上与它的散文兄弟，小说以及抒情姐妹，诗歌一样丰富，以及为什么必须如此重视它：

-这篇文章在整个历史上都对中国社会产生了直接的影响（从清末到五四期间的改革思想，包括文学理论作品和鲁迅的日常政治杂文，直到今天大多以论文形式呈现）。对文学反思和理论的影响在1996年的“中国现代文学思想”合集中显示。随笔类型，其直接语言，与生活之间的联系（例如，其在适应文化大革命中的作用）的影响，并通过报纸直接接触个人读者。这种影响大于小说或诗歌的间接影响。这首诗是从社会生活，政治问题和时间参照中退缩的一种体裁。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 15:32, 27 December 2020 (UTC)

为什么散文像小说一样丰富？

让我举几个理由，为什么这篇文章实际上和它的散文兄弟、小说和它的抒情妹妹、诗歌一样丰富，为什么它必须被高度重视：

这篇文章对中国社会产生了直接的影响（从清末到五四时期的改革思想，以鲁迅的文学理论和日常政治面貌，直到今天，大多以散文的形式呈现）。对文学反思和理论的影响见1996年《中国现代文学思想集。散文体裁与其直接语言的影响，它与生活的联系(例如。它在接受文化革命方面的作用)，以及它通过报纸直接接触个人读者。这种影响大于小说或诗歌的间接影响。这首诗是从社会生活、政治问题和时间参考中退缩的体裁。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 03:49, 28 December 2020 (UTC)

==Lei Kuangxi 雷旷溪==
Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of novel and opera in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.

- The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.

胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌依赖于形象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。

-散文也比诗歌和小说更能反映社会的趋势。个人主义在随笔中表现得比在诗歌中更直接，但在内容和形式上都有局限性。短文的短暂性体现在短文的形式上，可以在上班路上的地铁里读，而在地铁里读诗，可能就不能那么随性的享受了。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 13:48, 26 December 2020 (UTC)Lei Kuangxi

胡适认为“诗”在现代化的过程中是最重要的，因为诗歌升华情感。但诗歌也依赖于意象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“散文”却能给事物命名，反映千变万化的生活。现代主体性就是以“散文”为工具建构的。

- 随笔也比诗歌和小说更能反映社会的发展趋势。个人主义在随笔中的表现比在诗歌中更直接，因为诗歌在内容和形式上对此有所限制。随笔的短暂性体现在随笔的形式上，人们可以在上班路上的地铁里阅读，而在地铁里读诗，可能就没有那么随性的享受。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:55, 26 December 2020 (UTC)

胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌也依赖意向和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。

-散文也比诗歌和小说更能反映社会的趋势。由于散文的内容和形式上受限，它比诗歌更能直接表达个人主义。散文很短，所以花时间少，可以在上班路上的地铁里读，但在地铁里读诗可能就不能那么随性的享受了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:54, 27 December 2020 (UTC)

==Li Haiquan 李海泉==
- The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too. The essay itself a genre of high actuality, if not simply the genre of today.

- The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society. Many authors turned to essay writing in the later periods of their lifes, like Lu Xun, Ba Jin, and Wang Meng.
[[Media:Example.ogg]]==Li Lili 李丽丽==
- The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[ Shenbao, Shibao etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his ''zawen''), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang lu'' derived).

“随笔”的产量超过了“小说”：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:33, 27 December 2020 (UTC)

“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:54, 25 December 2020 (UTC)

“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报社是控制政府的机构；另一方面，他主张审查制度，报纸作为20世纪初的一个大众媒体，以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:19, 27 December 2020 (UTC)

==Li Lingyue 李凌月==
'''3. Let us assign the essay its proper place'''
The consequence which must be driven from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place! I will describe the beginnings of the discovery of the essay.
Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.

3.让我们为散文指定其适当的位置，
由此得出的结论是:让我们为散文指定其适当的位置!我将描述发现这篇文章的开始。尽管从1979年开始，论文写作有所增加，但对这一现象的第一次理论反思却花了10年时间才出现。又过了10年，中国研究的国际学者才意识到这一现象。

3.让我们给作文赋予它应有的位置
从上面提出的论文的价值与价值之间的对比,由此得出的结论是:让我们给作文赋予它应有的位置!我将描述发现这篇文章的开始。尽管从1979年开始，散文写作有所增加，但有关这一现象的出现的第一次理论反思却花了10年时间。又过了10年，中国研究的国际学者才意识到这一现象。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 15:12, 27 December 2020 (UTC)

==Li Liqin 李丽琴==

In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).

20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。另外90年代的两次会议也没有趋于国际学术研究的动向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:54, 26 December 2020 (UTC)

20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。除此之外，20世纪90年代的两次会议也没有转向国际学术研究的方向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:37, 27 December 2020 (UTC)

==Li Luyi 李璐伊==
Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998) and for the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, ''Modern Chinese Literary Thought'' 1996).

Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.

在不早于上个世纪90年代下半叶之时，出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。（《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。

关于中国大陆，台湾地区和西方的散文评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:23, 27 December 2020 (UTC)

上世纪90年代后半期以前, 出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。（《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。中国大陆，台湾和西方对散文的评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:24, 27 December 2020 (UTC)

==Li Meng 李梦==
In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th. If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode 1989:50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.

Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation.
在台湾,鲁迅很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家印刷量最大的时候,鲁迅排在了第16位。如果只考虑现代作家,甚至排在了第12位。香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。
然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:16, 27 December 2020 (UTC)

在台湾,鲁迅的作品很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家作品印刷量最大的时候,鲁迅排在了第16位。如果只考虑现代作家,甚至排在了第12位。香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。

然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:39, 27 December 2020 (UTC)

==Li Yongshan 李泳珊==
Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai, Woesler) or already published (Pollard 1999). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. This year, scholars will meet on a first international conference on the essay (Achern, Germany August 25-26). In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays.
==Li Yu 李玉==
'''4. Taking into consideration the essay will rewrite the history of Chinese literature'''

I will give a few hints, what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Prusek and Anderson.

We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the ''yuanyang hudie pai'' played in the choir of different voices in the awoken intellectual debate in the beginning of this century.
==Lin Min 林敏==
The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.
==Lin Xin 林鑫==
In the following, I will name three aspects (chronologically sorted by past, modern and contemporary time) to hold the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.

'''5. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned'''

How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay are both in China and the West notes written on the margins of books, they are letters and travel notes.

下面，我将从三个方面(在时间顺序上按过去、现代、当代排序)来论述对散文的考量将改写中国文学史，改变我们目前对它的认识这一论点。

5. 古典和前现代散文记录了中国哲学，其早期的主体性，仍然是对中国本土传统的质疑。
中国散文在历史上要如何定位，它是如何产生的，它的共有背景是什么？一般来说，中国和西方的散文都是起源于写在书本空白处的笔记，是书信和游记。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:18, 27 December 2020 (UTC)

==Ling Zijin 凌子瑾==
These notes differed from the canonized literature through its informal style, its expression of individuality und subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.

From the very beginning, the essay was valued lower than poetry: the oldest reference this far for the term ''sanwen'' that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù.
==Liu Bo 刘博==
詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatels, is limited.) (''Helin yulu''). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.

In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge.

“詩騷妙天下，而散文頗覺瑣碎局促。”罗大京提到的另一个骂名，是形式上的：与具有高度艺术性和长达一个世纪传统的诗歌写作相比，散文中直接的、白话文式的语言在他看来并不那么有价值。
在西方，16世纪晚期出现了一种真正的“散文写作艺术”，作为一种传播重组知识的媒介。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:50, 27 December 2020 (UTC)

“诗騷妙天下，而散文颇觉瑣碎局促。”罗大经提出的另一个责难，是形式上的。在他看来，与高度艺术化的百年诗词写作传统相比，散文直接的、白话文式的语言没有什么价值。
在西方，真正的 “散文写作艺术 ”是在16世纪末作为重组知识的一种媒介出现的。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:30, 27 December 2020 (UTC)

==Liu Jinxingqi 刘金惺琦==
The reorganization originated from the observations of Kopernikus, which destroyed the whole conception of the world of the Middle Age.

In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters. The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of sǎn 散 as (to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''.
==Liu Liu 刘柳==
Xunzi delivered the prototype of the later essay with his philosophical treatises. They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience. The individuality is still a main characteristic of the essay today.

During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written at the paper margins originated the ''biji'' µ§°O (occasional notes), flourishing in the Ming Dynasty.

荀子的哲学论著是后世散文的雏形，它们是哲学教学论文的早期形式。其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。

历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:25, 25 December 2020 (UTC)

荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，这些散文中传授的普遍定理不仅有引用经典著作，还首次借鉴其个人经历。这种个体性在当代的散文中仍有保留。

历朝历代，散文通过一些子类别得以呈现，如明朝盛行的在书页边上写的读书注释，它就是源于笔记。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:47, 25 December 2020 (UTC)

荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。

历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:20, 27 December 2020 (UTC)

==Liu Ou 刘欧==
The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as a genre of its own originated in China not before the Qing ²M dynastie, when numerous essay anthologies were compiled.

Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences.

边缘主义是中西早期散文的一个纽带。散见的笔记包含了私人的历史记录，轶事，交谈和个人沉思。然而，尽管当时的散文选集众多，但将视散文作为一种文体的意识，清朝之前并没有出现。

考虑到当时的社会历史背景，人们在旧社会时，对短篇故事和小说的看法不同：散文更接近现实生活，因为它们表达了个人的困惑和经历。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:15, 27 December 2020 (UTC)

边缘主义是中西早期散文传统的一个纽带。偶尔的笔记可以包含私人的历史笔记，轶事，交流和沉思。然而，尽管当时中国散文选集有很多，一直到清朝之后我们才将散文视作一种文体意识。
考虑到当时的社会历史背景，人们对旧社会的看法与短篇小说和小说不同：散文更接近现实生活，因为它们表达了个人的问题和经历。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:43, 27 December 2020 (UTC)

==Liu Yangnuo 刘洋诺==
Until now, the Chinese pre-''Hongloumeng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.

Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the "Eight legged essay" as as appealing and intoxicating as the "pleasure of doing opium.'' (Zhou 1932:148).

目前为止，中国红楼梦前的个体文学还只是通过诗中的间接语言与我们对话。通过重拾散文，我们可以知晓不同观点和社会历史状况等文学创作的丰富源泉。
现代散文之前的文学并不限于形式上受限制的八股文，一方面鲁迅本人也有一些散文是用八股文写成的，但另一方面他又把八股文当作古代社会的代名词。周作人把 "八股文 "的语言节奏看作是 "做鸦片的快感 "一样令人陶醉。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 08:42, 25 December 2020 (UTC)

直到现在，中国前“红楼梦”的个体文学只能通过诗歌的间接语言与我们对话。重新发掘这些散文，我们可以拥有丰富的观点来源，社会历史图片等。

前现代散文文学不仅仅包括它最为人所知的例子，正式的、有限制性的“八卦文”。鲁迅自己的一些文章就是用“八卦文”写的，但是在另一方面又把它当作古代社会的同义词。周作人认为《八股文》的语言节奏就像“吸鸦片的快感”一样令人陶醉。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 09:07, 25 December 2020 (UTC)

==Liu Yi 刘艺==
But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, Zhou Yuanliu:71).

Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''Wenyi zai dao'' (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.

但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。

新儒家强调''文''（散文）是传播''道''的最重要工具：''文以载道''（文以载道）。如果我们从文体的角度来重新解读这句话，我们可以说，当时的散文已经被视为表达真理、主体性和自我的重要工具。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:01, 25 December 2020 (UTC)

但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。

理学强调“文”（散文）是传播“道”的最重要工具：“文以载道”。（以文学为载体的方式）。如果我们从体裁的角度来重新解读这一措辞，可以说，散文已成为表达真理、主体性和自我的重要工具。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:53, 27 December 2020 (UTC)

==Liu Yiyu 刘怡瑜==
Liang Qichao developed a ''xīn wéntǐ'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.

'''6. The essay as the medium of modernity, the questioning of the genuiness of the Chinese essay'''

To solve first of all the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Lin Shu: ''Irving'' 1907, ''Addison'' 1911).

梁启超研究出了一种新文体，这种文体受西方的语言所影响。但是这篇散文在报纸成为大众媒体之后才开始流行开来，成为所说的“白话”。

6.散文作为现代化的媒介，质疑了中国散文的真实性。
首先要解决的问题就是中国散文是源自本土传统还是西方翻译，有人认为两者都有所相关:散文意外地以中文译文的形式受引入到1907年的文学改革运动作家群体中来。(林纾:欧文，1907，爱迪森，1911)--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 02:12, 28 December 2020 (UTC)

==Liu Zhiwei 刘智伟==
The current form of the genre is mostly based on the influence of Western essay translations. First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only. A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).

This is older than the ones referred to in the ''Large Chinese Dictionary'' of Morohashi (Morohashi undated) and in the ''Encyclopaedic Dictionary of the Chinese Language'' 1966.

==Lou Cancan 娄灿灿==
Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars. Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin 1992, Fan Peisong 1993; for Western impact in general see Průšek 1964, Gálik 1966, McDougall 1971. Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition.

然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:57, 26 December 2020 (UTC)

然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:07, 26 December 2020 (UTC)

==Luo Weijia 罗维嘉==
How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement. All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1933, the anarchist and later member of the Guomindang Wu Zhihui [1934]. Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition:

以五四运动传奇作者为例可以看出个人观点对历史事实的叙述的影响有多大。这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:19, 27 December 2020 (UTC)

以五四运动传奇作家为例可以看出个人观点对史实叙述的影响有多大。这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:14, 27 December 2020 (UTC)

==Luo Yuqing 罗雨晴==
for example, Lu Xun with his theory "'Zhǎnkāi' shuō yǔ 'méngyá' lùn “展開”說與“萌芽”論"" (Theory of "Starting" and "Blossoming") came to see the fighting and critical character of the essay of the Jin dynasty (265 - 420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the ''biji'' (occasional notes) of the Ming, although he still tried to integrate the English essay in his "Gonganpài yu Yīngguo xiaopin 'hecheng' lun 公安派與英國小品“合成”論" (Theory of the Synthesis of the Gongan School and the English Essay).

例如，鲁迅以其“开始”与“绽放”的理论，将晋代散文的战斗性和批判性视为中国散文的“父”，周作人则先是英文散文（1921年）出发，之后是明朝“笔记”（随心记录），尽管他仍试图在公干派与英国小品合成论中中融入英文文章。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:09, 27 December 2020 (UTC)

例如，鲁迅的“展开”说与“萌芽”论认为晋代散文的攻击性与批判性是中国散文的先祖。周作人则将英语散文视为明朝“笔记”的先祖，在公安派英国小品“合成”论中，他努力使英文散文与他的理论合成一体。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 02:44, 28 December 2020 (UTC)

==Ma Juan 马娟==
Wang Zengqi regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays (Wang Zengqi 1993). The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay. One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.

王曾祺遗憾的是，“五四”时期的中国民族散文传统没有重新开始，也没有在当代散文中延续(王曾祺1993)。中国的文章是一个很好的研究对象，因为人们可以指望它来证明文章的任何理论。人们几乎可以在每个时期找到每个主题的例子，这仅仅是因为这篇文章的主题范围很广。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 02:29, 28 December 2020 (UTC)

王曾祺遗憾的是，“五四”时期的中国民族散文传统没有被拾起，也没有在当代散文中延续(王曾祺1993)。中国的文章是一个很好的研究对象，因为人们可以指望它来证明文章的所有理论。人们几乎可以在每个时期找到每个主题的例子，这仅仅是因为这篇文章的主题范围很广。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:09, 28 December 2020 (UTC)

==Ma Shuya 马淑雅==
When Zhou Zuoren showed that only seven months after the incident at Marco Polo bridge it was again possible to write about a candy seller (1924), he was critizised as "paralyzing" (Lu Xun 1934, Zhu Zhaoluo 1943). When he wrote a piece on the "Fly", he was reproached with dealing with subjects of minor importance. Reproaches like this lie in the very nature of the genre, since ''marginalism'' is substantial to the essay. The mentioned formal reproach of Luo Dajing can be found again in the 1990s, Hong Kong students critisized the literary style as it appears in Ba Jins "Thoughts" (Suixiang lu) as too direct and too less artful. But this perspective does not recognize the very nature of the essay, which is a very individual expression of an author's thoughts and not bound to tradition, and therefore much more free also in content.
==Ma Zhixing 马智星==
The essay - from its very nature free and independant - almost disappeared in the time of the Cultural Revolution and - except for the ideologically influenced essays - had a hard struggle between Yan'an and the loss of moral legitimacy by the leadership in 1989.

The essay was ''the'' genre of the modernizing society of the early 20th century. Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming "needs" of society, which also claimed the author to be one of its products.
==Meng Ying 孟莹==
But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is "a genre of self-reflection". Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art.

I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).
==Mo Ling 莫玲==
Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays. I mention only Zhou Zuoren. His ideas connected him spiritually to his contemporary collegues in Europe, Japan and America, but these where ideas for which China turned out to be not yet ready. At that time, China had taken a road which led away from progress, wealth, freedom and spiritual enlightenment. The consequences have yet to be overcome.

除开关注作家的小说和诗歌之外，如果我们对他们的散文有所涉猎，就会发现他们不仅对文学整体的理解发生了变化，单个作者的观点也发生了变化。仅就周作人来说，他的思想在精神上把他和他在欧洲、日本和美国的同伴们联系在一起，但是这些设想在中国行不通。当时的中国走的是一条远离进步、财富、自由和精神启蒙的道路，这一现状还并没有得到改变。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:34, 26 December 2020 (UTC)Mo Ling

如果我们考虑到散文，不仅文学作为一个整体的理解会改变，而且如果我们不仅看到他们的小说或诗歌，而且看到他们的散文，单个作者的观点也会改变。我只提周作人,他的想法在精神上把他和他在欧洲、日本和美国的当代同事联系在一起，但这些想法在中国还中国行不通。那时，中国已经走上了一条远离进步、财富、自由和精神启蒙的道路。其后果还有待克服。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:27, 27 December 2020 (UTC)

==Mo Nan 莫南==
In 1927, Chinese literature has taken the form of 'engaged literature'. The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology.
==Nie Xiaolou 聂晓楼==
Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be "art pourt l'art".
==Ou Rong 欧蓉==
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing ("Shuo meng 說夢" On dreams in: Zhu Ziqing 1928) and Zhou Zuoren from 1917 (My own garden 9.1923, "The Fly" 1924, "Reading on the Toilet" 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.
==Ouyang Jinglan 欧阳静兰==
I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda. This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character.
==Ouyang Ling 欧阳玲==
In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.

Taking into account of a genre shifts the whole perspective on literature, taking into account the essayistic works of an author shifts also the view of the author. I will name only one author as an example for a modern essayist: Zhou Zuoren.

20世纪90年代，20、30年代民国时期的文本和当代的文本一样也经常被重印。显然，我们可得出一个结论：20世纪50年代的那些政治宣传文只能留存在特殊的政治文章选集当中，到了21世纪初，就不再有作者去写这类文章，也不会有中国读者去看这类文章了。

考虑到整个体裁对整个文学角度的转变，以及散文作品反映出的作者观点的变化，我只举一位现代散文家的例子：周作人。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:47, 25 December 2020 (UTC)

20世纪90年代，20-30年代民国时期的文章仍然和当代的同类文章一样经常被重印。显然，我们可以得出一个结论：20世纪50年代的政治宣传类散文只保存在专门的政治散文集中，到21世纪初，不再有人去写，也不再有人读这类文章了。

一种文学体裁会转变整个文学的视角，一位作家的散文作品，同样也会转变对这个作家的看法。我只以一位现代散文家为例：周作人。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:02, 25 December 2020 (UTC)

==Peng Dan 彭丹==
'''Zhou Zuoren'''

I mentioned already his theoretical contribution to the Chinese essayism, but still, his essays have been neglected until the 1980s. The reason does not lie in literary quality, but in political valuing. The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that the theoretical May Fourth genius "degenerated" and later became a "traitor". Publishing in the Japanese sponsored magazines ''Reminiscences'',* and ''Chinese Literature'', he was blamed together with Zhu Pu and Yuan Xi of collaboration. An unanswered question is, why another author, who published there, Zhang Ailing, was never reproached with collaboratorship. The difference between all of them is that Zhang Ailing tried to avoid political committments, whereas Zhou felt guilty, Zhu justified it and Yuan simply accepted it.

我已经提到了他对中国散文主义的理论贡献，但直到20世纪80年代，他的散文一直被忽视。原因不在于文学品质，而在于政治价值。周作人是五四理论天才的“堕落”，后来成为“叛徒”。在日本赞助的《回忆》、《中国文学》等杂志上发表，他与朱璞、袁熙的合作受到指责。一个没有回答的问题是为什么另一位在那里发表文章的作者张爱玲从来没有受到过合作者的指责。两者的区别在于张爱玲试图避免政治承诺，而周作人感到内疚，朱璞证明了这一点，袁熙简单地接受了这一点。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 03:44, 28 December 2020 (UTC)

==Peng Juan 彭娟==
''The 'mainstream' writers took an affirmative approach in their writing, whereas the other writers formed a minority. The individual authors did not necessarily belong to either one of these groups throughout their life, but may have moved between them. Since the essay is a medium which enables the individual to express thoughts directly, the writers chosen for this paper can be classified according to their position.''

''Yu Guangzhong's essay'' "The wolves are coming" ''shows that the ideological perspective did not only harm mainland essaywriting.''
==Peng Ruihong 彭锐宏==
In his small literary pieces, Zhou tried to aesthetizise the little things of the everyday life out of the subjective experience of his private space. The major contribution of Zhou Zuoren is, that he set the turning point in Chinese essay writing with his call for writing short literary pieces (''Meiwen'' 1921).

In foreign literature there is the so-called ''lunwen'' 論文 (treatise), which is roughly divided into two groups: the reflecting ones, piping 批評 (critical), are scientific articles. The others are ''jishu'' 記述 (descriptive) and ''yishuxing'' 藝術性 (artistic), they are also called ''meiwen'' 美文 (aesthetic essay). Within these texts, one can distinguish between ''xushi'' 敘事 (narrative) and ''shuqing'' 抒情 (lyric). But there are also mixed texts. [...] I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn’t that be wonderful?

周作人在他的文学小品中，试图将日常生活中的小事从私人空间的主观体验中审美化。周作人的主要贡献在于，他以号召写短篇文艺作品（《美文》1921），开创了中国散文写作的转折点。

在外国文学中，有所谓''lunwen''论文，大致分为两类：反映的，管批评的，是科学文章。其他的是''jishu''记述（描述性）和''yishuxing''艺术性，它们也被称为''meiwen''美文。在这些文章中，我们可以区分''xushi''敘事和''shuqing''抒情。但也有混杂的文字。[......]我希望美学文章受到鼓励，能够回来，为《新文学》开辟一个新的领域。那岂不妙哉？

==Peng Xiaoling 彭小玲==
With these words from the essay "''The aesthetic essay''" this new vernacular form was defined. This starting point founded a whole new tradition of essay writing in China. Contemporary writers called this piece the "king of essays".

In order to bring this new form to his compatriots, he tried to find similiarities with the ''xiaopinwen'' of the Ming dynasty. He further discussed these thoughts in his essay theory. In his own essays, he profited a lot from ancient ''suibi''. Later he further developed his literary theory towards an up and down of two trends. In the modernizing society, he advocated the liberation of women and asked to "treat children as full subjects with their own external and internal lives" and to "make children the essence of children's literature" (Zhou 1923). He promoted the ''baguwen'' and the independance of literature from politics and effected the literary scene and the development towards a modern Chinese society especially between 1917 and 1938.

“美学散文”中的这些词语定义了这种新的白话形式。这个起点在中国建立了一种新的散文写作传统。当代作家称此作品为“散文之王”。

为了将这种新形式带给他的同胞，他试图找到其与明朝“小品文”的相似之处。他在散文理论中进一步讨论了这些思想。他自己的散文也从古代的“随笔”中受益匪浅。后来，他将文学理论朝着上下两种趋势进一步发展。在现代化社会中，他呼吁解放妇女、“将儿童看作具有外在和内在生命的完整主体”以及“让儿童成为儿童文学的本质”（Zhou 1923）。他提倡“八股文”和文学脱离政治的独立性，这对文学界产生了影响，并推动了中国向近代社会尤其是1917年至1938年的发展。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:48, 25 December 2020 (UTC)

==Peng Yongliang 彭永亮==
With this theoretical foundation and his own vo'luÉminous essayistic work, Zhou Zuoren through the example of his own form of short literary pieces within this genre, fought at that stage of the development of his literary theory like Benjamin Henri Constant de Rebecque 130 years ago in France for the idea "l'art pour l'art" , for individuality and independance of the writer, for disinterested literature. The jugdment, that Zhou was an apolitical author cannot be proved with his essays. Instead, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance (Zhou 1929:180-181).
==Peng Yuzhi 彭育志==
In fact he saw himself as ‘patriotic underground fighter’ and looked at the collaboration with the Japanese puppet regime as a forced one, following his attempted assasination, through which his driver had lost his life. His own concept of essay writing served less the needs of the building of a nation-state and comes closer to the ideal of the individual.

"I don't really know why, but I am feeling as if I am born into a dark age. I admit, that our forests are not inhabited by dragons, tigers and wolves, but shapeless "monsters" and "goblins" are still creeping around and try to swallow our souls. [...] What alarms me most, is the absence of freedom in this prison, into which we writers have been thrown."
==Qi Kai 漆凯==
Confronting tradition and progress in the essay "''Ancestor Worship''", he is in favor of the latter, since past could only become present through changes (Zhou 1919:7-8).

Benjamin Henri Constant de Rebecque (1767 - 1830) war französischer Romanschriftsteller und liberaler Politiker, der neben der Freiheit der Kunst nach der Französischen Revolution die Einführung der konstitutionellen Monarchie nach englischem Vorbild forderte.

面对“祖先崇拜”中的传统和进步，他赞成后者，因为过去只能通过变化才能变成现在(周1919：7-8)。

本杰明·亨利·康斯坦德·丽贝卡(Benjamin Henri Constant de Rebecca，1767-1830)是一位法国小说家和自由主义政治家，除了法国大革命后的艺术自由外，他还呼吁引入以英国模式为基础的君主立宪制。--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 06:39, 28 December 2020 (UTC)

==Qu Miao 瞿淼==
Siehe ''Journal'' (10.2.1804). Die "Kunst um der Kunst willen" propagierte die Zweckfreiheit der Kunst. Im Gegensatz dazu versteht sich die engagierte Literatur. Die Parallele zwischen Zhou Zuorens Literaturverständnis und dem Konzept "Kunst um der Kunst willen" zieht auch Wolff: ''Chou Tso-jen'' 1971, S. 84.

Siehe Zhou Zuoren: ''Der Ursprung der neuen chinesischen Literatur'' 1934, S. 95 - 98; vgl. auch Chen Zizhan: ''Vorträge zur chinesischen Literaturgeschichte'' 1937, Bd 3, pp. 416 - 422, besonders S. 422. Hinweis in: H. Martin: "''Liang Qichao on Poetry Reform''" 1996, Bd 1, S. 213.

见“期刊”（102.4804 年）。“艺术之艺术”宣传了艺术目的自由。相比之下，承诺的文学是可以理解的。周作人对文学的理解与“艺术之艺术”概念之间的相似之处也吸引了沃尔夫：“周作人”，1971 年 84.

参见周作人：“中国新文学的起源”，1934 年，第 95-98 页；另见陈子赞：“中国文学史讲座”，1937 年，第 3 卷，第 416-422 页，特别是 p422。注：H。马丁：“梁启超诗歌改革”，1996 年，第 1 卷，p213--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:55, 27 December 2020 (UTC)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:57, 27 December 2020 (UTC)

==Quan Meixin 全美欣==
Regarding Zhou Zuoren, I want to correct the official assessment of the People’s Republic, that his work would have experienced a caesura in 1938. In order to explain his opposition of the propaganda to build up national heroes about 1937 and his collaboration from 1939, it has been said officially, that his thoughts had "duoluo 墮落" (degenerated) at that time (Zhu Jinshun 1990:59). In fact, this caesura, namely the change in the style and subject in his essays on literature, art etc. to ''zhengjing'' 正經 (serious, intentional essays), and ''xianshi'' 閑適 (essays for one’s own enjoyment) is located not before his outlawing through Mao Zedong (1942), and his arrest through the Guomindang (1945).
==Sagara Seydou ==
Therefore not the Japanese suppressors are responsible for the retreat of this great writer, but his Chinese compatriots'.

On the basis of the stigma of the 'traitor', he has been undervalued until now. That his work in the 1990s is almost as often published as Lu Xun's and Zhu Ziqing's shows that his texts finally experience a more positive literaric evaluation through the audience, which now must be registered also by scholars.

因此，不是日本的压制者对这位伟大作家的退缩负责，而是他的中国同胞的退缩.
根据“叛徒”的污名，他一直被低估。他在1990年代的著作几乎与鲁迅和朱自清的著作一样频繁地出版，这表明他的著作最终在听众中得到了更为积极的文学评价，现在也必须由学者进行注册.

因此，不是日本侵略者造成了这位伟大作家的退缩，而是他的中国同胞们。由于背负着“叛徒”的污名，他一直未受到重视。20世纪90年代，他的作品出版频繁，几乎与鲁迅和朱自清等同，这表明这些作品在读者中收到了更为积极的评价，这一点也获得了当代学者的认可。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:47, 28 December 2020 (UTC)

==Shi Diwen 石迪文==
Another example of a misread Zhou Zuoren is his short essay on "''The Fly''", where he describes his changing attitude towards flies, which he had played with as child but later disgusted when he learned about their danger of passing on diseases. ”''The fly''” shows Zhou Zuoren’s strength to describe details and make them a real topic by recalling memories on them or describing a change of perspective on them. Zhou summarized the philosophical wisdom he learnt from this, that people did not judge on things objectively, but were likely to praise or damn things.
==Shi Haiyao 石海瑶==
The official reading re¬proaches Zhou that he "saw only the fly and not the cosmos" , a quotation of the young Zhou about a position he himself clearly opposed.

His ability to chat about the more pleasent things in life is displayed in his essay ”Birds’ twitter”. In ”''Peking cakes and sweet-meat''” and in ”''Wild vegetable of my home region''”, Zhou Zuoren shows his ability to make the reader feel at home at a region, where he feels at home himself, by describing the customs and special regional food.

Siehe Zhou Zuoren: "Cangying 蒼蠅" (Die Stubenfliege), in: ''Chenbao fujuan'' 晨报副镌 (Beilage zur Morgenpost) (1924.7.13). Eine Zu¬sammenfassung des Inhalts findet sich in: Yu Daxiang (Hg.): ''Auswahllexikon chinesischer Essays mit Inhaltsangaben und Analysen'' 1993.

''Siehe Vollständige chinesische Anthologie der Wissenschaften - Bd Chinesische Literatur'' 1988, Bd 2, S. 1300. Dies spielt auf den Essay "''Cangying'' 蒼蠅" (Die Stubenfliege), in: Zhou Zuoren: ''Zhi Tang. Sammlung'' 1933 an.（文献无需翻译）

官方的解读指责他“只看到了渺小，而没有看到伟大”，这是对年轻的周作人的引用，他自己明确反对该立场。
他谈论生活中更愉快的事情，在他推特的文章“鸟”中得到了展示。在“北京蛋糕和甜食”与“我家乡的野菜”中，周作人通过描述风俗和特殊的地区食物，展示了他让读者感到宾至如归的能力。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:37, 27 December 2020 (UTC)

==Si Yu 司妤==
His piece ”''Bitter rain''” shows the atmosphere, for what his essays had been labelled ”bitter tea”: There remains a taste in one’s mouth after reading. If you compare Lu Xun’s ”''On tea drinking''” (Yang/Yang 1961 3:325-326) with Zhou Zuoren’s essay with the same title, you see the difference of ”short and to the point” and ”eloquent and well-read”. ”''First love''” is more hilarious. The essay ”''Three different ways to die''” shows that Zhou Zuoren can compete with his elder brother in sarcasm. Lu Xun's essay on the same subject, the massacre on March 18, 1926, was a sight.

他的作品《苦雨》展现出了这种氛围，因此他的文章被称为“苦茶”：阅读完之后能感到余味悠长。如果你对比鲁迅和周作人的《论饮茶》(Yang/Yang 1961 3:325-326)，你可以看到“短小精辟”和“雄辩易读”的区别。《初恋》是最欢乐的作品。文章《三种不同的死法》表明周作人在讽刺小说方面足以与他的哥哥抗衡。鲁迅的同题作文《1926年3月18日的大屠杀》让人眼前一亮。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:36, 27 December 2020 (UTC)

==Song Jianru 宋建茹==
Zhou asks for the ”best” way to die and favors the short and painless one. In ”''On alcohol''” and ”''The awning bunk boat''” Zhou Zuoren continues the tradition of late Ming ''biji''.

'''7. The essay as a snapshot of contemporary thoughts'''

''What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.''

==Su Lin 苏琳==
The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a consciously “corrected” truth.
==Tan Xingyue 谭星越==
The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (Wang Meng: "''Anxiang'' 安详" (Serene) 1992, "''Zuohao ni ziji de shi'' 做好你自己的事" (First make your own things in a good way) 1994).
==Tan Xinjie 谭鑫洁==
These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.

Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive ("''Shanxi opera''", Jia Pingwa 1984) or negative world ("''The nightmare''", Si Yu 1995).

From the essay, we can see contemporary trends of literature, which are also reasons for the increase in volume of this genre in the 1990s:

这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。
20世纪80年代和90年代的其他散文虽是一种新的主观主义，其目标是摆脱当代的矛盾，但是通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。
从这篇文章中，我们可以看到当代文学的趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:30, 27 December 2020 (UTC)

这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。
20世纪80年代和90年代的其他散文是一种新的个人主义，其目标是远离当代的矛盾，但通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。
从这篇文章中，我们可以看到文学的时代趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 14:44, 27 December 2020 (UTC)

==Tan Yuanyuan 谭媛媛==
- The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall 1984:xiii);

- The increasing consciousness of indivi¬duality for which the essay is the most direct form of subjecti¬ve expression, even more direct than the poem with its metrical and formal demands;

- A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.

- The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.

- 当下中国社会的浮躁节奏，对转折性和短文的要求。"[...]我们生活在一个论述的时代"(Hall 1984:xiii)。

- 越发增加的独立意识，对其而言，文章是最直接的主体表达形式，甚至比诗的格律和形式要求更直接。

- 通过散文这一媒介讨论社会政治问题的兴趣的复苏，就像20世纪20/30年代的情况一样。

- 日常生活的平庸性通过成为文学话题而变得自觉，最常见的是日常生活的文体--散文。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:06, 25 December 2020 (UTC)

-当前中国社会节奏轻快，要求有趣味的短文：“[…]我们生活在一个博览会时代”（大厅1984:xiii）；

-对于个人二元性意识的增强，散文是主体性表达的最直接形式，甚至比诗歌的韵律和形式要求更直接；

-通过这篇文章讨论社会政治问题的兴趣的复复苏，如同20世纪20年代或30年代的情况一样。

-日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:59, 25 December 2020 (UTC)

==Tang Bei 汤蓓==
- The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays.

- Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.

- 中国社会的去意识形态化。如今在最前列的不是政府要求的平权文，而是非政治性的文章，大多是民国时期的文章，特别是1923年至1928年的。上述统计分析的结果也支持这一观点。1949年以后的政论文多为批评性散文。

- 关于散文集的编纂：对于中华人民共和国、台湾和香港最常被选中的文集来说，道德和审美标准似乎是其基础。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:19, 28 December 2020 (UTC)

==Tang Ming 唐铭==
This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publis¬hing houses with an orientation toward customers (former: "readers").

- The criteria for essay best sellers in the P.R. of China are the following: In the most often printed essay "''The Back View''", filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous "''The Moonlit Lotus Pond''", both written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader.
==Tang Yiran 汤伊然==
Nostalgic home feelings are the emotional identification element in "''Wild vegetables of my home region''" by Wang Zengqi. Therefore one can state, that moving es¬says form the top.

- ''In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in¬dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.''

==Tao Ye 陶冶==
''In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph'' China can say no! – Possibilities for politics and emotions in the period after the cold war (''No''! 1996).

- ''The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art.''
==Wang Meiling 王美玲==
''Also trends like the use of ordinary language, which one finds in novels since 1993 (Jia Pingwa, Feidu; Gu Cheng, Yingger) and'' New Borderlessness ''since'' 1995, ''cannot be pro-ven in the essaywriting. ''

- Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being "''The Small Dog Baodi''", written by Ba Jin 1981, in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before ("''In memoriam of Xiao Shan II''", Ba Jin 1984).

另外像1993年以来的小说（贾平凹、飞渡；顾城、莺歌）和1995年以来的《新无界》中发现的普通语言的使用趋势，也不能在散文写作中得到证明。

- 另外，王德威在老舍、茅盾、沈从文身上看到的小说现实主义，也证明了对一些文章的理解是有帮助的，其中之一是1981年巴金写的《小狗包弟》，作者变成了一个叙述者，用寓言式而不是像以前那样用描述式的真实来叙述'文革'的记忆（《纪念萧山二号》，巴金1984）。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 06:46, 28 December 2020 (UTC)

==Wang Xuan 王轩==
Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Der-Wei Wang 1992), helpful for the reading of Wang Zengqi's "''Rain in Kunming''" as well as for Jia Pingwa's "''Shanxi opera''".
类似的还有想象怀旧的概念，正如王功权所说的沈从文作品中虚构的真实（王大卫·德维王1992），有助于解读汪曾祺的《昆明雨》，也有助于贾平凹的《山西剧》。

- The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing fictional truth through the metaphor of his dog Baodi.
施瓦茨在“隐喻话语”中所表达的“个人悲伤”概念，有助于我们理解巴金是如何克服他以“存在的真理”而闻名的，却通过他的狗“宝坻”的隐喻而获得更具说服力的虚构真相。

Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.（文献无需翻译）

''Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay "The nightmare", where Si Yu appears as a de-constructionist, the I-narrator even is drawn near to suicide.''（文献无需翻译）

And maybe for Xie Bingxins* reflections on her experience as one of the chosen voluntaries of the Wuhan military academy: She insisted to remain a lifelong "woman soldier" .（文献无需翻译）

==Wang Yu 王煜==
'''8. Discussion: Is the genre of the essay the form of literary expression in 21st century China?'''

Regarding the future of the Chinese literature, we can only speculate. But out the risk of being wild and provocative, I would like to suggest some questions for considering the place of the essay in the field of Chinese literature and literary studies.

- People have less time for actions like reading, and get used to reduced visualized information through the Internet. Will the brevity of the essay make it the ideal medium?

8. 讨论：在21世纪中国，散文体裁是文学表达形式么？

关于中国文学的未来，我们只能猜测。但除开可能会变得狂热和具有挑衅性的危险外，我想就散文在中国文学和文学研究领域的地位提些问题。
人们很少有时间去阅读，并且习惯于网上简略的可视信息。散文的精简会使其成为一个理想的媒介么？--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 06:40, 28 December 2020 (UTC)

8. 讨论：在21世纪中国，散文体裁是文学表达形式么？

关于中国文学的未来，我们只能猜测。但出于狂妄和挑衅的风险，我想提出一些问题，以考虑散文在中国文学和文学研究领域的地位。

- 人们阅读等行动的时间少了，也习惯了通过网络减少视觉化的信息。散文的简洁性是否会使其成为理想的媒介？--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 06:49, 28 December 2020 (UTC)

==Wang Yuan 王源==
- If the Chinese people are rediscovering their individuality, will the essay allow them to express individual thoughts more directly?

- Modern societies are characterized by TV culture, mass consumption, and the loss of consciousness of one's own tradition, often partly due to the American impact on national cultures. Is the essay less bound to the restrictions of tradition, especially compared to the poem and thus more adaptable to the modern phenomenon of mass consumption?

==Wei Honglang 韦洪朗==
- The alienation and the anonymity of citylife worldwide, in China is combined with a loss of traditional values like ideology, family, solidarity etc. in favor of the concept of profit for oneself, - if this has produced a longing for new orientation, will it possibly be filled by morally guiding essays or nationalistic thinking?

- 在中国，世界范围内城市生活的异化和互相不认识的现象与传统价值观如意识形态、家庭、团圆等的丧失结合在一起，有利于为自己谋利的观念，如果这已经产生了对新方向的渴望，这个领域能否被道德指导性文章或民族主义思想所填补呢？--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 11:35, 27 December 2020 (UTC)

《红楼梦》与其他世界文学作品的相似性——推荐《红楼梦》列入世界记忆遗产名录

'''Commonness between the Red Chamber Dreams and other World Literature Novels – Proposing the Red Chamber Dreams to the World Documentary Heritage List'''（修改）

吴漠汀，湖南师范大学 Martin Woesler, Hunan Normal University

Source: Lecture at Harvard University, Cambridge, MA USA, 14.3.2000（文献无需翻译）

==Wei Yafei 魏亚菲==
'''Abstract'''

In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the Red Chamber Dreams, they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. ''The Red Chamber Dreams'' function worldwide.

摘要

在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。（修改）

在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中衍生出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，甚至于他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:09, 25 December 2020 (UTC)

==Wen Sixing 文偲荇==
''The Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。（修改）

多元一体

'''Key words'''

Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

“红楼梦”是一个多元的中国文化综合体，是中国文化的体现和精髓，但它也具有全球影响力，因此应该被授予“世界文献遗产”的荣誉。（修改<nowiki>Insert non-formatted text here</nowiki>）

多元一体

'''Key words'''

Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage
--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:29, 25 December 2020 (UTC)

《红楼梦》是一个中国文化综合体，展示着中国文化的精髓的同时也极具全球影响力，理应被列入世界记忆遗产名录。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:00, 26 December 2020 (UTC)

==Wen Xiaoyi 文晓艺==
'''1. Chinese Ethics'''

To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

==Wu Kai 吴恺==
'''2. Compatibility
'''
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel.

'''2. 兼容性
'''
为什么《红楼梦》在世界范围内广泛流传，甚至在翻译领域中也取得了世界文学的地位？

首先，《红楼梦》和世界小说一样，是一部娱乐文学。与戏剧中的每一个元素都是强制性的，在整体结构中起作用的戏剧相比，小说的行动路线本身更简单，也不那么重要，大部分场景或情节都松散地组合在一起，这和小说更广泛的主题相吻合。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:29, 27 December 2020 (UTC)

==Wu Qi 吴琪==
However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the ''Shuihuzhuan'' and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

'''3. Impact of translator’s native culture on the translation process'''

There are intercultural parallels between the ''Red Chamber Dreams'' and Western works of literature.

然而，《红楼梦》章回结构不连续来自于《水浒传》中几乎没有联系的章回的传统，这是朝着章回更连贯、与故事线一致以及更集中于较少主角的方向迈出的一步。因此，《红楼梦》明显向西方小说传统迈进了一步，可能是因为西方对清代的影响越来越大。

'''3.译者的本土文化对翻译过程的影响'''

《红楼梦》和西方文学作品之间有跨文化的相似之处。
--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:54, 27 December 2020 (UTC)

==Wu Qiong 吴琼==
These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the ''Dreams'' will immediately think of.

'''4. The novel as embodiment of “Zeitgeist”'''

According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s ''Ilias'', which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality.
==Wu Xiang 邬香==
The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

小说作为一种文学题材不再仅仅记录一种文化，而是用沃尔特·本杰明的话来代表历史的有机物。因此，卢卡奇对这部小说的理解从历史转向哲学。一部小说被理解为其历史时代的典型小说，这部小说会体现时代精神（时代精神）。

The ''Red Chamber Dreams'' are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng.

《红楼梦》是在满族统治原汉族掌管的明朝（当时是一个多民族、跨文化的社会）和贵族家庭遭受皇位更迭影响的背景下写成的，曹氏家族受到康熙的扶植和雍正的迫害。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:04, 27 December 2020 (UTC)

==Wu Yilu 吴一露==
While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Mann, including the turn to arts and music).

虽然作者在他的时代无法批判皇帝的制度和权力，但在小说中，他通过家族的日益衰败（修行道教、休闲、写诗、艺术和音乐，而不是为了能够谋生而学习）和自己没有实现作为家族继承人的期望中寻找受迫害的罪责，来接受这种生活。这种对没落家庭颓废的描述，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:35, 27 December 2020 (UTC)

虽然作者在他的时代无法批判帝制和皇权，但在小说中，他为家族的日益衰败（参加道教、娱乐、诗歌、艺术和音乐活动，而不是为了谋生而学习）和自己作为家族继承人没有实现家族期望感到自责，通过这样做，他也对这种生活做妥协。这种对没落家族颓废状况的描写，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 15:08, 27 December 2020 (UTC)

==Wu Zijia 吴子佳==

Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the Dream appears as a documentary historical novel very much like Günter Grass’ The Tin Drum 1959.

'''5. Coming-of-age and Alienation'''

Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment.

此外，《红楼梦》对清初社会各阶层生活的详细描写，与君特·格拉斯的《铁皮鼓1959》非常相似，《铁皮鼓1959》是一部纪实历史小说。

“5. 成熟和异化”

抛弃《红楼梦》中天堂般的花园，是离开受保护的童年，进入复杂的成人世界的象征。随着乔治·卢卡奇的小说理论，主人公开始对他的生活感觉产生疑问，在小说中，主人公的自我一直与他的环境作斗争。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 16:23, 27 December 2020 (UTC)Wu Zijia

==Xiao Shuangling 肖双玲==
However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life. Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged.

然而，曹雪芹的信息不仅是“失乐园”的信息，而是他本人的一生。尽管不如他的家人仍然享有皇帝的宠爱时富裕，但清初中国有一个工资体系和一个完整的社会网络，在那里他获得了足够的收入以独立于自己的富裕亲戚，可以有选择性地接受工作在大自然的小房子里过着轻松的生活，与家人和朋友共度时光，遵循自己的兴趣，例如读书，写作和喝酒，为孩子们放风筝和思考处境不利的人。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:38, 26 December 2020 (UTC)Xiao Shuangling

然而，曹雪芹所传达的信息并不是简单的“失乐园”，相反，他把自己的生活过得很好。虽然比起他的家族享受皇帝的宠爱，他过得没有那么富裕，但清初中国有一套薪俸制度和一张完整的社会网，他获得了足够的收入，可以独立于富贵亲戚，可以有选择性地接受工作，可以在大自然的小房子里过着悠闲的生活，可以与家人和朋友共度时光，可以追随自己的兴趣，例如读书，写作和饮酒，可以为孩子们做风筝，可以为弱势群体着想。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:27, 27 December 2020 (UTC)

==Xiao Ting 肖婷==
Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

曹雪芹对自己所处的时代和中国的文化成就有充分的认识，他熟悉社会的方方面面，他观察细致，叙事娴熟。他能把小说的结尾构思为对小说中人物不同性格的探讨，从而体现出他对人生的思考和对人性多样性的理解。他能够把握 "时间精神"(Zeitgeist)，并以他的亲身经历为材料创造了一部成熟的绝世之作，这不仅是为他的家庭、为清人、为中国人，更是为全人类。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:29, 26 December 2020 (UTC)Xiao Ting

曹雪芹充分了解自己所处的时代和中国的文化成就，熟悉社会的不同层次，是一个细致的观察者和娴熟的叙述者。他可能将小说的结局概念化为对小说中人物不同性格的讨论，从而表现出他对生活的反思和对人性多样性的心理理解。他能够把握“时代精神”(时代精神)，并以他的自传体经历，为他的家庭，为清朝人，为中国人，为人类创造了一部永恒的成长小说。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:01, 26 December 2020 (UTC)

曹雪芹对自己所处的时代和中国的文化成就了如指掌，他熟悉社会的不同层面，他是一个细致的观察者和娴熟的叙述者。因此，他在小说中对人的不同个性的理解和对小说中人物性格的多样性进行了概念化的探讨。他能够把握“时代精神”，用他的自传体经历，不仅为他的家庭，为清朝的中国人，为中国人民，而且为人类，创作了一部永恒的成人小说。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:43, 26 December 2020 (UTC)Xiao Shuangling

==Xiao Xi 肖茜==
This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel ''Candide or Optimism''《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.
这种成熟的传统小说也是一个欧洲人,像启蒙哲学家伏尔泰在欧洲同时间出版的的小说《老实人》(1759)。伏尔泰笔下的老实人不得不离开童年的奢华天堂，为追求真爱而奋斗，但他的主要学习内容却更为悲观，因为伏尔泰的小说与莱布尼茨截然相反，莱布尼茨乐观地认为中国是“所有世界中最好的”。最近的研究发现，中国对欧洲启蒙哲学家的影响要大得多，我们可以肯定，曹雪芹对欧洲的一些文学传统也有所了解。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:34, 27 December 2020 (UTC)Xiao Xi

这种成熟的传统小说也是一个欧洲人,像启蒙运动哲学家伏尔泰在欧洲同时间出版的的小说《老实人》(1759年)。伏尔泰笔下的老实人不得不离开童年的奢华天堂，为追求真爱而奋斗，但他的主要学习内容却更为悲观，因为伏尔泰的小说与莱布尼茨截然相反，莱布尼茨乐观地认为中国是“所有世界中最好的”。最近的研究发现，中国对欧洲启蒙运动哲学家的影响要大得多，我们可以肯定，曹雪芹对欧洲的一些文学传统也有所了解。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 04:33, 28 December 2020 (UTC)

==Xiao Yining 肖伊宁==
Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: ''Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802).

德国读者对主人公的生平及其发展、家族世代的命运都很熟悉，德国读者把这种类型的小说称为“教育小说”或“成长小说”。在德国,关于成长小说的体裁有着悠久的传统,它的形状更由单个字符,它更多的是被塑造为教师的单个人物(歌德：'Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802)。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 14:59, 27 December 2020 (UTC)Xiao Yining

==Xie Fan 解帆==
Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in ''Wilhelm Meister'' this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

'''6. Pornography and True Love, female rivals'''

Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit.

与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，这通过莎士比亚的经典戏剧得以体现。传统可以作为方向标，但主人公的个性需要通过解放才能发展，这是一种智慧，我们可以以上提过包括《梦》的所有小说中学习。
“6.色情与真爱，女性对手"
性是人类的一种基本需求，在不同文化中展现出不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是有固定程式的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:37, 25 December 2020 (UTC)

与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，在《威廉·迈斯特》中，莎士比亚戏剧中复兴的经典作品代表了这一点。传统可以给予导向，但主人公的个性需要通过解放来发展是一种智慧，我们可以从包括《梦》在内的所有小说中学习。
“6。色情与真爱，女性对手"
性是人类的一种基本需求，在各种文化中形成了不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是程式化的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:37, 26 December 2020 (UTC)

==Xie Ziyi 谢子熠==
In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.

The best study on ''qing'' passion in the Dreams is the one by Anthony Yu, who understood it as ''desire'' and as the central motif of the ''Dreams''. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

==Xu Jia 徐佳==
In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).

In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.

在《梦》的框架故事中，叙述者有意识地站在了反对低级动作和刻板色情文学的立场上，也站在了反对普遍存在的言情小说的立场上（以美丽的才女和通过公务员考试最终获得地位和财富的穷书生为经典角色）。

在第一章中，他说："年轻人的真情实感......至今无人报道"。

"情色场面以体面和联想的方式描述（"云和雨的游戏"），同时表现出另一种开放性，例如对双性恋的开放。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:35, 27 December 2020 (UTC)Xu Jia

在《梦》的框架故事中，叙述者有意识地反对低俗的动作和陈规定型的色情文学，反对流传甚广的浪漫小说（以美丽的才女和通过公务员制度最终获得受人尊敬的地位的穷困书生为经典角色）。

在第一章中，他说：“关于年轻人的真实感受，[……]到目前为止还没有人报道过。”

情色场景被描述成一个体面和联想的方式（“云和雨的游戏”），同时显示了另一个开放性的性质，例如对双性恋。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:03, 27 December 2020 (UTC)Xiao Yining

==Xu Jing 许晶==
The ''Dreams'' narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the ''Dream'' and ''Faust'', the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.

《梦》讲述了一对不幸的恋人的故事。在西方，不幸恋人也有文学传统，即他们构成了一个原型，例如Hero和Leander，Pyramus和Thisbe，Tristan和Isolde，Flore和Blanscheflur以及Troilus和Cressida，后者被认为是Arthur Brookes的模型，他在1562年撰写了《罗密欧与朱丽叶》，从而直接影响了莎士比亚。

玛丽安·加利克（Mariann Galik）认为《梦》和《浮士德》都是吸引我们的永恒女性的中心主题，顾城则称其为“永恒的处女”。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 00:25, 28 December 2020 (UTC)

==Xu Jing 许静==
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in the Keller 凯勒 ''The Green Henry'' 《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth and Lin Daiyu are similar, e.g. they both strive for real love (Zhuang 2011).

在歌德的成长小说''Wilhelm Meisters Wanderjahre''中，我们发现了类似的女性竞争主题，在凯勒''The Green Henry''（《绿衣亨利》1855）中，男主人公父亲早亡，母亲养育其成人。在简-奥斯汀的''Pride and Prejudice''（《傲慢与偏见》1813）中，伊丽莎白和林黛玉是相似的，比如她们都追求真爱（庄2011）。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 03:38, 28 December 2020 (UTC)

==Xu Mengdie 徐梦蝶==
'''7. Feudal society and slavery'''

A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, would exclude slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals.

封建社会和奴隶
一种普遍的解释是，贾宝玉对家庭成员和奴隶一视同仁，这将成为奴隶解放的宣言。我并不同意这个解释，因为亚里士多德的民主就排除了奴隶的投票权。所以，我们并不能用现代观念去评判过去。在我看来，贾宝玉并不是和不平等作斗争，而是把人视作群体和个人。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 09:55, 25 December 2020 (UTC)Xu Mengdie

一种普遍的解释是，贾宝玉对家庭成员和奴隶的平等对待是解放奴隶的宣言。我也不同意这种解释，因为亚里士多德，当他要求民主的时候，会排除奴隶的投票权。所以我们不能用现代的概念来判断过去。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人看成是群体和个人。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:31, 25 December 2020 (UTC)

许多人认为，贾宝玉对家庭成员和仆人的平等对待是解放奴隶的宣言。我也不同意这种看法。因为当亚里士多德要求民主时，奴隶并没有投票权。所以我们不能用现代的概念来判断过去发生的事。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人分为是群体和个人。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:03, 27 December 2020 (UTC)

人们普遍认为贾宝玉对待家庭成员和奴隶的平等对待是解放奴隶的宣言。我不同意这种解释，因为亚里士多德吁民主时，会将奴隶从投票权中剔除。所以我们不能用现代观点评判古人。我认为，贾宝玉并不是在为不平等而做斗争，而是将人区分为人或是个体。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 12:02, 27 December 2020 (UTC)

==Xu Pengfei 许鹏飞==
Also the understanding of the servants as slaves does not match the description in the Dream, since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with slave. Therefore, the translator preferred “servant” over “slave” in the translation.

另外，把仆人理解为奴隶也与《红楼梦》中所描述的不符，因为有些仆人自己也有仆人，他们离开贾家后，家人会照顾他们，为他们婚配，并且贾正把女儿迎春称为“丫头”，所以用奴隶来翻译这个词是不合适的。因此，译者在翻译中更倾向于“仆人”而不是“奴隶”。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:14, 25 December 2020 (UTC)Xu Pengfei

而且把仆人理解为奴隶与《红楼梦》中的描写不符，因为有些仆人自己还有仆人，贾府会在她们离府的时候为她们寻一门亲事，作为贾府对她们的照料；贾政也把自己的女儿迎春喊作 “丫头”，所以把这些翻译成奴隶是不合适的。因此英文翻译中采用“servant”会比“slave”更为合适。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 10:08, 25 December 2020 (UTC)Xu Mengdie

==Yang Chenting 杨晨婷==
Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

2009年，莫言代表中国作为主宾国参加法兰克福书展时，他在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的印象是，两者都没有表达这个愿望，但这是后来的概念和解释，而我们不应该以此来判断过去。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:36, 25 December 2020 (UTC)Yang chenting

2009年，莫言代表中国作为主宾国参加法兰克福书展时，在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的感觉是，两者都没有表达这个愿望，但这是后来的概念和解释，我们不应该以此来判断过去。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:43, 25 December 2020 (UTC)

==Yang Hairong 杨海容==
'''8. Tragedy of all tragedies'''

Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''.

8.所有悲剧的悲剧成分

亚里士多德在《悲剧论》（诗学VI）中解释说，悲剧使人们比喜剧更能吸引人，因为他们“模仿（mimēsis）一种严肃、完整和有程度的行动”（Aristotle 1971，51）。欧洲的悲剧部分归因于亚里斯多德作品《喜剧》的丢失。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:16, 27 December 2020 (UTC)

8.所有悲剧含有的悲剧成分

亚里士多德在《悲剧论》（诗学VI）中解释道，悲剧之所以比戏剧更加动人，是因为它们“模仿（mimēsis）一种严肃、完整且具有一定规模的行动”（Aristotle 1971，51）。悲剧在欧洲拥有崇高地位部分归因于亚里士多德的作品《论喜剧》的失传。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:42, 27 December 2020 (UTC)

==Yang Hui 阳慧==
While Europe has the Hamlet as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”.

尽管欧洲将“哈姆雷特”作为悲剧的悲剧，但长期以来中国传统文学中缺乏悲剧文学的现象一直令人遗憾。王国伟把“梦”看作“一切悲剧的悲剧”。对王国伟来说，浮士德和贾宝玉的苦难是小说的核心。然而，许多学者认为，浮士德主义是中国文化的核心。

在 18 世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:40, 27 December 2020 (UTC)

欧洲悲剧中以《哈姆雷特》为悲剧，而中国文学传统中悲剧文学的缺失，长期以来被人们所惋惜。王国维认为《梦》是“所有悲剧中的悲剧”。对王国维来说，浮士德和贾宝玉的苦难是小说的中心。然而，许多学者认为浮士德主义是中国文化的核心。

在18世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:36, 27 December 2020 (UTC)Xiao Xi

==Yang Yi 杨逸==
It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

它作为一场解放运动在18世纪的伦敦、巴黎和德国发展起来，并证明了悲剧并非只发生在统治者身上，也可能发生在下层贵族和普通公民身上。《梦》与欧洲资产阶级悲剧同时上演，讲述的是一个中层贵族家庭失去头衔和特权的悲剧故事。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 03:31, 28 December 2020 (UTC)

==Yang Yue 杨悦==

'''9. “Non-Binary” Novels'''

One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

9. “非二进制小说”

可爱而神秘的主角贾宝玉是吸引西方读者的其中一点。由于他开放的双性恋倾向以及对同伴的兴趣，无论他们的社会地位如何，他彰显“现代”气质或至少不属于那个时代。他与传统学习的斗争使他显得富有同情心，他与世隔绝的漫长状态使他既具有永恒的品格又具有神秘感。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:17, 27 December 2020 (UTC)

“非二元”小说

一个吸引西方读者的东西是可爱而神秘的主人公贾宝玉。由于他开放的双性恋倾向和他对伴侣的兴趣，不管他们的社会地位如何，他显得“现代”或至少在时间上流离失所。他与传统学习的斗争使他显得富有同情心，他从世界上长期的狂喜给了他永恒的性格和神秘的气息。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:43, 27 December 2020 (UTC)

==Yang Ziling 杨子泠==
With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the ''Heart Sutra''. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

随着梦中主人公的双性取向，小说呈现出非二元性。
卡尔·海因茨·波尔认为，二进制只是表面现象，最终起决定性作用的是“心经”。今天，这部小说被列为非二元文学的一个流派（参见https://www.goodreads.com/list/tag/non-binary)，其中的反差被解构主义地化解了。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 05:01, 28 December 2020 (UTC)

==Yao Cheng 姚诚==
'''10. Foreign Cultures in the Red Chamber Dreams'''

Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties, especially the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel.

10.红楼梦中的异邦文化
红楼梦中经常出现各种各样的异邦文化元素，例如许多贾府物品带有异国情调，并以新奇用品的形式呈现给贾府，尤其是提到的与宝玉同龄的金发女孩（结合了不同的来历和文化，包括欧洲，日本，中国），金发女孩也多次在绘画中出现，其中一次是为有翅膀的天使的形象。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:47, 27 December 2020 (UTC)

10.红楼梦中的异邦文化

红楼梦中经常出现各种各样的异邦文化元素，例如许多贾府物品带有异国情调，并是以新奇的形式呈现给贾府的，尤其是其中提到的与宝玉同龄的金发女孩（结合了不同的来历和文化，包括欧洲，日本，中国），金发女孩也多次在绘画中出现，有一次是以带翅膀的天使的形象出现。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 03:36, 28 December 2020 (UTC)

==Yao Jia 姚佳==
The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.
我们在描述宗教服饰时也能见识不同传统的玩味结合，它带有不同宗教的特点。同样，道士和儒士也可一起出现。曹雪芹想表现出小说的丰富性和多样性，这也与小说的诸多题材和社会层面有关。在书中甚至可以找到各种基督教的主题，比如第120章贾宝玉不被父亲认可，贾宝玉消失，这些都与耶稣基督平行。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 00:10, 28 December 2020 (UTC)

宗教服饰带有不同宗教的特点，在描述一种宗教服饰时，我们也能体味不同宗教传统的玩味结合。同样，道士和儒士也可一起出现。曹雪芹想表现出小说的丰富性和多样性，同时也要展现出小说的众多主题和社会层次。在书中甚至可以找到各种基督教的主题，比如第120章贾宝玉不被父亲认可，以及贾宝玉消失的时候，这些都与耶稣基督平行。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 00:43, 28 December 2020 (UTC)

==Yi Huan 易欢==
The variety of cultures is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the Red Chamber Dreams as “World Documentary Heritage”.

'''References'''（参考文献不用翻译）

Anthony, C. Yu. (2001). ''Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber''. Princeton University Press.

Aristotle. (1971). ''Poetics''. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). ''Der Traum der Roten Kammer oder Die Geschichte vom Stein'' [''Red Chamber Dreams or The Story of the Stone''], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. ''Hong lou meng xue kan'' 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. ''Journal of Sino-Western Communications'' 2 (2010.12) 2:81-107

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. ''Journal of Language Teaching and Research'', Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

==Yi Zichu 义子楚==
'''Virtual Communication Between Machines with the Human as Their Object
'''

A new stage of multimodal communication after oral, written, printed, electronic and machine-human communication

Martin Woesler, Hunan Normal University

'''Abstract'''

Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.

机器之间以人为对象的虚拟通信

口头，书面，印刷，电子和人机交流之后的多模式交流进入新阶段

湖南师范大学马丁·沃斯勒

摘要

卢曼和贝克尔描述了从口头交流（媒体时代1.0）到脚本（2.0），从印刷品（3.0）到数字通信（4.0）的发展。在所有这些阶段中，技术仅起到辅助作用。
--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:33, 28 December 2020 (UTC)

卢曼和贝克尔描述了从口头交流（媒体时代1.0）到脚本（2.0），从印刷品（3.0）最终到数字通信（4.0）的发展。在所有这些阶段中，技术仅起到辅助作用。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 05:05, 28 December 2020 (UTC)

==You Yuting 游雨婷==
This paper argues, that there is a fundamentally new media epoch of “virtual communication” (communication 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).

Algorithms do not only listen to oral or read written human communication (between humans or between humans and bots), but they analyze multimodal communication (including likes, behaviour, surfing habits, mobility profile, values, dreams, aims, beliefs etc.), compare them with Big Data (e.g. cloud data) and base decisions of manipulation on a prediction of behavior according to a personality profile and correlations.

本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管，人类成为分析和操纵的对象(如顾客、选民等)。

算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:34, 26 December 2020 (UTC)

本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管世界，人类成为分析和操纵的对象(如顾客、选民等)。

算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:47, 27 December 2020 (UTC)

==Yu Ni 余妮==
These algorithms target not only the explicit communications, but the emotions and thoughts of humans too and predict future behavior, therefore allowing simulations of reality. Mightier algorithms have also taken over decision-making roles in societies where they: replace human court decisions, fine tune just-in-time and on-demand production, censor chatrooms etc. Sets of algorithms help to manage smart cities and a whole society.

这些算法不仅针对明确的交流，也针对人类的情绪和思想，并预测未来的行为，因此允许模拟现实。更强大的算法也在社会中占据了决策角色：取代人类法庭的判决，及时微调和按需制作，审查聊天室等。一套算法有助于管理智慧城市和整个社会。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:34, 27 December 2020 (UTC)

----

==Yuan Shiqi 袁诗琦==
Although the human is still part of the communication, especially as the analyzed object and the target of the manipulation, the human is often unaware of the virtual communication and a passive receiver of the machine’s decisions, while the main actors in the virtual communication are machines.

虽然人仍然是通信的一部分，特别是作为被分析的对象和操纵的目标，但是人往往没有意识到虚拟通信和机器决策的被动接受者，而虚拟通信的主要参与者是机器。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:55, 25 December 2020 (UTC)

尽管人类仍然是交流活动的一个组成部分，特别是作为被分析的对象和操纵的目标，但是人类往往没有意识到，自己是虚拟沟通和机器决策的被动接受者，而虚拟沟通的主导者是机器。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:11, 25 December 2020 (UTC)

虽然人仍然是构成通信的一部分，尤其是作为分析对象和操纵目标，但人往往没有意识到人们在虚拟通信中扮演机器决策的被动接受者，而机器才是主要参与者。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:42, 25 December 2020 (UTC)

==Yuan Tianyi 袁天翼==
Research describes these forms of virtual communication, finds evidence in social management systems and credit systems (in Germany, we have the “Schufa”, in the USA there are big players in credit history, which leads to credit-orientation and gamification of human life) or customized (fake) news filter bubbles and in customized consumption offers (Amazon, Facebook, Google, Netflix) and analyzes benefits, including security enhancements through such virtual communication.

研究对这些形式的虚拟沟通进行了描述，在社会管理系统、信用系统（定制的（虚假）新闻筛选泡沫）和定制的消费商（亚马逊、脸书、谷歌、网飞）里面找到了证据（德国有“Schufa”，美国则因为信用史有重大人物而使得社会信用至上并日趋游戏化），并对益处加以分析，这些益处包含通过这类虚拟沟通提升安全。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:20, 25 December 2020 (UTC)

研究描述了这些虚拟通信的形式，在社会管理系统和信用系统中找到证据（在德国，我们有 "Schufa"，在美国有信用记录的大玩家，这导致了信用导向和人类生活的游戏化）或定制化（假）新闻过滤气泡，以及在定制化的消费优惠中（亚马逊，Facebook，谷歌，Netflix），并分析了好处，包括通过这种虚拟通信增强安全性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:03, 25 December 2020 (UTC)

==Yuan Yuchen 袁雨晨==
But research also has the duty to warn of abuse or harmful developments and to raise ethical questions. Exoskeletal ethics, imposed by gamifications like credit systems, especially need to be valued against intrinsic ethics.

'''Introduction'''

In this paper dealing with machine to machine communication, I skip the machines assisting humans to make their life more convenient (ranging from “The milk is out, please add the usual amount of milk to the delivery list,” to “The old lady has not left her bed this morning, I’ll better call the doctor”).

但研究也有责任对滥用或有害的发展发出警告，同时要对引起的伦理问题也要承担责任。特别是信用体系游戏化所造成的外骨骼伦理问题更需要得到重视，要反对内在的伦理问题。

引言

本论文在涉及机器与机器之间的交流时，我不考虑那些帮助人类让生活更便捷的机器（从“牛奶没了，请在送货单上加平常剂量的牛奶”到“老太太今早卧床不起，我最好叫医生吧”）。
--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:10, 25 December 2020 (UTC)

但研究也有责任对滥用或有害的发展提出警告，并提出伦理问题。特别是信用体系等游戏化所强加的外骨骼伦理，更需要对照内在伦理加以重视。

引言

在本文中涉及机器与机器之间的交流，我跳过了机器协助人类提高生活便利的内容（从 "牛奶没了，请把平时的牛奶量加到送货单上"，到 "老太太今天早上还没下床，我还是叫医生吧"。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:40, 26 December 2020 (UTC)Xiao Ting

==Zeng Fangyuan 曾芳缘==
Instead, I deal with communication like: “Let’s create a user personality profile and compare it with Big Data to learn how I can best catch this user’s attention and make him/her vote for presidential candidate A or B.”; “Let’s check this users’ mouse movements and compare it with Big Data to get a correlation to estimate if (and if “yes” when) he will get Parkinson, to decide whether or not to deny him the loan or health insurance.”
实际上，本人研究涉及的方面如下：比如，“让我们创建一名用户的个性化主界面，并将其与大数据进行比对，学习如何最好的吸引该用户的注意，让他/她投票给总统候选人甲或乙。”“让我们检查这名用户鼠标的运动轨迹，通过与大数据进行比对，建立关联，来估计他是否会得帕金森。如果他患有帕金森疾病，我们会决定是否需要对他的贷款或医疗保险的申请予以拒绝。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:41, 26 December 2020 (UTC)

==Zeng Liang 曾良==
“Let’s check this users sexual orientation, religious beliefs, fears, secrets like adultery etc. to blackmail him to get ransom money for my programmer.”; or even “Let’s use this user’s location to aim the killer drone.”

The current neoliberal system with Amazon, Facebook, WhatsApp, Instagram, Google, Netflix etc. provides incentives to collect as much user data as possible and to abuse user data for manipulation, which creates huge profits.

“让我们检查该用户的性取向、宗教信仰、恐惧、诸如通奸之类的秘密去勒索他为我的程序员去获取赎金”。或者甚至“使用用户的位置瞄准杀手无人机。”

当前具有亚马逊、脸谱网、瓦茨艾普、照片墙、谷歌、奈飞等的新自由主义系统激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:04, 25 December 2020 (UTC)

"让我们查一查这个用户的性取向、宗教信仰、恐惧、通奸等秘密，以勒索他为我的程序员获取赎金。"；甚至"利用这个用户的位置来瞄准杀手无人机。"
目前亚马逊、脸书、WhatsApp、Instagram、谷歌、奈飞等的新自由主义体系，为收集尽可能多的用户数据，并滥用用户数据，从而创造了巨大的利润。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:39, 25 December 2020 (UTC)Yang chenting

“让我们检查该用户的性取向、宗教信仰、惧怕的事物、诸如通奸之类的秘密，从而勒索他让我的程序员获取赎金”。更有甚时，“让我们使用用户的位置让攻击机瞄准他。”

当前亚马逊、脸书、联络电话、Instagram、谷歌、网飞等的新自由主义的系统软件，激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:53, 26 December 2020 (UTC)

==Zeng Xinyuan 曾心媛==
Very much like the financial crisis, which was caused by the unregulated use of derivatives, this is a systemic development, which currently follows a path to enslave the human race under the control of algorithms for the benefit of tech companies. The enslavement has already begun, as we can see from the world wide addiction to social media, from the growing mass of conspiracy theorists and from the polarization of the USA over Trump or the polarization of Great Britain over the Brexit.

这与因不受监管地使用衍生品导致的金融危机非常相似。这是一个系统性的发展，它目前走的是一条用算法控制奴役人们，为科技公司谋利的道路。从全世界对社交媒体的沉迷，从越来越多的阴谋论者，从美国对特朗普的两极分化或英国对英国脱欧的两极分化，我们都可以看出，奴役已经开始。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:07, 27 December 2020 (UTC)

==Zeng Yanhu 曾雁湖==
'''1 History of Media Epochs'''

Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.

This paper argues, that there is a fundamentally new stage of “virtual communication” (media epoch 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).

卢曼和贝克尔描述了从口头（媒体时代1.0）到文字（2.0）的通讯发展，再到印刷（3.0）数字通讯（4.0）
在所有这些阶段中，科技都只起到了协助作用。

本文认为，从根本上来说，“虚拟沟通”处于新阶段（媒体时代5.0），其中人工智能（由人类初始化）已被接管，人类已成为分析和操纵的对象（如顾客，选民等）--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:56, 26 December 2020 (UTC)

==Zhang Hu 张虎==
While Luhmann would still summarize this under digital communication, I see a full new quality here, and have therefore coined the term “communication 5.0” or “virtual communication” for it. In Luhmann’s view, the computer consists out of the “surface” of the machine (the visible interfaces like screen, keyboard, mouse) and the “depth” of the machine (the invisible, often incomprehensive inside).

虽然卢曼仍然会在数字通信中总结这一点，但我在这里看到了一个全新的品质，因此创造了术语“通信5.0”或“虚拟通信”。在卢曼看来，计算机是由机器的“表面”(屏幕、键盘、鼠标等可见界面)和机器的“内里”(看不见的、内部不全面的部分)组成的。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:41, 25 December 2020 (UTC)

==Zhang Hui 张慧==
However, we are almost constantly producing data, with our chats and geotracked movements, with our addiction to social media, our carrying of cell phones and more and more smart devices at all times, and we are therefore an object of analysis by algorithms.

The traditional setting of a communicative act blurs: The machine can directly communicate with the human (there the Turing test marks a threshold), and, after a certain complexity, it can hide its machine nature.

但是，我们几乎一直在通过聊天和地理位置追踪运动，不断沉迷于社交媒体，携带手机以及越来越多的智能设备来生成数据，因此，我们一直是通过算法进行分析的对象。

交流行为的传统设置变得模糊：机器可以直接与人类交流（图灵测试标记了阈值），并且在经过一定的复杂性之后，它可以隐藏机器的本质。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:49, 25 December 2020 (UTC)

然而，我们几乎在不断地产生数据，我们的聊天和地理追踪的动作，我们对社交媒体的沉迷，我们随时携带手机和越来越多的智能设备，因而成为算法分析的对象。

传统的交流行为的设定模糊了。机器可以直接与人类交流（图灵测试标志着一个门槛），在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:03, 25 December 2020 (UTC)
然而，我们几乎是在不断地产生数据，我们的聊天和追踪移动，我们对社交媒体的沉迷，我们无时无刻都带着手机和越来越多的智能设备，因此我们是算法分析的对象。
传统的交流行为设定是模糊的:机器可以直接与人类交流(图灵测试在这里标记了一个阈值)，并且在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:49, 27 December 2020 (UTC)

==Zhang Ling 张玲==
The machine can also indirectly communicate with the human by simply analyzing humans’ verbal communication, non-verbal multimodal communication, behavior, personality etc. and interacting with the human with, or without, revealing its existence. A human, growing up in a filter bubble and believing in conspiracy theories is one such example: The human has been manipulated by social media and news which prefer lies over truth.

机器还可以通过简单地分析人类的语言交流、非语言的多模态交流、行为、个性等，并与人类进行交互，从而间接地与人类进行交流，从而揭示人类的存在。一个在过滤器泡沫中成长并相信阴谋论的人就是这样一个例子：人们被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:33, 27 December 2020 (UTC)

机器也可以通过简单地分析人类的语言交流、非语言多模态交流、行为、个性等与人类进行交流，或者间接地与人类进行互动，从而揭示人类的存在。一个在过滤气泡中长大、相信阴谋论的人就是这样一个例子:这个人一直被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:45, 27 December 2020 (UTC)

==Zhang Peiwen 张佩闻==
Without even noticing that there was an interaction taking place between the human and the machine, the human has lost his/her independence to the machine.

'''2 Types of communicative acts'''

1.Texts (oral and written comments/chat texts/blogs/emails)

2.Surf behavior (websites visited)

3.Consumer behavior (purchases)

4.Likes (see OCEAN, UEBA)

5.Duration/Attention (see UEBA)

6.habits/repetitiveness/occurrences (is an element of analysis in different AI apps/tools)
甚至没有注意到人与机器之间发生的互动，人已经失去了他/她对机器的独立性。

"两种类型的交际行为"

1.
文本(口头和书面评论/聊天文本/博客/电子邮件)

2.
上网行为(浏览网站)

3.
消费者行为(购买)

4.
喜欢(参见OCEAN, UEBA)

5.
持续时间/关注(见UEBA)

6.
习惯/重复/出现(是不同AI应用/工具的分析元素)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:46, 27 December 2020 (UTC)

==Zhang Qi 张琪==
7.Unconscious, often unique data allowing identification (way of writing, mouse movements pattern, see Raj Kannan 2020)

8.social interaction incl. friendships, sexual relationships

9.mobility behavior/pattern (e.g. immediate environment – e.g. unconsciously recording the inside of houses while playing “Pokemon Go”), travel: Travel Behavior (Yu Cui et al. 2018)

7，无意识且通常唯一的数据可以识别（书写方式，鼠标移动方式，请参见Raj Kannan 2020）

8.社交互动，包括友谊，性关系

9.出行行为/模式（例如周围环境-例如在玩``口袋妖怪Go''时不自觉地记录房屋内部），旅行：出行行为（于翠等人，2018年）--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:24, 27 December 2020 (UTC)

==Zhang Weihong 张维虹==
'''3 Types of analysis'''

1.General (User and Entity Behavior Analytics UEBA: AI-assisted cybersecurity tools like by Gartner, Inc.)

2.True identity (e.g.: mouse movements, face recognition, find real name) (Verschuere 2016)

3.Personality profile: Big Five Personality Inventory: Openness to Experience, Consciousness, Extroversion, Agreeableness, Neuroticism “OCEAN” (Golbeck 2011), by only analyzing the users' likes, Facebook can generate personality profiles (AI-Demand 2020)

4.Mobility profile/pattern

'''3种分析类型'''

1.概况（用户和实体行为分析:AI辅助的网络安全工具，如美国Gartner公司提供的）

2.真实身份（例如:鼠标移动，人脸识别，查找真实姓名）（Verschuere，2016）

3.个人简介:五大人格清单:开放体验，意识，外向，宜人，神经质海洋（Golbeck，2011），仅通过分析用户的喜好，脸书就可以生成个人简历（AI-Demand，2020）

4..流动概况/模式

==Zhang Xueyi 张雪仪==
5.Health situation (health apps, ai supported disease research, see Daley 2020)

6.Job situation/job market (Talent Search People 2020 analyzes the job market, and classifies 4 different AI systems: 1. systems that think like humans, 2. systems that act like humans, 3. systems that think rationally, and 4.) systems that act rationally.)

5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)

6.就业形势/就业市场（2020年《人才搜索人》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:33, 27 December 2020 (UTC)

5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)

6.就业形势/就业市场（《人才搜索人 2020》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:58, 27 December 2020 (UTC)

==Zhang Yinliu 张银柳==
7.Financial credit-worthiness: E.g. German Schufa company uses AI in addition to human expertise for evaluations, see Banken-Technologie 2020. Banken-Technologie 2020. Schufa’s attempt to gain access to customers’ bank account transfer information was discussed in the news.

8.Consumer Behavior: e.g. the "clickworker" company analyses and optimizes customers' searches in respect to a client company's goals/products with the help of AI (clickworker 2019)

9.Secrets (like adultery)

7.财务信誉度：例如,德国Schufa公司除使用人类专业知识外还使用AI进行评估,请参阅Banken科技2020。新闻中讨论了Schufa尝试访问客户的银行帐户转账信息的尝试。

8，消费者行为：例如在微软的帮助下，``clickworker''公司根据客户公司的目标/产品分析并优化了客户的搜索（clickworker 2019）

9，秘密（如通奸）--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 03:59, 28 December 2020 (UTC)

==Zhang Yu 张瑜==
'''4 Unique quality of media epoch 5.0'''[ I have coined the terms “media epoch 5.0” and “virtual communication” I have developed it from concepts like „Industry 4.0“ in Germany and the four media epochs Luhmann and Baecker developed (by Baecker called 1.0 … 4.0). There are several authors speculating about the media epoch 4.0, like Ray Kurzweil. The Age of Intelligent Machines. 1990.]

1.the human switches from active to passive

2.the human switches from subject to object

3.the human becomes addicted to social media, which enhances depression (Van Den Eijnden et al. 2016, Jasso-Medrano et al. 2018, Shensa et al. 2017)

4.the human switches from puppeteer, or entity with seemingly free will, to puppet

5.nature of the internet turns from freedom to surveillance

4.媒介5.0时代的独特品质 [我创造了 "媒介5.0时代"和 "虚拟通信 "这两个词，它们是从德国的“工业4.0”以及卢曼和贝克提出的媒介4.0时代（贝克称之为1.0...4.0）等概念发展而来的。一些作者揣测媒介4.0时代这个词的含义，比如1990年出版的雷-库兹韦尔的《灵魂机器时代》]

1.人从主动到被动的转换

2.人从主体到客体的转换

3.人沉迷于社交媒体，提高了患抑郁症的风险

4.人从木偶操纵者或看似拥有自由意志的实体到木偶人的转换

5.互联网的性质从自由到监测的转换--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:25, 26 December 2020 (UTC)

==Zhang Yujie 张毓婕==
6.direct communication turns into indirect communication (humans may not be aware of this communication/analysis)

7.explicit communication (voice, words) turns into implicit communication (preferences/thoughts/dreams/wishes/ values (first experiments with brain scanners in worker hats have started in Shanghai and Peking))

8.man-man communication turns to man-machine communication (phone bot) to machine-machine

9.4.0 was from centralization to decentralization, 5.0 is partial centralization and partial decentralization, but also concentration

6，直接交流变成间接交流（人们自己可能没有意识到这种交流/分析）。

7，明确的交流（声音，文字）变成隐性的交流（偏好/想法/梦想/愿望/价值观（上海和北京已开始在工人的帽子上使用脑扫描仪进行首次实验））。

8，人与人之间的通信变成了人与机器之间的通信（电话机器人）再到机器与机器之间的通信。

9.4.0是从集中到分散，5.0是部分集中和部分分散，也有集中。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:52, 27 December 2020 (UTC)

==Zhang Yuxing 张宇星==
So far, mass media has been considered one-way. The interaction and processing of data of millions of individual users seemed simply too much work. In the age of virtual communication, the media epoch 5.0, mass media is individualized and interactive and therefore even more influential.

'''5 Types of manipulation (consciously or unconsciously, sometimes half-consciously)
'''

1.Priming by unconscious advertisements: Influencing consumer decisions

2.Filter bubbles => supports conspiracy theories, influences judgments

到目前为止，大众媒体一直被认为是单一的。数百万个人用户数据的交互和处理似乎太费力。在虚拟传播时代，即媒体时代5.0，大众传媒是个性化和互动的，因此更具影响力。

'''5 种操纵类型（有意识或无意识，有时是半意识的）'''

1.无意识广告发布：影响消费者决策

2.过滤泡沫=>支持阴谋论，影响判断--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:08, 26 December 2020 (UTC)

==Zhao Xi 赵茜==
3.Nature of social media: lies spread 6 times faster than truth. (Vosoughi et al. 2018).

4.Change of political attitude: Case Cambridge Analytica: Helped minority to win election by manipulating young people of majority not to vote (Do so: Don’t vote campaign, Oddleifson 2020); Trump election and Brexit were won by manipulation

5.Use of private information/dependencies to obtain advantages (blackmailing for money or for conducting crimes etc.)

6.Identity theft

3.社交媒体的本质：谎言的传播速度比真理快 6 倍。（Vosoughi等人，2018年）。

4.改变政治态度：案例剑桥分析：通过操纵多数年轻人不投票帮助少数民族赢得选举（这样做：不要投票竞选。奥德利夫森 2020年）；特朗普选举和英国脱欧通过操纵获胜

5.利用私人信息/依赖关系获取好处（勒索钱财或犯罪等）

6.身份盗窃--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:18, 27 December 2020 (UTC)

3.社交媒体的性质：谎言传播速度是真相的6倍。（Vosoughi等人，2018年）。
4.政治态度的改变：剑桥分析案例：通过操纵大多数年轻人不投票帮助少数人赢得选举（Do Do Do:Do not vote campaign，Oddleifson 2020）；特朗普选举和脱欧是通过操纵赢得的
5.利用私人信息/依赖性获取利益（勒索钱财或犯罪等）
6.身份盗窃--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:03, 27 December 2020 (UTC)

==Zhao Xiaoyan 赵晓燕==
'''6 Consequences'''

1.Virtual Communication is mostly “hidden”, the human is mostly unaware of it, but may endure the consequences (policeman may detain suspect simply because the face recognition glass recognizes a pedestrian passing by and assesses him/her as “dangerous”; loan is declined; insurance company declines to accept new customer)

6.后果

1.虚拟通讯大多是 "隐蔽 "的，人多半不知道，但可能会承受后果（警察可能仅仅因为人脸识别玻璃识别出路过的行人，并评估其为 "危险 "而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新的客户）--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:02, 25 December 2020 (UTC)

6.后果

1.虚拟通信通常是“隐藏的”，人类大多数情况下是不知道的，但可能会承受后果（警察可能只是因为面部识别玻璃杯识别出行人经过并将他/她评估为“危险”而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:05, 25 December 2020 (UTC)

'''6.后果
'''

1.大多情况下，虚拟通信是“隐藏的”，人类也没有意识到这一点，但可能会承担由此带来的后果（警察可能会因为面部识别玻璃检测到行人通过，并将其评估为“危险人物”而将嫌疑犯拘留‘贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:29, 26 December 2020 (UTC)

==Zheng Huajun 郑华君==
2.User becomes transparent (government can fight terrorism, any user can be blackmailed, jealous spouse can check on adultery)

3.Less will to communicate and discuss (since positions are too far apart)

4.Populists and populist views gain supporters

5.Polarization of Society

6.There is an incentive not to reveal how much one knows about the object, because the object then could question the legality, the system etc.

7.Last resort, the thinking, is tackled: Machine interprets “real” attitudes, not lip-service words

2.用户变得透明化（政府可以反恐，任何用户都可以被拉黑，嫉妒的配偶可以查奸情）

3.交流讨论意愿较弱（因为立场相差太远）

4.民粹主义者和民粹主义观点获得支持者

5.社会的两极分化

6.有动机不透露自己对对象了解多少，因为对象就可能质疑合法性、制度等。

7.最后的手段—思维，已经被破解：机器解释的是 "真实 "的态度，而不是口头禅--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:03, 27 December 2020 (UTC)

2.用户变得透明（政府可以反恐，任何用户都可以被勒索，嫉妒的配偶可以调查奸情）

3.缺乏沟通和讨论的意愿（因为立场相差太远）

4.民粹主义者和民粹主义观点获得支持者

5.社会两极分化

6.有动机不透露自己对客体了解多少，因为客体可能会质疑其合法性、制度等。

7.最后一个办法是思考：机器解释的是“真实”的态度，而不是口头禅--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:42, 27 December 2020 (UTC)

2.用户变得透明(政府可以打击恐怖主义，任何用户都可以被勒索，嫉妒的配偶可以遏制通奸)。

3.缺乏沟通和讨论的意愿(因为职位相距太远)。

4.民粹主义和民粹主义观点获得支持。

5.社会两极分化。

英译汉有一种动机是不透露一个人对该对象了解多少，因为该对象可能会对合法性、制度等提出质疑。

7.最后要解决的是思维问题：机器解释的是“真实”的态度，而不是口惠而实不至的话--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 06:41, 28 December 2020 (UTC)

==Zhou Luoping 周罗平==
8.The knowing ones (algorithms, hackers, controllers of algorithms) have power over the unknowing ones (victims)

9.Exoskeleton ethics (like points/awards for measurable performances) reduce incentives to build inner ethics
'''
7 Simulation of the imminent future'''

1.The imminent future behavior of a human can be predicted

2.With many analyzed humans, the imminent future of reality can be predicted => simulation

8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模8拟即将到来的未来
1.人类即将发生的未来行为是可以预测的
2.有了许多被分析的人类，现实的即将到来的未来可以被预测=>模拟--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:00, 27 December 2020 (UTC)

8.已知的人（算法、黑客、算法的控制者）比未知im min的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模拟迫近的未来
1.人类的迫近未来行为是可以预测的
2.在分析了许多人类后，我们便可预测现实的迫近未来=>模拟--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:22, 27 December 2020 (UTC)

8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模8拟即将到来的未来
1.人类即将发生的未来行为是可以预测的
2.通过大量分析人类，现实里马上到来的未来便可预测到=>模拟--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:32, 27 December 2020 (UTC)

==Zhou Shiqing 周诗卿==
Is this an Orwellian dystopia or reality? Some cases of the above listed phenomena have been documented. However, we are still at the beginning of “little” AI development (optimizing existing processes) and on the brink of a much more powerful development, that of “big” AI (rethinking whole industries, being able to reproduce and enhance itself). (cf. Euchner 2019).

==Zhou Shuyao 周书尧==
'''8 Conclusion and Outlook'''

Data has succeeded oil as the most valuable resource for today’s economy. Big Tech companies already use users’ data and make big profits with it while legislation is delayed and national boundaries (which do not exist for the Tech companies) are struggled over.
Although input-legitimized liberal democracies and market economies, like that of the European Union, still protect privacy and data security, US- and China-based technology companies are already penetrating the European market.

'''8 结论与展望'''

数据已经取代石油成为当今经济中最有价值的资源。大型科技公司已经在使用用户的数据并从中牟取暴利，与此同时，立法被拖延，国界（不存在科技公司）正在为之苦苦挣扎。

尽管像欧盟这样的以输入合法化的自由民主国家和市场经济，仍然保护着隐私和数据安全，但是中美两国的科技公司已经开始渗透欧洲市场。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:59, 27 December 2020 (UTC)

==Zhou Siqing 周思庆==
We need to raise awareness and guide the youth to be careful with screen time and what they share online. We need to avoid addiction to social media.

'''The algorithms do not just check which film to suggest viewing next, they have started to invade the innermost sanctum of personality, our thoughts, dreams, wishes, visions, hopes, fears and secrets.
'''
'''
The listed consequences document a fundamental change of paradigms:
'''
我们需要提高意识，引导青少年注意屏幕时间和他们在网上分享的东西。我们需要避免沉迷于社交媒体。

'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''

所列出的后果证明了范式的根本变化:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:38, 26 December 2020 (UTC)

我们需要提高意识，引导青少年留意屏幕时间和网上分享，需要避免沉迷于社交媒体。

'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''

所列出的后果证明了范式的基本变化:--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:11, 26 December 2020 (UTC)

==Zhou Yiwen 周艺文==
'''The cause-based decision-making by humans with established institutions like politicians, judges etc. is being replaced with correlation-based decision-making by algorithms which often serve the profit interests of tech companies or the political interests of election-manipulators.
'''

AI took the wrong development path, when it changed from serving humans to trying to manipulate humans for economic or political profit. When AI is used to educate citizens – like helping German customers to keep a clean credit history and a good credit score – then it changes the behavior of citizens to an exoskeletal ethic.

人类通过建立政治、法官等制度所形成的原因导向的决策方法正在被算法形成的关联导向的决策方法所取代，算法通常为科技公司的利润利益或选举操纵者的政治利益服务。

人工智能走上了错误的发展道路，它从为人类服务变成了试图为了经济或政治利益而操纵人类。当人工智能被用于教育公民——比如帮助德国客户保持干净的信用历史和良好的信用评分——它就会改变公民的行为，使其成为一种外骨骼伦理。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:42, 27 December 2020 (UTC)

==Zhou Yuanqu 周园曲==
However, animals with an exoskeleton reduce their inside muscles and develop a soft inside, making them totally incapable of living without the exoskeleton. An exoskeletal ethic, giving reward points, for example, for behavior which is deemed positive and subtracting points for behavior which is deemed negative, deprives the human of the natural learning and developing process, in a social environment, of his responsibility and inner ethical judgment. If you were to meet a human with exoskeletal ethics and one who has inner ethics, whom would you trust more?

但是，具有外骨骼的动物会减少其内部肌肉并发展出柔软的内部，从而使它们完全没有外骨骼就无法生存。骨骼外伦理，例如，对于被认为是积极的行为给予奖励积分，而对于被认为是消极的行为给予减分，这剥夺了人类在社会环境中的自然学习和发展过程的责任和内在的道德判断力。如果遇到一个具有骨骼外伦理和内心道德的人，你会更信任谁？--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:10, 28 December 2020 (UTC)

==Zhou Yujuan 周玉娟==
If we want to avoid the consequences listed in point 6, the public needs to become aware of this and nations and supranational organizations need to define legislation to a) protect privacy and data security, and b) give the user the control over his/her data including the commercial use of it where they earn a share from the profit made with the usage of his/her data.

==Zhu Meimei 祝美梅==
'''9 Outlook'''

We need to accept, that the development is irreversible. Every new technology has created fears. Important is, that we become aware of the developments and adjust where the development heads into the wrong direction. We need set the right framework and incentives that the new technology stays on track to serve humanity.

'''9展望'''

我们必须承认，发展是不可逆转的。每一项新技术都在某种程度上引发了恐慌。然后重要的事情是，我们开始意识到，并调整那些朝错误方向进行的发展。我们需要制定正确的构架和激励措施，让新技术继续稳定地为人类服务。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 03:06, 28 December 2020 (UTC)

'''9展望'''

我们不得不承认，这种发展是不可逆转的。每一项新技术都会引发恐慌。重要的是，我们要意识到这些发展，并调整错误的发展方向。我们需要建立正确的框架和激励机制，使新技术能够继续为人类服务。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 04:04, 28 December 2020 (UTC)

==Zhu Suyao 朱素瑶==
New developments open new possibilities. We need to make sure that not only a few tech companies and terrorists use this powerful new technology to achieve their goals, but that the mass of smart device users emancipate themselves from addiction to and manipulation by technology and gain back their dignity, privacy and free will.

'''References
'''
（参考文献不用翻译）

AI-Demand. (2020). www.ai-demand.com/insights/data/big-data/big-data-and-facebook-the-heavenly-pair-that-isnt-quite-in-heaven/

Baecker, Dirk. (2007). ''Studien zur nächsten Gesellschaft''. Frankfurt 2007

Banken-Technologie. (2020). 26. Handelsblatt Jahrestagung. Banken-Technologie. „New Normal” in der Finanzwirtschaft: digital – intelligent – automatisiert – hybrid. 2. und 3.12.2020, Digital [Conference Announcement] https://veranstaltungen.handelsblatt.com/bankentechnologie/ki-machine-learning-finanzanalyse/

Booth, T. "Cambridge Analytica controversy must spur researchers to update data ethics." ''Nature'' 555.7698 (2018): 559-560.

Clickworker. (2019). www.clickworker.com/2019/04/30/ai-for-ecommerce/

Cui, Yu, Qing He, and Alireza Khani. (2018). Travel behavior classification: an approach with social network and deep learning. ''Transportation research record'', 2672(47), 68-80. https://par.nsf.gov/servlets/purl/10109453

Daley, Sam. (2020). 32 Examples of AI in Healthcare that Will Make you Feel better about the Future (July 4, 2019, updated July 29, 2020). builtin.com/artificial-intelligence/artificial-intelligence-healthcare

Euchner, Jim. (2019). Little ai, Big AI—Good AI, Bad AI. Terminology Management 62:3, 10-12. pdf:

https://www.tandfonline.com/doi/pdf/10.1080/08956308.2019.1587280?needAccess=true

Golbeck, Jennifer, Cristina Robles, and Karen Turner. (2011). "Predicting personality with social media." ''CHI'11 extended abstracts on human factors in computing systems''. 2011. 253-262.

Jasso-Medrano, José Luis, and Fuensanta Lopez-Rosales. (2018). "Measuring the relationship between social media use and addictive behavior and depression and suicide ideation among university students." Computers in Human Behavior 87: 183-191.

Luhmann, Niklas. (1997). ''Die Gesellschaft der Gesellschaft''. 1997

Oddleifson, Evan. 2020, The Effects of Modern Data Analytics in Electoral Politics: Cambridge Analytica’s Suppression of Voter Agency and the Implications for Global Politics, ''Political Sciences Undergraduate Review'' 5 (2020) 7, 1-7.

https://journals.library.ualberta.ca/psur/index.php/psur/article/view/130/90/130-Article%20Text-642-1-10-20200401.pdf

Raj Kannan, J., Sabitha, R., Karthik, S., & Shanthini, J. (2020). Mouse Movement Pattern Based Analysis of Customer Behavior (CBA-MMP) Using Cloud Data Analytics. ''Wireless Personal Communications'', OnlineFirst, 1-17.

Ruan, Lotus, et al. "One App, Two Systems: How WeChat uses one censorship policy in China and another internationally." (2016).
Shensa, Ariel, et al. (2017). "Problematic social media use and depressive symptoms among US young adults: A nationally-representative study." ''Social Science & Medicine ''182: 150-157.

Talent Search People. (2020). How Will Artificial Intelligence Affect the Job Market? www.talentsearchpeople.com/en/blog/494-how-will-artificial-intelligence-affect-the-job-market/.

Van Den Eijnden, Regina JJM, Jeroen S. Lemmens, and Patti M. Valkenburg. (2016). "The social media disorder scale." ''Computers in Human Behavior ''61: 478-487.

Verschuere, Bruno, and Bennett Kleinberg. "ID‐check: Online Concealed Information Test reveals true identity." ''Journal of forensic sciences'' 61 (2016): S237-S240.

Vosoughi, Soroush, Deb Roy, and Sinan Aral. (2018). The spread of true and false news online. Science 359.6380: 1146-1151.. science.sciencemag.org/content/359/6380/1146

新发展提供了新可能。我们需要确保除了少数的技术公司和恐怖分子使用这一强大的新技术来达到他们的目的，还需要确保大量的智能设备的使用者不再沉迷于其中，不再被技术操控，从而重拾尊严，重获隐私和实现意志自由。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 06:51, 28 December 2020 (UTC)

==Zhu Xu 朱旭==
'''Bio'''

Martin Woesler, PhD, is Jean Monnet Chair in European Studies with Hunan Normal University since 2020. At its Foreign Studies College, he is Distinguished Professor of Chinese Studies, Translation Studies and Comparative Literature since 2019. Woesler was elected Academian of the European Academy of Sciences and Arts, Salzburg in 2019.
Woesler has co-edited the books "China's Digital Dream", "Ethics of Information Society" and Springer has scheduled to publish the book "Diverse Voices in Chinese Translation and Interpretation" including his book chapter "Modern Interpreting with Digital and Technical Aids" in February 2021.

个人简历

自2020年起，吴漠汀（Martin Woesler）博士是湖南师范大学欧洲研究的讲座教授。自2019年来，他在湖师大外国语学院担任中国文化研究、翻译研究和比较文学的特聘教授。2019年，吴教授当选萨尔茨堡欧洲科学与艺术学院院士。吴教授曾与人合编《中国的数字梦想》、《信息社会伦理学》等书。施普林格（Springer）已计划于2021年2月出版《中国笔译与口译中的多种声音》一书，其中包括他的《数字与技术辅助的现代口译》一章。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:26, 27 December 2020 (UTC)

==Zou Xinyu 邹鑫雨==
Woesler was a Senior Fellow of the German Science Foundation's (Deutsche Forschungsgemeinschaft) Research College "Media Cultures of Computer Simulations" 2019‐2020 and hosted a related workshop with Bertelsmann Foundation in 2020. Woesler is also a researcher with Witten/Herdecke University, Germany, investigating the impact of daily screen time of children and of young people on their health.

20201228 trans

2020-12-28T06:51:06Z

Zhu Suyao: /* Zhu Suyao 朱素瑶 */

==Cao Runxin 曹润鑫==
'''Zhu Ziqing'''

A third example, where an author shows another face in his essays is Zhu Ziqing. He is known as the author of the most often reprinted story-like Chinese essay "''Back View''" (Beiying), a standard school text. The success of this essay lies in the fact, that it applies to filial pity. From the reported fare-well scene with his father at the train station, he learned that his father loved him and that he had grown-up too now.
==Chang Huiyue 常慧月==
This self-reflective essay helped Zhu to find himself through the observation of the other (here his father). The 2nd often printed essay is also from Zhu. Parallelistic and repetitive structures are the driving factor in the atmospherical nebulous lyrical landscape desription "''The Moonlit Lotus Pond''", whose style easily may seem mannerist to the Western reader.

Zhu Ziqing supposedly opposed all political engagement and, wrote about unspectacular things. In Taiwan he became a type of substitute for the categorically refused state writer of the People’s Republic, Lu Xun, mainly because of Zhu’s supposed political independence.

通过他人的观察（这里主要指朱自清的父亲），这篇自我反省式的文章帮助朱自清认清了自己。经常出版的第二版本也来自朱自清。“荷塘月色”中描述的天空星云，抒情般的景色是通过平行结构和重复结构中展现出来的，这种风格使西方读者很容易辨别。

据称朱自清反对一切政治参与，只写不引人注意的事情。在台湾，主要因为朱自清的所谓政治独立，他因而代替了明确反对民国的作家鲁迅。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 14:33, 27 December 2020 (UTC)

==Chen Han 陈涵==
I would like to show with three examples that Zhu had absolutely clear political ideas: He had taken part in the demonstration March 18, 1926, which ended in a massacre. Zhu described this in ''"Report On the Massacre of the Government''"[ (Zhizhengfu da tusha ji).].

''Shots were still being fired, and the entrance of the east gate was packed with people. [...] Pushing and shoving, we climbed over them with great effort. We must have lost our senses then, not seeing, to our shame, the grotesqueness of our action. ''

我想用三个例子说明，朱自清有绝对明确的政治思想。1926年3月18日，他参加了示威游行，这场游行最终以屠杀告终。朱自清在《执政府大屠杀记》中对此进行了描述。

''这时枪声未歇，东门口拥塞得几乎水泄不通。[...] 我们便推推搡搡，拥挤着，挣扎着，从他们身上踏上去。那时理性真失了作用，竟恬然不以为怪似的。'' --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 26 December 2020 (UTC)

==Chen Hui 陈惠==
''[...]I was still walking on top of the people. No one dared to miss a single step, filing through the gate that divided safety from danger, one that would give us life or take our lives away. [...] My efforts finally brought me down to the ground, sealing my fate as I rolled down from the human pile. [...] I learned later that some of the people by the gate were dead, killed by the pistol squad firing from the other side of the gate. When I recall stepping over dead bodies, I cannot help but tremble with fear. [...]''
==Chen Jiangning 陈江宁==
From this experience, Zhu addresses directly the repsonsible political leaders:

''Duan Qirui, you must think about it! [...] How could we explain this to the world? [...] Granted, Duan Qirui and others could commit such atrocities without a thought; but how could we, the people of China, face the world with such a shameless government? [...] We, [...], must ask, „So many were killed—what should we do?“''
经过这次经验，朱直接给负责相关部门的政府官员写信道：“段祺瑞，你好好想一想！[…]我们要怎么跟世界人民解释？[…]当然了，段祺瑞和其他士兵不用想都会承认这次的暴行；但是，我们，作为中华人民共和国，怎么能以这样一种无耻的政府面对世界？，[…]我们，[…]必须要问，这么多人牺牲了，我们应该做什么？”--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 15:11, 27 December 2020 (UTC)

==Chen Jiaxin 陈佳欣==
In contrast, Lu Xun has portrayed the same massacre with sighing undertone and Zhou Zuoren bitter-humorously in his "''Ways to die''"[ (Si fa).] - in which he finds "to be shot" the best method to die. The supposedly less politically engaged Zhu shows here more engagement.

The essay "''Facing the New China''"[ (Xin Zhongguo zai wang zhong).] is Zhu's political manifest: He asks for democracy, enlightenment and an increase of the education level.
==Chen Jingjing 陈静静==
''China has to be born again through democratization. [...] The people should express their own will, concentrate on their own strength. Every level of administration should build up on the expressed will and strength of the people and struggle for the majority and its greatest happiness. This means that the people govern, the people own, the people enjoy.''

A few weeks before his death, he demanded in the speech ''"Today's duty of the Intellectuals''"[ (Zhishifenzi jintian de renwu).] the participation of the intellectual in the struggle for a better society.

“中国必须通过民主化重生。[...]人们应该表达自己的意志，集中自己的力量。各级行政机关都应该建立在人民的意志和力量的基础之上，并且为大多数人及其最大化的幸福而奋斗。也就是民治，民有，民享。”

”中国必须用过民主化重生。[...]人们应当表达他们自身的意志，集中力量。各级政府都应建立在人民意志和力量基础之上，并为大部分人民及其最大幸福而奋斗。也就是民治、民有、民享。”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:15, 27 December 2020 (UTC)

在他去世的几周前，他在 “知识分子今天的职责”的演讲中要求知识分子参与建设更好的社会。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 11:31, 27 December 2020 (UTC)Chen Jingjing

==Chen Sha 陈莎==
With only a handful of essays I have demonstrated, that the picture of these three authors changes substantially, if we read carefully also their less known essayistic work. Imagine now how the picture of 20th century Chinese literature might change, if the literary histories and anthologies would not only tell the history of drama, fiction and poetry, but would also grant the essay its proper place. The following part of my paper are results of my monograph on the 20th century Chinese essay.
==Chen Sunfu 谌孙福==
'''The essay boom as a mirror reflecting growing individuality, participation in the public sphere, and the giddy-paced character of modern Chinese society'''

Acquiring an overview of the essay and assessing its essence has required extensive research in bookstores and libraries, in the People's Republic of China, Taiwan, Hong Kong and the United States for available resources in the form of essay book collections as well as secondary literature dealing with the essay.

'''散文潮就像一面镜子，反映出了日渐显著的个体性、公众场合的参与度和现代中国社会令人眼花缭乱的种种特质'''

对散文进行全面审视，并分析其内在本质，要求我们在中华人民共和国、台湾、香港和美国的各大书店、图书馆开展广泛研究，获取散文集或涉及散文主题的二次文献等可用资源。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 00:35, 28 December 2020 (UTC)

==Chen Yongxiang 陈永相==
I built a database for a statistical analysis to rank more than 5000 essays and 1400 essayists. It turned out that out of the top 60 most famous Chinese essays only 14 had been translated into English so far. The forthcoming collection of Tam King-fai adds 4 and my own one the remaining 42.

Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report[ (baogao wenxue) (Klaschka 1998).].

我建立了一个用于统计分析的数据库，对5000余篇散文和1400名散文家进行排名。事实证明，迄今为止，在中国最著名的60篇论文中，只有14篇被翻译成英文。谭景辉即将出版的散文选集另有新翻译的4篇，我自己则翻译余下的42篇。

分析表明，自1979年以来，总体上来说，散文发表有所增加，在“文化大革命”之后还出现了两次热潮，在1990年达到了新的高度。首次增加出现在20世纪20年代和30年代，此后便被报告文学所取代（Klaschka 1998）。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:41, 27 December 2020 (UTC)

==Cheng Yusi 成于思==
The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous essay bookseries[ sanwen congshu 散文叢書.].

The reason for the increase in essay production, which we can date right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in the sampling of 130 ‘representative’ books I was able to collect for the survey. There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s:
==Deng Jinxia 邓锦霞==
1, The giddy-paced nature of current Chinese society with its demands for diverting and short texts, as Hall has put it: “[...] we live in an age of exposition”[ (Hall 1984:xiii).].

2, The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands.

3, A revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.

1，当前中国社会的快节奏需要分篇和短篇文本。正如霍尔所言，：“ ......我们生活在博览会时代。” [（Hall 1984：xiii）]。

2，对于正在增强的个人意识来说，散文是主观表达的最直接形式，甚至比具有韵律和形式要求的诗歌更直接。

3，通过散文讨论社会政治问题的兴趣的复兴，就像1920年代/ 30年代那样。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 14:35, 27 December 2020 (UTC)

==Ding Daifeng 丁代凤==
If we look carefully at essay collections not only published in the United States, but also in Hong Kong, Taiwan and the People’s Republic, we find the following three reasons for the under- and overestimation of single essayists or essays which correspond to regional differences:

1, EXOTIC In the United States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.

如果我们仔细观察在美国出版的，以及在香港、台湾和中华人民共和国出版的散文集，我们会发现以下三个原因导致人们低估和高估了回应地域差异的单个散文家或散文:

1、异国情调在美国，散文往往是根据西方人的口味来选择的，完全不知名的作者和老牌作家拥有一样多的空间。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:37, 26 December 2020 (UTC)

如果我们细细研读在美国出版的，以及在中国香港、台湾和大陆出版的散文集，我们会发现以下三个原因导致人们因地域差异而低估或高估了某些散文家或散文:

1、异国情调在美国，散文往往是根据西方人的口味来选择的，名不见经传的作者和著名的作家拥有同样多的市场。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 26 December 2020 (UTC)Mo Ling

==Fang Jieling 方洁玲==
2, SOCIO-POLITICAL In Taiwan, Lu Xun has been banned for a long time, but today, as the mentioned survey proofs, he ranks 12th among modern authors there. Wang Meng has been overestimated in the People’s Republic of China due to his political post.

3, PERSONAL Hong Kong literature on Yu Guangzhong has been censored by his disciple Huang Weiliang in favor for Yu.[ (see Lin Yaode 1989:50).]

Having named reasons for the essay boom and for the support for and the suppression of different actors in the cultural field of the essay, I would like to finish my paper by naming a few trends of the essay as they appear at the eve of the century.

2、社会政治在台湾，鲁迅被禁锢了很久，但如今，如上述调查证明，他在台湾现代作家中排名第12位。在中华人民共和国，王蒙因其政治职务而被高估。

3，个人在香港关于余光中的文学被他的弟子黄伟良检查和删节，他是赞成余光中的。（见林耀德1989：50）。

在列举了一些关于论文热潮以及在论文文化领域中对不同行为者的支持和压制的原因之后，我想通过列举几世纪前夕出现的一些论文趋势来结束我的论文。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 14:51, 27 December 2020 (UTC)

==Gan Fengyu 甘奉玉==
The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consumer-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be "art pourt l'art".

政治散文的主题从1907年兴起的启蒙教育散文转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影）都在讨论最佳社会制度，于是有关政治问题的主题复兴，但20世纪90年代时，主题又变成了非政治性，更加哲学道德的主题范畴，那会，散文家们首先对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:42, 27 December 2020

政治类散文的局部发展从1907年兴起的启蒙教育类转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影中）对于最佳社会制度的探讨使得政治话题再次变得火热。但20世纪90年代时，写作主题又转向非政治性，以及更加哲学道德的范畴，那会，散文家们首先会对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:53, 27 December 2020 (UTC)

==Gao Mingzhu 高明珠==
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing ("''On dreams''"[ "Shuo meng 說夢" On dreams in: Zhu Ziqing 1928.]) and Zhou Zuoren from 1917 ("''My own garden''"[ 9.1923.], "''The Fly''"[ 1924.], "''Reading on the Toilet''"[ 1936.]), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the newly encountered world of mass consumerism.

非政治类文章的局部发展始于朱自清以及周作人1917年开始写的每日随想（朱自清1928年发表的散文《说梦》；周作人1923年发表的《自己的园地》、1924年发表的《苍蝇》、1936年发表的《入厕读书》）。自1927年的修正，政治类文章成为主流，直到20世纪30年代末期，非政治类文章因为抗日战争的爆发完全消失。直到20世纪70年代，人民生活回归正常，非政治类文章才重新现世，由于消失太久，日常琐事成为当时热门的写作话题。20世纪90年代，由于政治话题热度的下降以及进入新时代为迎合广大群众而开发新话题的需要，非政治类文章又迎来一次高潮。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:46, 27 December 2020 (UTC)

==Gong Yumian 龚钰冕==
In the end of this century not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. Among the upper list places of the political essay after 1949 there are critical essays. For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.
==Gu Dongfang 顾东方==
A sign for the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation for customers (former: "readers"). Following the emotional essays of Zhu Ziqing who rank 1st and 2nd, ''nostalgia'' is the element of emotional identification in "''Wild vegetables of my home region''" by Zhou Zuoren, which ranks 3rd[ In Jia Pingwa's "Moon traces", which ranks 11, and in Ba Jin's "''Paradise for Birds''", which ranks 19]. Therefore one can state, that moving essays form the top.
==Guan Qinqing 管钦清==
In 1927, Chinese literature took the form of 'engaged literature'. In the 1980/90s, the discussion of politics in daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. In the later half of the 1990s, the master narrator himself seems to be lost within the subjectivity of individuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife.

1927年，中国文学出现了“参与文学”的形式。不同于那个时候，在20世纪90年代，有关日常利益的政治讨论只占很小的一部分。 20世纪80年代，包括诗歌和散文在内的所有流派都被批评家用来反对共产主义的主要叙事或毛泽东主义对艺术作为意识形态的理解。 20世纪90年代下半页，主讲者本人似乎迷失在个人的主观性以及越来越正式化但基本上空虚的城市生活的日常亵渎和平庸中。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:35, 28 December 2020 (UTC)

==Gui Yizhi 桂一枝==
In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only remiscent element left is the patriotism.[ ''Trends like the use of ordinary language'', which one finds in novels since 1993 (''Jia Pingwa'', Feidu; ''Gu Cheng'', Yingger) and New Borderlessness since 1995, cannot be proven in the essaywriting.The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable ''object d'art''.]

上个世纪90年代，80年代的政论文随笔文化逐渐隐没了，唯一剩下留有想象空间的元素就是爱国主义。[“比如使用普通语言的趋势”，这是从1993年以来在小说中发现的（“贾平凹”）费杜，古格，英格）以及自1995年以来，《新无边际》都无法在论文写作中得到证明，我们之所以没有找到后现代小说意义上的后现代散文，是因为文章的直接性：随笔作为一种体裁，是作者和读者之间的对话，而不是想要引起不同解释的原因或可能依赖于特殊形式或内容甚至是按顺序引用前现代特征的艺术品，这使它成为一个与众不同的“艺术品”。]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 13:06, 26 December 2020 (UTC)

'''References''' [partly mentioned with German translation] （不用翻）

Vera Schwarcz 1996, Vera Schwarcz, "The pain of sorrow: public uses of personal grief in modern China", in Daedalus: Journal of the American Academy of Arts and Sciences (Winter 1996)

Ba Jin 1982, Ba Jin: "Yi feng huixin 一封回信" (Ein Antwortbrief (26.10.1982)), in: Bing zhong ji 病中集 (Auf dem Krankenlager), Hongkong 香港 1984(?) (Series Suixiang lu 隨想錄 (Thoughts) Bd 4), 147 pp.

Ba Jin 1982a, Ba Jin: "Yi pian xuwen 一篇序文" (Ein Vorwort) [dated 1982.9/10], in: Ba Jin: Auf dem Krankenlager 1984

Ba Jin 1956, Ba Jin 巴金: "Duli sikao 獨立思考" (Unabhängig denken), in: Li Jisheng 李濟生, Li Xiaolin 李小林 (Hgg.): Ba Jin liushi nian wenxuan (1927 - 1986), Suixiang lu, zagan, sanwen, xuba, yanjiang, shuxin 巴金六十年文選（１９２７－１９８６）隨想錄·雜感·散文·序跋· 演講·書信 (Ba Jin. Werkauswahl aus 60 Jahren (1927 - 1986), Gedanken, vermischte Gefühle, Essays, Vor- und Nachworte, Reden, Briefe), Shanghai 上海: Shanghai wenyi chubanshe 上海文藝出版社 (Literatur- und Kunstverlag Shanghai), 1986.12, S. 461 - 462 [Datiert auf 1956.]

Ba Jin 1962, "Zuojia de yongqi yu zerenxin 作家的勇氣與責任心" (Mut und Verantwortungsbewußtsein der Schrifsteller) 1962; der Essay von Zhou Zuoren 周作人: "Wenxue tan 文學談" (Über Literatur), in: Tan long ji 談龍集 (Über Drachen. Sammlung), Shanghai 上海: Kaiming shudian 開明書店 (Kaiming Buchladen) 1927.12, Nachdruck: Hongkong 香港: Shiyong shuju 使用書局 (Praxisverlag) 1972.1, 310 S., S. 165 - 167

Zhou Zuoren 1919, Zhou Zuoren, "Zuxian chongbai 1919 (Ancestor Worship)," in Early Essays, op.cit., pp. 78

Zhou Zuoren 1920: Zhou Zuoren 周作人, Xin wenxue de yaoqiu 新文學的要求" (The demand of the New Literature) [lecture], in Beiping shaonian xuehui 北平少年學會 (Beiping youth conference) 1920.1.6, in: Zhang Ruoying 長若英: Xin wenxue yundong shi ziliao 新文學運動史資料 (Material on the history of the New Literature movement), Shanghai 上海: Guangming shuju 光明書局 (Guangming bookstore) (1934.9) ²1936.9, 291-296

Zhou Zuoren 1923, Zhou Zuoren: Yanzhicao ba (Preface to Yu Pingbo's Yanzhicao), in: Yongri ji (Book of Eternal Day), Shanghai: Beixin shuju 1929, 180-181

Zhou Zuoren 1929, Zhou Zuoren: Ertong de shu (The books of children), in: Chenbao fukan (1923.8.17)

Zhou Zuoren yuanliu, Zhou Zuoren: Zhongguo xin wenxue de yuanliu (Sources of New Chinese Literature), p 71

Zhou Zuoren 1932, Zhou Zuoren: Lun baguwen 1932, in: Kanyun ji p. 148

Source: NEAAS annual meeting 10/09/1999 New Haven (Yale University)

==Guo Lu 郭露==
'''Modern Chinese Literature and the Essay Genre: A New Perspective'''

''Martin Woesler''

In this paper, I will not recount the contents and propose interpretations of any essays, nor will I outline the main topics or styles of essaywriting in China, but I would like to take the opportunity to reflect a little bit on the phenomenon of the genre itself and discuss some conclusions and hypotheses with the attentive and critical audience which can be found at only a few places on earth, EALC at Harvard definitely being one of them.

《中国现代文学与散文体裁：以新视角》

''吴漠汀''

在本文中,我将不再赘述任何文章的内容和提出的观点,我也不会列出其主要主题或风格,但是我想借此机会,反映一些现象本身的类型，并与包括哈佛大学学生在内的观众对一些结论和假设进行探讨。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:16, 25 December 2020 (UTC)

《中国现代文学与散文体裁：新视角》

吴漠汀

本文将不再赘述或解释任何文章的内容，也不会列出中国散文的主要主题或风格。我想借此机会，反思体裁现象，同乐于助人、至关重要且世间少有的读者，包括哈佛大学东亚语言和文化学院的学生，对一些结论和假设进行探讨。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:28, 25 December 2020 (UTC)

==Han Haiyang 韩海洋==
'''1. The unknown genre'''

The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. In my paper I will ask, if the picture of literature can remain unchanged, if we take into consideration also the essay. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90, McDougall 1998);

'''1.未知体裁'''

二十世纪文选和选集里的文学史的叙述对于整个中国文学来说是不完整的：散文题材是缺失的。在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:09, 26 December 2020 (UTC)

'''1.未知体裁'''

20世纪选集所讲述的文学历史叙事，描绘了一幅不完整的中国文学图景:：散文题材是缺失的。在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:30, 26 December 2020 (UTC)

'''1.未知体裁'''

20世纪的选集和文集所讲述的文学史叙事，勾勒出一幅不完整的中国文学图景。散文的体裁是缺乏的。在我的论文中将要探讨如果我们把散文也考虑进去，文学的图景是否可以保持不变。长期以来，这一文体作为一种优秀的文体被忽视（马古利耶斯1949年，施密特-格林策1990年）或被忽略（麦克诺顿1974年，莱顿1988-90年，麦克杜格尔1998年）。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:23, 27 December 2020 (UTC)

==Han Wanzhen 韩宛真==
whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement. Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.

由于自民国初年五四运动确立的总叙事之后，对小说文学的重视和写作的白话化，因而它的系列小说，就一直受到重视。现代选本会让读者相信诗歌、小说、戏剧这三驾马车构成了中国现代文学创作的主干。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:20, 27 December 2020 (UTC)

==He Changqi 何长琦==
'''Excursion: Defining the essay as a non-fictional subjective representation in a free form'''

Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with xiaoshuo (fiction), sanwen (non-fictional prose)), lyrics (shige) and drama (xiqu). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term "wu yunwen" which corresponds to the term "epic" in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.
==Hu Baihui 胡百辉==
In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet. The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.
在抒情诗中，读者被鼓励去感受当下的感觉，并且常常是诗人的忏悔式的感觉。戏剧直接在独白或对话中回忆起一个自足的动作，以这种方式释放了读者/观众重新创造的想象力。散文作为史诗的一种体裁，是一种超脱的、非虚构的、自由形式的主观表现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 02:29, 27 December 2020 (UTC)

在抒情诗中，鼓励读者感受诗人当下的感觉，且这种感觉常常是诗人的忏悔。戏剧直接以独白或对话的方式回忆一个自足的动作，并通过这种方式释放了读者/观众再创造的想象力。散文作为史诗的一种体裁，是以自由的形式进行的一种分离的非虚构的主观表现。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:11, 27 December 2020 (UTC)

==Hu Huifang 胡慧芳==
"Essay", Chinese mostly ''sanwen'', is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Freedom in form and content is essential for the essay.

“散文”，中文主要是“散文”，是一个较短的、独立的非虚构散文文本的体裁术语，作者试图从主观的角度调解个人对一个对象或问题的体验。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。资源由散文家自主掌握，主题在更大的背景下被看到，甚至可以幽默地呈现。文章在形式和内容上的自由是必不可少的。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 13:22, 27 December 2020 (UTC)

“散文”是一种体裁术语，在汉语中也叫做“sanwen”，指篇幅较短、自成一体的非虚构散文文本，散文创作者可以从主观的角度，将个人的经验调和到事物或问题上。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。文章素材由散文家自主掌握，主题可以置于更大的背景之下，甚至可以一种幽默的方式呈现。散文的形式和内容都是自由的。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:36, 27 December 2020 (UTC)

“随笔”，中文名多为“散文”，是一种体裁术语，指篇幅较短、自成一体的非虚构散文文本，作者试图从主观视角来调和个人对对象或问题的经验。
散文试图从不同的方面进行联想，它不是作为日常使用的文本，而是作为艺术或教育要求的语言方式，虽然如此，还是以一种可理解的方式呈现。
资源由随笔作家独享，话题可以在更大的背景下展出，甚至可以幽默地呈现。形式和内容的自由对这篇随笔至关重要。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 14:38, 27 December 2020 (UTC)

==Hu Jin 胡瑾==
Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, a subcategorization in numerous small entities, like Zheng Mingli does with the essay, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.

不同的视角范围在国际上的文章体裁。体裁主要是通过对文学的学术研究，对文学进行专门的沉思，为了能够更容易地比较同类文本而进行的划分。另一方面，像郑明立对文章那样，以众多小实体进行细分，则是对这种细分的意义提出质疑，以参考解释学的研究成果。我们还必须时刻注意文学本身的变化和科学观点的相对性，即使其在国际上被接受，也是适时的。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 06:14, 28 December 2020 (UTC)

==Ji Tiantian 纪甜甜==
Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems. All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.

地域差异对散文的影响似乎不如对已确立的文体如短篇小说、小说的影响大，也远不如对诗歌的影响大。除散文外的其他文体被视为国际文体。我认为中西方散文也属于相同的国际文体，跨文化的相互作用也许可以在形式和内容上证明这一假设。

对于文章而言，比起短篇故事，小说等已存的体裁，区域差异似乎不那么重要，对于诗歌而言，区域差异更不重要。所有这些其他的体裁都被看作国际体裁。中国和西方的文章都属于同一国际体裁，这一假设也许可以通过形式和内容上的跨文化相互关系来证明。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 15:27, 27 December 2020 (UTC)

==Jiang Fengyi 蒋凤仪==

In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. This is a second hint that the modern Chinese essay belongs to the international genre of the essay.

在21世纪，世界共同发展，文化主要决定于现代化的水平。今天我们在刊物上看到的中国散文，已经具备了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文属于国际散文类别的第二个暗示。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 07:58, 25 December 2020 (UTC)

在21世纪，世界上的国家趋向于走到一起，而文化则主要取决于现代化水平。正如我们从现今报纸里面看到的那样，中国散文采用了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文开始趋同于国际散文体裁的第二个标志。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:27, 25 December 2020 (UTC)

21世纪，世界在共同成长，文化主要由现代化程度决定。我们今天在报纸上看到的中国散文，在形式和内容上都与西方散文相似，其目标群体也与之相似。这是中国现代散文属于国际散文的第二个暗示。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:44, 26 December 2020 (UTC)

在21世纪，世界共同发展，文化主要决定于现代化的水平。我们今天在报纸上看到的中国散文，已经呈现出西方散文的形式与内容，并且其目标群体也与西方散文不相上下。这是中国现代散文属于国际散文体裁的第二个迹象。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:17, 26 December 2020 (UTC)

==Jiang Hao 姜好==
Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 1992 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay).

尽管人们普遍接受用短小故事来翻译短篇小说，但两者的关系不如西方的散文和中国的同类文章密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)

尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系并不如西方散文与其中国同类文章密切。这个定义是我从5000多篇中国现代散文样本中得出的，也符合国际上对散文的特殊理解（继博尔兹于1992年 13:269-272 论西方散文的发展；布特莱姆于1989年论西方散文的理论）。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:34, 27 December 2020 (UTC)

尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系不如西方的散文和中国的对应定义密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 15:35, 27 December 2020 (UTC)

==Jiang Qiwei 蒋淇玮==
Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it "Chinese"? In the occidental essay the form seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework.

除了首先由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文有独特本土的特征。中文散文如何形成其特有文化，其中文性又由何组成？和中文散文相比，西方散文的文章形式似乎是更重要的分类标准。在中国，甚至有些文章内容相似，但形式和类别大相径庭。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:06, 25 December 2020 (UTC)

除了最初由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文具有独特的本土特色。中文散文如何形成其特有文化，其中文性又由何组成？与中文散文相比，西方散文的形式分类标准似乎更重要。在中国，有些文章甚至是内容相似，但形式和类别大相径庭。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 25 December 2020 (UTC)

除了周作人提倡采用英语散文风格所体现的全球化社会趋势外，中文散文还具有独特的本土特色。中文散文如何在文化上定义，其中国性又是什么？在西方文章中，形式似乎是比中国文章更重要的区分标准。在中国，甚至包括那些只有类似内容，却跨越了形式上的属相框架的文本。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:05, 27 December 2020 (UTC)

==Kang Haoyu 康浩宇==
This can be shown with Zheng Mingli, who subcategorises the "unfinished diary" or the "unfinished letter". Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Zheng Mingli: "essay in diary form" and "essay in letter form"), they are accepted as essays.

这一点可以从郑那里得到证明，他把“未完成的日记”或“未完成的信”分门别类。在西方语境中，这些文本属于个人使用的文本，因此属于非虚构的散文作品。只有当它们被改成散文(郑:“日记体散文”和“书信体散文”)后，它们才被接受为散文。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:07, 28 December 2020 (UTC)

==Kang Lingfeng 康灵凤==
'''The Chinese understanding of the genre is tendencially broader'''

This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén'' "non-rhythmic prose", which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with ''sanwen'' in the narrower meaning "short literary essay pieces".

Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.

'''中国人对这类体裁的理解区域广泛'''

在中国，这种对随笔的广泛认识可以直接追溯到“散文”一词在中文中所具有的“无韵散文”的内涵，“无韵散文”原本指所有的非虚构散文。从更广泛的意义来讲，个人或日常使用的文本也包括在内。但是，我只讨论“散文”的狭义意义，指的是“短篇文学随笔片段”。

更进一步的差异是，中国散文往往具有思想内容，并表现出重复、谚语使用等文体特征。

==Kong Xianghui 孔祥慧==
'''The Chinese essay is booming again in the 1980s and 1990s'''

Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'').[ Klaschka 1998.] The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文叢書 (essay bookseries).

20世纪80年代和90年代中国散文再次蓬勃发展
研究表明，1979年以后散文发表量普遍增加，在“文革”之后出现了两个高峰期。
散文出版量在1990年达到了一个新的高度。第一次增长出现在20世纪20年代和30年代，但是在此之后，散文的角色因为报告这一体裁(报告文学)而黯然失色。(Klaschka 1998。)在1920/30年代和1980/90年代，散文的繁荣在一定程度上得益于新杂志的出现，这些杂志是当代散文家发表文章的阵地，其大多属于散文丛书。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:22, 27 December 2020 (UTC)

'''二十世纪八九十年代中国散文再次蓬勃发展'''

相关分析表明，1979年后散文出版量普遍增加，在文化大革命后达到了两次顶峰。1990年，散文出版量明显再创新高。散文出版量的第一次增长出现在二十世纪二三十年代。随后，报告文学的出现使得散文黯然失色(Klaschka 1998.)二十世纪二三十年代和八九十年代散文出版量之所以猛然增长，部分原因在于作为当代散文家写作阵地的新杂志和众多散文丛书的出现。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 00:48, 28 December 2020 (UTC)

==Kong Yanan 孔亚楠==
The increase in essay production right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.

Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging xiangtu literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.

文化革命结束后，散文产量的增加导致需求积压，1980至1982年间，共有印刷了一百万册的散文集，这仅计算了我为调查收集的130本“代表性”书籍的样本中包含的藏书。

感谢一些年长的中国编者的作品，自20世纪70年代以来，整个散文文化是由杂志和报纸汇编而成的，并以大量选集的形式出版。这种文学繁荣堪比无题乡图文学的文化热，它是在台湾自我认同和独立运动的背景下兴起的。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:23, 27 December 2020 (UTC)

==Lei Fangyuan 雷方圆==
'''2. Why is the essay as abundant as fiction?'''

Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:

- The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political zawen of Lu Xun, until today are mostly presented in essay form). The impact on literary reflection and theory is shown in the collection "Modern Chinese Literary Thought" 1996. The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry. The poem is the genre of retreat from social life, from political issues and time references.

为什么论文像小说一样丰富？

让我列举几个原因，为什么这篇论文实际上与它的散文兄弟，小说以及抒情姐妹，诗歌一样丰富，以及为什么必须如此重视它：

-这篇文章在整个历史上都对中国社会产生了直接的影响（从清末到五四期间的改革思想，包括文学理论作品和鲁迅的日常政治杂文，直到今天大多以论文形式呈现）。对文学反思和理论的影响在1996年的“中国现代文学思想”合集中显示。随笔类型，其直接语言，与生活之间的联系（例如，其在适应文化大革命中的作用）的影响，并通过报纸直接接触个人读者。这种影响大于小说或诗歌的间接影响。这首诗是从社会生活，政治问题和时间参照中退缩的一种体裁。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 15:32, 27 December 2020 (UTC)

为什么散文像小说一样丰富？

让我举几个理由，为什么这篇文章实际上和它的散文兄弟、小说和它的抒情妹妹、诗歌一样丰富，为什么它必须被高度重视：

这篇文章对中国社会产生了直接的影响（从清末到五四时期的改革思想，以鲁迅的文学理论和日常政治面貌，直到今天，大多以散文的形式呈现）。对文学反思和理论的影响见1996年《中国现代文学思想集。散文体裁与其直接语言的影响，它与生活的联系(例如。它在接受文化革命方面的作用)，以及它通过报纸直接接触个人读者。这种影响大于小说或诗歌的间接影响。这首诗是从社会生活、政治问题和时间参考中退缩的体裁。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 03:49, 28 December 2020 (UTC)

==Lei Kuangxi 雷旷溪==
Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of novel and opera in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.

- The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.

胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌依赖于形象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。

-散文也比诗歌和小说更能反映社会的趋势。个人主义在随笔中表现得比在诗歌中更直接，但在内容和形式上都有局限性。短文的短暂性体现在短文的形式上，可以在上班路上的地铁里读，而在地铁里读诗，可能就不能那么随性的享受了。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 13:48, 26 December 2020 (UTC)Lei Kuangxi

胡适认为“诗”在现代化的过程中是最重要的，因为诗歌升华情感。但诗歌也依赖于意象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“散文”却能给事物命名，反映千变万化的生活。现代主体性就是以“散文”为工具建构的。

- 随笔也比诗歌和小说更能反映社会的发展趋势。个人主义在随笔中的表现比在诗歌中更直接，因为诗歌在内容和形式上对此有所限制。随笔的短暂性体现在随笔的形式上，人们可以在上班路上的地铁里阅读，而在地铁里读诗，可能就没有那么随性的享受。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:55, 26 December 2020 (UTC)

胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌也依赖意向和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。

-散文也比诗歌和小说更能反映社会的趋势。由于散文的内容和形式上受限，它比诗歌更能直接表达个人主义。散文很短，所以花时间少，可以在上班路上的地铁里读，但在地铁里读诗可能就不能那么随性的享受了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:54, 27 December 2020 (UTC)

==Li Haiquan 李海泉==
- The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too. The essay itself a genre of high actuality, if not simply the genre of today.

- The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society. Many authors turned to essay writing in the later periods of their lifes, like Lu Xun, Ba Jin, and Wang Meng.
[[Media:Example.ogg]]==Li Lili 李丽丽==
- The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[ Shenbao, Shibao etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his ''zawen''), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang lu'' derived).

“随笔”的产量超过了“小说”：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:33, 27 December 2020 (UTC)

“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:54, 25 December 2020 (UTC)

“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报社是控制政府的机构；另一方面，他主张审查制度，报纸作为20世纪初的一个大众媒体，以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:19, 27 December 2020 (UTC)

==Li Lingyue 李凌月==
'''3. Let us assign the essay its proper place'''
The consequence which must be driven from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place! I will describe the beginnings of the discovery of the essay.
Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.

3.让我们为散文指定其适当的位置，
由此得出的结论是:让我们为散文指定其适当的位置!我将描述发现这篇文章的开始。尽管从1979年开始，论文写作有所增加，但对这一现象的第一次理论反思却花了10年时间才出现。又过了10年，中国研究的国际学者才意识到这一现象。

3.让我们给作文赋予它应有的位置
从上面提出的论文的价值与价值之间的对比,由此得出的结论是:让我们给作文赋予它应有的位置!我将描述发现这篇文章的开始。尽管从1979年开始，散文写作有所增加，但有关这一现象的出现的第一次理论反思却花了10年时间。又过了10年，中国研究的国际学者才意识到这一现象。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 15:12, 27 December 2020 (UTC)

==Li Liqin 李丽琴==

In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).

20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。另外90年代的两次会议也没有趋于国际学术研究的动向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:54, 26 December 2020 (UTC)

20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。除此之外，20世纪90年代的两次会议也没有转向国际学术研究的方向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:37, 27 December 2020 (UTC)

==Li Luyi 李璐伊==
Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998) and for the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, ''Modern Chinese Literary Thought'' 1996).

Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.

在不早于上个世纪90年代下半叶之时，出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。（《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。

关于中国大陆，台湾地区和西方的散文评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:23, 27 December 2020 (UTC)

上世纪90年代后半期以前, 出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。（《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。中国大陆，台湾和西方对散文的评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:24, 27 December 2020 (UTC)

==Li Meng 李梦==
In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th. If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode 1989:50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.

Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation.
在台湾,鲁迅很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家印刷量最大的时候,鲁迅排在了第16位。如果只考虑现代作家,甚至排在了第12位。香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。
然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:16, 27 December 2020 (UTC)

在台湾,鲁迅的作品很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家作品印刷量最大的时候,鲁迅排在了第16位。如果只考虑现代作家,甚至排在了第12位。香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。

然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:39, 27 December 2020 (UTC)

==Li Yongshan 李泳珊==
Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai, Woesler) or already published (Pollard 1999). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. This year, scholars will meet on a first international conference on the essay (Achern, Germany August 25-26). In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays.
==Li Yu 李玉==
'''4. Taking into consideration the essay will rewrite the history of Chinese literature'''

I will give a few hints, what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Prusek and Anderson.

We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the ''yuanyang hudie pai'' played in the choir of different voices in the awoken intellectual debate in the beginning of this century.
==Lin Min 林敏==
The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.
==Lin Xin 林鑫==
In the following, I will name three aspects (chronologically sorted by past, modern and contemporary time) to hold the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.

'''5. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned'''

How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay are both in China and the West notes written on the margins of books, they are letters and travel notes.

下面，我将从三个方面(在时间顺序上按过去、现代、当代排序)来论述对散文的考量将改写中国文学史，改变我们目前对它的认识这一论点。

5. 古典和前现代散文记录了中国哲学，其早期的主体性，仍然是对中国本土传统的质疑。
中国散文在历史上要如何定位，它是如何产生的，它的共有背景是什么？一般来说，中国和西方的散文都是起源于写在书本空白处的笔记，是书信和游记。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:18, 27 December 2020 (UTC)

==Ling Zijin 凌子瑾==
These notes differed from the canonized literature through its informal style, its expression of individuality und subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.

From the very beginning, the essay was valued lower than poetry: the oldest reference this far for the term ''sanwen'' that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù.
==Liu Bo 刘博==
詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatels, is limited.) (''Helin yulu''). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.

In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge.

“詩騷妙天下，而散文頗覺瑣碎局促。”罗大京提到的另一个骂名，是形式上的：与具有高度艺术性和长达一个世纪传统的诗歌写作相比，散文中直接的、白话文式的语言在他看来并不那么有价值。
在西方，16世纪晚期出现了一种真正的“散文写作艺术”，作为一种传播重组知识的媒介。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:50, 27 December 2020 (UTC)

“诗騷妙天下，而散文颇觉瑣碎局促。”罗大经提出的另一个责难，是形式上的。在他看来，与高度艺术化的百年诗词写作传统相比，散文直接的、白话文式的语言没有什么价值。
在西方，真正的 “散文写作艺术 ”是在16世纪末作为重组知识的一种媒介出现的。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:30, 27 December 2020 (UTC)

==Liu Jinxingqi 刘金惺琦==
The reorganization originated from the observations of Kopernikus, which destroyed the whole conception of the world of the Middle Age.

In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters. The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of sǎn 散 as (to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''.
==Liu Liu 刘柳==
Xunzi delivered the prototype of the later essay with his philosophical treatises. They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience. The individuality is still a main characteristic of the essay today.

During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written at the paper margins originated the ''biji'' µ§°O (occasional notes), flourishing in the Ming Dynasty.

荀子的哲学论著是后世散文的雏形，它们是哲学教学论文的早期形式。其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。

历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:25, 25 December 2020 (UTC)

荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，这些散文中传授的普遍定理不仅有引用经典著作，还首次借鉴其个人经历。这种个体性在当代的散文中仍有保留。

历朝历代，散文通过一些子类别得以呈现，如明朝盛行的在书页边上写的读书注释，它就是源于笔记。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:47, 25 December 2020 (UTC)

荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。

历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:20, 27 December 2020 (UTC)

==Liu Ou 刘欧==
The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as a genre of its own originated in China not before the Qing ²M dynastie, when numerous essay anthologies were compiled.

Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences.

边缘主义是中西早期散文的一个纽带。散见的笔记包含了私人的历史记录，轶事，交谈和个人沉思。然而，尽管当时的散文选集众多，但将视散文作为一种文体的意识，清朝之前并没有出现。

考虑到当时的社会历史背景，人们在旧社会时，对短篇故事和小说的看法不同：散文更接近现实生活，因为它们表达了个人的困惑和经历。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:15, 27 December 2020 (UTC)

边缘主义是中西早期散文传统的一个纽带。偶尔的笔记可以包含私人的历史笔记，轶事，交流和沉思。然而，尽管当时中国散文选集有很多，一直到清朝之后我们才将散文视作一种文体意识。
考虑到当时的社会历史背景，人们对旧社会的看法与短篇小说和小说不同：散文更接近现实生活，因为它们表达了个人的问题和经历。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:43, 27 December 2020 (UTC)

==Liu Yangnuo 刘洋诺==
Until now, the Chinese pre-''Hongloumeng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.

Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the "Eight legged essay" as as appealing and intoxicating as the "pleasure of doing opium.'' (Zhou 1932:148).

目前为止，中国红楼梦前的个体文学还只是通过诗中的间接语言与我们对话。通过重拾散文，我们可以知晓不同观点和社会历史状况等文学创作的丰富源泉。
现代散文之前的文学并不限于形式上受限制的八股文，一方面鲁迅本人也有一些散文是用八股文写成的，但另一方面他又把八股文当作古代社会的代名词。周作人把 "八股文 "的语言节奏看作是 "做鸦片的快感 "一样令人陶醉。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 08:42, 25 December 2020 (UTC)

直到现在，中国前“红楼梦”的个体文学只能通过诗歌的间接语言与我们对话。重新发掘这些散文，我们可以拥有丰富的观点来源，社会历史图片等。

前现代散文文学不仅仅包括它最为人所知的例子，正式的、有限制性的“八卦文”。鲁迅自己的一些文章就是用“八卦文”写的，但是在另一方面又把它当作古代社会的同义词。周作人认为《八股文》的语言节奏就像“吸鸦片的快感”一样令人陶醉。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 09:07, 25 December 2020 (UTC)

==Liu Yi 刘艺==
But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, Zhou Yuanliu:71).

Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''Wenyi zai dao'' (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.

但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。

新儒家强调''文''（散文）是传播''道''的最重要工具：''文以载道''（文以载道）。如果我们从文体的角度来重新解读这句话，我们可以说，当时的散文已经被视为表达真理、主体性和自我的重要工具。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:01, 25 December 2020 (UTC)

但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。

理学强调“文”（散文）是传播“道”的最重要工具：“文以载道”。（以文学为载体的方式）。如果我们从体裁的角度来重新解读这一措辞，可以说，散文已成为表达真理、主体性和自我的重要工具。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:53, 27 December 2020 (UTC)

==Liu Yiyu 刘怡瑜==
Liang Qichao developed a ''xīn wéntǐ'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.

'''6. The essay as the medium of modernity, the questioning of the genuiness of the Chinese essay'''

To solve first of all the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Lin Shu: ''Irving'' 1907, ''Addison'' 1911).

梁启超研究出了一种新文体，这种文体受西方的语言所影响。但是这篇散文在报纸成为大众媒体之后才开始流行开来，成为所说的“白话”。

6.散文作为现代化的媒介，质疑了中国散文的真实性。
首先要解决的问题就是中国散文是源自本土传统还是西方翻译，有人认为两者都有所相关:散文意外地以中文译文的形式受引入到1907年的文学改革运动作家群体中来。(林纾:欧文，1907，爱迪森，1911)--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 02:12, 28 December 2020 (UTC)

==Liu Zhiwei 刘智伟==
The current form of the genre is mostly based on the influence of Western essay translations. First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only. A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).

This is older than the ones referred to in the ''Large Chinese Dictionary'' of Morohashi (Morohashi undated) and in the ''Encyclopaedic Dictionary of the Chinese Language'' 1966.

==Lou Cancan 娄灿灿==
Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars. Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin 1992, Fan Peisong 1993; for Western impact in general see Průšek 1964, Gálik 1966, McDougall 1971. Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition.

然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:57, 26 December 2020 (UTC)

然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:07, 26 December 2020 (UTC)

==Luo Weijia 罗维嘉==
How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement. All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1933, the anarchist and later member of the Guomindang Wu Zhihui [1934]. Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition:

以五四运动传奇作者为例可以看出个人观点对历史事实的叙述的影响有多大。这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:19, 27 December 2020 (UTC)

以五四运动传奇作家为例可以看出个人观点对史实叙述的影响有多大。这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:14, 27 December 2020 (UTC)

==Luo Yuqing 罗雨晴==
for example, Lu Xun with his theory "'Zhǎnkāi' shuō yǔ 'méngyá' lùn “展開”說與“萌芽”論"" (Theory of "Starting" and "Blossoming") came to see the fighting and critical character of the essay of the Jin dynasty (265 - 420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the ''biji'' (occasional notes) of the Ming, although he still tried to integrate the English essay in his "Gonganpài yu Yīngguo xiaopin 'hecheng' lun 公安派與英國小品“合成”論" (Theory of the Synthesis of the Gongan School and the English Essay).

例如，鲁迅以其“开始”与“绽放”的理论，将晋代散文的战斗性和批判性视为中国散文的“父”，周作人则先是英文散文（1921年）出发，之后是明朝“笔记”（随心记录），尽管他仍试图在公干派与英国小品合成论中中融入英文文章。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:09, 27 December 2020 (UTC)

例如，鲁迅的“展开”说与“萌芽”论认为晋代散文的攻击性与批判性是中国散文的先祖。周作人则将英语散文视为明朝“笔记”的先祖，在公安派英国小品“合成”论中，他努力使英文散文与他的理论合成一体。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 02:44, 28 December 2020 (UTC)

==Ma Juan 马娟==
Wang Zengqi regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays (Wang Zengqi 1993). The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay. One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.

王曾祺遗憾的是，“五四”时期的中国民族散文传统没有重新开始，也没有在当代散文中延续(王曾祺1993)。中国的文章是一个很好的研究对象，因为人们可以指望它来证明文章的任何理论。人们几乎可以在每个时期找到每个主题的例子，这仅仅是因为这篇文章的主题范围很广。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 02:29, 28 December 2020 (UTC)

王曾祺遗憾的是，“五四”时期的中国民族散文传统没有被拾起，也没有在当代散文中延续(王曾祺1993)。中国的文章是一个很好的研究对象，因为人们可以指望它来证明文章的所有理论。人们几乎可以在每个时期找到每个主题的例子，这仅仅是因为这篇文章的主题范围很广。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:09, 28 December 2020 (UTC)

==Ma Shuya 马淑雅==
When Zhou Zuoren showed that only seven months after the incident at Marco Polo bridge it was again possible to write about a candy seller (1924), he was critizised as "paralyzing" (Lu Xun 1934, Zhu Zhaoluo 1943). When he wrote a piece on the "Fly", he was reproached with dealing with subjects of minor importance. Reproaches like this lie in the very nature of the genre, since ''marginalism'' is substantial to the essay. The mentioned formal reproach of Luo Dajing can be found again in the 1990s, Hong Kong students critisized the literary style as it appears in Ba Jins "Thoughts" (Suixiang lu) as too direct and too less artful. But this perspective does not recognize the very nature of the essay, which is a very individual expression of an author's thoughts and not bound to tradition, and therefore much more free also in content.
==Ma Zhixing 马智星==
The essay - from its very nature free and independant - almost disappeared in the time of the Cultural Revolution and - except for the ideologically influenced essays - had a hard struggle between Yan'an and the loss of moral legitimacy by the leadership in 1989.

The essay was ''the'' genre of the modernizing society of the early 20th century. Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming "needs" of society, which also claimed the author to be one of its products.
==Meng Ying 孟莹==
But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is "a genre of self-reflection". Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art.

I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).
==Mo Ling 莫玲==
Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays. I mention only Zhou Zuoren. His ideas connected him spiritually to his contemporary collegues in Europe, Japan and America, but these where ideas for which China turned out to be not yet ready. At that time, China had taken a road which led away from progress, wealth, freedom and spiritual enlightenment. The consequences have yet to be overcome.

除开关注作家的小说和诗歌之外，如果我们对他们的散文有所涉猎，就会发现他们不仅对文学整体的理解发生了变化，单个作者的观点也发生了变化。仅就周作人来说，他的思想在精神上把他和他在欧洲、日本和美国的同伴们联系在一起，但是这些设想在中国行不通。当时的中国走的是一条远离进步、财富、自由和精神启蒙的道路，这一现状还并没有得到改变。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:34, 26 December 2020 (UTC)Mo Ling

如果我们考虑到散文，不仅文学作为一个整体的理解会改变，而且如果我们不仅看到他们的小说或诗歌，而且看到他们的散文，单个作者的观点也会改变。我只提周作人,他的想法在精神上把他和他在欧洲、日本和美国的当代同事联系在一起，但这些想法在中国还中国行不通。那时，中国已经走上了一条远离进步、财富、自由和精神启蒙的道路。其后果还有待克服。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:27, 27 December 2020 (UTC)

==Mo Nan 莫南==
In 1927, Chinese literature has taken the form of 'engaged literature'. The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology.
==Nie Xiaolou 聂晓楼==
Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be "art pourt l'art".
==Ou Rong 欧蓉==
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing ("Shuo meng 說夢" On dreams in: Zhu Ziqing 1928) and Zhou Zuoren from 1917 (My own garden 9.1923, "The Fly" 1924, "Reading on the Toilet" 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.
==Ouyang Jinglan 欧阳静兰==
I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda. This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character.
==Ouyang Ling 欧阳玲==
In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.

Taking into account of a genre shifts the whole perspective on literature, taking into account the essayistic works of an author shifts also the view of the author. I will name only one author as an example for a modern essayist: Zhou Zuoren.

20世纪90年代，20、30年代民国时期的文本和当代的文本一样也经常被重印。显然，我们可得出一个结论：20世纪50年代的那些政治宣传文只能留存在特殊的政治文章选集当中，到了21世纪初，就不再有作者去写这类文章，也不会有中国读者去看这类文章了。

考虑到整个体裁对整个文学角度的转变，以及散文作品反映出的作者观点的变化，我只举一位现代散文家的例子：周作人。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:47, 25 December 2020 (UTC)

20世纪90年代，20-30年代民国时期的文章仍然和当代的同类文章一样经常被重印。显然，我们可以得出一个结论：20世纪50年代的政治宣传类散文只保存在专门的政治散文集中，到21世纪初，不再有人去写，也不再有人读这类文章了。

一种文学体裁会转变整个文学的视角，一位作家的散文作品，同样也会转变对这个作家的看法。我只以一位现代散文家为例：周作人。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:02, 25 December 2020 (UTC)

==Peng Dan 彭丹==
'''Zhou Zuoren'''

I mentioned already his theoretical contribution to the Chinese essayism, but still, his essays have been neglected until the 1980s. The reason does not lie in literary quality, but in political valuing. The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that the theoretical May Fourth genius "degenerated" and later became a "traitor". Publishing in the Japanese sponsored magazines ''Reminiscences'',* and ''Chinese Literature'', he was blamed together with Zhu Pu and Yuan Xi of collaboration. An unanswered question is, why another author, who published there, Zhang Ailing, was never reproached with collaboratorship. The difference between all of them is that Zhang Ailing tried to avoid political committments, whereas Zhou felt guilty, Zhu justified it and Yuan simply accepted it.

我已经提到了他对中国散文主义的理论贡献，但直到20世纪80年代，他的散文一直被忽视。原因不在于文学品质，而在于政治价值。周作人是五四理论天才的“堕落”，后来成为“叛徒”。在日本赞助的《回忆》、《中国文学》等杂志上发表，他与朱璞、袁熙的合作受到指责。一个没有回答的问题是为什么另一位在那里发表文章的作者张爱玲从来没有受到过合作者的指责。两者的区别在于张爱玲试图避免政治承诺，而周作人感到内疚，朱璞证明了这一点，袁熙简单地接受了这一点。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 03:44, 28 December 2020 (UTC)

==Peng Juan 彭娟==
''The 'mainstream' writers took an affirmative approach in their writing, whereas the other writers formed a minority. The individual authors did not necessarily belong to either one of these groups throughout their life, but may have moved between them. Since the essay is a medium which enables the individual to express thoughts directly, the writers chosen for this paper can be classified according to their position.''

''Yu Guangzhong's essay'' "The wolves are coming" ''shows that the ideological perspective did not only harm mainland essaywriting.''
==Peng Ruihong 彭锐宏==
In his small literary pieces, Zhou tried to aesthetizise the little things of the everyday life out of the subjective experience of his private space. The major contribution of Zhou Zuoren is, that he set the turning point in Chinese essay writing with his call for writing short literary pieces (''Meiwen'' 1921).

In foreign literature there is the so-called ''lunwen'' 論文 (treatise), which is roughly divided into two groups: the reflecting ones, piping 批評 (critical), are scientific articles. The others are ''jishu'' 記述 (descriptive) and ''yishuxing'' 藝術性 (artistic), they are also called ''meiwen'' 美文 (aesthetic essay). Within these texts, one can distinguish between ''xushi'' 敘事 (narrative) and ''shuqing'' 抒情 (lyric). But there are also mixed texts. [...] I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn’t that be wonderful?

周作人在他的文学小品中，试图将日常生活中的小事从私人空间的主观体验中审美化。周作人的主要贡献在于，他以号召写短篇文艺作品（《美文》1921），开创了中国散文写作的转折点。

在外国文学中，有所谓''lunwen''论文，大致分为两类：反映的，管批评的，是科学文章。其他的是''jishu''记述（描述性）和''yishuxing''艺术性，它们也被称为''meiwen''美文。在这些文章中，我们可以区分''xushi''敘事和''shuqing''抒情。但也有混杂的文字。[......]我希望美学文章受到鼓励，能够回来，为《新文学》开辟一个新的领域。那岂不妙哉？

==Peng Xiaoling 彭小玲==
With these words from the essay "''The aesthetic essay''" this new vernacular form was defined. This starting point founded a whole new tradition of essay writing in China. Contemporary writers called this piece the "king of essays".

In order to bring this new form to his compatriots, he tried to find similiarities with the ''xiaopinwen'' of the Ming dynasty. He further discussed these thoughts in his essay theory. In his own essays, he profited a lot from ancient ''suibi''. Later he further developed his literary theory towards an up and down of two trends. In the modernizing society, he advocated the liberation of women and asked to "treat children as full subjects with their own external and internal lives" and to "make children the essence of children's literature" (Zhou 1923). He promoted the ''baguwen'' and the independance of literature from politics and effected the literary scene and the development towards a modern Chinese society especially between 1917 and 1938.

“美学散文”中的这些词语定义了这种新的白话形式。这个起点在中国建立了一种新的散文写作传统。当代作家称此作品为“散文之王”。

为了将这种新形式带给他的同胞，他试图找到其与明朝“小品文”的相似之处。他在散文理论中进一步讨论了这些思想。他自己的散文也从古代的“随笔”中受益匪浅。后来，他将文学理论朝着上下两种趋势进一步发展。在现代化社会中，他呼吁解放妇女、“将儿童看作具有外在和内在生命的完整主体”以及“让儿童成为儿童文学的本质”（Zhou 1923）。他提倡“八股文”和文学脱离政治的独立性，这对文学界产生了影响，并推动了中国向近代社会尤其是1917年至1938年的发展。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:48, 25 December 2020 (UTC)

==Peng Yongliang 彭永亮==
With this theoretical foundation and his own vo'luÉminous essayistic work, Zhou Zuoren through the example of his own form of short literary pieces within this genre, fought at that stage of the development of his literary theory like Benjamin Henri Constant de Rebecque 130 years ago in France for the idea "l'art pour l'art" , for individuality and independance of the writer, for disinterested literature. The jugdment, that Zhou was an apolitical author cannot be proved with his essays. Instead, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance (Zhou 1929:180-181).
==Peng Yuzhi 彭育志==
In fact he saw himself as ‘patriotic underground fighter’ and looked at the collaboration with the Japanese puppet regime as a forced one, following his attempted assasination, through which his driver had lost his life. His own concept of essay writing served less the needs of the building of a nation-state and comes closer to the ideal of the individual.

"I don't really know why, but I am feeling as if I am born into a dark age. I admit, that our forests are not inhabited by dragons, tigers and wolves, but shapeless "monsters" and "goblins" are still creeping around and try to swallow our souls. [...] What alarms me most, is the absence of freedom in this prison, into which we writers have been thrown."
==Qi Kai 漆凯==
Confronting tradition and progress in the essay "''Ancestor Worship''", he is in favor of the latter, since past could only become present through changes (Zhou 1919:7-8).

Benjamin Henri Constant de Rebecque (1767 - 1830) war französischer Romanschriftsteller und liberaler Politiker, der neben der Freiheit der Kunst nach der Französischen Revolution die Einführung der konstitutionellen Monarchie nach englischem Vorbild forderte.

面对“祖先崇拜”中的传统和进步，他赞成后者，因为过去只能通过变化才能变成现在(周1919：7-8)。

本杰明·亨利·康斯坦德·丽贝卡(Benjamin Henri Constant de Rebecca，1767-1830)是一位法国小说家和自由主义政治家，除了法国大革命后的艺术自由外，他还呼吁引入以英国模式为基础的君主立宪制。--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 06:39, 28 December 2020 (UTC)

==Qu Miao 瞿淼==
Siehe ''Journal'' (10.2.1804). Die "Kunst um der Kunst willen" propagierte die Zweckfreiheit der Kunst. Im Gegensatz dazu versteht sich die engagierte Literatur. Die Parallele zwischen Zhou Zuorens Literaturverständnis und dem Konzept "Kunst um der Kunst willen" zieht auch Wolff: ''Chou Tso-jen'' 1971, S. 84.

Siehe Zhou Zuoren: ''Der Ursprung der neuen chinesischen Literatur'' 1934, S. 95 - 98; vgl. auch Chen Zizhan: ''Vorträge zur chinesischen Literaturgeschichte'' 1937, Bd 3, pp. 416 - 422, besonders S. 422. Hinweis in: H. Martin: "''Liang Qichao on Poetry Reform''" 1996, Bd 1, S. 213.

见“期刊”（102.4804 年）。“艺术之艺术”宣传了艺术目的自由。相比之下，承诺的文学是可以理解的。周作人对文学的理解与“艺术之艺术”概念之间的相似之处也吸引了沃尔夫：“周作人”，1971 年 84.

参见周作人：“中国新文学的起源”，1934 年，第 95-98 页；另见陈子赞：“中国文学史讲座”，1937 年，第 3 卷，第 416-422 页，特别是 p422。注：H。马丁：“梁启超诗歌改革”，1996 年，第 1 卷，p213--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:55, 27 December 2020 (UTC)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:57, 27 December 2020 (UTC)

==Quan Meixin 全美欣==
Regarding Zhou Zuoren, I want to correct the official assessment of the People’s Republic, that his work would have experienced a caesura in 1938. In order to explain his opposition of the propaganda to build up national heroes about 1937 and his collaboration from 1939, it has been said officially, that his thoughts had "duoluo 墮落" (degenerated) at that time (Zhu Jinshun 1990:59). In fact, this caesura, namely the change in the style and subject in his essays on literature, art etc. to ''zhengjing'' 正經 (serious, intentional essays), and ''xianshi'' 閑適 (essays for one’s own enjoyment) is located not before his outlawing through Mao Zedong (1942), and his arrest through the Guomindang (1945).
==Sagara Seydou ==
Therefore not the Japanese suppressors are responsible for the retreat of this great writer, but his Chinese compatriots'.

On the basis of the stigma of the 'traitor', he has been undervalued until now. That his work in the 1990s is almost as often published as Lu Xun's and Zhu Ziqing's shows that his texts finally experience a more positive literaric evaluation through the audience, which now must be registered also by scholars.

因此，不是日本的压制者对这位伟大作家的退缩负责，而是他的中国同胞的退缩.
根据“叛徒”的污名，他一直被低估。他在1990年代的著作几乎与鲁迅和朱自清的著作一样频繁地出版，这表明他的著作最终在听众中得到了更为积极的文学评价，现在也必须由学者进行注册.

因此，不是日本侵略者造成了这位伟大作家的退缩，而是他的中国同胞们。由于背负着“叛徒”的污名，他一直未受到重视。20世纪90年代，他的作品出版频繁，几乎与鲁迅和朱自清等同，这表明这些作品在读者中收到了更为积极的评价，这一点也获得了当代学者的认可。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:47, 28 December 2020 (UTC)

==Shi Diwen 石迪文==
Another example of a misread Zhou Zuoren is his short essay on "''The Fly''", where he describes his changing attitude towards flies, which he had played with as child but later disgusted when he learned about their danger of passing on diseases. ”''The fly''” shows Zhou Zuoren’s strength to describe details and make them a real topic by recalling memories on them or describing a change of perspective on them. Zhou summarized the philosophical wisdom he learnt from this, that people did not judge on things objectively, but were likely to praise or damn things.
==Shi Haiyao 石海瑶==
The official reading re¬proaches Zhou that he "saw only the fly and not the cosmos" , a quotation of the young Zhou about a position he himself clearly opposed.

His ability to chat about the more pleasent things in life is displayed in his essay ”Birds’ twitter”. In ”''Peking cakes and sweet-meat''” and in ”''Wild vegetable of my home region''”, Zhou Zuoren shows his ability to make the reader feel at home at a region, where he feels at home himself, by describing the customs and special regional food.

Siehe Zhou Zuoren: "Cangying 蒼蠅" (Die Stubenfliege), in: ''Chenbao fujuan'' 晨报副镌 (Beilage zur Morgenpost) (1924.7.13). Eine Zu¬sammenfassung des Inhalts findet sich in: Yu Daxiang (Hg.): ''Auswahllexikon chinesischer Essays mit Inhaltsangaben und Analysen'' 1993.

''Siehe Vollständige chinesische Anthologie der Wissenschaften - Bd Chinesische Literatur'' 1988, Bd 2, S. 1300. Dies spielt auf den Essay "''Cangying'' 蒼蠅" (Die Stubenfliege), in: Zhou Zuoren: ''Zhi Tang. Sammlung'' 1933 an.（文献无需翻译）

官方的解读指责他“只看到了渺小，而没有看到伟大”，这是对年轻的周作人的引用，他自己明确反对该立场。
他谈论生活中更愉快的事情，在他推特的文章“鸟”中得到了展示。在“北京蛋糕和甜食”与“我家乡的野菜”中，周作人通过描述风俗和特殊的地区食物，展示了他让读者感到宾至如归的能力。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:37, 27 December 2020 (UTC)

==Si Yu 司妤==
His piece ”''Bitter rain''” shows the atmosphere, for what his essays had been labelled ”bitter tea”: There remains a taste in one’s mouth after reading. If you compare Lu Xun’s ”''On tea drinking''” (Yang/Yang 1961 3:325-326) with Zhou Zuoren’s essay with the same title, you see the difference of ”short and to the point” and ”eloquent and well-read”. ”''First love''” is more hilarious. The essay ”''Three different ways to die''” shows that Zhou Zuoren can compete with his elder brother in sarcasm. Lu Xun's essay on the same subject, the massacre on March 18, 1926, was a sight.

他的作品《苦雨》展现出了这种氛围，因此他的文章被称为“苦茶”：阅读完之后能感到余味悠长。如果你对比鲁迅和周作人的《论饮茶》(Yang/Yang 1961 3:325-326)，你可以看到“短小精辟”和“雄辩易读”的区别。《初恋》是最欢乐的作品。文章《三种不同的死法》表明周作人在讽刺小说方面足以与他的哥哥抗衡。鲁迅的同题作文《1926年3月18日的大屠杀》让人眼前一亮。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:36, 27 December 2020 (UTC)

==Song Jianru 宋建茹==
Zhou asks for the ”best” way to die and favors the short and painless one. In ”''On alcohol''” and ”''The awning bunk boat''” Zhou Zuoren continues the tradition of late Ming ''biji''.

'''7. The essay as a snapshot of contemporary thoughts'''

''What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.''

==Su Lin 苏琳==
The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a consciously “corrected” truth.
==Tan Xingyue 谭星越==
The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (Wang Meng: "''Anxiang'' 安详" (Serene) 1992, "''Zuohao ni ziji de shi'' 做好你自己的事" (First make your own things in a good way) 1994).
==Tan Xinjie 谭鑫洁==
These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.

Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive ("''Shanxi opera''", Jia Pingwa 1984) or negative world ("''The nightmare''", Si Yu 1995).

From the essay, we can see contemporary trends of literature, which are also reasons for the increase in volume of this genre in the 1990s:

这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。
20世纪80年代和90年代的其他散文虽是一种新的主观主义，其目标是摆脱当代的矛盾，但是通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。
从这篇文章中，我们可以看到当代文学的趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:30, 27 December 2020 (UTC)

这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。
20世纪80年代和90年代的其他散文是一种新的个人主义，其目标是远离当代的矛盾，但通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。
从这篇文章中，我们可以看到文学的时代趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 14:44, 27 December 2020 (UTC)

==Tan Yuanyuan 谭媛媛==
- The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall 1984:xiii);

- The increasing consciousness of indivi¬duality for which the essay is the most direct form of subjecti¬ve expression, even more direct than the poem with its metrical and formal demands;

- A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.

- The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.

- 当下中国社会的浮躁节奏，对转折性和短文的要求。"[...]我们生活在一个论述的时代"(Hall 1984:xiii)。

- 越发增加的独立意识，对其而言，文章是最直接的主体表达形式，甚至比诗的格律和形式要求更直接。

- 通过散文这一媒介讨论社会政治问题的兴趣的复苏，就像20世纪20/30年代的情况一样。

- 日常生活的平庸性通过成为文学话题而变得自觉，最常见的是日常生活的文体--散文。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:06, 25 December 2020 (UTC)

-当前中国社会节奏轻快，要求有趣味的短文：“[…]我们生活在一个博览会时代”（大厅1984:xiii）；

-对于个人二元性意识的增强，散文是主体性表达的最直接形式，甚至比诗歌的韵律和形式要求更直接；

-通过这篇文章讨论社会政治问题的兴趣的复复苏，如同20世纪20年代或30年代的情况一样。

-日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:59, 25 December 2020 (UTC)

==Tang Bei 汤蓓==
- The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays.

- Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.

- 中国社会的去意识形态化。如今在最前列的不是政府要求的平权文，而是非政治性的文章，大多是民国时期的文章，特别是1923年至1928年的。上述统计分析的结果也支持这一观点。1949年以后的政论文多为批评性散文。

- 关于散文集的编纂：对于中华人民共和国、台湾和香港最常被选中的文集来说，道德和审美标准似乎是其基础。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:19, 28 December 2020 (UTC)

==Tang Ming 唐铭==
This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publis¬hing houses with an orientation toward customers (former: "readers").

- The criteria for essay best sellers in the P.R. of China are the following: In the most often printed essay "''The Back View''", filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous "''The Moonlit Lotus Pond''", both written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader.
==Tang Yiran 汤伊然==
Nostalgic home feelings are the emotional identification element in "''Wild vegetables of my home region''" by Wang Zengqi. Therefore one can state, that moving es¬says form the top.

- ''In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in¬dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.''

==Tao Ye 陶冶==
''In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph'' China can say no! – Possibilities for politics and emotions in the period after the cold war (''No''! 1996).

- ''The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art.''
==Wang Meiling 王美玲==
''Also trends like the use of ordinary language, which one finds in novels since 1993 (Jia Pingwa, Feidu; Gu Cheng, Yingger) and'' New Borderlessness ''since'' 1995, ''cannot be pro-ven in the essaywriting. ''

- Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being "''The Small Dog Baodi''", written by Ba Jin 1981, in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before ("''In memoriam of Xiao Shan II''", Ba Jin 1984).

另外像1993年以来的小说（贾平凹、飞渡；顾城、莺歌）和1995年以来的《新无界》中发现的普通语言的使用趋势，也不能在散文写作中得到证明。

- 另外，王德威在老舍、茅盾、沈从文身上看到的小说现实主义，也证明了对一些文章的理解是有帮助的，其中之一是1981年巴金写的《小狗包弟》，作者变成了一个叙述者，用寓言式而不是像以前那样用描述式的真实来叙述'文革'的记忆（《纪念萧山二号》，巴金1984）。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 06:46, 28 December 2020 (UTC)

==Wang Xuan 王轩==
Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Der-Wei Wang 1992), helpful for the reading of Wang Zengqi's "''Rain in Kunming''" as well as for Jia Pingwa's "''Shanxi opera''".
类似的还有想象怀旧的概念，正如王功权所说的沈从文作品中虚构的真实（王大卫·德维王1992），有助于解读汪曾祺的《昆明雨》，也有助于贾平凹的《山西剧》。

- The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing fictional truth through the metaphor of his dog Baodi.
施瓦茨在“隐喻话语”中所表达的“个人悲伤”概念，有助于我们理解巴金是如何克服他以“存在的真理”而闻名的，却通过他的狗“宝坻”的隐喻而获得更具说服力的虚构真相。

Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.（文献无需翻译）

''Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay "The nightmare", where Si Yu appears as a de-constructionist, the I-narrator even is drawn near to suicide.''（文献无需翻译）

And maybe for Xie Bingxins* reflections on her experience as one of the chosen voluntaries of the Wuhan military academy: She insisted to remain a lifelong "woman soldier" .（文献无需翻译）

==Wang Yu 王煜==
'''8. Discussion: Is the genre of the essay the form of literary expression in 21st century China?'''

Regarding the future of the Chinese literature, we can only speculate. But out the risk of being wild and provocative, I would like to suggest some questions for considering the place of the essay in the field of Chinese literature and literary studies.

- People have less time for actions like reading, and get used to reduced visualized information through the Internet. Will the brevity of the essay make it the ideal medium?

8. 讨论：在21世纪中国，散文体裁是文学表达形式么？

关于中国文学的未来，我们只能猜测。但除开可能会变得狂热和具有挑衅性的危险外，我想就散文在中国文学和文学研究领域的地位提些问题。
人们很少有时间去阅读，并且习惯于网上简略的可视信息。散文的精简会使其成为一个理想的媒介么？--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 06:40, 28 December 2020 (UTC)

8. 讨论：在21世纪中国，散文体裁是文学表达形式么？

关于中国文学的未来，我们只能猜测。但出于狂妄和挑衅的风险，我想提出一些问题，以考虑散文在中国文学和文学研究领域的地位。

- 人们阅读等行动的时间少了，也习惯了通过网络减少视觉化的信息。散文的简洁性是否会使其成为理想的媒介？--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 06:49, 28 December 2020 (UTC)

==Wang Yuan 王源==
- If the Chinese people are rediscovering their individuality, will the essay allow them to express individual thoughts more directly?

- Modern societies are characterized by TV culture, mass consumption, and the loss of consciousness of one's own tradition, often partly due to the American impact on national cultures. Is the essay less bound to the restrictions of tradition, especially compared to the poem and thus more adaptable to the modern phenomenon of mass consumption?

==Wei Honglang 韦洪朗==
- The alienation and the anonymity of citylife worldwide, in China is combined with a loss of traditional values like ideology, family, solidarity etc. in favor of the concept of profit for oneself, - if this has produced a longing for new orientation, will it possibly be filled by morally guiding essays or nationalistic thinking?

- 在中国，世界范围内城市生活的异化和互相不认识的现象与传统价值观如意识形态、家庭、团圆等的丧失结合在一起，有利于为自己谋利的观念，如果这已经产生了对新方向的渴望，这个领域能否被道德指导性文章或民族主义思想所填补呢？--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 11:35, 27 December 2020 (UTC)

《红楼梦》与其他世界文学作品的相似性——推荐《红楼梦》列入世界记忆遗产名录

'''Commonness between the Red Chamber Dreams and other World Literature Novels – Proposing the Red Chamber Dreams to the World Documentary Heritage List'''（修改）

吴漠汀，湖南师范大学 Martin Woesler, Hunan Normal University

Source: Lecture at Harvard University, Cambridge, MA USA, 14.3.2000（文献无需翻译）

==Wei Yafei 魏亚菲==
'''Abstract'''

In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the Red Chamber Dreams, they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. ''The Red Chamber Dreams'' function worldwide.

摘要

在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。（修改）

在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中衍生出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，甚至于他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:09, 25 December 2020 (UTC)

==Wen Sixing 文偲荇==
''The Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。（修改）

多元一体

'''Key words'''

Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

“红楼梦”是一个多元的中国文化综合体，是中国文化的体现和精髓，但它也具有全球影响力，因此应该被授予“世界文献遗产”的荣誉。（修改<nowiki>Insert non-formatted text here</nowiki>）

多元一体

'''Key words'''

Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage
--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:29, 25 December 2020 (UTC)

《红楼梦》是一个中国文化综合体，展示着中国文化的精髓的同时也极具全球影响力，理应被列入世界记忆遗产名录。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:00, 26 December 2020 (UTC)

==Wen Xiaoyi 文晓艺==
'''1. Chinese Ethics'''

To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

==Wu Kai 吴恺==
'''2. Compatibility
'''
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel.

'''2. 兼容性
'''
为什么《红楼梦》在世界范围内广泛流传，甚至在翻译领域中也取得了世界文学的地位？

首先，《红楼梦》和世界小说一样，是一部娱乐文学。与戏剧中的每一个元素都是强制性的，在整体结构中起作用的戏剧相比，小说的行动路线本身更简单，也不那么重要，大部分场景或情节都松散地组合在一起，这和小说更广泛的主题相吻合。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:29, 27 December 2020 (UTC)

==Wu Qi 吴琪==
However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the ''Shuihuzhuan'' and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

'''3. Impact of translator’s native culture on the translation process'''

There are intercultural parallels between the ''Red Chamber Dreams'' and Western works of literature.

然而，《红楼梦》章回结构不连续来自于《水浒传》中几乎没有联系的章回的传统，这是朝着章回更连贯、与故事线一致以及更集中于较少主角的方向迈出的一步。因此，《红楼梦》明显向西方小说传统迈进了一步，可能是因为西方对清代的影响越来越大。

'''3.译者的本土文化对翻译过程的影响'''

《红楼梦》和西方文学作品之间有跨文化的相似之处。
--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:54, 27 December 2020 (UTC)

==Wu Qiong 吴琼==
These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the ''Dreams'' will immediately think of.

'''4. The novel as embodiment of “Zeitgeist”'''

According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s ''Ilias'', which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality.
==Wu Xiang 邬香==
The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

小说作为一种文学题材不再仅仅记录一种文化，而是用沃尔特·本杰明的话来代表历史的有机物。因此，卢卡奇对这部小说的理解从历史转向哲学。一部小说被理解为其历史时代的典型小说，这部小说会体现时代精神（时代精神）。

The ''Red Chamber Dreams'' are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng.

《红楼梦》是在满族统治原汉族掌管的明朝（当时是一个多民族、跨文化的社会）和贵族家庭遭受皇位更迭影响的背景下写成的，曹氏家族受到康熙的扶植和雍正的迫害。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:04, 27 December 2020 (UTC)

==Wu Yilu 吴一露==
While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Mann, including the turn to arts and music).

虽然作者在他的时代无法批判皇帝的制度和权力，但在小说中，他通过家族的日益衰败（修行道教、休闲、写诗、艺术和音乐，而不是为了能够谋生而学习）和自己没有实现作为家族继承人的期望中寻找受迫害的罪责，来接受这种生活。这种对没落家庭颓废的描述，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:35, 27 December 2020 (UTC)

虽然作者在他的时代无法批判帝制和皇权，但在小说中，他为家族的日益衰败（参加道教、娱乐、诗歌、艺术和音乐活动，而不是为了谋生而学习）和自己作为家族继承人没有实现家族期望感到自责，通过这样做，他也对这种生活做妥协。这种对没落家族颓废状况的描写，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 15:08, 27 December 2020 (UTC)

==Wu Zijia 吴子佳==

Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the Dream appears as a documentary historical novel very much like Günter Grass’ The Tin Drum 1959.

'''5. Coming-of-age and Alienation'''

Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment.

此外，《红楼梦》对清初社会各阶层生活的详细描写，与君特·格拉斯的《铁皮鼓1959》非常相似，《铁皮鼓1959》是一部纪实历史小说。

“5. 成熟和异化”

抛弃《红楼梦》中天堂般的花园，是离开受保护的童年，进入复杂的成人世界的象征。随着乔治·卢卡奇的小说理论，主人公开始对他的生活感觉产生疑问，在小说中，主人公的自我一直与他的环境作斗争。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 16:23, 27 December 2020 (UTC)Wu Zijia

==Xiao Shuangling 肖双玲==
However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life. Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged.

然而，曹雪芹的信息不仅是“失乐园”的信息，而是他本人的一生。尽管不如他的家人仍然享有皇帝的宠爱时富裕，但清初中国有一个工资体系和一个完整的社会网络，在那里他获得了足够的收入以独立于自己的富裕亲戚，可以有选择性地接受工作在大自然的小房子里过着轻松的生活，与家人和朋友共度时光，遵循自己的兴趣，例如读书，写作和喝酒，为孩子们放风筝和思考处境不利的人。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:38, 26 December 2020 (UTC)Xiao Shuangling

然而，曹雪芹所传达的信息并不是简单的“失乐园”，相反，他把自己的生活过得很好。虽然比起他的家族享受皇帝的宠爱，他过得没有那么富裕，但清初中国有一套薪俸制度和一张完整的社会网，他获得了足够的收入，可以独立于富贵亲戚，可以有选择性地接受工作，可以在大自然的小房子里过着悠闲的生活，可以与家人和朋友共度时光，可以追随自己的兴趣，例如读书，写作和饮酒，可以为孩子们做风筝，可以为弱势群体着想。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:27, 27 December 2020 (UTC)

==Xiao Ting 肖婷==
Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

曹雪芹对自己所处的时代和中国的文化成就有充分的认识，他熟悉社会的方方面面，他观察细致，叙事娴熟。他能把小说的结尾构思为对小说中人物不同性格的探讨，从而体现出他对人生的思考和对人性多样性的理解。他能够把握 "时间精神"(Zeitgeist)，并以他的亲身经历为材料创造了一部成熟的绝世之作，这不仅是为他的家庭、为清人、为中国人，更是为全人类。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:29, 26 December 2020 (UTC)Xiao Ting

曹雪芹充分了解自己所处的时代和中国的文化成就，熟悉社会的不同层次，是一个细致的观察者和娴熟的叙述者。他可能将小说的结局概念化为对小说中人物不同性格的讨论，从而表现出他对生活的反思和对人性多样性的心理理解。他能够把握“时代精神”(时代精神)，并以他的自传体经历，为他的家庭，为清朝人，为中国人，为人类创造了一部永恒的成长小说。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:01, 26 December 2020 (UTC)

曹雪芹对自己所处的时代和中国的文化成就了如指掌，他熟悉社会的不同层面，他是一个细致的观察者和娴熟的叙述者。因此，他在小说中对人的不同个性的理解和对小说中人物性格的多样性进行了概念化的探讨。他能够把握“时代精神”，用他的自传体经历，不仅为他的家庭，为清朝的中国人，为中国人民，而且为人类，创作了一部永恒的成人小说。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:43, 26 December 2020 (UTC)Xiao Shuangling

==Xiao Xi 肖茜==
This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel ''Candide or Optimism''《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.
这种成熟的传统小说也是一个欧洲人,像启蒙哲学家伏尔泰在欧洲同时间出版的的小说《老实人》(1759)。伏尔泰笔下的老实人不得不离开童年的奢华天堂，为追求真爱而奋斗，但他的主要学习内容却更为悲观，因为伏尔泰的小说与莱布尼茨截然相反，莱布尼茨乐观地认为中国是“所有世界中最好的”。最近的研究发现，中国对欧洲启蒙哲学家的影响要大得多，我们可以肯定，曹雪芹对欧洲的一些文学传统也有所了解。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:34, 27 December 2020 (UTC)Xiao Xi

这种成熟的传统小说也是一个欧洲人,像启蒙运动哲学家伏尔泰在欧洲同时间出版的的小说《老实人》(1759年)。伏尔泰笔下的老实人不得不离开童年的奢华天堂，为追求真爱而奋斗，但他的主要学习内容却更为悲观，因为伏尔泰的小说与莱布尼茨截然相反，莱布尼茨乐观地认为中国是“所有世界中最好的”。最近的研究发现，中国对欧洲启蒙运动哲学家的影响要大得多，我们可以肯定，曹雪芹对欧洲的一些文学传统也有所了解。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 04:33, 28 December 2020 (UTC)

==Xiao Yining 肖伊宁==
Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: ''Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802).

德国读者对主人公的生平及其发展、家族世代的命运都很熟悉，德国读者把这种类型的小说称为“教育小说”或“成长小说”。在德国,关于成长小说的体裁有着悠久的传统,它的形状更由单个字符,它更多的是被塑造为教师的单个人物(歌德：'Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802)。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 14:59, 27 December 2020 (UTC)Xiao Yining

==Xie Fan 解帆==
Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in ''Wilhelm Meister'' this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

'''6. Pornography and True Love, female rivals'''

Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit.

与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，这通过莎士比亚的经典戏剧得以体现。传统可以作为方向标，但主人公的个性需要通过解放才能发展，这是一种智慧，我们可以以上提过包括《梦》的所有小说中学习。
“6.色情与真爱，女性对手"
性是人类的一种基本需求，在不同文化中展现出不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是有固定程式的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:37, 25 December 2020 (UTC)

与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，在《威廉·迈斯特》中，莎士比亚戏剧中复兴的经典作品代表了这一点。传统可以给予导向，但主人公的个性需要通过解放来发展是一种智慧，我们可以从包括《梦》在内的所有小说中学习。
“6。色情与真爱，女性对手"
性是人类的一种基本需求，在各种文化中形成了不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是程式化的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:37, 26 December 2020 (UTC)

==Xie Ziyi 谢子熠==
In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.

The best study on ''qing'' passion in the Dreams is the one by Anthony Yu, who understood it as ''desire'' and as the central motif of the ''Dreams''. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

==Xu Jia 徐佳==
In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).

In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.

在《梦》的框架故事中，叙述者有意识地站在了反对低级动作和刻板色情文学的立场上，也站在了反对普遍存在的言情小说的立场上（以美丽的才女和通过公务员考试最终获得地位和财富的穷书生为经典角色）。

在第一章中，他说："年轻人的真情实感......至今无人报道"。

"情色场面以体面和联想的方式描述（"云和雨的游戏"），同时表现出另一种开放性，例如对双性恋的开放。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:35, 27 December 2020 (UTC)Xu Jia

在《梦》的框架故事中，叙述者有意识地反对低俗的动作和陈规定型的色情文学，反对流传甚广的浪漫小说（以美丽的才女和通过公务员制度最终获得受人尊敬的地位的穷困书生为经典角色）。

在第一章中，他说：“关于年轻人的真实感受，[……]到目前为止还没有人报道过。”

情色场景被描述成一个体面和联想的方式（“云和雨的游戏”），同时显示了另一个开放性的性质，例如对双性恋。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:03, 27 December 2020 (UTC)Xiao Yining

==Xu Jing 许晶==
The ''Dreams'' narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the ''Dream'' and ''Faust'', the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.

《梦》讲述了一对不幸的恋人的故事。在西方，不幸恋人也有文学传统，即他们构成了一个原型，例如Hero和Leander，Pyramus和Thisbe，Tristan和Isolde，Flore和Blanscheflur以及Troilus和Cressida，后者被认为是Arthur Brookes的模型，他在1562年撰写了《罗密欧与朱丽叶》，从而直接影响了莎士比亚。

玛丽安·加利克（Mariann Galik）认为《梦》和《浮士德》都是吸引我们的永恒女性的中心主题，顾城则称其为“永恒的处女”。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 00:25, 28 December 2020 (UTC)

==Xu Jing 许静==
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in the Keller 凯勒 ''The Green Henry'' 《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth and Lin Daiyu are similar, e.g. they both strive for real love (Zhuang 2011).

在歌德的成长小说''Wilhelm Meisters Wanderjahre''中，我们发现了类似的女性竞争主题，在凯勒''The Green Henry''（《绿衣亨利》1855）中，男主人公父亲早亡，母亲养育其成人。在简-奥斯汀的''Pride and Prejudice''（《傲慢与偏见》1813）中，伊丽莎白和林黛玉是相似的，比如她们都追求真爱（庄2011）。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 03:38, 28 December 2020 (UTC)

==Xu Mengdie 徐梦蝶==
'''7. Feudal society and slavery'''

A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, would exclude slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals.

封建社会和奴隶
一种普遍的解释是，贾宝玉对家庭成员和奴隶一视同仁，这将成为奴隶解放的宣言。我并不同意这个解释，因为亚里士多德的民主就排除了奴隶的投票权。所以，我们并不能用现代观念去评判过去。在我看来，贾宝玉并不是和不平等作斗争，而是把人视作群体和个人。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 09:55, 25 December 2020 (UTC)Xu Mengdie

一种普遍的解释是，贾宝玉对家庭成员和奴隶的平等对待是解放奴隶的宣言。我也不同意这种解释，因为亚里士多德，当他要求民主的时候，会排除奴隶的投票权。所以我们不能用现代的概念来判断过去。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人看成是群体和个人。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:31, 25 December 2020 (UTC)

许多人认为，贾宝玉对家庭成员和仆人的平等对待是解放奴隶的宣言。我也不同意这种看法。因为当亚里士多德要求民主时，奴隶并没有投票权。所以我们不能用现代的概念来判断过去发生的事。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人分为是群体和个人。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:03, 27 December 2020 (UTC)

人们普遍认为贾宝玉对待家庭成员和奴隶的平等对待是解放奴隶的宣言。我不同意这种解释，因为亚里士多德吁民主时，会将奴隶从投票权中剔除。所以我们不能用现代观点评判古人。我认为，贾宝玉并不是在为不平等而做斗争，而是将人区分为人或是个体。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 12:02, 27 December 2020 (UTC)

==Xu Pengfei 许鹏飞==
Also the understanding of the servants as slaves does not match the description in the Dream, since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with slave. Therefore, the translator preferred “servant” over “slave” in the translation.

另外，把仆人理解为奴隶也与《红楼梦》中所描述的不符，因为有些仆人自己也有仆人，他们离开贾家后，家人会照顾他们，为他们婚配，并且贾正把女儿迎春称为“丫头”，所以用奴隶来翻译这个词是不合适的。因此，译者在翻译中更倾向于“仆人”而不是“奴隶”。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:14, 25 December 2020 (UTC)Xu Pengfei

而且把仆人理解为奴隶与《红楼梦》中的描写不符，因为有些仆人自己还有仆人，贾府会在她们离府的时候为她们寻一门亲事，作为贾府对她们的照料；贾政也把自己的女儿迎春喊作 “丫头”，所以把这些翻译成奴隶是不合适的。因此英文翻译中采用“servant”会比“slave”更为合适。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 10:08, 25 December 2020 (UTC)Xu Mengdie

==Yang Chenting 杨晨婷==
Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

2009年，莫言代表中国作为主宾国参加法兰克福书展时，他在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的印象是，两者都没有表达这个愿望，但这是后来的概念和解释，而我们不应该以此来判断过去。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:36, 25 December 2020 (UTC)Yang chenting

2009年，莫言代表中国作为主宾国参加法兰克福书展时，在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的感觉是，两者都没有表达这个愿望，但这是后来的概念和解释，我们不应该以此来判断过去。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:43, 25 December 2020 (UTC)

==Yang Hairong 杨海容==
'''8. Tragedy of all tragedies'''

Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''.

8.所有悲剧的悲剧成分

亚里士多德在《悲剧论》（诗学VI）中解释说，悲剧使人们比喜剧更能吸引人，因为他们“模仿（mimēsis）一种严肃、完整和有程度的行动”（Aristotle 1971，51）。欧洲的悲剧部分归因于亚里斯多德作品《喜剧》的丢失。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:16, 27 December 2020 (UTC)

8.所有悲剧含有的悲剧成分

亚里士多德在《悲剧论》（诗学VI）中解释道，悲剧之所以比戏剧更加动人，是因为它们“模仿（mimēsis）一种严肃、完整且具有一定规模的行动”（Aristotle 1971，51）。悲剧在欧洲拥有崇高地位部分归因于亚里士多德的作品《论喜剧》的失传。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:42, 27 December 2020 (UTC)

==Yang Hui 阳慧==
While Europe has the Hamlet as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”.

尽管欧洲将“哈姆雷特”作为悲剧的悲剧，但长期以来中国传统文学中缺乏悲剧文学的现象一直令人遗憾。王国伟把“梦”看作“一切悲剧的悲剧”。对王国伟来说，浮士德和贾宝玉的苦难是小说的核心。然而，许多学者认为，浮士德主义是中国文化的核心。

在 18 世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:40, 27 December 2020 (UTC)

欧洲悲剧中以《哈姆雷特》为悲剧，而中国文学传统中悲剧文学的缺失，长期以来被人们所惋惜。王国维认为《梦》是“所有悲剧中的悲剧”。对王国维来说，浮士德和贾宝玉的苦难是小说的中心。然而，许多学者认为浮士德主义是中国文化的核心。

在18世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:36, 27 December 2020 (UTC)Xiao Xi

==Yang Yi 杨逸==
It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

它作为一场解放运动在18世纪的伦敦、巴黎和德国发展起来，并证明了悲剧并非只发生在统治者身上，也可能发生在下层贵族和普通公民身上。《梦》与欧洲资产阶级悲剧同时上演，讲述的是一个中层贵族家庭失去头衔和特权的悲剧故事。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 03:31, 28 December 2020 (UTC)

==Yang Yue 杨悦==

'''9. “Non-Binary” Novels'''

One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

9. “非二进制小说”

可爱而神秘的主角贾宝玉是吸引西方读者的其中一点。由于他开放的双性恋倾向以及对同伴的兴趣，无论他们的社会地位如何，他彰显“现代”气质或至少不属于那个时代。他与传统学习的斗争使他显得富有同情心，他与世隔绝的漫长状态使他既具有永恒的品格又具有神秘感。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:17, 27 December 2020 (UTC)

“非二元”小说

一个吸引西方读者的东西是可爱而神秘的主人公贾宝玉。由于他开放的双性恋倾向和他对伴侣的兴趣，不管他们的社会地位如何，他显得“现代”或至少在时间上流离失所。他与传统学习的斗争使他显得富有同情心，他从世界上长期的狂喜给了他永恒的性格和神秘的气息。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:43, 27 December 2020 (UTC)

==Yang Ziling 杨子泠==
With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the ''Heart Sutra''. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

随着梦中主人公的双性取向，小说呈现出非二元性。
卡尔·海因茨·波尔认为，二进制只是表面现象，最终起决定性作用的是“心经”。今天，这部小说被列为非二元文学的一个流派（参见https://www.goodreads.com/list/tag/non-binary)，其中的反差被解构主义地化解了。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 05:01, 28 December 2020 (UTC)

==Yao Cheng 姚诚==
'''10. Foreign Cultures in the Red Chamber Dreams'''

Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties, especially the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel.

10.红楼梦中的异邦文化
红楼梦中经常出现各种各样的异邦文化元素，例如许多贾府物品带有异国情调，并以新奇用品的形式呈现给贾府，尤其是提到的与宝玉同龄的金发女孩（结合了不同的来历和文化，包括欧洲，日本，中国），金发女孩也多次在绘画中出现，其中一次是为有翅膀的天使的形象。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:47, 27 December 2020 (UTC)

10.红楼梦中的异邦文化

红楼梦中经常出现各种各样的异邦文化元素，例如许多贾府物品带有异国情调，并是以新奇的形式呈现给贾府的，尤其是其中提到的与宝玉同龄的金发女孩（结合了不同的来历和文化，包括欧洲，日本，中国），金发女孩也多次在绘画中出现，有一次是以带翅膀的天使的形象出现。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 03:36, 28 December 2020 (UTC)

==Yao Jia 姚佳==
The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.
我们在描述宗教服饰时也能见识不同传统的玩味结合，它带有不同宗教的特点。同样，道士和儒士也可一起出现。曹雪芹想表现出小说的丰富性和多样性，这也与小说的诸多题材和社会层面有关。在书中甚至可以找到各种基督教的主题，比如第120章贾宝玉不被父亲认可，贾宝玉消失，这些都与耶稣基督平行。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 00:10, 28 December 2020 (UTC)

宗教服饰带有不同宗教的特点，在描述一种宗教服饰时，我们也能体味不同宗教传统的玩味结合。同样，道士和儒士也可一起出现。曹雪芹想表现出小说的丰富性和多样性，同时也要展现出小说的众多主题和社会层次。在书中甚至可以找到各种基督教的主题，比如第120章贾宝玉不被父亲认可，以及贾宝玉消失的时候，这些都与耶稣基督平行。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 00:43, 28 December 2020 (UTC)

==Yi Huan 易欢==
The variety of cultures is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the Red Chamber Dreams as “World Documentary Heritage”.

'''References'''（参考文献不用翻译）

Anthony, C. Yu. (2001). ''Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber''. Princeton University Press.

Aristotle. (1971). ''Poetics''. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). ''Der Traum der Roten Kammer oder Die Geschichte vom Stein'' [''Red Chamber Dreams or The Story of the Stone''], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. ''Hong lou meng xue kan'' 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. ''Journal of Sino-Western Communications'' 2 (2010.12) 2:81-107

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. ''Journal of Language Teaching and Research'', Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

==Yi Zichu 义子楚==
'''Virtual Communication Between Machines with the Human as Their Object
'''

A new stage of multimodal communication after oral, written, printed, electronic and machine-human communication

Martin Woesler, Hunan Normal University

'''Abstract'''

Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.

机器之间以人为对象的虚拟通信

口头，书面，印刷，电子和人机交流之后的多模式交流进入新阶段

湖南师范大学马丁·沃斯勒

摘要

卢曼和贝克尔描述了从口头交流（媒体时代1.0）到脚本（2.0），从印刷品（3.0）到数字通信（4.0）的发展。在所有这些阶段中，技术仅起到辅助作用。
--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:33, 28 December 2020 (UTC)

卢曼和贝克尔描述了从口头交流（媒体时代1.0）到脚本（2.0），从印刷品（3.0）最终到数字通信（4.0）的发展。在所有这些阶段中，技术仅起到辅助作用。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 05:05, 28 December 2020 (UTC)

==You Yuting 游雨婷==
This paper argues, that there is a fundamentally new media epoch of “virtual communication” (communication 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).

Algorithms do not only listen to oral or read written human communication (between humans or between humans and bots), but they analyze multimodal communication (including likes, behaviour, surfing habits, mobility profile, values, dreams, aims, beliefs etc.), compare them with Big Data (e.g. cloud data) and base decisions of manipulation on a prediction of behavior according to a personality profile and correlations.

本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管，人类成为分析和操纵的对象(如顾客、选民等)。

算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:34, 26 December 2020 (UTC)

本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管世界，人类成为分析和操纵的对象(如顾客、选民等)。

算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:47, 27 December 2020 (UTC)

==Yu Ni 余妮==
These algorithms target not only the explicit communications, but the emotions and thoughts of humans too and predict future behavior, therefore allowing simulations of reality. Mightier algorithms have also taken over decision-making roles in societies where they: replace human court decisions, fine tune just-in-time and on-demand production, censor chatrooms etc. Sets of algorithms help to manage smart cities and a whole society.

这些算法不仅针对明确的交流，也针对人类的情绪和思想，并预测未来的行为，因此允许模拟现实。更强大的算法也在社会中占据了决策角色：取代人类法庭的判决，及时微调和按需制作，审查聊天室等。一套算法有助于管理智慧城市和整个社会。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:34, 27 December 2020 (UTC)

----

==Yuan Shiqi 袁诗琦==
Although the human is still part of the communication, especially as the analyzed object and the target of the manipulation, the human is often unaware of the virtual communication and a passive receiver of the machine’s decisions, while the main actors in the virtual communication are machines.

虽然人仍然是通信的一部分，特别是作为被分析的对象和操纵的目标，但是人往往没有意识到虚拟通信和机器决策的被动接受者，而虚拟通信的主要参与者是机器。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:55, 25 December 2020 (UTC)

尽管人类仍然是交流活动的一个组成部分，特别是作为被分析的对象和操纵的目标，但是人类往往没有意识到，自己是虚拟沟通和机器决策的被动接受者，而虚拟沟通的主导者是机器。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:11, 25 December 2020 (UTC)

虽然人仍然是构成通信的一部分，尤其是作为分析对象和操纵目标，但人往往没有意识到人们在虚拟通信中扮演机器决策的被动接受者，而机器才是主要参与者。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:42, 25 December 2020 (UTC)

==Yuan Tianyi 袁天翼==
Research describes these forms of virtual communication, finds evidence in social management systems and credit systems (in Germany, we have the “Schufa”, in the USA there are big players in credit history, which leads to credit-orientation and gamification of human life) or customized (fake) news filter bubbles and in customized consumption offers (Amazon, Facebook, Google, Netflix) and analyzes benefits, including security enhancements through such virtual communication.

研究对这些形式的虚拟沟通进行了描述，在社会管理系统、信用系统（定制的（虚假）新闻筛选泡沫）和定制的消费商（亚马逊、脸书、谷歌、网飞）里面找到了证据（德国有“Schufa”，美国则因为信用史有重大人物而使得社会信用至上并日趋游戏化），并对益处加以分析，这些益处包含通过这类虚拟沟通提升安全。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:20, 25 December 2020 (UTC)

研究描述了这些虚拟通信的形式，在社会管理系统和信用系统中找到证据（在德国，我们有 "Schufa"，在美国有信用记录的大玩家，这导致了信用导向和人类生活的游戏化）或定制化（假）新闻过滤气泡，以及在定制化的消费优惠中（亚马逊，Facebook，谷歌，Netflix），并分析了好处，包括通过这种虚拟通信增强安全性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:03, 25 December 2020 (UTC)

==Yuan Yuchen 袁雨晨==
But research also has the duty to warn of abuse or harmful developments and to raise ethical questions. Exoskeletal ethics, imposed by gamifications like credit systems, especially need to be valued against intrinsic ethics.

'''Introduction'''

In this paper dealing with machine to machine communication, I skip the machines assisting humans to make their life more convenient (ranging from “The milk is out, please add the usual amount of milk to the delivery list,” to “The old lady has not left her bed this morning, I’ll better call the doctor”).

但研究也有责任对滥用或有害的发展发出警告，同时要对引起的伦理问题也要承担责任。特别是信用体系游戏化所造成的外骨骼伦理问题更需要得到重视，要反对内在的伦理问题。

引言

本论文在涉及机器与机器之间的交流时，我不考虑那些帮助人类让生活更便捷的机器（从“牛奶没了，请在送货单上加平常剂量的牛奶”到“老太太今早卧床不起，我最好叫医生吧”）。
--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:10, 25 December 2020 (UTC)

但研究也有责任对滥用或有害的发展提出警告，并提出伦理问题。特别是信用体系等游戏化所强加的外骨骼伦理，更需要对照内在伦理加以重视。

引言

在本文中涉及机器与机器之间的交流，我跳过了机器协助人类提高生活便利的内容（从 "牛奶没了，请把平时的牛奶量加到送货单上"，到 "老太太今天早上还没下床，我还是叫医生吧"。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:40, 26 December 2020 (UTC)Xiao Ting

==Zeng Fangyuan 曾芳缘==
Instead, I deal with communication like: “Let’s create a user personality profile and compare it with Big Data to learn how I can best catch this user’s attention and make him/her vote for presidential candidate A or B.”; “Let’s check this users’ mouse movements and compare it with Big Data to get a correlation to estimate if (and if “yes” when) he will get Parkinson, to decide whether or not to deny him the loan or health insurance.”
实际上，本人研究涉及的方面如下：比如，“让我们创建一名用户的个性化主界面，并将其与大数据进行比对，学习如何最好的吸引该用户的注意，让他/她投票给总统候选人甲或乙。”“让我们检查这名用户鼠标的运动轨迹，通过与大数据进行比对，建立关联，来估计他是否会得帕金森。如果他患有帕金森疾病，我们会决定是否需要对他的贷款或医疗保险的申请予以拒绝。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:41, 26 December 2020 (UTC)

==Zeng Liang 曾良==
“Let’s check this users sexual orientation, religious beliefs, fears, secrets like adultery etc. to blackmail him to get ransom money for my programmer.”; or even “Let’s use this user’s location to aim the killer drone.”

The current neoliberal system with Amazon, Facebook, WhatsApp, Instagram, Google, Netflix etc. provides incentives to collect as much user data as possible and to abuse user data for manipulation, which creates huge profits.

“让我们检查该用户的性取向、宗教信仰、恐惧、诸如通奸之类的秘密去勒索他为我的程序员去获取赎金”。或者甚至“使用用户的位置瞄准杀手无人机。”

当前具有亚马逊、脸谱网、瓦茨艾普、照片墙、谷歌、奈飞等的新自由主义系统激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:04, 25 December 2020 (UTC)

"让我们查一查这个用户的性取向、宗教信仰、恐惧、通奸等秘密，以勒索他为我的程序员获取赎金。"；甚至"利用这个用户的位置来瞄准杀手无人机。"
目前亚马逊、脸书、WhatsApp、Instagram、谷歌、奈飞等的新自由主义体系，为收集尽可能多的用户数据，并滥用用户数据，从而创造了巨大的利润。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:39, 25 December 2020 (UTC)Yang chenting

“让我们检查该用户的性取向、宗教信仰、惧怕的事物、诸如通奸之类的秘密，从而勒索他让我的程序员获取赎金”。更有甚时，“让我们使用用户的位置让攻击机瞄准他。”

当前亚马逊、脸书、联络电话、Instagram、谷歌、网飞等的新自由主义的系统软件，激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:53, 26 December 2020 (UTC)

==Zeng Xinyuan 曾心媛==
Very much like the financial crisis, which was caused by the unregulated use of derivatives, this is a systemic development, which currently follows a path to enslave the human race under the control of algorithms for the benefit of tech companies. The enslavement has already begun, as we can see from the world wide addiction to social media, from the growing mass of conspiracy theorists and from the polarization of the USA over Trump or the polarization of Great Britain over the Brexit.

这与因不受监管地使用衍生品导致的金融危机非常相似。这是一个系统性的发展，它目前走的是一条用算法控制奴役人们，为科技公司谋利的道路。从全世界对社交媒体的沉迷，从越来越多的阴谋论者，从美国对特朗普的两极分化或英国对英国脱欧的两极分化，我们都可以看出，奴役已经开始。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:07, 27 December 2020 (UTC)

==Zeng Yanhu 曾雁湖==
'''1 History of Media Epochs'''

Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.

This paper argues, that there is a fundamentally new stage of “virtual communication” (media epoch 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).

卢曼和贝克尔描述了从口头（媒体时代1.0）到文字（2.0）的通讯发展，再到印刷（3.0）数字通讯（4.0）
在所有这些阶段中，科技都只起到了协助作用。

本文认为，从根本上来说，“虚拟沟通”处于新阶段（媒体时代5.0），其中人工智能（由人类初始化）已被接管，人类已成为分析和操纵的对象（如顾客，选民等）--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:56, 26 December 2020 (UTC)

==Zhang Hu 张虎==
While Luhmann would still summarize this under digital communication, I see a full new quality here, and have therefore coined the term “communication 5.0” or “virtual communication” for it. In Luhmann’s view, the computer consists out of the “surface” of the machine (the visible interfaces like screen, keyboard, mouse) and the “depth” of the machine (the invisible, often incomprehensive inside).

虽然卢曼仍然会在数字通信中总结这一点，但我在这里看到了一个全新的品质，因此创造了术语“通信5.0”或“虚拟通信”。在卢曼看来，计算机是由机器的“表面”(屏幕、键盘、鼠标等可见界面)和机器的“内里”(看不见的、内部不全面的部分)组成的。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:41, 25 December 2020 (UTC)

==Zhang Hui 张慧==
However, we are almost constantly producing data, with our chats and geotracked movements, with our addiction to social media, our carrying of cell phones and more and more smart devices at all times, and we are therefore an object of analysis by algorithms.

The traditional setting of a communicative act blurs: The machine can directly communicate with the human (there the Turing test marks a threshold), and, after a certain complexity, it can hide its machine nature.

但是，我们几乎一直在通过聊天和地理位置追踪运动，不断沉迷于社交媒体，携带手机以及越来越多的智能设备来生成数据，因此，我们一直是通过算法进行分析的对象。

交流行为的传统设置变得模糊：机器可以直接与人类交流（图灵测试标记了阈值），并且在经过一定的复杂性之后，它可以隐藏机器的本质。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:49, 25 December 2020 (UTC)

然而，我们几乎在不断地产生数据，我们的聊天和地理追踪的动作，我们对社交媒体的沉迷，我们随时携带手机和越来越多的智能设备，因而成为算法分析的对象。

传统的交流行为的设定模糊了。机器可以直接与人类交流（图灵测试标志着一个门槛），在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:03, 25 December 2020 (UTC)
然而，我们几乎是在不断地产生数据，我们的聊天和追踪移动，我们对社交媒体的沉迷，我们无时无刻都带着手机和越来越多的智能设备，因此我们是算法分析的对象。
传统的交流行为设定是模糊的:机器可以直接与人类交流(图灵测试在这里标记了一个阈值)，并且在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:49, 27 December 2020 (UTC)

==Zhang Ling 张玲==
The machine can also indirectly communicate with the human by simply analyzing humans’ verbal communication, non-verbal multimodal communication, behavior, personality etc. and interacting with the human with, or without, revealing its existence. A human, growing up in a filter bubble and believing in conspiracy theories is one such example: The human has been manipulated by social media and news which prefer lies over truth.

机器还可以通过简单地分析人类的语言交流、非语言的多模态交流、行为、个性等，并与人类进行交互，从而间接地与人类进行交流，从而揭示人类的存在。一个在过滤器泡沫中成长并相信阴谋论的人就是这样一个例子：人们被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:33, 27 December 2020 (UTC)

机器也可以通过简单地分析人类的语言交流、非语言多模态交流、行为、个性等与人类进行交流，或者间接地与人类进行互动，从而揭示人类的存在。一个在过滤气泡中长大、相信阴谋论的人就是这样一个例子:这个人一直被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:45, 27 December 2020 (UTC)

==Zhang Peiwen 张佩闻==
Without even noticing that there was an interaction taking place between the human and the machine, the human has lost his/her independence to the machine.

'''2 Types of communicative acts'''

1.Texts (oral and written comments/chat texts/blogs/emails)

2.Surf behavior (websites visited)

3.Consumer behavior (purchases)

4.Likes (see OCEAN, UEBA)

5.Duration/Attention (see UEBA)

6.habits/repetitiveness/occurrences (is an element of analysis in different AI apps/tools)
甚至没有注意到人与机器之间发生的互动，人已经失去了他/她对机器的独立性。

"两种类型的交际行为"

1.
文本(口头和书面评论/聊天文本/博客/电子邮件)

2.
上网行为(浏览网站)

3.
消费者行为(购买)

4.
喜欢(参见OCEAN, UEBA)

5.
持续时间/关注(见UEBA)

6.
习惯/重复/出现(是不同AI应用/工具的分析元素)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:46, 27 December 2020 (UTC)

==Zhang Qi 张琪==
7.Unconscious, often unique data allowing identification (way of writing, mouse movements pattern, see Raj Kannan 2020)

8.social interaction incl. friendships, sexual relationships

9.mobility behavior/pattern (e.g. immediate environment – e.g. unconsciously recording the inside of houses while playing “Pokemon Go”), travel: Travel Behavior (Yu Cui et al. 2018)

7，无意识且通常唯一的数据可以识别（书写方式，鼠标移动方式，请参见Raj Kannan 2020）

8.社交互动，包括友谊，性关系

9.出行行为/模式（例如周围环境-例如在玩``口袋妖怪Go''时不自觉地记录房屋内部），旅行：出行行为（于翠等人，2018年）--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:24, 27 December 2020 (UTC)

==Zhang Weihong 张维虹==
'''3 Types of analysis'''

1.General (User and Entity Behavior Analytics UEBA: AI-assisted cybersecurity tools like by Gartner, Inc.)

2.True identity (e.g.: mouse movements, face recognition, find real name) (Verschuere 2016)

3.Personality profile: Big Five Personality Inventory: Openness to Experience, Consciousness, Extroversion, Agreeableness, Neuroticism “OCEAN” (Golbeck 2011), by only analyzing the users' likes, Facebook can generate personality profiles (AI-Demand 2020)

4.Mobility profile/pattern

'''3种分析类型'''

1.概况（用户和实体行为分析:AI辅助的网络安全工具，如美国Gartner公司提供的）

2.真实身份（例如:鼠标移动，人脸识别，查找真实姓名）（Verschuere，2016）

3.个人简介:五大人格清单:开放体验，意识，外向，宜人，神经质海洋（Golbeck，2011），仅通过分析用户的喜好，脸书就可以生成个人简历（AI-Demand，2020）

4..流动概况/模式

==Zhang Xueyi 张雪仪==
5.Health situation (health apps, ai supported disease research, see Daley 2020)

6.Job situation/job market (Talent Search People 2020 analyzes the job market, and classifies 4 different AI systems: 1. systems that think like humans, 2. systems that act like humans, 3. systems that think rationally, and 4.) systems that act rationally.)

5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)

6.就业形势/就业市场（2020年《人才搜索人》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:33, 27 December 2020 (UTC)

5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)

6.就业形势/就业市场（《人才搜索人 2020》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:58, 27 December 2020 (UTC)

==Zhang Yinliu 张银柳==
7.Financial credit-worthiness: E.g. German Schufa company uses AI in addition to human expertise for evaluations, see Banken-Technologie 2020. Banken-Technologie 2020. Schufa’s attempt to gain access to customers’ bank account transfer information was discussed in the news.

8.Consumer Behavior: e.g. the "clickworker" company analyses and optimizes customers' searches in respect to a client company's goals/products with the help of AI (clickworker 2019)

9.Secrets (like adultery)

7.财务信誉度：例如,德国Schufa公司除使用人类专业知识外还使用AI进行评估,请参阅Banken科技2020。新闻中讨论了Schufa尝试访问客户的银行帐户转账信息的尝试。

8，消费者行为：例如在微软的帮助下，``clickworker''公司根据客户公司的目标/产品分析并优化了客户的搜索（clickworker 2019）

9，秘密（如通奸）--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 03:59, 28 December 2020 (UTC)

==Zhang Yu 张瑜==
'''4 Unique quality of media epoch 5.0'''[ I have coined the terms “media epoch 5.0” and “virtual communication” I have developed it from concepts like „Industry 4.0“ in Germany and the four media epochs Luhmann and Baecker developed (by Baecker called 1.0 … 4.0). There are several authors speculating about the media epoch 4.0, like Ray Kurzweil. The Age of Intelligent Machines. 1990.]

1.the human switches from active to passive

2.the human switches from subject to object

3.the human becomes addicted to social media, which enhances depression (Van Den Eijnden et al. 2016, Jasso-Medrano et al. 2018, Shensa et al. 2017)

4.the human switches from puppeteer, or entity with seemingly free will, to puppet

5.nature of the internet turns from freedom to surveillance

4.媒介5.0时代的独特品质 [我创造了 "媒介5.0时代"和 "虚拟通信 "这两个词，它们是从德国的“工业4.0”以及卢曼和贝克提出的媒介4.0时代（贝克称之为1.0...4.0）等概念发展而来的。一些作者揣测媒介4.0时代这个词的含义，比如1990年出版的雷-库兹韦尔的《灵魂机器时代》]

1.人从主动到被动的转换

2.人从主体到客体的转换

3.人沉迷于社交媒体，提高了患抑郁症的风险

4.人从木偶操纵者或看似拥有自由意志的实体到木偶人的转换

5.互联网的性质从自由到监测的转换--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:25, 26 December 2020 (UTC)

==Zhang Yujie 张毓婕==
6.direct communication turns into indirect communication (humans may not be aware of this communication/analysis)

7.explicit communication (voice, words) turns into implicit communication (preferences/thoughts/dreams/wishes/ values (first experiments with brain scanners in worker hats have started in Shanghai and Peking))

8.man-man communication turns to man-machine communication (phone bot) to machine-machine

9.4.0 was from centralization to decentralization, 5.0 is partial centralization and partial decentralization, but also concentration

6，直接交流变成间接交流（人们自己可能没有意识到这种交流/分析）。

7，明确的交流（声音，文字）变成隐性的交流（偏好/想法/梦想/愿望/价值观（上海和北京已开始在工人的帽子上使用脑扫描仪进行首次实验））。

8，人与人之间的通信变成了人与机器之间的通信（电话机器人）再到机器与机器之间的通信。

9.4.0是从集中到分散，5.0是部分集中和部分分散，也有集中。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:52, 27 December 2020 (UTC)

==Zhang Yuxing 张宇星==
So far, mass media has been considered one-way. The interaction and processing of data of millions of individual users seemed simply too much work. In the age of virtual communication, the media epoch 5.0, mass media is individualized and interactive and therefore even more influential.

'''5 Types of manipulation (consciously or unconsciously, sometimes half-consciously)
'''

1.Priming by unconscious advertisements: Influencing consumer decisions

2.Filter bubbles => supports conspiracy theories, influences judgments

到目前为止，大众媒体一直被认为是单一的。数百万个人用户数据的交互和处理似乎太费力。在虚拟传播时代，即媒体时代5.0，大众传媒是个性化和互动的，因此更具影响力。

'''5 种操纵类型（有意识或无意识，有时是半意识的）'''

1.无意识广告发布：影响消费者决策

2.过滤泡沫=>支持阴谋论，影响判断--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:08, 26 December 2020 (UTC)

==Zhao Xi 赵茜==
3.Nature of social media: lies spread 6 times faster than truth. (Vosoughi et al. 2018).

4.Change of political attitude: Case Cambridge Analytica: Helped minority to win election by manipulating young people of majority not to vote (Do so: Don’t vote campaign, Oddleifson 2020); Trump election and Brexit were won by manipulation

5.Use of private information/dependencies to obtain advantages (blackmailing for money or for conducting crimes etc.)

6.Identity theft

3.社交媒体的本质：谎言的传播速度比真理快 6 倍。（Vosoughi等人，2018年）。

4.改变政治态度：案例剑桥分析：通过操纵多数年轻人不投票帮助少数民族赢得选举（这样做：不要投票竞选。奥德利夫森 2020年）；特朗普选举和英国脱欧通过操纵获胜

5.利用私人信息/依赖关系获取好处（勒索钱财或犯罪等）

6.身份盗窃--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:18, 27 December 2020 (UTC)

3.社交媒体的性质：谎言传播速度是真相的6倍。（Vosoughi等人，2018年）。
4.政治态度的改变：剑桥分析案例：通过操纵大多数年轻人不投票帮助少数人赢得选举（Do Do Do:Do not vote campaign，Oddleifson 2020）；特朗普选举和脱欧是通过操纵赢得的
5.利用私人信息/依赖性获取利益（勒索钱财或犯罪等）
6.身份盗窃--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:03, 27 December 2020 (UTC)

==Zhao Xiaoyan 赵晓燕==
'''6 Consequences'''

1.Virtual Communication is mostly “hidden”, the human is mostly unaware of it, but may endure the consequences (policeman may detain suspect simply because the face recognition glass recognizes a pedestrian passing by and assesses him/her as “dangerous”; loan is declined; insurance company declines to accept new customer)

6.后果

1.虚拟通讯大多是 "隐蔽 "的，人多半不知道，但可能会承受后果（警察可能仅仅因为人脸识别玻璃识别出路过的行人，并评估其为 "危险 "而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新的客户）--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:02, 25 December 2020 (UTC)

6.后果

1.虚拟通信通常是“隐藏的”，人类大多数情况下是不知道的，但可能会承受后果（警察可能只是因为面部识别玻璃杯识别出行人经过并将他/她评估为“危险”而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:05, 25 December 2020 (UTC)

'''6.后果
'''

1.大多情况下，虚拟通信是“隐藏的”，人类也没有意识到这一点，但可能会承担由此带来的后果（警察可能会因为面部识别玻璃检测到行人通过，并将其评估为“危险人物”而将嫌疑犯拘留‘贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:29, 26 December 2020 (UTC)

==Zheng Huajun 郑华君==
2.User becomes transparent (government can fight terrorism, any user can be blackmailed, jealous spouse can check on adultery)

3.Less will to communicate and discuss (since positions are too far apart)

4.Populists and populist views gain supporters

5.Polarization of Society

6.There is an incentive not to reveal how much one knows about the object, because the object then could question the legality, the system etc.

7.Last resort, the thinking, is tackled: Machine interprets “real” attitudes, not lip-service words

2.用户变得透明化（政府可以反恐，任何用户都可以被拉黑，嫉妒的配偶可以查奸情）

3.交流讨论意愿较弱（因为立场相差太远）

4.民粹主义者和民粹主义观点获得支持者

5.社会的两极分化

6.有动机不透露自己对对象了解多少，因为对象就可能质疑合法性、制度等。

7.最后的手段—思维，已经被破解：机器解释的是 "真实 "的态度，而不是口头禅--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:03, 27 December 2020 (UTC)

2.用户变得透明（政府可以反恐，任何用户都可以被勒索，嫉妒的配偶可以调查奸情）

3.缺乏沟通和讨论的意愿（因为立场相差太远）

4.民粹主义者和民粹主义观点获得支持者

5.社会两极分化

6.有动机不透露自己对客体了解多少，因为客体可能会质疑其合法性、制度等。

7.最后一个办法是思考：机器解释的是“真实”的态度，而不是口头禅--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:42, 27 December 2020 (UTC)

2.用户变得透明(政府可以打击恐怖主义，任何用户都可以被勒索，嫉妒的配偶可以遏制通奸)。

3.缺乏沟通和讨论的意愿(因为职位相距太远)。

4.民粹主义和民粹主义观点获得支持。

5.社会两极分化。

英译汉有一种动机是不透露一个人对该对象了解多少，因为该对象可能会对合法性、制度等提出质疑。

7.最后要解决的是思维问题：机器解释的是“真实”的态度，而不是口惠而实不至的话--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 06:41, 28 December 2020 (UTC)

==Zhou Luoping 周罗平==
8.The knowing ones (algorithms, hackers, controllers of algorithms) have power over the unknowing ones (victims)

9.Exoskeleton ethics (like points/awards for measurable performances) reduce incentives to build inner ethics
'''
7 Simulation of the imminent future'''

1.The imminent future behavior of a human can be predicted

2.With many analyzed humans, the imminent future of reality can be predicted => simulation

8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模8拟即将到来的未来
1.人类即将发生的未来行为是可以预测的
2.有了许多被分析的人类，现实的即将到来的未来可以被预测=>模拟--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:00, 27 December 2020 (UTC)

8.已知的人（算法、黑客、算法的控制者）比未知im min的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模拟迫近的未来
1.人类的迫近未来行为是可以预测的
2.在分析了许多人类后，我们便可预测现实的迫近未来=>模拟--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:22, 27 December 2020 (UTC)

8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模8拟即将到来的未来
1.人类即将发生的未来行为是可以预测的
2.通过大量分析人类，现实里马上到来的未来便可预测到=>模拟--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:32, 27 December 2020 (UTC)

==Zhou Shiqing 周诗卿==
Is this an Orwellian dystopia or reality? Some cases of the above listed phenomena have been documented. However, we are still at the beginning of “little” AI development (optimizing existing processes) and on the brink of a much more powerful development, that of “big” AI (rethinking whole industries, being able to reproduce and enhance itself). (cf. Euchner 2019).

==Zhou Shuyao 周书尧==
'''8 Conclusion and Outlook'''

Data has succeeded oil as the most valuable resource for today’s economy. Big Tech companies already use users’ data and make big profits with it while legislation is delayed and national boundaries (which do not exist for the Tech companies) are struggled over.
Although input-legitimized liberal democracies and market economies, like that of the European Union, still protect privacy and data security, US- and China-based technology companies are already penetrating the European market.

'''8 结论与展望'''

数据已经取代石油成为当今经济中最有价值的资源。大型科技公司已经在使用用户的数据并从中牟取暴利，与此同时，立法被拖延，国界（不存在科技公司）正在为之苦苦挣扎。

尽管像欧盟这样的以输入合法化的自由民主国家和市场经济，仍然保护着隐私和数据安全，但是中美两国的科技公司已经开始渗透欧洲市场。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:59, 27 December 2020 (UTC)

==Zhou Siqing 周思庆==
We need to raise awareness and guide the youth to be careful with screen time and what they share online. We need to avoid addiction to social media.

'''The algorithms do not just check which film to suggest viewing next, they have started to invade the innermost sanctum of personality, our thoughts, dreams, wishes, visions, hopes, fears and secrets.
'''
'''
The listed consequences document a fundamental change of paradigms:
'''
我们需要提高意识，引导青少年注意屏幕时间和他们在网上分享的东西。我们需要避免沉迷于社交媒体。

'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''

所列出的后果证明了范式的根本变化:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:38, 26 December 2020 (UTC)

我们需要提高意识，引导青少年留意屏幕时间和网上分享，需要避免沉迷于社交媒体。

'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''

所列出的后果证明了范式的基本变化:--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:11, 26 December 2020 (UTC)

==Zhou Yiwen 周艺文==
'''The cause-based decision-making by humans with established institutions like politicians, judges etc. is being replaced with correlation-based decision-making by algorithms which often serve the profit interests of tech companies or the political interests of election-manipulators.
'''

AI took the wrong development path, when it changed from serving humans to trying to manipulate humans for economic or political profit. When AI is used to educate citizens – like helping German customers to keep a clean credit history and a good credit score – then it changes the behavior of citizens to an exoskeletal ethic.

人类通过建立政治、法官等制度所形成的原因导向的决策方法正在被算法形成的关联导向的决策方法所取代，算法通常为科技公司的利润利益或选举操纵者的政治利益服务。

人工智能走上了错误的发展道路，它从为人类服务变成了试图为了经济或政治利益而操纵人类。当人工智能被用于教育公民——比如帮助德国客户保持干净的信用历史和良好的信用评分——它就会改变公民的行为，使其成为一种外骨骼伦理。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:42, 27 December 2020 (UTC)

==Zhou Yuanqu 周园曲==
However, animals with an exoskeleton reduce their inside muscles and develop a soft inside, making them totally incapable of living without the exoskeleton. An exoskeletal ethic, giving reward points, for example, for behavior which is deemed positive and subtracting points for behavior which is deemed negative, deprives the human of the natural learning and developing process, in a social environment, of his responsibility and inner ethical judgment. If you were to meet a human with exoskeletal ethics and one who has inner ethics, whom would you trust more?

但是，具有外骨骼的动物会减少其内部肌肉并发展出柔软的内部，从而使它们完全没有外骨骼就无法生存。骨骼外伦理，例如，对于被认为是积极的行为给予奖励积分，而对于被认为是消极的行为给予减分，这剥夺了人类在社会环境中的自然学习和发展过程的责任和内在的道德判断力。如果遇到一个具有骨骼外伦理和内心道德的人，你会更信任谁？--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 04:10, 28 December 2020 (UTC)

==Zhou Yujuan 周玉娟==
If we want to avoid the consequences listed in point 6, the public needs to become aware of this and nations and supranational organizations need to define legislation to a) protect privacy and data security, and b) give the user the control over his/her data including the commercial use of it where they earn a share from the profit made with the usage of his/her data.

==Zhu Meimei 祝美梅==
'''9 Outlook'''

We need to accept, that the development is irreversible. Every new technology has created fears. Important is, that we become aware of the developments and adjust where the development heads into the wrong direction. We need set the right framework and incentives that the new technology stays on track to serve humanity.

'''9展望'''

我们必须承认，发展是不可逆转的。每一项新技术都在某种程度上引发了恐慌。然后重要的事情是，我们开始意识到，并调整那些朝错误方向进行的发展。我们需要制定正确的构架和激励措施，让新技术继续稳定地为人类服务。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 03:06, 28 December 2020 (UTC)

'''9展望'''

我们不得不承认，这种发展是不可逆转的。每一项新技术都会引发恐慌。重要的是，我们要意识到这些发展，并调整错误的发展方向。我们需要建立正确的框架和激励机制，使新技术能够继续为人类服务。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 04:04, 28 December 2020 (UTC)

==Zhu Suyao 朱素瑶==
New developments open new possibilities. We need to make sure that not only a few tech companies and terrorists use this powerful new technology to achieve their goals, but that the mass of smart device users emancipate themselves from addiction to and manipulation by technology and gain back their dignity, privacy and free will.

'''References
'''
（参考文献不用翻译）

AI-Demand. (2020). www.ai-demand.com/insights/data/big-data/big-data-and-facebook-the-heavenly-pair-that-isnt-quite-in-heaven/

Baecker, Dirk. (2007). ''Studien zur nächsten Gesellschaft''. Frankfurt 2007

Banken-Technologie. (2020). 26. Handelsblatt Jahrestagung. Banken-Technologie. „New Normal” in der Finanzwirtschaft: digital – intelligent – automatisiert – hybrid. 2. und 3.12.2020, Digital [Conference Announcement] https://veranstaltungen.handelsblatt.com/bankentechnologie/ki-machine-learning-finanzanalyse/

Booth, T. "Cambridge Analytica controversy must spur researchers to update data ethics." ''Nature'' 555.7698 (2018): 559-560.

Clickworker. (2019). www.clickworker.com/2019/04/30/ai-for-ecommerce/

Cui, Yu, Qing He, and Alireza Khani. (2018). Travel behavior classification: an approach with social network and deep learning. ''Transportation research record'', 2672(47), 68-80. https://par.nsf.gov/servlets/purl/10109453

Daley, Sam. (2020). 32 Examples of AI in Healthcare that Will Make you Feel better about the Future (July 4, 2019, updated July 29, 2020). builtin.com/artificial-intelligence/artificial-intelligence-healthcare

Euchner, Jim. (2019). Little ai, Big AI—Good AI, Bad AI. Terminology Management 62:3, 10-12. pdf:

https://www.tandfonline.com/doi/pdf/10.1080/08956308.2019.1587280?needAccess=true

Golbeck, Jennifer, Cristina Robles, and Karen Turner. (2011). "Predicting personality with social media." ''CHI'11 extended abstracts on human factors in computing systems''. 2011. 253-262.

Jasso-Medrano, José Luis, and Fuensanta Lopez-Rosales. (2018). "Measuring the relationship between social media use and addictive behavior and depression and suicide ideation among university students." Computers in Human Behavior 87: 183-191.

Luhmann, Niklas. (1997). ''Die Gesellschaft der Gesellschaft''. 1997

Oddleifson, Evan. 2020, The Effects of Modern Data Analytics in Electoral Politics: Cambridge Analytica’s Suppression of Voter Agency and the Implications for Global Politics, ''Political Sciences Undergraduate Review'' 5 (2020) 7, 1-7.

https://journals.library.ualberta.ca/psur/index.php/psur/article/view/130/90/130-Article%20Text-642-1-10-20200401.pdf

Raj Kannan, J., Sabitha, R., Karthik, S., & Shanthini, J. (2020). Mouse Movement Pattern Based Analysis of Customer Behavior (CBA-MMP) Using Cloud Data Analytics. ''Wireless Personal Communications'', OnlineFirst, 1-17.

Ruan, Lotus, et al. "One App, Two Systems: How WeChat uses one censorship policy in China and another internationally." (2016).
Shensa, Ariel, et al. (2017). "Problematic social media use and depressive symptoms among US young adults: A nationally-representative study." ''Social Science & Medicine ''182: 150-157.

Talent Search People. (2020). How Will Artificial Intelligence Affect the Job Market? www.talentsearchpeople.com/en/blog/494-how-will-artificial-intelligence-affect-the-job-market/.

Van Den Eijnden, Regina JJM, Jeroen S. Lemmens, and Patti M. Valkenburg. (2016). "The social media disorder scale." ''Computers in Human Behavior ''61: 478-487.

Verschuere, Bruno, and Bennett Kleinberg. "ID‐check: Online Concealed Information Test reveals true identity." ''Journal of forensic sciences'' 61 (2016): S237-S240.

Vosoughi, Soroush, Deb Roy, and Sinan Aral. (2018). The spread of true and false news online. Science 359.6380: 1146-1151.. science.sciencemag.org/content/359/6380/1146

新发展提供了新可能。我们需要确保除了少数的技术公司和恐怖分子使用这一强大的新技术来达到他们的目的，还需要确保大量的智能设备的使用者不再沉迷于其中，不再被技术操控，从而重拾他们的尊严，获得隐私和实现意志自由。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 06:51, 28 December 2020 (UTC)

==Zhu Xu 朱旭==
'''Bio'''

Martin Woesler, PhD, is Jean Monnet Chair in European Studies with Hunan Normal University since 2020. At its Foreign Studies College, he is Distinguished Professor of Chinese Studies, Translation Studies and Comparative Literature since 2019. Woesler was elected Academian of the European Academy of Sciences and Arts, Salzburg in 2019.
Woesler has co-edited the books "China's Digital Dream", "Ethics of Information Society" and Springer has scheduled to publish the book "Diverse Voices in Chinese Translation and Interpretation" including his book chapter "Modern Interpreting with Digital and Technical Aids" in February 2021.

个人简历

自2020年起，吴漠汀（Martin Woesler）博士是湖南师范大学欧洲研究的讲座教授。自2019年来，他在湖师大外国语学院担任中国文化研究、翻译研究和比较文学的特聘教授。2019年，吴教授当选萨尔茨堡欧洲科学与艺术学院院士。吴教授曾与人合编《中国的数字梦想》、《信息社会伦理学》等书。施普林格（Springer）已计划于2021年2月出版《中国笔译与口译中的多种声音》一书，其中包括他的《数字与技术辅助的现代口译》一章。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:26, 27 December 2020 (UTC)

==Zou Xinyu 邹鑫雨==
Woesler was a Senior Fellow of the German Science Foundation's (Deutsche Forschungsgemeinschaft) Research College "Media Cultures of Computer Simulations" 2019‐2020 and hosted a related workshop with Bertelsmann Foundation in 2020. Woesler is also a researcher with Witten/Herdecke University, Germany, investigating the impact of daily screen time of children and of young people on their health.

History of Translation Studies 5

2020-12-28T06:39:20Z

Zhu Suyao: /* The Study on the Translation Strategies, Translation Methods and Translation Techniques in Seeking Happiness for People: 70 Years of Progress on Human Rights in China from the Perspective of Skopos Theory 朱素瑶 Zhu Suyao */

这里是《翻译学史》的书稿第五部分(Part 5)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。

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%。

*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].

=Translation Thoughts=

==On Xu Yuanchong’s Translation of Tang Poems from the Perspective of the Creative Treason-李玉 Li Yu 202020080615 英美文学==
<center>李玉 Li Yu </center>

===Abstract===
Tang Poems are one of the quintessences of Chinese classical culture. The English translation of Tang poems is of great significance for promoting the spread of Chinese culture in English-speaking countries even around the world. And because Tang poetry has its unique structure and imagery, whether it can be transformed into an English translation that can be accepted by people in English-speaking countries has always been a debate. This even led to the view that Chinese classical poetry cannot be translated. On the other hand, in the process of translation practice, many excellent translations have emerged. From the perspective of creative treason theory, this article analyzes its application in the translation of Tang Poems by Professor Xu Yuanchong, and demonstrates the translatability of Tang poetry and the positive role of creative treason, which opens up a new vision for future English translations of poetry.

===Key Words===
Creative Treason, Tang Poems, Xu Yuanchong.

===题目===
创造性叛逆视角下许渊冲英译唐诗研究

===摘要===
唐诗是中国古典文化的精粹之一，唐诗的英译对于在英语国家乃至全世界范围内推动中国文化的传播具有着十分重要的意义。而又因为唐诗有着其独特的结构和意象，是否可以形神兼备地将其转化成可以为英语国家人士接受的英译本，一直是一个争论。这甚至引发了关于中国古典诗歌不可译的观点。另一方面，在翻译实践的过程中，有许多优秀的译作涌现。本文从创造性叛逆理论视角出发，通过分析其在许渊冲教授的英译唐诗中的应用，论证了唐诗的可译性及创造性叛逆在其中发挥的积极作用，为未来的诗歌英译打开了视野。

===关键词===
创造性叛逆，唐诗，许渊冲

===1.Introduction===
Translation is a process during which the translator will consciously or unconsciously betrayed the source text due to the differences of culture between the target language and source language, especially in literary translation. French sociologist of literature Robert Escarpit proposed the concept of creative treason in his Sociology of Literature by saying that ”Translation is always a kind of creative treason”(Robert Escarpit,1987,137). And he further developed his argument by saying that “If we are willing to accept the view that translation is always a kind of creative treason, then the stimulating problem of translation may be solved. The reason why translation is treason is that it put the works into a completely unexpected reference system(refers to the language); the reason why translation is creative is that it not only endows the works with brand-new appearances so as to enable them to have a new literary communication with a wider range of readers but also give the works second lives while at the same time lengthens their lives”(Robert Escarpit,1987,139).
After that, renowned Chinese professor of comparative literature, Xie Tianzhen, have introduced creative treason into China and have profoundly pointed out the connotation of creative treason in his ''Media-Translatology'' by saying that “if creativity in literary translation indicates a kind of subjective endeavor of the translator to approach to and represent the original works, then the treacherousness in literary translation reflects an objective betrayal of the translated text to the original text that is caused by the translator’s trying to achieve some subjective goal in the process of translation”(Xie Tianzhen,106).
This chapter choose to analyze the English translation of Tang poems not only for that they are an important part of Chinese classical literature, but also for that the English translation of Tang poems are important for the transmission of Chinese culture around the world. The research of it is necessary. And the reason why I choose Xu Yuanchong’s translation of Tang poems is not only that his translation is a good example of how to balance truthfulness and beauty in literary translation, which I will verify in the fourth part of this chapter, but also that he is a translator with mature translation theories.

===2.Faithfulness and creative treason===
====2.1.Faithfulness====
The purpose of translation is communicating information and transmitting culture,so faithfulness is doubtlessly the first and most important principle of all. The proposing of the translation principle of faithfulness dates back to 1 century A.D. Horace,the poet and literary critic in Ancient Rome, puts forward “faithful translator” in his Ars Poetica. And his translation principle can be summarized into two points：(1) Adhere to live translation and reject literal translation. "A faithful translator will not translate literally"; (2) The native language can be enriched by borrowing foreign words through translation.
Contrary to the translation Model of Horace’ s, there is another Model which is also a pattern of the west called Jerome’ s pattern. In Jerome’ s time,the text needed to be translated is the Bible, which is sacred. So Jerome advocate literal translation, and always stick to word.
Though appeared to be different, these two models shared one thing in common, that is faithfulness.
Faithfulness is the most important principle in translation not only in the west, but also in the east. Since the translation of the Buddhist scripture begins, faithfulness has always been an important principle. In the modern times, Yan Fu has proposed the three principle of translation. And among them, faithfulness is the most important one.
On the surface, faithfulness asks the translators to faithfully represent the meaning,connotation,emotion and language structure. However, if we dig into the deeper, we will find that different language modes people’s thinking and recognition pattern differently. So it is hardly possible that a translator can achieve all these at one time. Especially in poetry translation, which is an art of language itself, the writing strategies are deeply dependent on the characterizations of a specific language. However, it is a must to try one’s best to represent the original texts’ beauty. Otherwise, poetry translation will be meaningless.

====2.2.Creative treason====
Literally speaking, creative treason combines creativity and treason together. To be creative, means that in the process of translation, the translator can add some personal understanding and imaging into the translated version. Of course, it should be based on the meaning and connotation of the source text; treason, means that the translator can refuse to adhere to the structure or expression form of the original text, and change them into something that is can be more easily accepted by the target readers.
However, these two things are not contradictory. They are closely related with each other.
And there are two kinds of creative treason. Conscious creative treason and unconscious one. And most creative treason are unconscious. That means objectively, the translators are not mean to betray the source text, but rather negatively have done that.Creative treason as a phenomena or strategy is neither positive or negative. The key point is whether it has been used properly and achieved the intention of the translation tasks.

====2.3.The relationship between faithfulness and creative treason====
The ultimate ends of literary translation is to remold the same aesthetic experience in the target readers’ heart as in the native reader’s. The setting of the translation criteria, faithfulness, served for this ultimate ends. So as creative treason. In poetry translation, faithfulness and creative treason are just like the two sides of one coin.they are complementary to each other.On the one hand, faithfulness is the basis of creative treason. Without faithfulness, creative treason will lose its creativity and be reduced into merely treason. On the other hand, creative treason is the way to achieve a higher level faithfulness. Without creative treason, faithfulness will only be a slogan.

====2.4.Creative treason in poetry translation====
I will apply to a Li Bai’s poem to further present the use of creative treason in poetry translation.

静夜思

床前明月光，

疑是地上霜。

举头望明月，

低头思故乡。

Quite Night Thought

Bedside bright moonlight

Is suspected to be frost on the floor.

Raising head to watch the bright moon,

Lowering head to think of the hometown.

Nostalgia

A splash of white on my bedroom floor. Hoarfrost?

I raise my eyes to the moon, the same moon.

As scenes long past come to mind, my eyes fall again on

the splash of white, and my heart aches for home.

Translated by Weng Xianliang（翁显良）

In the Still of the Night

I descry bright moonlight in front of my bed.

I suspect it to be hoary frost on the floor.

I watch the bright moon, as I tilt back my head.

I yearn, while stooping, for my homeland more.

Translated by Xu Zhongjie（徐忠杰）

The first translation is a word-for-word translation. Though appeared to be faithful in meaning, this kind of translation gives the reader a mechanical feeling and lacks the transmission of the original poem's verve. In this respect, the translation is not faithful to the original poem.Because the original poem doesn't feel mechanical. Not to mention it abandons the rhyme scheme of the original poetry.
The second translation conveys the meaning of the original poem without the feeling of mechanism but is not faithful to its form and beauty. It was translated into prose instead of poetry. However, prose and poetry are totally different. They provide different aesthetic experience to the readers.
The third version not only conveyed the meaning of the original poem but also reproduced the beauty of the original poem. This translation adds "I" to every sentence and adopts alliteration to reproduce the beauty of the original poem. Alliteration is in line with the custom of English poetry and is more acceptable to British and American readers. Moreover, the first line and the third line are rhymed. So as the second line and fourth line.
The third version is a good example of applying to creative treason. It betrayed the original rhyme scheme, but it use another rhetoric device to make up.

====2.5.The Necessity and Inevitability of Creative Treason====
Chinese is an isolated language, which emphasizes parataxis, and its word-to-word combination does not emphasize logical connection. However, English is a kind of inflected language with heavy hypotaxis, and word-to-word combination does not emphasize semantic relevance. So poetry as a art form of language, can never ignore the characterizations of language. There is bound to be a huge gap when the translators try to transform the cultural information interlingually. Exact representation is almost impossible in this respect. So creative treason is necessary and inevitable.

===3.The Translation Thoughts of Xu Yuanchong===
Xu Yuanchong contributed a lot to the transmission of Chinese culture. Due to his great achievement, he has been nominated for the Nobel Prize in literature in 1999. His greatness lies both in the field of translation thoughts and translation practice.Xu Yuanchong's translation thoughts is mainly formed on the basis of a large number of traditional Chinese poetry and literature translation practices. Those thoughts are highly condensed from Xu Yuanchong's years of translation practice. So before analyzing those specific cases, this section will present those important thoughts that is used in his translation practice.

====3.1.The Art of Translation====
=====3.1.1.Three Beauty: Beauty in Sense, Beauty in Form and Beauty in Sound=====
The so called "Three Beauty" is beauty of sense, beauty of sound and beauty of form. Xu got the initial idea of "three beauty" from Lu Xun 's thesis From Language to Article and firstly pointed his idea in 42 Selected Poems of Mao Zedong. Beauty of sense is the beauty of ideological contents which makes readers feel good. Beauty of sound is the beauty of rhyme which sounds good. Beauty of form is the beauty of words and sentences arrangement which looks good. "The translation poems need to convey not only the sense beauty but also the sound beauty and form beauty of the original poems". (Xu Yuanchong, 24-25)The relationship between the three beauty are indispensable. They complement with each other .Xu positively advocate thisprinciple of Three Beauty in poem translation practice. He follows this principle in his translation as well. Xu' s thought can be concluded as: "For one thing, to achieve beauty in sense so as to move readers' heart; to achieve beauty in sound so as to please readers' ears; to
achieve beauty in form so as to appeal to readers' eyes.(Guo Zhuzhang, 421)

=====3.1.2.Three "hua": Equalization, Particularization, Generalization=====
Xu got the idea of three "hua" from Qian Zhongshu's statement. Qian Zhongshu says in his book, Lin Shu' s translation "The highest standard of literary translation is "hua" (transformation). That is to say, a literary text translated from one language into an entirely different language should not exhibit in its grammatical and stylistic forms any trace of awkwardness or strangeness, and at the same time it retains the spirit, the charm and the style of the original work."(Qian Zhongshu,120)
Xu proposed Three "hua" according to Qian Zhongshu's statement.Xu thinks that translation is an art to change one language in to another. The purpose of three"hua" is to make the connection between original work and translators, translators and the translation works, translation works and reader tight. About three "hua", there are three points of "hua". One is Equalization, another one is Particularization, and the last one is Generalization. Xu thinks that translators should try the best to follow the idea of the original work unless the translator has to remove or put some part. Generalization is to avoid disadvantages and particularization is to make full use of the advantages of the original work.And equalization is in the middle.
Equalization is the same as what western translator put forward, functional equivalence translation theory. Xu thinks that the translated version should be equivalent to the original work in both content and form.

=====3.1.3.Three "zhi": Comprehension, Appreciation, Admiration=====
Illumined from Wang Guowei's Poetic Remarks of the World of Men, Xu proposed "Three zhi". Xu put the theory of realm into his translation practice and he thinks that translation should reach three realms, which is summarized as "Three zhi" theory in translation. Poem translation must make the readers have the feeling of Comprehension,Appreciation and Admiration.
What is Comprehension? It means to make the readers to know what the original work talking about. The role that a translator plays is to eliminate the obstacles of different translators. Xu thinks "Admiration" is the crown of laurels.
Translation activity takes the responsibility of the original work, its writers. What's more it also plays an importation role for culture transfer. What needs to be taken into consideration is if the translation from one language to another language can be accepted and loved by readers. Actually, the acceptance of readers influences the spread of the original works. So translators should pay much attention to readers' reading experience.

====3.2.Xu 's 4-R Principles:Recreation, Refinement, Resemblance and Rivalry====
=====3.2.1.The Principle of Recreation=====
There is only a small amount of equal words can be found between Chinese and English. Besides these two languages, each language is unique in vocabulary, pronunciation and form. These features of the languages cause the difficulty of conveying one language fully into another .Peter Newmark said: "a successfully translated poem is always another poem.(Peter Newmark, 165) However, in Xu' s point, what the translation cannot convey the original work fully does not mean that it cannot be conveyed at all. In order to solve this problem, Xu appointed the theory of "creation for loss" Guo Moruo used to say "Literature translation has no difference with creation. Good translation equals to creation.And it sometimes exceeds creation." [Zhang Zhizhong, 89]According to this, Xu proposed theory of Recreation.

This theory is also on the basis of creation for loss. As far as Xu is concerned, translation should make readers cheerful and feel the beauty. It seems that the author is writing the work in another language which we call it target language. The contrary between "truth" and"beauty" can be solved only by Recreation. About the generality of translation and recreation,Xu used to compare these two actions as painting. Creation take the reality as the model.However, translation cannot take the original work as the model only, instead, it needs to take the reality which the original work reflects as the example. Xu Yuanchong pointed that "Recreation is not absolute freedom. What is recreated should be what is hidden in the original work and be revealed by recreation" Xu also said that, Chinese poem has the lingering charms. However, the equivalent words of the target language can only express the original meaning of the Chinese word. Words with same meaning and conveying same lingering charms cannot be easily found in target language (here we refers to English language). So the way of solving this problem is by Recreation.

=====3.2.2.The Principle of Refinement=====
What refinement talks about is the relationship between the original language and the target language. Xu Yuanchong thinks that the relationship between the two languages cannot be absolutely equal. Translation, especially poem translation which has strong sense of literature has to take the advantage of the target language and avoid disadvantages. In the year of 1981, Xu proposed on Translation Correspondence that "Taking the advantage of the target language" and "Loyalty to the orig final works, idiomatic translation form" are the standard of literature translation. It is a great challenge to the mainstream translation standard.

Before the new standard come into force, the scholars pay a great attention on the contrary between loyalty and smoothness, form and content, literal translation and liberal translation. And there is a big amount of argument on these topics. No matter which side they stand, they ignored the deep reason why this contrary arouses. And how this kind of contrary can be solved is ignored also. However, this kind of study will be more meaningful than stand on one side and deny the other side. And that will be more useful in translation practice.

According to Xu's theory, two languages, source language and target language have advantages and disadvantages. Xu denies the equal relationship between the two languages. In order to reach the goal of communication between two languages, and to make readers feel "Comprehension, Appreciation and Admiration"(知之，好之，乐之)，translators have to make up the disadvantages by make full use of the advantages of the target language so that it can achieve the new balance. Using the advantage to make up the disadvantage is like weighting something.

Based on "taking the advantages of the target language", Xu proposed the theory of Refinement.(三势)The development of social life is always for the best. From a micro point of view, translation activity like other social activity, conform to history. So the principle of Refinement shows the direction of the history development. So the so called "take the advantage" is to make the best translation work s and to find the best way to express. At the same time, it should twist the disadvantage and fight for equilibrium. According to Xu' s theory, translation has to analyze the advantage of the source language and the target language. And also see where the equilibrium and the disadvantage are. And then find way to solve the problem of the unbalance. By this way, it can minimize the losses caused by translation. And this may make the translation over the original work.

In 1981，Xu wrote another paper to talk about if translation can be beyond original works.In his paper, he quoted lots of translators and scholars idea about the ad vantage of the target language in translation. Qian Gechuan thinks that French poet Charles Baudelaire is one of the translators who make his translation work Poe famous all over the world. It is generally accepted by readers. In the paper, Xu makes the list of better translation than original works especially Tang Poem translation. At last Xu connected his theory of "Three Beauty" and he summarized the condition of beyond original works. He highly admits that there is possibility of surpassing the original work. In poem translation, it can remain the beauty in sound and form, and it can surpass the original work for the beauty in sense point of view .Even for master pieces, different ages come to new translation versions. The old one may remain but the new version is to surpass.

=====3.2.3.The Principle of Resemblance=====
Fu Lei used to propose in the preface of the book The Old Man Gao. As for the effect,translation is just like painting. What it is pursuing is not the similarity in form instead issimilarity in spirit. The short sentence in the preface highly concluded the experience of translating literature translation. This makes the translation to the high level of art appreciation. This idea transcends Yan Fu's "Faithfulness, Expressiveness, and Admiration".

Why translation has to reach the goal of similarity in spirit? That is because the source language and the target language are quite different. Syntactic Structures, Grammar, Figure of speech, Thoughts of translators', Social Background, Thinking and Ideas are all different from each other. These kinds of differences make it impossible to be absolutely equal, especially for the two absolutely different languages: English and Chinese. So using one language to translate another language is aim to focus on similarity of spirit instead of form.resemblance in sense. Those whose school takes Faithfulness as the highest standard always stop for resemblance in sense. However, the faithfulness sometimes loses the charming character of the original work. A translation work without charm and character is like a bird without wings. It will have no difference from a sample. Professor Xu Yuanchong thinks that Chinese poem focuses on the charm of the poem.So while translation Chinese poems, the taste of the original work, the charm of the poem and the rhyme of the poem have to be translated. So Xu advocates translating literature works especially translating poems should pursue the third level of three resemblance, resemblance in spirit. Chinese poems seek for beautiful words and sentences. At th a same time, it attaches importance to the affection and momentum of the poem. So the translation of Chinese poem should be the same as the original works with bone and flesh, powerful and spiritual.
Xu's "Three Resemblance" can be explained as the following formula.

Resemblance in form: 1+1<2

Resemblance in sense: 1+1=2

Resemblance in spirit: 1+1>2

Resemblance in form is the part which can be translation by computer .That is a scientific part. However, the resemblance in spirit is the part which cannot be solved by any technical method. It belongs to Art. Translating is not a science; however, it is an art. All in all resemblance in spirit is the highest level to pursue.

=====3.2.4.The Principle of Rivalry=====
Professor Xu Yuanchong's "Rivalry" theory refers to the competition between source language and target language as well as the culture of both languages. This kind of rivalry composed several aspects.

1) The rivalry be tween two cultures. Language difference causes by different culture. Translation is to use target language to convey the image and emotion described and expressed by source language. And then unify the two cultures. In the process of translation, culture collision, advantages complementary, all these can be described and expressed accurately. All above is the rivalry in culture. The two cultures complete with each other for the purpose of growth and improvement.

2) The rivalry between two languages. This kind of rivalry refers to the competition between the translation works and the original works.Or we can also say the rivalry between writers and translators. Combined with "Making full use of tar get language", two languages make comparison and show their embodiment. Translators choose the best words to express the meaning of the original language carefully.Sometimes, translators are creative enough to create more charming translation then the original works.

3) The rivalry between translators which is the competition between two translation works f or the same original work .Newton used to say，"why do I have such achievement? That is because I am on the shoulder of giants". Just because of the competition,good quality works can appear.

===4.Xu Yuanchong’s Translation of Tang Poems From the Perspective of Creative Treason===
====4.1.Xu Yuanchong’s Translation Appreciation====
=====4.1.1.Crossing River Han by Song Zhiwen（宋之问）=====

渡汉江

岭外音书断，经冬复历春。

近乡情更怯，不敢问来人。

Crossing River Han

I longed for news on the Frontier

From day to day, from year to year.

Now nearing home, timid I grow;

I dare not ask what I would know.

In this translation, Xu translate the first two lines into a coherent sentence so as to make the rhyming possible. And the translation for”岭” is “the Frontier”.Though weakening the image of mountain ridge but at the same time strengthening the meaning of border. And this adjustment in translation is wonderful for that for the readers abroad, the construction of the concept”border” is more important than that of “mountain ridge” in terms of understanding the meaning and sensing the feeling of this poem.

The subject “I” is added to the translation in the first line of the translation, which makes the meaning clearer to the target readers. And this translation strategy is also adhere to the expression habit of English-speaking country. “音书断” is reversely translated into “Longed for news”, which make the translation more perceptible to the readers.

“经冬复历春” is translated into “from day to day,from year to year”. In Chinese,“经冬” and ”历春” are connected by “复”，which presents the lingering of having no letters, however, in English, there is no such word that can perfectly matches. So Xu creatively uses two ”from...to...” structures, and displaces”冬春” with “day” and “year”, which achieves faithfulness both in connotation and to some extent in form.

In the third line, Xu uses “grow” vividly represents the feeling of the original word ”更”.And the repeated meaning “timid” and “dare not” gives a strong impression on the readers’ mind. And the translation of “what I would know” is clever enough to conveyed the implied meaning in the original poem.

=====4.1.2.Drinking Alone Under the Moon by Li Bai(李白)=====

月下独酌

花间一壶酒，独酌无相亲。

举杯邀明月，对影成三人。

月既不解饮，影徒随我身。

暂伴月将影，行乐须及春。

我歌月徘徊，我舞影零乱。

醒时同交欢，醉后各分散。

永结无情游，相期邈云汉。

Drinking Alone Under The Moon

Among the flowers, from a pot of wine

I drink without a companion of mine.

I raise my cup to invite the Moon who blends

Her light with my Shadow and we’re three friends

The Moon does not not know how to drink her share;

In vain my Shadow follows me here and there.

Together with them for the time stay,

And make merry before spring’s spent away.

I sing and the Moon lingers to hear my song;

My Shadow’s mess while I dance along.

Sober, we three remain cheerful and gay;

Drunken, we part and each may go his way.

Our friendship will outshine all earthly love;

Next time we’ll meet beyond the stars above.

In the first line, Xu first uses “among the flowers” and “from a pot of wine” to give the readers a suspense, and then shows the subject “I” in the second line. “a companion of mine” vividly represent the intimacy between “I” and the absent companion, though betrayed the structure of the original poem “相亲”, the translation has achieved the expected effect.

In the fourth line, the use of “blends” represent the harmonious relationship between “the Moon”and “I” which is merely implied by the original diction “邀”.In the sixth line, the diction “in vain” and “here and there” vividly expressed the feeling of “徒” and “随”. “Together with them for the time stay,And make merry before spring’s spent away”, this two lines make the connotation “carpe diem” clearer. And “lingers” and “mess” are not only faithful but also clearly shows the relations of the three. “Sober” and “drunken” are put at the beginning, which makes it easier to rhyme and at the same time strengthens the rhythm. And the structure echoes the original one. “outshines” and “beyond” give the readers endless imagination.

====4.2.Summary====
From these two poems, we can see that creative treason is everywhere in Xu’s translation of Tang poems. From diction, sentence structure, to connotation, Xu all makes some recreations. And we can feel little unfaithfulness from the translation. Xu’s translation of Tang poems is doubtlessly a successful case of creative treason.

===5.Conclusion===
Xu Yuanchong uses plain and natural language and gives new life to Tang poetry.Read his translation, you can temporarily put aside the original fixed mode of reading poetry, found in the translation a novel, strange feeling. Some of the cultural connotation, the original is not expressed, but Xu uses his profound literary understanding and solid language foundation of basic skills, to make up for the defects. He resorts to creative treason, and presents to us the originality and uniqueness of his translation, which is worthwhile to learn and do some researches.

Moreover, we can see from his applying to creative treason the accessible way to translate classical poetry. And his translation is also a proof that poetry can be translated.

===References===
Guo Zhuzhang.郭著章(1997).''翻译名家研究''[A Study of famous translators in Translation].湖北教育出版社[Hubei Education Press]

He Junhua.何俊华(2017).哲罗姆模式和贺拉斯模式对比研究 ——解读翻译的忠实标准[A Comparative Study of The Jerome Model and Horace Model -- The Criteria of Faithfulness for Translation].''英语广场''[The Square of English],10-12.

Peter Newmark(1988):''A Textbook of Translation''. Shanghai Foreign Language Education Press

Qian Zhongshu钱钟书(1981).''林纤的翻译''[The Translation of Lin Shu].商务印书馆[Commercial Press]

Robert Escarpit.罗伯特·埃斯卡皮(1987).''文学社会学''[Sociology of Literature].安徽文艺出版社[Anhui Literature and Art Publishing Company].

Xie Tianzhen.谢天振(2013).''译介学''[Media-Translatology].译林出版社[Yilin Publishing Company]

Xu Yuanchong.许渊冲(2007).''翻译的艺术''[The Art of Translation].中国对外翻译出版公司[China Translation and Publishing Company]

Xu Yuanchong.许渊冲(2012).''唐诗三百首''[300 Tang Poems].中华书局[Zhonghua Book Company]

Zhang Zhizhong张智中(2006).''许渊冲与翻译艺术''[Xu Yuanchong and the Art of translation].湖北教育出版社[Hubei Education Press].--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 22:00, 21 December 2020 (UTC)

==On the Analysis of Three Kinds of Beauty in ''Moonlight over the Lotus Pond'' Under the Guidance of Functional Equivalence-林敏 Lin Min 202020080616==

<center>林敏 Lin Min </center>
===Abstract===
Functional equivalence theory is one of the most important theories in the field of translation, aiming to achieve the equivalence of functions between the source language and the target language in a translation. Xu Yuanchong introduced his translation standard of poetry translation--the “Three Beauties” principle in his book ''Forty Two Poems of Mao Zedong''. In the preface of this book, he said that the translated poetry should try to convey the beauty in sense, sound and form of the original poem. This thesis is going to use such two theories to compare and analyze the two English versions of ''Moonlight over the Lotus Pond'' in our nation --Zhu Chunshen’s version, Yang Xiangyi and Gladys Yang’s version with some typical and representative examples, thus finding the merits of the two versions, so as to learn whether the two translations achieve the functional equivalence.This thesis is divided into five parts: the first part roughly describes the purpose, method and significance of the study; the second part introduces the general idea and two English versions of ''Moonlight over the Lotus Pond''; The third part introduces two translation theories functional equivalence and three beauties principle; the fourth part, some typical examples are selected and two theories are used to compare the two versions. The fifth part summarizes the whole thesis.

===Key words===
Functional Equivalence, Three Kinds of Beauty

===题目===
功能对等理论指导下《荷塘月色》英译本“三美”的传达

===摘要===
功能对等论是翻译理论中最重要的理论之一。功能对等论的目的是实现源语和目标语之间的功能对等。许渊冲在《毛泽东诗词四十二首》序言中提出的译诗的“三美”原则，即音美，意美和形美。本篇文章将利用这两个基本原则，通过一些有代表性的例子对译本进行比较学习，学习研究两篇文章是否符合功能对等。本篇论文共分为五部分，第一部分介绍了本研究的目的、意义和方法；第二部分介绍了《荷塘月色》的大意和两个英译本；第三部分对两个翻译原则：功能对等论和“三美”原则做了简要地介绍；第四部分选取了有代表性的例子，运用了两个理论对两译本进行了对比学习；第五部分对全文进行了总结。

===关键词===
功能对等论，三美原则

===1. Introduction ===
With the advent of globalization as well as the development of Chinese economy, more and more Chinese literary works have been introduced abroad. Prose is one of the important part of China’s literature.However there is still not enough attention to the introduction of Chinese prose, especially Chinese modern prose.

''Moonlight over the Lotus Pond''，the well-known lyric prose, written by the famous author Zhu Ziqing, has made a huge influence on the development of Chinese prose. ''Moonlight over the Lotus Pond'' depicts a beautiful scene of the lotus pond in Tsinghua University and expresses the writer's depressing mood. For this prose is a typical example of Chinese modern prose, many translators have tried to translate this prose, such as Zhu Chunshen, Yang Xiangyi and Gladys Yang, Li Ming and Wang Jiaosheng. A large number of scholars have analyzed its different versions making great contribution to the prose translating.

Functional equivalence theory is one of the most important theories in the field of translation. Functional equivalence theory introduced by Nida, refers to the fact that the translation does not take rigid correspondence between words and structures as a standard, but aims to achieve the equivalence of functions between the source language and the target language. The theory emphasizes that“翻译是用最恰当、自然和对等的语言从语义到文体再现源语的信息”。

Here, this thesis selects two of the most famous English versions of ''Moonlight over the Lotus Pond'' in our nation --Zhu Chunshen's version, Yang Xiangyi and Gladys Yang’s version, to compare and study, based on Xu Yuanchong's “Three Beauties” principle under the guidance of functional equivalence. This thesis will compare and analyze the two English versions, thus finding the merits of the two versions, so as to learn whether the two translations achieve the functional equivalence.

=== 2. ''Moonlight over the Lotus Pond'' and Its English Versions ===
Before comparing and analyzing the two English versions of ''Moonlight over the Lotus Pond'' , we need learn some necessary information about the author who wrote it and the relatively background. At present, the two famous English versions are Zhu Chunshen’s version as well as Yang Xiangyi and Gladys Yang’s version .

====2.1 ''Moonlight over the Lotus Pond'' ====
''Moonlight over the Lotus Pond'' is the classical of lyric prose written by Zhu Ziqing in Tsinghua University, Beijing on July 1927，which depicts a beautiful scene of the lotus pond in Tsinghua University and expresses the writer’s depressing mood. It was published in the Novel Monthly, one of the new literary journals which enjoys the reputation of “the first journal in the China’s literary world” in the 1920s.Since it was published, the article has received both high praise and fierce criticism. From this perspective, it has witnessed the history of modern Chinese literature.（Han ,2018 ）

In this prose, the author is sleepless and sits in his yard to enjoy the cool in the evening. Suddenly, it occurrs to his mind that the lotus pond where he passes every day and the pond must be different at night with the moonlight. So, the author wanders lonely on a cinder footpath around the lotus pond, he feels that he is a “free man”. As he sees the pond cover with trim lotus leaves and white lotus flowers, hearing the sounds of the cicadas and the frogs, Zhu thinks that "this animation was theirs alone, I had no part in it（Yang ,1990 ）."

====2.2 The Two English Versions ====
''Moonlight over the Lotus Pond'' is one of Zhu Ziqing’s masterpieces and is selected into Chinese textbook. Most scholars say that the prose is “文质相称，形神俱美” which has attracted an amount of scholars and students.The prose has been introduced to foreign countries in different languages, especially in English since the May 4th Movement. The notable translations include Zhu Chunshen’s version, Yang Xiangyi and Gladys Yang’s version, Li Ming’s version and Wang Jiaosheng’s version. This thesis choices Zhu Chunshen’s version as well as Yang Xiangyi and Gladys Yang’s version. Both Zhu ’s version and Yang’s version are faithful to the original meaning and concise to the sentence structure and close to the original style. But Zhu prefer to employ literal translation and Yang uses the free translation, like the words “热闹” ,“冷静”, “群居”and “独处”, Zhu translated these as “a serene and peaceful life”,“a busy and active one”, “being in solitude” and “in company”, in contrast Yang’s translation is “excitement and stillness”.（Chen ,2018）

===3. The Basis of Theory ===

====3.1 The Functional Equivalence Theory ====
The first scholar in history to propose the equivalence effect is the British translation theorist Alexander Fraser Tytler in 1790. He defined the “good translation” in his book ''A Brief Introduction to Translation Principles''. He introduced that the good translation should completely transfer the advantages of the original work to another language so that the target language readers could clearly understand and feel strongly as the original readers do. This is to say that a good translation should be able to produce the same effect as the original in different linguistic societies. Then, the German translation theorist Kaul called it a comparable effect in his book ''The Art of Translation'' in 1896.

Nida’s translation theory was formed in the 1960s and introduced to China in the 1980s. The functional equivalence principle is one of his central translation ideas. In 1964, Nida first proposed the concept of dynamic equivalence in his book ''Toward Science of Translating'', proposing to shift the focus of translation research from the attention of static text information to reader’s attention to the dynamic information of the text. In ''The Theory and Practice of Translation'', Nida defined this theory again. He proposed that dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it substantially the same manner as the receptors in the source language. Here, the dynamic equivalence refers to the functional equivalence. The basic point of functional equivalence is to compare the way of understanding and appreciating the original text by readers with that of the recipient of the target text. It requires readers of the target text to be able to perceive the original text when understanding the translation.

====3.2 Three Kinds of Beauty ====
Xu Yuanchong ,the highly respected translator and famous professor, is known as “the only person who translates Chinese poems into English and French”. He introduced his translation standard of poetry translation--the “Three Beauties”principle in his book ''Forty Two Poems of Mao Zedong''. In the preface of this book ,he said that “the translated poetry should try to convey the beauty in sense, sound and form of the original poem.”(Xu, 2003) Xu Yuanchong said that “in translation, the beauty in sense is the most important, beauty in sound comes next and the last is beauty in form, when it is difficult to achieve them all, translator should stress beauty in sense.”And professor Xu also claimed that the “Three Beauties” principles can use in researching and studying the translation of prose.(Xu, 2003)

===4. On the Analysis of Two English Versions of ''Moonlight over the Lotus Pond'' Under the Guidance of Functional Equivalence ===

Zhu Ziqing used a large number of rhetorical devices and reduplicated words to describe the beauty of the lotus pond under the moonlight at night, to express his gloomy and upset mood, which brings great difficulty to translation, in his famous prose--''Moonlight over the Lotus Pond''. This part is aimed at using the functional equivalence theory and Xu Yuanchong’s theory of “Three Beauties” to analyze whether the two English versions of such prose achieve the degree of function equivalance.

====4.1 ====
Words are the basic meaning of sentences. G •Leech divided “meaning” into two categories: conceptual meaning and associative meaning.(Leech,1987) The conceptual meaning is the meaning that we can find in dictionary, and the associative meaning is the actually meaning of the word in the special context. It is a truly universal acknowledge that the meaning of the sentence is not simple addition of word meaning. Thus, the translator should find the conceptual meaning and the associative meaning of the original, especially the associative meaning. Here are some typical examples:

Example 1: “这几天心里颇不宁静。”（Zhu Ziqing , 1927)

Zhu ’s version: “I have felt quite upset recently.”(Zhu Chunshen, 1992)

Yang ’s version: “The last few days have found me very restless.”(Yang Xiangyi, Gladys Yang, 1990)

This sentence is the first sentence in the first paragraph. Here “不宁静” refers to “quite uncomfortable”, which can be translated as “upset, restless, untranquil, disquieting and so on”. However, considering Zhu Ziqing’s patriotic feeling and his responsibility for his wife and kid, he cannot devote his whole life to the great revolution. Therefore “不宁静” in the context means the author is anxiety, because he want to change his condition. Zhu Chunshen translated it as“upset”which means“unhappy or disappointed because of something unpleasant that has happened”in the ''OED'', which emphasized the unhappy mood. And Yang Xianyi employed it as “restless”, which means “unable to stay still or happy where you are, because you are bored or need a change ” in the ''OED'', which stressed on one needing a change. It is clear that the word “restless” is more exactly than the word “quiet” in this sentence.

However,“宁静”has an end rhyme“ing”and neither“upset”in Zhu’s translation nor“restless”in Yang’s version opted the words with the same end rhyme for they both focused on the meaning. And such sentence in original text is a 9 characters short sentence with no subject, Yang translated it into 9 words,used the“the last few day”as the subject, while Zhu’s version only has 6 words and selected “I” as the subject. Therefore, Yang’s version is expressive to the original in this sentence and it retains the beauties of form and sense in this sentence at the same time. In short, the two versions are good translation, but the Yang’s version is much better from this point.

Example 2“这是一条幽僻的路；白天也少人走，夜晚更加寂寞。”(Zhu Ziqing, 1927)

Zhu’s version: It is peaceful and secluded here, a place not frequented by pedestrians even in the daytime; now at night, it looks more solitary......”(Zhu Chunshen, 1992)

Yang’s version: “It is off the beaten track and few pass this way even by day, so at night it is still more quiet.”(Yang Xiangyi, Gladys Yang, 1990)

The word “幽僻” means “安静和人迹罕至” here. Zhu rendered the word “幽僻” into “peaceful and secluded”, emphasized that there is silent and private. Yang employed it into “off the beaten track” which means no one knows here and quiet. From this perspective, both translations are very similar in understanding the writer’s meaning.

However, the word “幽僻” is an adjective word with two meanings: quiet and not disturbed by other people. Zhu’ s version “peaceful and secluded” ,are two adjective words and has two similar meanings, which keep the form and sense of the original sentence. In conclusion，according to the “Three Beauties” principle, Zhu’s translation is much better than Yang’s for it retains the form of the original.

Example 3: “这路上阴森森的，有些怕人。”(Zhu Ziqing, 1927)

Zhu’s version: “The foliage, which, in a moon-less night, would loom somewhat frighteningly dark.”(Zhu Chunshen, 1992)

Yang’s version: “ On nights when there is no moon the track is almost terrifyingly dark.”(Yang Xiangyi, Gladys Yang, 1990)

In this sentence, Zhu Ziqing uses “怕人” to describe the atmosphere of the air on the road and his feeling of walking on this path at such a night. “怕人” referred to “令人害怕的” in Chinese, it is an adjective to present his feeling. “Frightening ” means “making you feel afraid”, and “terrifying” means “to make somebody extremely frightened”in the ''OED'' , which can be regarded as synonyms. Both use the adverb to translate the adjective “怕人”. But in Zhu’s translation, “the foliage” is “frighteningly dark” and in Yang’s version, “the track” is “terrifyingly dark”. Both translators have their own understanding of the original content, but the both translations are faithful to the word “怕人”. We could say the two translations achieve the beauty in sense. However, in “Three Beauties” principle, we should consider the beauty in form and sound. As for sound ,the last sound of “怕人” is [en] in Chinese, but both “frightening” and “terrifying” has the same end sound of [en]. As for “frightening” and “terrifying”, the last sound of these are [iŋ] which could be regarded as the similar pronunciation with [en] .So, the two translations achieved beauty in sound from this aspect. In all the both versions are great from this perspective.

====4.2 ====
The two English versions of Moonlight over the Lotus Pond do a good job in two aspects: “grammaticality”and “idiomaticness”. This part will analyze their features of“clarity”and “ organization”.(“stylistic adaptability” will be analyzed in the next part)
The first is the“clarity”. A qualified translation should be fluent and easy to understand. Here it does not means the two versions have grammatical mistakes.Readers should not be confused by the cultural and social background of a word. In Moonlight over the Lotus Pond ,there are also some words with Chinese cultural or social characteristic. Here are some examples:

Example4 : “我悄悄地披了大衫，带上门出去。”(Zhu Ziqing, 1927)

Zhu’s version: “ Shrugging on an overcoat, quietly, made my way out, closing the door behind me.”(Zhu Chunshen, 1992)

Yang ’s version: “I quietly slipped on a long gown, and walked out leaving the door on the latch.” (Yang Xiangyi, Gladys Yang, 1990)

The words “大衫”and“带上门” with Chinese characteristics, cannot be simply translated, the translator should carefully apt the best words owing to their traits.

First of all,“大衫”is means “身长过膝的中式单衣”. Zhu Chunshen and Yang Xianyi employed this word into “overcoat” and “gown” respectively. The overcoat is a long warm coat worn in cold weather. And the gown is a long loose piece of clothing. At the beginning of the prose, the author sits in his yard to enjoy the cool. So, it is hot and the overcoat is not suit for summer. Then, the Chinese people in the later Qing Dynasty and the period of Republican, especially the men who were educated, preferred wearing the long and loose clothes. Thus, “大衫” translated into “grow” is more proper than “overcoat ”. By doing so, readers can correctly understand the meaning of the original text and draw a picture in his mind without confusion: why he wears a thick coat in summer.

Generally speaking, a house with a courtyard has two doors, the gate of yard and the door of house in China, and when the owner need to go out for a short time, he will not lock the gate of yard, just as the Chinese people says “我一会就回来，别锁门”. Thus the word “带上门出去” translated as “leaving the door on the latch” in Yang’s version is more faithful to the original meaning than the word “closing the door ” in Zhu’s translation. In this sense, readers can receive more information about Chinese cultural or social background.

To sum up, both two versions of this sentence are fluent without any grammatical errors and successful convey the meaning of original. However, Yang masterly selected the words “long gown” and the expression “leaving the door on the latch” .

Example5 : 月光如流水一般，静静地泻在这一片叶子和花上。薄薄的青雾浮起在荷塘里。叶子和花仿佛在牛乳中洗过一样；又像笼着轻纱的梦。(Zhu Ziqing, 1927)

Zhu’s version: The moon sheds her liquid light silently over the leaves and flowers, which, in the floating transparency of a bluish haze from the pond, look as if they had just been bathed in milk, or like a dream wrapped in a gauzy hood.(Zhu Chunshen, 1992)

Yang’s version: Moonlight cascaded like water over the lotus leaves and flowers, and a light blue mist floating up from the pool made them seem washed in milk or caught in a gauzy dream.(Yang Xiangyi, Gladys Yang, 1990)

In order to make the translation more authentic and smooth English, both Zhu Chunshen and Yang Xiangyi used the translation method of combination to combine the original three sentences into a long sentence, but the two versions have their different features. As for the form of the translation, Zhu Chunshen rendered his translation in three segments, short parts and long parts combined that is similar to the original sentence.

To sum up, both two versions of this sentence are fluent without any grammatical errors and successful convey the meaning of original. However, Yang masterly selected the words “long gown” and the expression “leaving the door on the latch” .

====4.3 ====
Style is a difficult and hot issues of literary translation. Leech defined style as “the way in which the language is used in a given context, by a given person, for a given purpose and so on”.(Leech,2001:10) Many scholars believe that although the style is not translatable to some extent, the translation should still strive to reproduce the style of the original text. Liu Zhongde emphasized the importance of being close to the style of the original text in his the three-character principle of translation--faithfulness, expressiveness and closeness. Zhu Guanqian also believed that “对原文忠实，不仅是对表面的字义忠实，对情感，思想，风格，声音节奏等必须同时忠实。”So how should the translator reproduce the original author’s style? (Zhu Guangqian,1984:447)

In the following part, the author of this thesis is going to compare the two English versions, and is based on the translation of rhetorical devices , to discuss whether or not the two versions can reproduce rhetorical effects of the original. This thesis focus on the analysis of metaphor, personification and other rhetorical devices, and selects several fragments of these rhetorical devices as the comparison of the original text.

Example 6: 叶子出水很高，像亭亭的舞女的裙。层层的叶子中间，零星地点缀着些白花......正如一粒粒的明珠，又如碧天里的星星，又如刚出浴的美人。(Zhu Ziqing, 1927)

Zhu’s version: ...reaching rather high above the surface, like the skirts of dancing girls in all their grace. Here and there, layers of leaves are dotted with white lotus blossoms... like scattering pearls, or twinkling stars, or beauties just out of the bath. (Zhu Chunshen, 1992)

Yang’s version: ...which rose high out of the water like the flared skirts of dancing girls. And starring these tiers of leaves were white lotus flowers... like glimmering pearls, stars in an azure sky, or beauties fresh from the bath.(Yang Xiangyi, Gladys Yang, 1990)

Zhu Ziqing used three extremely beautiful metaphors to form a parallel construction, to enhance the language strength, to express his love of lotus, gives people endless feeling of beauty.

The author uses “亭亭的舞女的裙” to describe the lotus leaves above the surface, vividly and lively depicted the lotus leaves as the skirt of the dancing girls, which is beautiful and charming. Zhu Chunshen rendered“亭亭” into “in all their grace”, though the meaning is relevant, there is an inappropriate: the metaphor here uses to focus on the dance dress rather than dancing girls, so it is not correctly using too much words to modified the dancer. Yang Xianyi added the word “flared “before the “skirts of dancing girls”, which seems out of thin air. However, “flared” referring to the cloths being “wider at the bottom edge than at the top”, the word is more appreciated and reproduces the scene of lotus leaves. In general, Yang handling of metaphor the first sentence is the most appropriate, also can best affect the beauty of sense.

Zhu Ziqing used “一粒粒的明珠”, “碧天里的星星”and “刚出浴的美人” to describe the “白花 ”. The writer used three different things to describe the lovely lotus blooms. As for the form and sound, Zhu Chunshen employed “一粒粒的明珠” and “碧天里的星星” into two same phrases “scattering pearls” and “ twinkling stars ”which end with “-ing”, which is well-read and looks greater; while Yang translated them into two sentences in different forms, which differs from the original form for such sentence is just faithful to the literal meaning of original. As for the clause “刚出浴的美人”, Zhu’s translation is similar to Yang’s.

All in all, Yang’s version is more appreciated for keeping the sense of beauty in the first sentence of this fragment. And Zhu’s version better reproduces the beauties of sound and form.

Example 7: “层层的叶子中间，零星地点缀着些白花，有袅娜地开着的，有羞涩地打着朵儿的......”(Zhu Ziqing, 1927)

Zhu’s version: “Here and there, layers of leaves are dotted with white lotus blossoms, some in demure bloom, others in shy bud ...”.(Zhu Chunshen, 1992)

Yang’s version: “And starring these tiers of leaves were white lotus flowers, alluringly open or bashfully in bud ...”(Yang Xiangyi, Gladys Yang, 1990)

“袅娜”and “羞涩”are the words used to describe people;“袅娜” uses to describe elegance posture and expression, especially women’s and girls’. Zhu Chunshen rendered “袅娜” into “demure”, which means “behaving in a way that does not attract attention to herself or her body; quiet and serious” in the ''OED'', which seems inconsistent with the original text. However, Yang Xianyi translated it into “alluringly”, which refers to attractive and exciting in a mysterious way in the dictionary. It seems much appropriate. Then as for the word “羞涩”, Zhu translated it into “shy” and Yang’s version is “bashfully”. Both the two words can use to describe people, and use to translate the word “羞涩”. However, the word “bashful” means “shy and easily embarrassed” which is more appropriate to reproduce the beauty of sense. Moreover, yang’s translation retains the beauty of form, because “羞涩” in original text is a adverb, and “bashfully” is a adverb too. Therefore, it is obvious that Therefore, it is obvious that Yang’s version is more appropriate.

Example8: “微风过处，送来缕缕清香，仿佛远处高楼上渺茫的歌声似的。”(Zhu Ziqing, 1927)

Zhu’s version: “A breeze stirs, sending over breaths of fragrance, like faint singing drifting from a distant building”. (Zhu Chunshen, 1992)

Yang’s version: “The breeze carried past gusts of fragrance, like the strains of a song faintly heard from a far-off tower.” (Yang Xiangyi, Gladys Yang, 1990)

Synaesthesia is the production of a sense impression relating to one sense or part of body by stimulation of another sense or part of the body. The author uses “歌声” to describe the fragrance of the lotus flowers. Here the fragrance of flowers is originally the sense of smell, but the author written it as a melodic song, the sense of hearing. Zhu Chunshen used “breeze...breaths...building” and “fragrance...faint...from”to describe the faint sound of the song which is vividly and close to the original text. And Zhu employed an alliteration, “drifting from a distant” to make the readers feel the dynamic beauty of lotus and achieve the same effect as the original text.In general, Zhu’s version is more appropriate for he reproducing the beauties of sense and sound .

===5. Conclusion===
We learn from the study and comparison. We develop from the study and comparison. While we are accumulating English and Chinese knowledge and practicing translation skill, we should also study others’ translations carefully. Through comparative study, we can improve ourselves.

Through the comparative analysis of these two English translations, we will find that functional equivalence theory has been fully embodied. Functional equivalence theory is a bridge connecting world cultures, fully reproducing the original text through form equivalence, content equivalence，so that the readers of the target texts receive the same feeling as the readers of the original. Functional equivalence theory not only has a wide range of applications now, but in the future, functional equivalence theory will certainly play its role in promoting the exchange and development of various cultures and promoting the prosperity of the world’s culture.

===6.Reference===
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* Han Zhengshun, Wang Jian.韩征顺,王健. （2008）月朦胧,荷朦胧,雾蒙蒙,意浓浓——《荷塘月色》四译文“模糊美”研究. [A Study on the “Fuzzy Beauty” of the Four Translations of ''Moonlight over the Lotus Pond''] .西安外国语大学学报.[ Journal of Xi’an International Studies University] 第16卷　第4期.Vol. 16 Issue 4
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* Xu Yuanchong.许渊冲.(1978)毛泽东诗词四十二首.[Forty Two Poems of Mao Zedong]. 洛阳：中国人民解放军外国语学院[Chinese People's Liberation Army Institute of Foreign Languages] 1978.
* Yang Xianyi, Gladys Yang杨宪益，戴乃迭(1990,5). ''Moonlight over the Lotus Pond''. 英语学习[''English Learning''], 1990(5).
*Yuan Lei.袁雷.功能对等理论指导下的散文英译及三美分析——《荷塘月色》的两个英译本比较[ On the Analysis of Two English Versions of ''Moonlight over the Lotus Pond'' Under the Guidance of Functional Equivalence]贵州师范大学.[Guizhou Normal University]
* Zhu Ziqing.朱自清(1927).荷塘月色[''Moonlight over the Lotus Pond''].全日制普高高一语文第一册第 5 课.[General High School Chinese Book 1 Lesson 5],原载 1927年7月10日《小说月报》第18卷第7期[originally published in ''Novel Monthly''].北京：人民教育出版社[ Beijing: People’s Education Publishing Society]
* Zhu Chunshen.朱纯深(1992). ''Moonlight over the Lotus Pond''.中国翻译.[''Chinese Translation'']. 1992, (1).--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 12:32, 20 December 2020 (UTC)

==On Form and Spirit in Translation -文偲荇 Wen Sixing, 202020080649 亚非语言文学==
<center> 文偲荇 Wen Sixing </center>

===Abstract===
Both the form and the spirit should be pursued in translation, which is a dialectical relationship. However, in translation, it often loses its spirit because of various factors that lead to excessive pursuit of formal resemblance. It is very important to deal with the problem between the formal resemblance and spiritual resemblance in translation. While emphasizing the spiritual resemblance, do not forget the formal resemblance. If possible, try to achieve a balance between the two, and make a choice in the specific context. Only in this way can the translation realize the new unity of the form and content of the source language in the target language.

===Key words===
Formal resemblance; Spiritual resemblance; Form and Content; Dialectical unification

===题目===
论翻译中的形的贴合与神的韵味

===摘要===
翻译时应追求形神兼备，这两者是一种辨证关系，但在翻译时常常会因为各种因素导致过度追求形似而失去神韵。处理好翻译中形似与神似之间的问题至关重要。在强调神似的同时不要忘记形似，在可能的情况下尽量达成两者之间的平衡，而在特定的语境下也可做出取舍，才有利翻译在译入语中实现传达原语形式和内容新的统一。

===关键词===
神似与形似；形式与内容；辨证统一

===1. Introduction===

----
====1.1 Definition====
Formal resemblance means that when translating, the target text should be consistent with the original text in terms of words, sentence structure, expression and figurative means. And spiritual resemblance means that when translating, we should try to keep the spirit and charm of the original work and achieve the artistic effect of the original work.

"Form", in translation activities, is the most important refers to "language". And "deformation" is what we call "language transformation". From the source language to the target language, "deformation", that is, "language transformation", is inevitable. The change of sound and shape, as well as the combination of sound, shape and meaning should also be changed. And "spirit", to use the terminology of contemporary linguistics, refers to the product of "linguistic activities".

From the point of view recognized by the current translation circle, "spirit" refers to "meaning" to a large extent, but the problem lies in the definition of "meaning", and the linguistic field has not formed a unified view. In fact, many debates about "spirit" and "form" are more or less rooted in the understanding of "spirit" and "form".(Xu Jun 2003,01)

====1.2 Spiritual resemblance in Translation====
The spiritual resemblance is first put forward by Fu Lei. He said, "As far as effect is concerned, translation should be like painting. What is sought is not resemblance in form but resemblance in spirit." (Fu Lei, 1950). Zhu Shenghao also put forward the idea of "keeping the spirit of the original". He said, "The aim of the book is to preserve the spirit of the original as far as possible. Must be forced to seek the next, also must be clear and clear words, faithfully convey the meaning of the original; However, the hard translation with word-for-word contrast is not appreciated. "(Zhu Shenghao, 1954). “神”, means the spirit of the original. Good literary works always have rich feelings, profound artistic conception, strong appeal and strong artistic effect.

===2. The relationship between Formal resemblance and Spiritual resemblance===

====2.1 Correlation====
Yan Fu, said in ''Theory of natural selection'', "Three difficulties in translation: faithfulness, expression and elegance". "Faithfulness" means that the meaning does not differ from the original text, that is, the translation should be accurate, not deviate, not omit, and not add or subtract meanings at will. "Expression" means not sticking to the original form, but making the translation smooth and clear; "Elegance" means that the words chosen in the translation should be appropriate and the article itself should be quaint and concise. In translation, it is difficult to be faithful to the ideological content of the original text. However, if you correctly understand the original text without "expressing" it in a smooth translation, it is equivalent to no translation. Therefore, emphasis should be placed on "expressing" at this time. Since then, the expression of translation has become the focus of translation studies.

Formal resemblance and spiritual resemblance is two different means of translating expression, question of "form" and "spirit" in translation also is one of the most discussed and most difficult fundamental issues to be unified. "The relationship between form and spirit, which directly reflects the relationship between signifier and signified, which is closely related to the means and ends of translation. The so-called means is the transformation of form, while the end is the rebirth of spirit." (Xu Jun 2003, 1). Fundamentally speaking, "form" and "spirit" are interdependent. No "form" means no "spirit".

However, the saying that "sprit follows form", which we often emphasize, gives form the primary character as the material basis for spirit's existence. "Form" is concrete, and the relationship between "form" and "spirit" involves every aspect of human life. The discussion about "body" and "soul" is, to a certain extent, a dispute about the relationship between "form" and "spirit". "soul" and "flesh" in religion, "substance" and "spirit" in philosophy, "form" and "content" in literature, etc, all originate from the fundamental problem of "form" and "spirit". "As far as translation is concerned, the question of "form" and "spirit" can be said to be an obvious paradox. The contradiction lies in the fact that "form" and "spirit" are interdependent and inseparable in nature, while the fundamental task of translation is to achieve the rebirth of "spirit" through "form" transformation". (Xu Jun 2003, 2)

====2.2 In translation, numerous factors may cause the Formal resemblance and Spiritual resemblance out of step====

=====2.2.1 Metaphors and Associations=====
Due to the different ways of expression in the two languages, the metaphors and associations used in SL(source language) are often unacceptable to TL(target language) readers, or TL readers cannot understand them at all. Or from the surface structure, target language is similar to source language said, but in the sense is not exactly the same, even lost a thousand miles. In this case, for example, the expression form of source language is still used in translation and try to be similar in appearance, which is bound to form a semblance, with similar appearance and spirit completely lost.

ex）"A man may break a word with you,sir,and words are but wind."(SL)

“先生，跟你说话的人可能会失言，而言语总会随风而逝。”(TL)

"Break a word with you" and "words are but wind" are all metaphors in English that may be difficult for non-native speakers to understand when translated.

ex）"The rain came down in long knitting needles."(SL)

“雨滴像长长的编织针一样落下。”(TL)

"Long knitting needles", is a special thing that exists in the context of a native speaker, so non-native speakers are likely to have no accurate concept of it, so it's hard to fully grasp the metaphor even with an honest translation.

=====2.2.2 The cultural differences=====
The translator and the author have different cultural backgrounds, so their understanding of the original text is naturally different. This difference in understanding is mainly due to the influence of preconceived notions. This is a pervasive cultural phenomenon.

ex）He is really the man in the moon(SL)

“他是个真正的月老”(TL)*

“他是个真正远离世俗的人”(TL)

In Britain, people traditionally think of the dark shadow of the moon as a person. The moon is far from the earth, the people in the moon of the nature, he must be unknown to the human world. So He is really a man in the moon means "He is really a man out of the world"(他是个真正远离世俗的人). Under the influence of traditional Chinese culture, once people see the image words "moon" and "man" combined together, they will naturally think of "Yuelao(月老)"——The legendary god of marriage, which leads to the deviation in translation. (Niu Chuangyue 2006, 215)

ex）He is always politically correct(SL)

他总是政治正确(TL)*

他说话四平八稳(TL)

Many people take this sentence that "He is always politically correct" as "He is always correct in politics", which is in line with the Chinese mindset, but it's not what it says. Politics in Chinese refer to principles of thought and ideology while in English politics refer to how they approach people. "He is always politically correct" is not "He is always correct in politics", but "He's smooth talking."

=====2.2.3 The context of languages changes=====
The surface layer of words, is a relatively fixed objective reality; And its deep, namely its connotation, but often because of the person's subjective will shift. For language learners and users, it is not difficult to get familiar with the surface, but to grasp the connotation of its continuous shift. To grasp the connotation of words is to analyze the actual meaning of users in a specific context, which is also known as "understanding" in translation. The change of context can be divided into subjective and objective. The so-called subjective change refers to the meaning given to words by users for certain needs; And the objective change is the change in meaning caused by the natural environment.

ex) Made in China(SL)

（由）中国制造(TL1)

（在）中国制造(TL2)

Made in China was, of course, “由中国制造”, before western multinationals entered the country. But when multinational companies enter China, the products they set up in factories in China are still marked "Made in China", but they are not “由中国制造” but “在中国制造”. Made in China, likewise, is different by circumstance, either “由中国制造” or “在中国制造”, of which its connotation is different. Therefore, when understanding the original text, it is not enough to just focus on the literal itself, More attention should be paid to the impact of changes in social history and context.

=====2.2.4 Human factors=====
"Language is a dog". It means that people are subject to language. In fact, this metaphor only illustrates one aspect of the relationship between man and language, namely, man's passive adaptation to language changes. Such passive adaptation certainly exists objectively. But a closer look reveals that the so-called passive adaptation is also due to some human factors rather than the powerful inertia of non-language itself.

On June 20, 2005 British farmers grow potatoes held a noisy protest in London, protesting the Oxford English dictionary, included the couch potato (refers to passive while sitting idly spend your leisure time, especially all day watching TV or DVD), think it said the potatoes too unhealthy, so strongly asked the Oxford English dictionary, delete the entry with couch slouch replace the couch potato.

This event vividly illustrates the human element of semantic change. Potato is originally a plant without any emotional factors, but it has been artificially given some kind of associative meaning. In a sense, of course, this is an expression of the richness of language, but this richness comes at the cost of deducing the actual meaning of specific concepts. If we compare documents from hundreds or thousands of years ago with the languages we speak today, we will find a general phenomenon that today's languages are much more complex and abstract than those of old. The reason is that we are constantly deducing the semantic meaning of specific concepts or words for various rhetorical purposes.

In the concrete application of language, such deduction exists objectively and is also the concrete manifestation of the normal function of language communication. However, in translation, the translator should try to avoid the appearance of such deduction and manifestation, or at least control it within a certain limit, which may lead to the semantic variation of the primitive concept in the translation. (Zhang Rui 2015, 117)

====2.3 Balance of Formal resemblance and Spiritual resemblance in Translation====
Of course, it is best to retain the original spirit in translation, but is form and spirit necessarily contradictory? The answer is clearly no. This is because sometimes formal resemblance is spiritual resemblance. The ideological content and emotional charm of a literary work must be expressed in a certain form. Sometimes the original text has some metaphors or associative images, vivid and lifelike, with strong appeal, the emotion and artistic conception appear on the paper, and the source language habits are also close to the target language. At this time, keeping the original form of the translation actually plays a role of spirit evocative. By keeping this form, the translation can achieve the unity of form and spirit.

ex) He was a friendly and very hospitable man.(SL)

他是个友善而又十分好客的人。/他为人友善，热情好客。(TL)

ex)Though somewhat pompous, he was an entertaining companion.(SL)

虽然有些浮夸，（仍不免承认）他是个娱人的伴侣。(TL)

ex)He was a man of good understanding and talents.(SL)

他为人通达而富有才情。(TL)

ex)There are people to do everything for money.(SL)

为了钱什么事情都有人做。/有些人为了钱无所不为。(TL)

The above examples show that, at some point, Formal resemblance and Spiritual resemblance can achieve a harmonious unity. Proper formal equivalence not only helps to preserve the language style of the original text, but also enriches the expression form of the target language. Such expression can achieve both the form and the spirit of the target language, on the one hand, it can retain the form of the original language, on the other hand, it cannot lose its spirit.

====2.4 Choice====

=====2.4.1 The pursuit of spiritual resemblance first=====
But in more cases, Formal resemblance and Spiritual resemblance cannot be both.In the translation of literary works, the pursuit of a similar-looking translation lacks vitality. It would be best if the two languages can have both formal resemblance and spiritual resemblance. However, due to great differences in thinking mode, cultural basis and language structure of the two languages, especially the target language and the source language belong to two different language families with great cultural differences, it is difficult to achieve the unity of the formal resemblance and the spiritual resemblance.

In this case, if the blind pursuit of form similarity, the pursuit of language structure, vocabulary, grammar and other aspects of equivalence, will make the translation stiff, obscure, difficult to understand. For example, in English-Chinese translation, translators with low proficiency are often unable to get rid of the linguistic structure and form of the original text, resulting in a large number of European languages appearing in the Chinese translation.

Professor King Shenghua, a famous Hong Kong translator, once criticized this Europeanized language and called it "translated style". "What is 'translated style' ?" she said, “The word 'translationese' in English. In the past, it has been called the "translation cavity." (King Shenghua, 2006). Which means the translation has a strange-sounding, and unbearable tone of European language. However, up to now, the "translation cavity" is no longer enough to describe this phenomenon, because the evolution so far has formed a style, which appears not only in the translation, but also in the daily life of writing, meeting and communication. This phenomenon is not conducive to the development of translation. From the following examples, you can see the awkwardness of pursuing only the form of translation.

ex)There was much traffic at night and many mules on the road with boxes of ammunition on each side of their pack—saddles and gray motor trucks that carried men, and other trucks with loads covered with canvas that moved slower in the traffic.(SL)

晚上交通甚繁，有许多骡子走过，鞍子驮着军火箱子，灰色的摩托货车装着人，此外，还有一些装货的货车，上面用帆布盖着，走起来慢一点。(TL)*

夜间，这里运输繁忙，路上有许多骡子，鞍子的两侧驮着弹药箱，灰色的卡车上坐满了士兵，还有一些辎重车辆，用帆布盖着，在路上慢慢的行驶着。(TL)

Boxes, motor trucks, and trucks were used to identify the “军火箱子”,“摩托货车”, and “装货的货车”, totally be loyal to the source language. But in literary translation, the translation needs to consider the specific context. The writing background of this article is the period of war, so the translator should also put these words in the specific writing background of war, i.e. the “弹药箱”, “卡车”, “辎重车辆” in the next translation. The translation here obviously violates the original meaning and is a kind of betrayal to the original text. However, this kind of betrayal is the result of the translator's proper re-creation after considering the writing background of the original text. That is to say, in the process of translation, the translator lays emphasis on the spiritual resemblance of the original text, and thus abandons the formal resemblance in part.

ex)“原始森林景区是一个最具自身特点的生态观光区。放眼沟畔，‘林涛万顷接天碧，幽谷百丈入地青’ 的峡谷奇观，总会让人长久驻足; 登上矗立于沟畔的望火楼极目远眺，会真切体验登临泰山那种‘会当凌绝顶，一览众山小’的感觉。”(SL)

“The scenic primitive forest, as an eco-tourism place of interest, possesses its distinctive style. No tourists will not take time to enjoy the canyon spectacle: the vast expense of trees choiring in the wind and the deep valley dressed in green stretches long and deep. When climbing up the fire-watching tower and gawking into the distance, tourist scan experience the sense: "I have now ascended the mountain's crest that dwarfs all peaks under my feet", just as standing on top of Mount Tai. ”(TL)

“Artistic creation originates from a different national (aesthetic standard). As for the translation of artistic conception, some uncertain factors, such as language structure, narrative method, aesthetic method and context creation, often make it difficult for the translation to realize the absolutely correct "equivalence". The implication of this is that contextual translation has a lot of arbitrariness (i.e., asymmetrical equivalence) and is often not limited to any theory. This arbitrariness is reflected in the inspiration generation and Aesthetic creation of the translator in the process of translation.

In other words, the translator is affected by the artistic conception of the original text, arouses infinite emotion and artistic conception, and naturally puts this feeling into the translation. The key lies in the expressiveness, that is, the fluency and accuracy of the narration, and the completion of the transformation from one kind of beauty to another. ” (Zhang Ju 2011, 76)

=====2.4.2 Formal resemblance first=====
The choice of formal resemblance is preferred, mostly in the case of neat alignment and elegant form. For example, the translation of Chinese couplets, or poems, such as antithetical couplets, is a very important form of text.In the translation of general text, content is the primary form. However, when translating poetry, both content and form must be paid equal attention to. For poetry, form is often an integral part of the content that cannot be divided.

ex)《芣苢》：“采采芣苢，薄言采之。采采芣苢，薄言有之。采采芣苢，薄言掇之。采采芣苢，薄言捋之。采采芣苢，薄言袺之。采采芣苢，薄言襭之。”(SL)

Gathering plantain, Here we go plucking it; Gathering plantain, Here we go picking it. Gathering plantain, Quick fingers strip it; Gathering plantain, By handfuls pull it. Gathering plantain, Here we fill skirts with it; Gathering plantain, Belt up full skirts. (translated by Yang Xianyi)(TL)

ex)You say that you love rain, but you open your umbrella when it rains...
You say that you love the sun, but you find a shadow spot when the sun shines...
You say that you love the wind, But you close your windows when wind blows...
This is why I am afraid; You say that you love me too...(SL)

你说烟雨微芒，兰亭远望；后来轻揽婆娑，深遮霓裳。
你说春光烂漫，绿袖红香；后来内掩西楼，静立卿旁。
你说软风轻拂，醉卧思量；后来紧掩门窗，漫帐成殇。
你说情丝柔肠，如何相忘；我却眼波微转，兀自成霜。(TL)

It can be seen that in order to maintain the evenness and the artistic conception of the poem, many images and function words that were not in the original text were added in the translation. Thus it can be seen that it is of course ideal to achieve spiritual resemblance in translation, but it is also a choice to achieve formal resemblance. As long as it conveys the connotation of the original text and achieves functional equivalence, it should be regarded as a success.

===3. Discussion on Form and Spirit===
It should be noted that in the history of translation, the thinking about "form" and "spirit" has been going on almost all the time. In the 20th century, there have been many heated discussions about "form" and "spirit" in Chinese literary translation, and the focus of the discussions is mainly on whether translation should seek formal resemblance or spiritual resemblance. On the surface, it does not seem to be a problem whether the translation should seek resemblance in form or in spirit, because seeking resemblance is not and should not be the purpose of translation.

“However, those who advocate formal resemblance believe that only by seeking formal resemblance first can the spiritual resemblance be guaranteed. But the school that advocates spiritual resemblance thinks, shape resemblance is hard to find, can rely on spiritual resemblance only. The former pursues the first appearance and then spirit, and "both form and spirit" is the best realm; The latter takes "spiritual resemblance" as the only pursuit, and clearly puts forward that "what the translation seeks for is not in appearance but in spiritual resemblance". Due to the difference in emphasis between the formal resemblance school and the spiritual resemblance school, there are also differences in translation methods. The former advocates literal translation while the latter advocates free translation.” (Xu Jun 2003, 02)

The discussion of form and spirit in translation can be traced back to Mao Dun's article "Responsibility and Efforts of New Literature Researchers", published in ''Fiction Monthly'' (1921), in which he proposed that "the most important artistic color of a literary work is the spirit of the work. Chen Xiying also published "on Translation" in ''New Moon''(1929), proposing the theory of sculpture and painting. He pointed out that "translation is the same as painting, of course, imitation is the most important. But the imitation art of a original painting uses the same brush color, while the original text of a book and the translated text use very different languages. Due to different tools, the methods vary greatly." (Chen Xiying,1921). Chen also divides translation into three levels, formal resemblance, meaning resemblance and spiritual resemblance. Chen's "Three Levels" theory is similar to Zhu Shenghao's "Three Levels": (spirit, interest and charm, and rigid translation) theory in translation of Shakespeare's plays.

Xu Yuanchong, a famous translator and professor of Peking University, also put forward the theory of "three likings", based on his own experience in poetry translation. In the ''Art of Translation'', he thought that in order to convey the beauty of meaning, sound and form of poetry, the degree of meaning resemblance, sound resemblance and shape resemblance in the translation can be changed. Jiang Feng, a translator, pursues resemblance in form followed by resemblance in spirit. He said in the afterword of translation of ''Selected Shelley poems'' that in translating poems, one should strive to be alike in form and spirit, because spirit lives in form, and those who lose his form are bound to perish his spirit. Bian Zhilin, also advocated that the translated poems should be translated in accordance with the original form.

Therefore, as far as translation is concerned, Mao Dun and Fu Lei advocate the emphasis on spiritual resemblance rather than formal resemblance, Jiang Feng advocates both form and spirit, while Bian Zhilin advocates that form resemblance is spiritual resemblance.

===4. Conclusion===
From the above content, we can know that there are many factors that influence the form and spirit in translation, and the emphasis on the form or spirit resemblance in translation depends on some specific situations, which need to be analyzed on a specific basis. For example, when translating ancient poems and poems, in order to keep the antithesis neat, we emphasize the form more; When translating long sentences with beautiful artistic conception, we usually put more emphasis on the spirit in order to preserve the beauty of artistic conception.

In the process of translation, to achieve the dialectical unity of form and spirit, at least two aspects need to be considered: one is the restriction of form on content; the other is the stylistic meaning of form itself. We should not only consciously convey the content of the original text, but also convey the formal meaning, so as to achieve a new unity of form and content in the target language, to produce a better translation and achieve a harmonious unity between form and spirit.

However, in some cases the formal resemblance is the spiritual resemblance. The two are not completely separated, but there is a part of you and a part of me in each other. Sometimes the formal resemblance is bigger than the spiritual resemblance, and sometimes spiritual resemblance is bigger than the formal resemblance. This is the dialectic of things, if we insist on consistency, it will backfire. Therefore, we should not only get a thorough understanding of the original text, in-depth study, strive for both form and spirit, grasp the key points and master them thoroughly, but also be prepared to abandon the form of the original text, grasp the essence of the original text, use appropriate form, the original text for artistic recreation, so as to strive for the ideal effect of spirit resemblance.

===Reference===
[1] Cui Yonglu. 崔永禄. (2002). 得意不可忘形——试论翻译中形与神的辨证关系. [Pride must not Be Lost in Shape -- On the dialectical relationship between form and God in Translation]. ''天津外国语学院学报''. [Journal of Tianjin Foreign Studies University] 1-5.

[2] Li Zhengguo. 李振国. (2016). 从奈达的功能对等理论视角探析英汉翻译中的“形神兼备”——以程雨民的《初次与约翰逊见面》译本为例. [An Analysis of "Both form and Spirit" in English-Chinese translation from the Perspective of Nida's Functional Equivalence Theory -- A case study of Cheng Yumin's ''First Meeting with Johnson'']. ''贵州师范学院学报''. [Journal of Guizhou Normal University] 92-94.

[3] Niu Chuangyue. 牛喘月. (2006). 形与神俱,不可分离——从语义与语境的演变看中医翻译中的“常”与“变”. [Form and Spirit are inseparable -- "Chang" and "Chang" in TCM Translation from the Perspective of Semantic and Contextual Evolution]. ''中西医结合学报''.

[4] Pang Xuefeng. 庞学峰. (2013). 翻译中的文质之争与神形之辩. [The quality of the text and the form of the debate in translation]. ''赤峰学院学报(汉文哲学社会科学版)''. [Journal of Chifeng College (Chinese Philosophy and Social Sciences edition)] 150-151.

[5] Xu Jun. 许钧. (2003). “形”与“神”辨. ["Form" and "Spirit"]. ''上海外国语大学学报''. [Journal of Shanghai International Studies University] 57-66.

[6] Zhang Ju. 张巨. (2011). 汉英意境翻译中的形与神. [Form and Spirit in Chinese-English translation of Artistic Conception]. ''江苏外语教学研究''. [Research on Foreign Language Teaching in Jiangsu province] 74-78.

[7] Zhang Rui. 张蕊. (2015). 从形与神之矛盾看“翻译者即背叛者”. [From the contradiction between form and Spirit, "translator is a traitor"]. ''鸭绿江(下半月版)''. [The Yalu River (second Half)] 122+117.

[8] Zhang Xiaoman. 张小曼. (2006). 诗歌翻译中的形神问题——以杜甫《望岳》一诗的英译为例. [The Problem of Form and Spirit in Poetry Translation -- Taking The English translation of Du Fu's ''Wangyue'' as an example]. ''合肥工业大学学报(社会科学版)''. [Journal of Hefei University of Technology (Social Science edition)] 157-160.

--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 14:45, 20 December 2020 (UTC)

==Book Analysis: The Way of Transaltion: Theories and Application 周诗卿 Zhou Shiqing==
your student number and 专业are missing--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 11:45, 20 December 2020 (UTC)

===Abstract===
The Way of Translation:Theories and Applications closely circled around the mutual relationship between translation theory and practice to make explanation about translation studies. This article aims to make a summary about the original text, which includes a brief translation history, the present situation about the translation study, the detailed analysis about the “cultural turn” as well as some important redefined concept about translation studies and the deep reflection about the translation studies. The author would like to make some analysis about the book from different perspectives, includes the introduction, major contend, academic contributions, strength and weakness etc.

===Key Words===
translation theory and practice; “cultural turn”; medio-translotology; translation study; textual purpose
Translation theory and practice; “cultural turn”; medio-translotology; translation study; textual purpose--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 11:49, 20 December 2020 (UTC)

===摘要===
《翻译之道：翻译理论与实践》一书紧紧围绕翻译理论与实践之间的互动关系展开, 作者对中西翻译历史作出简要回顾，针砭时弊，对翻译理论与实践现状进行了切中的描述，深挖“文化转向”的来龙去脉，重新界定了翻译概念、目的与标准等概念，对理论与实践的现状作出深刻反思。本文将就原书出版背景、逻辑主线、学术立意、读后启发几个方面展开论述。

===关键词===
翻译理论与实践；“文化转向”；译介学；翻译学；文本目的

===Introduction===
About the Background
As we all know, the theory and practice are interrelated with each other closely. Since the beginning of the social practice and people began to work, human beings know exactly how to use their wisdom to accumulate their experience. So did translation activities. Translation activities began from the fact that human beings used language to communicate. At the early stage, it was mainly serving to the purpose of ideology. With the development of formal translation activity, translation activities diversified. Since the contemporary and modern times, translation studies have been prospered across the world. In the west, the representatives were scientific linguistics, philological school. In China, we mainly focused on the study of literature translation at that time.
After the May 4th Movement as well as the contemporary event called reform and opening up, we Chinese citizens appealed to learn the advanced western approaches and theories. As western advanced theories were introduced into China, different areas of scientific studies like theory of literature and art, psychology, philosophy and sociology provided rich contends and materials for the study of translation, which helped the later became an independent and disciplinary subject.
However, after Cultural Turn, translation studies followed this trend. They no longer solely targeted at the translation activities and theories, but also included other spheres which concerned about various aspects of human activities (Cao Minglun, 2003). This made translation studies lose their defined focus on translation research itself. Since the translation studies were transitioned into other spheres while the translation activities kept its own sphere, the relationship between the two was no longer closely interrelated with each other.
Therefore translation teaching jobs and translation and interpretation activities have become worse. Because of this, it turned to be an urgent need to establish a systematic and cohesive guiding system about translation theories and practice.
Thus, the publishment of the book The Way of Translation: Theories and Applications quickly won the praise and good comments from translators and students majoring in translation. At the same time, this book provided a systematic and scientific study for translation teaching practice and researches.

About the Author
Cao Minglun, professor as well as doctoral supervisor of Sichuan University, received his doctor degree at Peking University. He majored in the studying of British and American literature, translation studies, literature translation and the study of comparative culture. During his three years at Peking University, Professor Cao systematically studied the present translation researches and the realistic problems. Combined with his decades of translation experience, he dived into the study translation books and monographs. Through the combination of logical researches and provision of living samples, the combining approach of diachronic review and synchronic research, Professor Cao built up a systematic academic system about translation practice and theory by transcending various subjects, providing research direction for our researchers.

The book The Way of Translation: Theories and Applications published in 2007 and revised in 2013, was the most famous representation of him. The author would like to introduce this book in the following and make some analytical comments about it based on his understanding and facts.

====About the Background====
As we all know, the theory and practice are interrelated with each other closely. Since the beginning of the social practice and people began to work, human beings know exactly how to use their wisdom to accumulate experience. So did translation activities. Translation activities began from the fact that human beings used language to communicate. At the early stage, it was mainly serving to the purpose of ideology. With the development of formal translation activity, translation activities diversified. Since the contemporary and modern times, translation studies have been prospered across the world. In the west, the representatives were scientific linguistics, philological school. In China, we mainly focused on the study of literature translation at that time.

After the May 4th Movement as well as the contemporary event called reform and opening up, we Chinese citizens appealed to learn the advanced western approaches and theories. As western advanced theories were introduced into China, different areas of scientific studies like theory of literature and art, psychology, philosophy and sociology provided rich contends and materials for the study of translation, which helped the later became an independent and disciplinary subject.

However, after Cultural Turn, translation studies followed this trend. They no longer solely targeted at the translation activities and theories, but also included other spheres which concerned about various aspects of human activities (Cao Minglun, 2003). This made translation studies lose their defined focus on translation research itself. Since the translation studies were transitioned into other spheres while the translation activities kept its own sphere, the relationship between the two was no longer closely interrelated with each other.

Therefore translation teaching jobs and translation and interpretation activities have become worse. Because of this, it turned to be an urgent need to establish a systematic and cohesive guiding system about translation theories and practice.

Thus, the publishment of the book The Way of Translation: Theories and Applications quickly won the praise and good comments from translators and students majoring in translation. At the same time, this book provided a systematic and scientific study for translation teaching practice and researches.--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 12:08, 20 December 2020 (UTC)

====About the Author====
Cao Minglun, professor as well as doctoral supervisor of Sichuan University, received his doctor degree at Peking University. He majored in the studying of British and American literature, translation studies, literature translation and the study of comparative culture. During his three years at Peking University, Professor Cao systematically studied the present translation researches and the realistic problems. Combined with his decades of translation experience, he dived into the study translation books and monographs. Through the combination of logical researches and provision of living samples, the combining approach of diachronic review and synchronic research, Professor Cao built up a systematic academic system about translation practice and theory by transcending various subjects, providing research direction for our researchers.

The book The Way of Translation: Theories and Applications published in 2007 and revised in 2013, was the most famous representation of him. The author would like to introduce this book in the following and make some analytical comments about it based on his understanding and facts.--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 11:59, 20 December 2020 (UTC)

===Main body===

====The brief introduction====
From the point of view of Professor Cao, the interrelationship between translation practice and theory can be summed up with six characters, which are “mutual construction, mutual supplementation and mutual manifestation”. Centering on the relationship between translation theories and practice, the book The way of Translation Studies explained effectively how to analysis properly this kind of relationship. This book is divides into eight chapters; each of them clearly focuses on how to manifest the relationship based on different perspectives.
First of all, in the first chapter, it made a vivid review about both the eastern and western translation history which highlights the fact that the two are closely interrelated with each other since the beginning of the translation activity. Second, in the second chapter, the book targeted on the contemporary situation of translation theory and practice and pointed out the essential matters. The author then made a thorough research about “the Cultural Turn” and the origin of the discipline of Translation Studies. He pointed out the urgent problem of the focus of translation research and the imbalanced relationship between translation theory and practice. Thirdly, the author reaffirmed respectively about the concept of translation, its aim as well as the tasks of translation studies in a logical manner. In his strong belief, the content of translation will not lose with the diversification of scientific researches.
Translation should be regarded as the activity of the transformation of linguistic signs. Fourthly, the author made a detailed description of the present situation of translation theory and practice. Then he taught us how to combine both the theory and practice together, which provides us with a practical approach to further study the relationship between translation theory and practice. During this process, the author pointed out that the purpose of translation should be focused on the transformation of the texts itself rather than other purposes and he also proposed the concepts of “textual purpose” and “non-textual purpose”. Besides this, Professor Cao borrowed Benjamin’s appeal to the translators ’tasks, pointing out that a translator must be loyal to the original book and the translation version should not stick to one type and be independent.
In terms of the translation standard, Professor Cao made a clear distinguish between translation studies and medio-translatology and he emphasized the weak points of new criticism. In the next chapter, that is chapter five, the Professor draw a line between translation study and translation theory. The concept of translation study includes translation theory, translation history and translation analysis. At the same time, he creatively established “the location map of translation theory”, they are “introvert ontology” and “extrovert comprehensiveness”.
The six and seven chapters made a detailed reviewed about the translation theory and practice. For the theory part, researches did not provide strong evidence and lack of prove and identification, the translation of terms and translation nouns did not consist with each other and the logical problems about thinking pattern and language organization. He also tackled on the recognition process to prove whether it was objective. Finally, Professor proposed the effective way of combining translation theory and practice together, pointing out the scientific approach for translators.
Above all, the whole book followed by severe and strict scientific demonstration of the relationship between translation theory and practice, providing us with effective approach to combine both the practice and theory together during which process, the systematically theoretical guidance was constructed. This all contributed to an excellent academic book rich in content and vivid in demonstration.

From the point of view of Professor Cao, the interrelationship between translation practice and theory can be summed up with six characters, which are “mutual construction, mutual supplementation and mutual manifestation”. Centering on the relationship between translation theories and practice, the book The way of Translation Studies explained effectively how to analysis properly this kind of relationship. This book is divides into eight chapters; each of them clearly focuses on how to manifest the relationship based on different perspectives.

First of all, in the first chapter, it made a vivid review about both the eastern and western translation history which highlights the fact that the two are closely interrelated with each other since the beginning of the translation activity. Second, in the second chapter, the book targeted on the contemporary situation of translation theory and practice and pointed out the essential matters. The author then made a thorough research about “the Cultural Turn” and the origin of the discipline of Translation Studies. He pointed out the urgent problem of the focus of translation research and the imbalanced relationship between translation theory and practice. Thirdly, the author reaffirmed respectively about the concept of translation, its aim as well as the tasks of translation studies in a logical manner. In his strong belief, the content of translation will not lose with the diversification of scientific researches.

Translation should be regarded as the activity of the transformation of linguistic signs. Fourthly, the author made a detailed description of the present situation of translation theory and practice. Then he taught us how to combine both the theory and practice together, which provides us with a practical approach to further study the relationship between translation theory and practice. During this process, the author pointed out that the purpose of translation should be focused on the transformation of the texts itself rather than other purposes and he also proposed the concepts of “textual purpose” and “non-textual purpose”. Besides this, Professor Cao borrowed Benjamin’s appeal to the translators ’tasks, pointing out that a translator must be loyal to the original book and the translation version should not stick to one type and be independent.

In terms of the translation standard, Professor Cao made a clear distinguish between translation studies and medio-translatology and he emphasized the weak points of new criticism. In the next chapter, that is chapter five, the Professor draw a line between translation study and translation theory. The concept of translation study includes translation theory, translation history and translation analysis. At the same time, he creatively established “the location map of translation theory”, they are “introvert ontology” and “extrovert comprehensiveness”.

The six and seven chapters made a detailed reviewed about the translation theory and practice. For the theory part, researches did not provide strong evidence and lack of prove and identification, the translation of terms and translation nouns did not consist with each other and the logical problems about thinking pattern and language organization. He also tackled on the recognition process to prove whether it was objective. Finally, Professor proposed the effective way of combining translation theory and practice together, pointing out the scientific approach for translators.

Above all, the whole book followed by severe and strict scientific demonstration of the relationship between translation theory and practice, providing us with effective approach to combine both the practice and theory together during which process, the systematically theoretical guidance was constructed. This all contributed to an excellent academic book rich in content and vivid in demonstration.--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 12:11, 20 December 2020 (UTC)

====The Specific Exposition====
To be more specific, in the second chapter, Professor Cao made a description about both the east and west contemporary translation study. Since many scholars have previously contributed the reasons of the imbalanced relationship between translation theory and practice to the phenomenon called “cultural turn”, Professor Cao had done a great program in the study of “cultural turn”. For example, to discover why the imbalanced situation between translation study and theory appeared, Professor Cao did quite a lot of comparative study of the previous scholars’ work.
He found out that a lot of intellectuals had already discovered the problems, believing that translation theory and practice were broke up with each other for quite long time. Many scholars thought the most severe problem was that translation theory did not focus on the practice itself but other spheres like human activity or cultures etc. Therefore, the Professor made a thorough investigation about the history after “cultural turn”. During this process, he discovered that decades of years of “annual overview” towards translation study had severe problems published in Chinese Translation Journal.
In fact, translation study in China did not establish comprehensive and scientific study towards translation practice. The name of this subject is called Translation Studies, the author made a deep exploration of this name. Among which, the most impressive one should belong to translation study’s concept of Holmes by Tury as well as the four research fields divided by Bassinet in the late 1980s. This transition made a great impact on the happening of the phenomenon of “cultural turn”. Besides this, Professor Cao did a thorough research about the book written by Bassinet and the other person named “Translation, history and culture”.
In the introduction part, the content can be called the announcement of “cultural turn”. Before the translation subject became an independent subject, it was considered in the fields of literature. In the announcement part, Professor pointed out that the review about the translation study in the fields of literature helps to give power to let translation get independent.
While in terms of the origin of the term ‘Translation Study”, the Professor made a detailed and scientific study about a period of history about scholar Holmes. In 1972, from August 21st to 26th, the Third International Applied Linguistics Seminar was opened in Copenhagen. The American Scholar Holmes, the Professor of Amsterdam University attended this conference and he also handed in the paper named “The Nature of Translation Studies”.
This paper used a third length to revise the formal name of translation study. For the English alone, the previous used names were Science of Translation, Translation Theory, Translatology, and Translatistics. In Holmes’s view, he points out that the names above had their respective weakness as the names of these translation versions did not have a solitary direction, this would greatly impact the future development of this subject because people found it hard to have a common consensus.
Therefore, he recommended using Translation Studies as the set name of this subject.
In the later part of this article, Holmes set this subject as an empirical discipline and set the research scope as well as designs the disciplinary framework. However, in the later ten years, although the name Translation Studies was widely accepted, Holmes’ design and plan did not receive wide response. Until he was passed away two years later, his paper collections “Translated! Paper on Literary Translation and Translation Studies, 1988” was published. His translation philosophy won the positive response and recognition from the translation circle and was widely considered the establishing announcement of the subject of Translation Study. (Gentzler, 1993:92/2004:933). In 1995, Toury in his book Descriptive Translation Studies and Beyond, he constructed Toury’s concept of translation study as Holmes’ basic “map” of Translation Studies :(Toury, 1995:10).
From this map we can see, the blueprint of Holmes can be grand and his written one can be regarded as much greater.(Holmes, 1988:72-73). As we can see from this above picture, translation study is divided into two dimensions, one is the pure theory and the other is applied linguistics. According to Holmes’ explanation, the branch of descriptive translation study, that is function-oriented DTS will gradually developed into socio-translation study, while the process-oriented DTS will developed into socio-translation study(Holmes,1988:72-73).
However, in his explanation, Holmes did not neglect totally those questions that translators concerned about for 2000 years. For example, Translation Critics and the Translator Training in Applied Translation study, while in the theoretical part, for the text-type restricted analysis and problem restricted type, they were picked out for specific analysis. For the original purpose of his revising of the subject’s name was to make itself more inclusive and open. However, the so-called Manipulation School positively accepted this name. But they tend to analyze translation study from the background of translation study. This has led to the mistaken perception that Translation Studies refers to the study of literary translation and translations. (Shuttleworth& Cowie, 2004:183).
Due to this, Bassinet divided translation into four spheres in 1980, that is History of Translation; Translation in TL culture; Translation and Linguistics; Translation and Poetics.(Bassnett,1991:7-8/2004:16-17). Based on this, we can tell translation is sometimes combined with literature study, which must be paid attention to by Chinese scholars. What’s more, the cultural turn in translation studies urges intellectuals to lay great importance to the study of the independent development of translation. By analysis, the result can be that translation unit would be more put as the culture as the unit but not the word in linguistics or text in literature. Thus, this contributed to the later development of cultural turn.
From this above, we can see that Professor did make a thorough investigation in great detail to make analysis about the origin of the term Translation Studies and the history of cultural turn. By learning and studying previous scholars like Shuttleworth, Holmes and Toury and so on, it would make it easier to understand how translation become independent and how it was transitioned from the branch of literature to translation itself.Second, when it comes to the responsibility of the translator, Professor Cao made a specific analysis and defines again about the real purpose of this task.
First of all, he makes a clear definition about translation, regarding it as an activity of the transformation of semiotics between different languages. Next, he thought that translation study should not focus on other spheres but the text itself, because if we analyze other fields like culture or anything else we would find it easy to lose the original analysis of translation activity itself but to talk about other things that have no direct relationship with the translation activity thus it will be too superficial and lack of depth.
The core issue of translation study should be centered on its concept, aims, tasks and standard and so on. Despite in the micro-aspects, western theories like deconstruction, new criticism and teleology was not studied clearly in China, we should still make clear understandings about this theory. In the response to what kind of responsibility a translator should bear, Professor Cao copied Benjamin’s view. In Benjamin’s book, The Task of Translators, the author divides into two parts, one is to analyze the idea readers and the other is to describe the idea translators.
In this book, Benjamin vividly describes what kind of qualities an adequate translator should have; these are divided into 11 points containing the key elements demonstrating from two perspectives, one is the science and the other is theology. Benjamin thought qualified translators must obey the original sentence and the textual style. Translators must obey the original text and thus transform the source language into the target language from a purified manner.

To be more specific, in the second chapter, Professor Cao made a description about both the east and west contemporary translation study. Since many scholars have previously contributed the reasons of the imbalanced relationship between translation theory and practice to the phenomenon called “cultural turn”, Professor Cao had done a great program in the study of “cultural turn”. For example, to discover why the imbalanced situation between translation study and theory appeared, Professor Cao did quite a lot of comparative study of the previous scholars’ work.

He found out that a lot of intellectuals had already discovered the problems, believing that translation theory and practice were broke up with each other for quite long time. Many scholars thought the most severe problem was that translation theory did not focus on the practice itself but other spheres like human activity or cultures etc. Therefore, the Professor made a thorough investigation about the history after “cultural turn”. During this process, he discovered that decades of years of “annual overview” towards translation study had severe problems published in Chinese Translation Journal.

In fact, translation study in China did not establish comprehensive and scientific study towards translation practice. The name of this subject is called Translation Studies, the author made a deep exploration of this name. Among which, the most impressive one should belong to translation study’s concept of Holmes by Tury as well as the four research fields divided by Bassinet in the late 1980s. This transition made a great impact on the happening of the phenomenon of “cultural turn”. Besides this, Professor Cao did a thorough research about the book written by Bassinet and the other person named “Translation, history and culture”.

In the introduction part, the content can be called the announcement of “cultural turn”. Before the translation subject became an independent subject, it was considered in the fields of literature. In the announcement part, Professor pointed out that the review about the translation study in the fields of literature helps to give power to let translation get independent.

While in terms of the origin of the term ‘Translation Study”, the Professor made a detailed and scientific study about a period of history about scholar Holmes. In 1972, from August 21st to 26th, the Third International Applied Linguistics Seminar was opened in Copenhagen. The American Scholar Holmes, the Professor of Amsterdam University attended this conference and he also handed in the paper named “The Nature of Translation Studies”.

This paper used a third length to revise the formal name of translation study. For the English alone, the previous used names were Science of Translation, Translation Theory, Translatology, and Translatistics. In Holmes’s view, he points out that the names above had their respective weakness as the names of these translation versions did not have a solitary direction, this would greatly impact the future development of this subject because people found it hard to have a common consensus.

Therefore, he recommended using Translation Studies as the set name of this subject.In the later part of this article, Holmes set this subject as an empirical discipline and set the research scope as well as designs the disciplinary framework. However, in the later ten years, although the name Translation Studies was widely accepted, Holmes’ design and plan did not receive wide response. Until he was passed away two years later, his paper collections “Translated! Paper on Literary Translation and Translation Studies, 1988” was published. His translation philosophy won the positive response and recognition from the translation circle and was widely considered the establishing announcement of the subject of Translation Study. (Gentzler, 1993:92/2004:933). In 1995, Toury in his book Descriptive Translation Studies and Beyond, he constructed Toury’s concept of translation study as Holmes’ basic “map” of Translation Studies :(Toury, 1995:10).

From this map we can see, the blueprint of Holmes can be grand and his written one can be regarded as much greater.(Holmes, 1988:72-73). As we can see from this above picture, translation study is divided into two dimensions, one is the pure theory and the other is applied linguistics. According to Holmes’ explanation, the branch of descriptive translation study, that is function-oriented DTS will gradually developed into socio-translation study, while the process-oriented DTS will developed into socio-translation study(Holmes,1988:72-73).

However, in his explanation, Holmes did not neglect totally those questions that translators concerned about for 2000 years. For example, Translation Critics and the Translator Training in Applied Translation study, while in the theoretical part, for the text-type restricted analysis and problem restricted type, they were picked out for specific analysis. For the original purpose of his revising of the subject’s name was to make itself more inclusive and open. However, the so-called Manipulation School positively accepted this name. But they tend to analyze translation study from the background of translation study. This has led to the mistaken perception that Translation Studies refers to the study of literary translation and translations. (Shuttleworth& Cowie, 2004:183).

Due to this, Bassinet divided translation into four spheres in 1980, that is History of Translation; Translation in TL culture; Translation and Linguistics; Translation and Poetics.(Bassnett,1991:7-8/2004:16-17). Based on this, we can tell translation is sometimes combined with literature study, which must be paid attention to by Chinese scholars. What’s more, the cultural turn in translation studies urges intellectuals to lay great importance to the study of the independent development of translation. By analysis, the result can be that translation unit would be more put as the culture as the unit but not the word in linguistics or text in literature. Thus, this contributed to the later development of cultural turn.

From this above, we can see that Professor did make a thorough investigation in great detail to make analysis about the origin of the term Translation Studies and the history of cultural turn. By learning and studying previous scholars like Shuttleworth, Holmes and Toury and so on, it would make it easier to understand how translation become independent and how it was transitioned from the branch of literature to translation itself.Second, when it comes to the responsibility of the translator, Professor Cao made a specific analysis and defines again about the real purpose of this task.

First of all, he makes a clear definition about translation, regarding it as an activity of the transformation of semiotics between different languages. Next, he thought that translation study should not focus on other spheres but the text itself, because if we analyze other fields like culture or anything else we would find it easy to lose the original analysis of translation activity itself but to talk about other things that have no direct relationship with the translation activity thus it will be too superficial and lack of depth.

The core issue of translation study should be centered on its concept, aims, tasks and standard and so on. Despite in the micro-aspects, western theories like deconstruction, new criticism and teleology was not studied clearly in China, we should still make clear understandings about this theory. In the response to what kind of responsibility a translator should bear, Professor Cao copied Benjamin’s view. In Benjamin’s book, The Task of Translators, the author divides into two parts, one is to analyze the idea readers and the other is to describe the idea translators.

In this book, Benjamin vividly describes what kind of qualities an adequate translator should have; these are divided into 11 points containing the key elements demonstrating from two perspectives, one is the science and the other is theology. Benjamin thought qualified translators must obey the original sentence and the textual style. Translators must obey the original text and thus transform the source language into the target language from a purified manner.--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 12:15, 20 December 2020 (UTC)

===The writing feature===
====Complete system with extensive quotations====
In the second chapter, the current situation of the relationship between translation theory and practice is described. However, the author has found the common root of the problems in the studies of many eastern and Western scholars. Among them, The Chinese scholar Mr. Long Luo pointed out that the most serious problem in China's translation circle is the disconnection between theory and practice.
Professor Alby argues that modern scholars seem to have forgotten to look at translation from the perspective of translation practice itself. Translation scholars seem to pay more attention to the relationship between translation and human culture, ignoring the relationship between translation theory and translation activities themselves. After more than ten years of investigation, the author found that the imbalance between the two is also due to the "annual review" of Chinese translation studies.
For this reason, the author makes a research on the "cultural turn" which causes these problems and the source Translation Studies of the subject name. Second, the second chapter on the definition of translation and literary translation learning concept, reference many translation books, such as "equivalent translation exploration", "contemporary translation theory", "translation", "the basic framework of the translation in China" in these books to find the definition of translation and from an introduction to comparative literature, the theory of comparative literature "and other books found in the corresponding to the concept of translation study, the author detailed comparative analysis of the two, and by logical reasoning, analyze their difference in addition, the authors also find problems, points out that translation scholars into the difficulty of translation study.
The final reason for the imbalance between translation theory and practice caused by regression. And, the author in view of the status quo proposed the problems effectively, citing industry scholar ji, scholar GuZhengKun’s point of view, emphasizes the necessity of the combination of theory and practice, emphasis on translation theory must be given priority to with translation studies, cultural studies is complementary, define the nature of good translation, purpose, combining introverted text research and export-oriented text research.
In the third chapter, in the process of defining the concept and connotation of translation, a large number of previous researchers, including Venuti and Philophor, are quoted and compared.

In the second chapter, the current situation of the relationship between translation theory and practice is described. However, the author has found the common root of the problems in the studies of many eastern and Western scholars. Among them, The Chinese scholar Mr. Long Luo pointed out that the most serious problem in China's translation circle is the disconnection between theory and practice.

Professor Alby argues that modern scholars seem to have forgotten to look at translation from the perspective of translation practice itself. Translation scholars seem to pay more attention to the relationship between translation and human culture, ignoring the relationship between translation theory and translation activities themselves. After more than ten years of investigation, the author found that the imbalance between the two is also due to the "annual review" of Chinese translation studies.

For this reason, the author makes a research on the "cultural turn" which causes these problems and the source Translation Studies of the subject name. Second, the second chapter on the definition of translation and literary translation learning concept, reference many translation books, such as "equivalent translation exploration", "contemporary translation theory", "translation", "the basic framework of the translation in China" in these books to find the definition of translation and from an introduction to comparative literature, the theory of comparative literature "and other books found in the corresponding to the concept of translation study, the author detailed comparative analysis of the two, and by logical reasoning, analyze their difference in addition, the authors also find problems, points out that translation scholars into the difficulty of translation study.

The final reason for the imbalance between translation theory and practice caused by regression. And, the author in view of the status quo proposed the problems effectively, citing industry scholar ji, scholar GuZhengKun’s point of view, emphasizes the necessity of the combination of theory and practice, emphasis on translation theory must be given priority to with translation studies, cultural studies is complementary, define the nature of good translation, purpose, combining introverted text research and export-oriented text research.

In the third chapter, in the process of defining the concept and connotation of translation, a large number of previous researchers, including Venuti and Philophor, are quoted and compared.
--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 12:21, 20 December 2020 (UTC)

====Logical and philosophical Explanation====
At the beginning of the third chapter, the understanding of translation is discussed. The definition of translation will not change with the progress of practical activities, and the attribute of translation is the unchangeable concept of the transformation of language symbols. Fourth chapter, the first first, the author applies the formal logic to define the concept of translation, with the method of analogy to clarify language information and the relationship between language carrier, then the author is to distinguish between translation concept connotation and denotation, secondly, the author applies the theoretical thinking of philosophy to translation after the concept of qualitative to define the nature of translation activity, is art or science of translation activities, to make a strong argument to translation and the relationship between translation and classified, then respectively for the purpose of translation, tasks, and standard is defined.
First, the author proposes two pairs of concepts: textual purpose and non-textual purpose, textual behavior and non-textual behavior. As mentioned in the preceding chapter "cultural turn", known as translator for the purpose of present diversification trend, the purpose of the text should be stressed again and again, which is the core of the translation purpose, translation study of the text itself, rather than in the service of other USES, such as ideology, culture, aesthetics and other text purpose can be used as a reference. Secondly, the author reinterprets Benjamin's The Translator's Task and divides the concept of deconstruction into two parts.
The translator's task is to "make foreign books understood by non-foreign language readers". As for the standard of translation, the author introduces the concepts of new criticism, deconstruction and translation mediology, and points out the connections and differences between them and translation studies, so as to help us better grasp the methods of translation studies. The fifth chapter, the author of modernism puts forward the concept of "translation theory location map", can be seen as an extension of the translation purpose, respectively, introverted and export-oriented comprehensive text, introverted text should be closely around the translated text itself to research, and export-oriented comprehensive for translation text such as interdisciplinary field theory to provide support for translation study.

At the beginning of the third chapter, the understanding of translation is discussed. The definition of translation will not change with the progress of practical activities, and the attribute of translation is the unchangeable concept of the transformation of language symbols. Fourth chapter, the first first, the author applies the formal logic to define the concept of translation, with the method of analogy to clarify language information and the relationship between language carrier, then the author is to distinguish between translation concept connotation and denotation, secondly, the author applies the theoretical thinking of philosophy to translation after the concept of qualitative to define the nature of translation activity, is art or science of translation activities, to make a strong argument to translation and the relationship between translation and classified, then respectively for the purpose of translation, tasks, and standard is defined.

First, the author proposes two pairs of concepts: textual purpose and non-textual purpose, textual behavior and non-textual behavior. As mentioned in the preceding chapter "cultural turn", known as translator for the purpose of present diversification trend, the purpose of the text should be stressed again and again, which is the core of the translation purpose, translation study of the text itself, rather than in the service of other USES, such as ideology, culture, aesthetics and other text purpose can be used as a reference. Secondly, the author reinterprets Benjamin's The Translator's Task and divides the concept of deconstruction into two parts.

The translator's task is to "make foreign books understood by non-foreign language readers". As for the standard of translation, the author introduces the concepts of new criticism, deconstruction and translation mediology, and points out the connections and differences between them and translation studies, so as to help us better grasp the methods of translation studies. The fifth chapter, the author of modernism puts forward the concept of "translation theory location map", can be seen as an extension of the translation purpose, respectively, introverted and export-oriented comprehensive text, introverted text should be closely around the translated text itself to research, and export-oriented comprehensive for translation text such as interdisciplinary field theory to provide support for translation study.--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 12:21, 20 December 2020 (UTC)

====Powerful Critism with strong evidence====
Throughout the full text, from the status quo of the theory and practice of the second chapter, especially the book in the last few chapters, the author through a large number of reading and rely on the accumulation of translation practice for a long time, have been put forward for the theoretical study and practice of translation problems in reality, the relationship between problem, theory research example, textual research is lax, citing uncertainty, terminology translation and the translation is not unified, there thinking logic and language logic problem, theory and problems such as monotonous and argument, and the question of whether cognitive process is objective, translator translation practice have a "betrayal" of the problem of the wind, vision, objective, to the point, In the last chapter, the author elaborated on the relationship between pure theory and translation, provided a way to combine theory with practice, and improved a complete methodology and action guide for us to better combine theory with practice.

===Conclusion===
From all of these analyses above, the author has explained the book following the order of introduction part including the background and the introduction of the author, the main body part which includes the major contend and the specific explanation as well as the writing features. Professor Cao made an overview towards the history of both the east and west translation history, the proper description of the current situation of the relationship between translation theory and practice, the careful and strict definition about the core concepts of translation theory such as the purpose, aim, translators’ tasks and standards.
Besides this, Professor Cao also locates the situation of translation theory by distinguishing the translation theory and mediotology. In the end, he also returned to the present problem about the breaking up of the relationship between theory and practice. To solve this, he teaches us on how to study the pure theory and then how to combine theory with practice, which provides a practical guidance for translation study and teaching activities.

In the following, the author would like to make some comments about this book.
Frist of all, this book closely centered on the relationship between translation theory and practice to make scientific explanation and study in a very logical and scientific manner. Since the beginning of translation activities, theory and practice have become interrelated with each other closely. Both in the east and the west, translation practice has been paid great attention to while translation theory closely followed the translation activities. At the very beginning translation activity has been focused on the democracy and ideology purpose.
With the development of the society, human activities have been prosperous thus translation activities become more diversified and vivid. From translation history, the current situation of translation theory and practice, the defined concept of translation purpose and tasks as well as standard to the effective approach of translation practice and theory, Professor Cao opened a new area of translation study which covers a wide range of multidisciplinary subjects and areas.
Hence, Professor Cao strict academic attitude and research spirit deserves to learn.
Second, in the process of defining several concepts such as translation aims, purposes, translators’ tasks as well as translation standard, Professor Cao introduced many useful terms such as textual purposes, translators’ tasks and the translation study and mediotology and textual purpose and non-textual purpose etc., among these newly introduced concepts, some of them are pioneered and innovative.
Thus, from this we can see, the author is very creative while following the principle of scientific researches. The most impressive theory is his own theory called “translation theory location”, which vividly introduced us the defined circle of translation circle and research range. This translation map is divided into two parts, one is “introvert ontology translation theory” and the other is “extrovert comprehensive translation theory”.
He point out that scholars working on the extrovert should pay attention to the following four aspects, the academic results and theoretical approaches of translation issue should be to enrich translation theory while not to replace it, when you study some phenomenon of translation restricted with certain social context, cultural background and ideology, researches must take the limitation of time and locality into consideration but not assentation, when we analyze translation as a certain behavior with certain purpose relates to society, culture, politics or economy, we must distinguish between textual and non-textual behavior, textual purpose and non-textual purpose and the last is the research about the translation version analysis on the culture of the target language, while in China, it belongs to the branch of comparative literature called mediotology. Academic study must be very strict and severe which need to be logical and scientific.
Third, the construction of the book is independent, for example theoretical analysis is combined with problem solving, and conclusion is combined with new problem rising. For example, as Professor Cao made a detailed description of the present relationship of translation theory and practice, he introduced the term translation study and analyzed the origin of culture turn. Translation study includes several aspects like translation history, translation theory and translation criticism. As translation study is a borrowed term, Professor Cao made a research in China to define the real concept of translation activity.
He made a thorough distinguish between translation study and the mediotology in comparative literature. The borrowed term translation study brought us a lot of reflections and lessons. He proposed some urgent and practical issues whether translation theory should be combined with practice and how to avoid the crisis of the discipline. We should keep a calm and practical attitude to keep the features of this subject.
Based on the practical researches, Professor Cao could analyze the thesis and propose proper scientific construction towards translation circle in China. Since in China translation study mainly focuses on the study of literature and besides this, comparative literature would more or less pay attention to the fields of literature but not translation. However, the Professor made a clear distinguish between translation study and mediotology and argued that translation study includes translation history, translation theory and translation criticism. This helps to set a clear definition towards translation study and effectively avoid translation study’s confusion.
Last but not the least, the language use in the whole text is very beautiful and comfortable. Although Professor Cao uses a lot of samples and evidences as well as a lot of historical samples, the transition is very smooth and he would also quotas many poems and history which makes his article seem more poetic and vivid. Through long terms of translation practice, there is no doubt that Professor Cao had a rich experience in translation practice and strong base of translation basis. What’s more, Professor Cao also had a very specific purpose for translation study. He is not only an excellent translator, professor and scholar, but also a very responsible educator and practitioner.
To sum up, Based on the above analysis, the author elaborates on the current imbalance between translation theory and practice, and puts forward targeted solutions, which provide the direction and action guide for translation research and translation teaching. In addition, the author can benefit a lot from his rigorous academic attitude, rigorous theoretical system construction and critical logical thinking. First, Professor Cao Minglun's full text is fluent in writing and appropriate use of professional vocabulary, which fully reflects his profound academic accumulation and solid foundation of academic research. In addition, more importantly, Professor Cao's logical reasoning ability provides reference for the author's future academic research.
The author uses rigorous logical thinking to accurately explain these concepts, both in terms of defining the relationship between translation theory and practice, and in terms of defining the relationship between translation concepts, objectives and tasks. Third, the author in the process of building the book chapters, layer upon layer, closely around the core of the theory and practice of the main line, from the macroscopic roughly summed up as above summary review, described the status quo, put forward the problems to solve the problem, finally the logical context is very clear, from the micro level above, each chapter, cited fully detailed, illustration, contrast analysis, the most important thing is that the author according to the research of the early learning put forward their own theoretical system or solution to the problem. Translation is indeed a cross-cultural discipline, but the study of translation must be closely centered on the translated text itself and supported by the theories of other disciplines, such as comparative literature studies and linguistic studies. Finally, the author uses standard words and the language is exquisite, which reflects the strong academic writing ability. The above contents are the valuable wealth of the author's future theoretical learning career!

From all of these analyses above, the author has explained the book following the order of introduction part including the background and the introduction of the author, the main body part which includes the major contend and the specific explanation as well as the writing features. Professor Cao made an overview towards the history of both the east and west translation history, the proper description of the current situation of the relationship between translation theory and practice, the careful and strict definition about the core concepts of translation theory such as the purpose, aim, translators’ tasks and standards.

Besides this, Professor Cao also locates the situation of translation theory by distinguishing the translation theory and mediotology. In the end, he also returned to the present problem about the breaking up of the relationship between theory and practice. To solve this, he teaches us on how to study the pure theory and then how to combine theory with practice, which provides a practical guidance for translation study and teaching activities.

In the following, the author would like to make some comments about this book.

Frist of all, this book closely centered on the relationship between translation theory and practice to make scientific explanation and study in a very logical and scientific manner. Since the beginning of translation activities, theory and practice have become interrelated with each other closely. Both in the east and the west, translation practice has been paid great attention to while translation theory closely followed the translation activities. At the very beginning translation activity has been focused on the democracy and ideology purpose.

With the development of the society, human activities have been prosperous thus translation activities become more diversified and vivid. From translation history, the current situation of translation theory and practice, the defined concept of translation purpose and tasks as well as standard to the effective approach of translation practice and theory, Professor Cao opened a new area of translation study which covers a wide range of multidisciplinary subjects and areas.

Hence, Professor Cao strict academic attitude and research spirit deserves to learn.

Second, in the process of defining several concepts such as translation aims, purposes, translators’ tasks as well as translation standard, Professor Cao introduced many useful terms such as textual purposes, translators’ tasks and the translation study and mediotology and textual purpose and non-textual purpose etc., among these newly introduced concepts, some of them are pioneered and innovative.

Thus, from this we can see, the author is very creative while following the principle of scientific researches. The most impressive theory is his own theory called “translation theory location”, which vividly introduced us the defined circle of translation circle and research range. This translation map is divided into two parts, one is “introvert ontology translation theory” and the other is “extrovert comprehensive translation theory”.

He point out that scholars working on the extrovert should pay attention to the following four aspects, the academic results and theoretical approaches of translation issue should be to enrich translation theory while not to replace it, when you study some phenomenon of translation restricted with certain social context, cultural background and ideology, researches must take the limitation of time and locality into consideration but not assentation, when we analyze translation as a certain behavior with certain purpose relates to society, culture, politics or economy, we must distinguish between textual and non-textual behavior, textual purpose and non-textual purpose and the last is the research about the translation version analysis on the culture of the target language, while in China, it belongs to the branch of comparative literature called mediotology. Academic study must be very strict and severe which need to be logical and scientific.

Third, the construction of the book is independent, for example theoretical analysis is combined with problem solving, and conclusion is combined with new problem rising. For example, as Professor Cao made a detailed description of the present relationship of translation theory and practice, he introduced the term translation study and analyzed the origin of culture turn. Translation study includes several aspects like translation history, translation theory and translation criticism. As translation study is a borrowed term, Professor Cao made a research in China to define the real concept of translation activity.

He made a thorough distinguish between translation study and the mediotology in comparative literature. The borrowed term translation study brought us a lot of reflections and lessons. He proposed some urgent and practical issues whether translation theory should be combined with practice and how to avoid the crisis of the discipline. We should keep a calm and practical attitude to keep the features of this subject.

Based on the practical researches, Professor Cao could analyze the thesis and propose proper scientific construction towards translation circle in China. Since in China translation study mainly focuses on the study of literature and besides this, comparative literature would more or less pay attention to the fields of literature but not translation. However, the Professor made a clear distinguish between translation study and mediotology and argued that translation study includes translation history, translation theory and translation criticism. This helps to set a clear definition towards translation study and effectively avoid translation study’s confusion.

Last but not the least, the language use in the whole text is very beautiful and comfortable. Although Professor Cao uses a lot of samples and evidences as well as a lot of historical samples, the transition is very smooth and he would also quotas many poems and history which makes his article seem more poetic and vivid. Through long terms of translation practice, there is no doubt that Professor Cao had a rich experience in translation practice and strong base of translation basis. What’s more, Professor Cao also had a very specific purpose for translation study. He is not only an excellent translator, professor and scholar, but also a very responsible educator and practitioner.

To sum up, Based on the above analysis, the author elaborates on the current imbalance between translation theory and practice, and puts forward targeted solutions, which provide the direction and action guide for translation research and translation teaching. In addition, the author can benefit a lot from his rigorous academic attitude, rigorous theoretical system construction and critical logical thinking. First, Professor Cao Minglun's full text is fluent in writing and appropriate use of professional vocabulary, which fully reflects his profound academic accumulation and solid foundation of academic research. In addition, more importantly, Professor Cao's logical reasoning ability provides reference for the author's future academic research.

The author uses rigorous logical thinking to accurately explain these concepts, both in terms of defining the relationship between translation theory and practice, and in terms of defining the relationship between translation concepts, objectives and tasks. Third, the author in the process of building the book chapters, layer upon layer, closely around the core of the theory and practice of the main line, from the macroscopic roughly summed up as above summary review, described the status quo, put forward the problems to solve the problem, finally the logical context is very clear, from the micro level above, each chapter, cited fully detailed, illustration, contrast analysis, the most important thing is that the author according to the research of the early learning put forward their own theoretical system or solution to the problem. Translation is indeed a cross-cultural discipline, but the study of translation must be closely centered on the translated text itself and supported by the theories of other disciplines, such as comparative literature studies and linguistic studies. Finally, the author uses standard words and the language is exquisite, which reflects the strong academic writing ability. The above contents are the valuable wealth of the author's future theoretical learning career!--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 12:24, 20 December 2020 (UTC)

===Reference===
Bassnett,Susan and André Lefevere .Translation, History and Culture[M].London and New York: Pinter Publishers.
Mark Shuttleworth，Moira Cowie：翻译研究词典[M]．外语教学与研究出版社，2005
谢天振，王宁翻译学:作为独立学科的求索与发展 [M]．复旦大学出版社，2017
曹明伦，翻译之道：理论与实践 [M]．保定：河北大学出版社，2007
甘雪梅．2010．“学、“术共生，“道”、“器”互彰——评曹明伦教授《翻译之道：理论与实践》一书[J]．湖北函授大学学报，(5)：110-111
黄中习．2008．努力构建翻译理论与实践的和谐关系——翻译之道理论与实践介评[J]．北经济学院学报，(10)：150一l51
朱蕤．2010．对翻译研究 “文化转向”的反思—— 以《翻译之道》为伽 R1．福建省外国语文学会2010年年会．厦门

Bassnett,Susan and André Lefevere .Translation, History and Culture[M].London and New York: Pinter Publishers.(缺少年份)

Mark Shuttleworth，Moira Cowie.翻译研究词典．外语教学与研究出版社，2005（格式错误）

Xie Tianzhen, Wang Ning. 谢天振，王宁. (2017). ''翻译学:作为独立学科的求索与发展''. [Translation Studies: The Search and Development as an Independent Subject] 上海：复旦大学出版社[Shanghai: Fudan University Press].

Cao Minglun. 曹明伦. (2017). ''翻译之道：理论与实践''. [The Tao of Translation: Theory and Practice] 保定：河北大学出版社[Baoding: Hebei University Press].

Gan Xuemei. 甘雪梅. (2010)．“学、“术共生，“道”、“器”互彰——评曹明伦教授《翻译之道：理论与实践》一书. [Symbiosis of "Science and "Technology", "Dao" and "Apparatus" Mutually Reconcile: A Comment on Professor Cao Minglun's Book "The Tao of Translation: Theory and Practice"]. ''湖北函授大学学报''[Journal of Hubei Correspondence University] 110-111.

Huang Zhongxi. 黄中习．(2008)．努力构建翻译理论与实践的和谐关系——翻译之道理论与实践介评. [Efforts to build a harmonious relationship between translation theory and practice: An introduction to the theory and practice of translation]. ''北经济学院学报''[Journal of North University of Economics]150一l51.

Zhu Yu. 朱蕤. (2010). 对翻译研究 “文化转向”的反思—— 以《翻译之道》为例. [Reflections on the "Cultural Turn" of Translation Studies: Taking "The Way of Translation" as an example]. 厦门：福建省外国语文学会2010年年会. [Xiamen: 2010 Annual Meeting of Fujian Foreign Language and Literature Association].--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 12:58, 20 December 2020 (UTC)

=Translation Strategies=

==The Study on the Translation Strategies, Translation Methods and Translation Techniques in ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'' from the Perspective of Skopos Theory 朱素瑶 Zhu Suyao 202020080675 英美文学==

===Abstract===
This paper studies the English version of ''seeking Happiness for People: 70 Years of Progress on Human Rights in China'' from the perspective of Hans Vermeer's Skopos Theory of translation. It can be found that this English version focuses on the target audience and uses appropriate translation strategies, methods and techniques in the light of the target audience's reading habits and cultural background, such as free translation, literal translation, shift, addition, omission, division and combination. As a result, the English translation’s vocabulary, discourse structure or expression can be easier to be accepted by the target audience, which is conducive to the dissemination of China's information and maximizes the communication effect of international news of China.

Keywords: Skopos Theory; translation strategies; translation methods；audience

===摘要===
根据汉斯・佛米尔翻译目的论的观点对《为人民谋幸福：新中国人权事业发展70年》英译本进行研究，发现该译本以目标受众为着眼点，从目标受众的阅读习惯和文化背景出发，运用恰当的翻译策略、方法和技巧，比如意译、直译、转译、增译、减译等，因而译本的英语词汇、语篇结构或表达方式更易为目标受众接受，这有利于中国信息的传播，最大程度增强我国国际新闻的对外传播效力。

关键词: 目的论；翻译方法；翻译技巧; 受众

===Introduction===
''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'' is a white paper published by the Information Office of the State Council of China in September 2019. In addition to the preface and conclusion, the full text consists of eight parts, and quotes a large amount of data to show in detail the progress of human rights in China since 1949; the people-centeredness of human rights; the ways to realize the protection of human rights; the remarkable achievements in the implementation of human rights; the continuous strengthening of human rights protection and China's contribution to promoting the cause of human rights in the world.

Nowadays, international political, economic and cultural exchanges are unprecedented frequent and in-depth. International information and culture should be welcomed by our country. At the same time, Chinese culture and values need to be spread. We should have our own voice in international exchange activities, to tell Chinese stories so that the world can better understand China(He Jiaying 2020,4). Therefore, the translation of Chinese international news plays an important role in cross-cultural communication and communication between China and foreign countries. Therefore，it is also worthwhile to study the translation of these news.

In ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'', its accurate and rigorous translation has played a positive role in shaping national image and building international discourse. There are a large number of words related to political system with Chinese characteristics in this text. These words often represent some important policies and current situation of human rights of our country. Accurate translation of these words is the key to correctly convey these messages.

Skopos theory focuses on the purpose of translation and holds that translation activities should adopt corresponding translation methods and techniques. From the perspective of Skopos theory, translation work is mainly for the target audience. Its purpose is to achieve the re-dissemination of the original content and finally gain a certain communicative effect.

As a political document, ''seeking happiness for people: 70 years of progress on human rights in China'' can be regarded as government behavior, that is, the organizer and commissioner of translation is the government, and the translator is the institution and interpreter entrusted by the Chinese government. If the relationship between entrustment and entrustment is made clear, the purpose of translation is obvious. The Chinese government disseminates such information, like the concept of human rights, the way to realize the cause of human rights, the achievements of developing human rights, and China's contributions over the years, to English speaking countries on the basis of respecting their linguistic habits and cultural backgrounds. In this way，translators should observe translation principles and choose appropriate translation strategies under the guidance of this purpose.

The principle of coherence requires the translation to be logically clear and semantically cohesive, which can keep the Chinese style of political documents while making it accessible to readers. The principle of faithfulness requires the translator to accurately understand and grasp the connotation of article. (Luo Mazhang, 1984,124-126). On this basis, translators use translation techniques and methods to translate and interpret the original text, so that what readers understand from the English version is consistent with the information expressed in the original text. Moreover, according to the different characteristics of these words related to the political system with Chinese characteristics, we should adopt different translation strategies, methods and skills.

===A Brief Introduction to Skopos Theory===
Skopos theory originated in Germany in the 1970s put forward by Hans Vermeer. It belongs to functional translation theory, in which it is the most important theory. It has a wide influence on text translation and is widely employed in translation. Vermeer believes that translation is a kind of human behavior, and any behavior has a purpose. The primary factor determining the process of translation is the purpose of translation (VERMEER HANS. J 1989:90). That is to say, translators shall exercise corresponding translation strategies according to different translation purposes, and have the right to decide what contents of the original text can be retained and what needs to be adjusted or modified in the light of the translation purpose. The translation strategy depends on the needs and expectations of the target language readers or audiences. Therefore, we can say that translation is a text that meets the needs of readers on the basis of translation purpose.

People pursuing skopos theory believe that skopos rules, coherence rule and fidelity rule should be followed in translation. The Skopos rule refers to that the translation behavior depends on the translation purpose, in other words the result determines the method; the coherence rule means that the translation must conform to the standard of intralingual coherence, namely, the translation must be comprehensible by the receiver and be meaningful in the target language communication; the faithfulness method refers to the existence of interlingual coherence between the original text and the target text, that is, the translation should be as faithful as possible to the original text (NORD C 2002,28).

Among the three laws, the rule of faithfulness is subordinate to the law of coherence, and at the same time, the two laws ultimately depend on the law of purpose. The translator should first ensure that the translation can achieve the intended purpose, then ensure the coherence of the translation, and finally ensure the consistency between the translation and the original (N. Zhao 2014, 98-101). We know that different cultures have different cultural customs and their own unique values, so translation is not an act of transforming one language into another. The translator should translate based on some specific requirements, combined with the specific demands of the translation, the target readers' reading habits and cultural background.

===The Employment of the Translation Strategies And Translation Methods in ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'' from the Perspective of Skopos Theory===

====Foreignization Strategy Under the Skopos Theory====
In Schleiermacher's words, the translator leaves the author in peace, as much as possible, and moves the reader towards him." (2006,229) It is shown that in translation, the language, literature and cultural characteristics of the original text should be retained to the full, and the foreign tone kept. The advantages of foreignization strategy are as follows: the structure of source language, poetic features can be introduced into the target language to enrich the expression of the target language; the target language readers can fully appreciate the exotic beauty, and thus promote the cultural exchange between different nationalities (Venuti, 1995). The defect of foreignization strategy is mainly reflected in the readability of the translation, that is, the translation may be stiff and not natural enough, which will affect the reception and dissemination of the target language among the target recipients.

=====Literal Translation Under the Strategy of Foreignization=====
Literal translation is characterized by two main features: with regard to lexical meaning and rhetoric without the use of paraphrase, which distinguishes it from free translation; in the processing of lexical and syntactic structure, appropriate changes or transformations are allowed, for example, word order transformation is used to make the translation conform to the lexical and syntactic norms of the target language, which distinguishes literal translation from word-for-word translation (Munday, J 2008,9). There are some examples extracted from ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'':

两个一百年 Two Centenary Goals; 当家作主 became masters of their country; 伟大复兴的中国梦 Chinese Dream of national rejuvenation;人类命运共同体 a global community of shared future;中共十八大 the 18th CPC National Congress;五位一体Five-point Strategy;习近平新时代中国特色社会主义思想 Xi Jinping Thought on Socialism with Chinese Characteristics for a New Era;民法通则和侵权责任法the General Principles of the Civil Law and Tort Liability Law

Analysis: with the continuous advancement of China's political and economic status in recent years, China has mastered a certain voice in the international community, and initially established a unique political discourse system. Therefore, some characteristic political words can be translated literally without causing difficulties for the foreign audience to understand.

=====Zero Translation Under the Strategy of Foreignization=====
Zero translation does not demand any operation in translating. Some elements of the source language are directly introduced into the target language (Munday, J 2008,8). There are some examples extracted from ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'':

Example 1:中国以占全球6.6%的淡水资源和9%的耕地，养活了世界近20%的人口。
China feeds approximately 20 percent of the world's population using 6.6 percent of the fresh water resources and 9 percent of the arable land of the world.

Example 2:1949年末，全国城乡就业人员18082万人，其中城镇就业人员仅有1533万人，城镇失业率高达23.6%。
At the end of 1949 there were 180.82 million people across the country in employment, of whom only 15.33 million worked in urban areas.

Analysis: The white paper uses a large number of figures to specifically describe the changes and achievements of China since the implementation of human rights. For these large numbers, it is not necessary to translate them, but to keep the Arabic numerals directly. In this way, the translation is faithful to the original text. Besides, it is in line with the purpose of publicity translation.

=====Word-for-word translation Under the Strategy of Foreignization=====
Word-for-word translation refers to the translation of the original sentence by word without considering the differences in morphology, syntax and semantics between the two languages (Munday, J 2008,7). There are some examples extracted from ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'':

半殖民地半封建社会 semi-colonial and semi-feudal society；改革开放 the reform and opening up；一带一路”倡议 the Belt and Road Initiative

Analysis: The above political terms widely emerge in various documents and news in China, and also appear in a high proportion in all sorts of reports of foreign media. Therefore, even if word-for-word translation of above words is taken by translators, readers can also understand translations easily without additional translation or explanation, which reflects the principle of faithfulness to the original text in skopos theory.

====Domestication Strategy Under the Skopos Theory====
In Schleiermacher's words, the translator leaves the reader in peace as much as possible, and moves the author towards him(2006:229). Translators should try to replace the source language, literature and culture with those being popular among the target language readers, and abide by the target language norms. The advantages of domestication are that the translation is smooth, easy to be understood and accepted by the target language recipients, or to meet the specific needs of the target language readers. The defects of domestication strategy are as follows: the loss of language, literature and cultural elements in the original text, which results in the target language recipients being deprived of the opportunity to appreciate foreign languages, literature and culture. This is not conducive to the enrichment and development of the language, literature and culture of the target country and the cultural exchange among different nationalities (Venuti,1995).

=====Free Translation Under the Strategy of Foreignization=====
The main feature of free translation is the use of paraphrase in the processing of lexical meaning and rhetoric, so as to reproduce the meaning of the original text smoothly and truly. There are some examples extracted from ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'':

Example 1：四个全面”战略布局 Four-pronged Strategy

Analysis: Four pronged refers to the rake with four teeth. Through cultural borrowing, it vividly interprets a comprehensive strategy of four pronged, to illustrate that the strategic layout includes four aspects, and the contents of the four aspects should go hand in hand. This translation reproduces the lexical and syntactic structure of the source language as well as the form of the original language.

Example 2：新时代中国特色社会主义将人民对美好生活的向往作为奋斗目标。
In building socialism with Chinese characteristics for a new era, the people's aspiration to live a better life is the focus of all the country's work.

Analysis: The literal translation of “奋斗目标” is usually goal or purpose, but here it is translated as“the focus of all the country's work”，which emphasizes its importance in this context.

Example 3：世界各国在人权保障上没有最好，只有更好。
Every country has room for improvement in protecting human rights.

Example 4：个人权利只有与集体权利统一起来，才能实现人权的最大化。
Individual rights can only be maximized in the context of collective rights.

Example 5：新中国成立之初，社会保障尚属空白。
There was no social security system in China when the PRC was founded.

Example 6：绿水青山就是金山银山。
Lucid waters and lush mountains are invaluable assets.

Example 7：截至2018年，西藏自治区已有117名学经僧人获得了格西“拉让巴”学位，68名僧人获得了中国藏语系高级佛学院“拓然巴”高级学衔。
By 2018 a total of 117 monks from Tibet had received senior academic titles in Lhasa and 68 from the High-level Tibetan Buddhism College of China.

Analysis: In example 3, "better" is translated into "there is still room", which is another expression to convey the same idea. Although the expression is different, but the meaning is the same, which means that there are always more efforts needed to be put into protecting human rights. In example 4, it uses “in the context” to vividly deliver the condition that individual rights are combined with collective rights. In example 5, “空白”actually refers that social security has yet to be popularized to the public. So it can't be literally translated into “blank”. The free translation here is a good expression of the original meaning. “绿水” in example 6 is not to emphasize that the water is green, but to indicate all the clear and clean waters and the currents, so it is lucid waters. In example 7,“拉让巴”and “拓然巴” are all translated into “senior academic titles”, which make the readers directly clear about its real connotation.

===The Employment on the Translation Techniques in ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'' From the Perspective of Skopos Theory===
In the translation methods, apart from zero translation, transliteration and word-for-word translation, the other five translation methods will involve the usage of various translation techniques. There are many kinds of skills, but they can be generally classified into five kinds: omission, addition, division, combination and shift (M. F. Zhang 2009, 53-60). The following is a rough analysis of the translation techniques employed in ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China''.

====Omission Under Translation Skills====
Omission refers to the deletion of some complicated and redundant words, sentences or even paragraphs in the original text according to the needs of morphology, syntax, semantics, rhetoric or style of the target language, or due to some specific cultural norms of the target language (Reiss K 1971). By doing so, the original ideas can be expressed more concisely and smoothly, and then the translation can better achieve the specific translation purposes. There are some examples extracted from ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'':

Example 1: 中国人权事业的命脉所在、根本所在。
the foundations for the cause of human rights in China.

Example 2: 国家提出经济建设、政治建设、文化建设、社会建设、生态文明建设“五位一体”总体布局，使每个人的经济、政治、文化、社会、环境权利能够得到充分保障。
It puts forward the Five-point Strategy (promoting economic, political, cultural, social, and environmental progress in a coordinated way), so every citizen's rights can be fully protected in each of these spheres.

Example 3：中国的粮食总产量由1949年的11318万吨提高到2018年的65789万吨，耕地灌溉面积由1949年的1594万公顷扩大到2018年的6810万公顷。
Total grain output soared from 113.18 million tons in 1949 to 657.89 million tons in 2018, and the area of irrigated farmland from 15.94 million ha in 1949 to 68.1 million ha in 2018.

Example 4：中国从根本上消除了饥饿，持续改善了人民的营养水平。
It has succeeded in improving nutrition and eradicating hunger.

Example 5：截至2018年，全国已有84%的行政村实现生活垃圾收运处置体系基本覆盖。
By 2018, 84 percent of all administrative villages were provided with garbage treatment.

Analysis: in example 1, “命脉”and “根本” are all used to express the necessity of the cause of human rights, thus one of them can be omitted. In example 2, “economic, political, cultural, social and environmental spheres” has been mentioned in the preceding sentence, so the latter one can replace them with “each of these spheres”. In example 3 the verbs in the first and second sentences are both “soar”，so the latter one can directly be left out by the rules of English grammar. Example 4 directly through the phrase “has succeeded in” to show the results. "从根本上" and “水平” of “营养水平” is to emphasize with no much necessity in the translation, whose omission does not affect the original meaning. Example 5 only use the passive voice of "provide" that can succinctly and lucidly express the original meaning.

Example 6：因为有了新中国70年，中国人民的生活才更加幸福美满；因为有了新中国70年，我们的世界才更加繁荣发展；因为有了新中国70年，人类社会才更加丰富多彩。
As a result of the developments that have taken place in the PRC over the 70 years, the people of China are living a happier life, the world is more prosperous, and human society is more diverse and colorful.

Analysis: "因为有了新中国70年" has been repeated three times to strengthen the tone. While in the translation, it is only referred once to avoid wordiness. There are several other same translations using this skill in the following text. A large number of parallelisms often appear in Chinese political texts. When studying the translation of these sentences, we can find one thing in common, that is, repeated words can be translated only once, which reflects the concise characteristics of English language.

====Addition Under Translation Skills====
Additional translation refers to the reasonable and appropriate addition of certain words, sentences or paragraphs to the translation according to the needs of the morphology, syntax, semantics, rhetoric or style of the target language, or subject to certain norms of the target language, so as to better express the content of the original text and better realize the specific translation purpose (Shuttleworth, M. &M. Cowie 2004). There are some examples extracted from ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'':

Example 1：人权是历史的、发展的。
Human rights are a historical and developmental concept.

Example 2：人类社会发展经验 the experience gained in human social development

Example 3：中国共产党带领人民深刻总结我国社会主义建设正反两方面经验。
Under the leadership of the CPC, the people review experiences and lessons drawn from socialist construction.

Analysis: Example 1 adds “concept”；Example 2 adds “gain”, a verb, to show the source of experience；Example 3 adds “lessons”, because experiences and lessons can be regarded as a pair of phrases that always appear together.

Example 4：改善城市和农村人居环境，开展生态修复、城市修补……生活垃圾收运处置体系建设。
Efforts have been made in several areas: improving the living environment in cities……transporting and disposing of household garbage in rural areas.

Example 5：国家建立了最低生活保障制度、最低工资保障制度……中小学义务教育制度等。
Chinese government has put into place a number of systems and mechanisms, including those dealing with subsistence allowances, the minimum wage……and compulsory education (primary and middle schools).

Analysis: Summary phrases have been added in several parts of the white paper to make the text clearer. Example 4 adds “efforts” to be the subject in order to clearly state what has been done by China；example 5 uses “systems and mechanisms” to outline its specific content one by one.

Example 6：新时代中国特色社会主义着眼于实现“两个一百年”奋斗目标和中华民族伟大复兴的中国梦。
In building socialism with Chinese characteristics for a new era, China focuses on achieving the Two Centenary Goals and realizing the Chinese Dream of national rejuvenation.

Example 7：依法保障宗教信仰自由。
China protects freedom of religious belief in accordance with the law.

Example 8：建立起世界上覆盖人口最多的社会保障制度。
China has established a social security system that covers the largest population in the world.

Example 9：尊重和保障人权 We must respect and guarantee human rights.

Analysis: when translating a Chinese sentence without subject into English, the subject mentioned above should be added in translation. Because in Chinese discourse, when the subject appears, it can be omitted in later sentences. As a hypotaxis language, English is stricter with its language structure. As an important part of a sentence, the subject cannot be omitted. Therefore, in examples 6-9, the subjects of “China” and “we” are added to the sentence to make the sentence complete.

====Division Under Translation Skills====
Division refers to dividing a sentence into two or more sentences, which can effectively solve the translation difficulties of long complex sentences and satisfy the expression habits of the target language and the reading habits of the audience (Shuttleworth, M. &M. Cowie 2004). There are some examples extracted from ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'':

Example 1: 中国共产党的领导，是中国人民能够享有人权并不断享有更加充分人权的根本保证，是全体中国人民的利益所在、幸福所在。
The Party's leadership is the fundamental guarantee for the people of China to have access to human rights, and to fully enjoy more human rights. This leadership is therefore in the interests of all people of China, critical for their pursuit of a happy life.

Example 2: 中国特色社会主义将“人权得到切实尊重和保障”作为全面建成小康社会的重要目标，从战略层面确立了人权事业的重要地位。
In building socialism with Chinese characteristics for a new era, full respect for and protection of human rights is an important goal of China's endeavors to build a moderately prosperous society in all respects. This establishes the importance of human rights from a strategic perspective.

Example 3: 多年来，中国始终把解决人民的生存权、实现人民的发展权作为第一要务，不断解放和发展生产力，致力于消除贫困，提高发展水平，为保障人民各项权利的实现创造了基础条件。
Prioritizing people's rights to subsistence and development, China has committed to liberating and developing productive forces, eliminating poverty, and enhancing its level of development. All this has laid the foundation for fulfilling the various rights of the people.

Example 4: 坚持人民在人权事业中的主体地位，把人民利益摆在至高无上的位置，让人民过上好日子，使发展成果更多更公平地惠及全体人民，让每个人更好地发展自我、幸福生活，让每个人都能够免于恐惧、不受威胁，是实现人人享有更加充分人权的真谛所在。
For everyone to fully enjoy human rights, we must uphold the people-centered approach……and ensure a good life for the people. We must ensure that the fruits of development offer greater benefits to all the people in a fair way……and prevent them from fear and threat.

Example 5: 国际社会应秉持和平、发展、公平、正义、民主、自由的人类共同价值，维护人的尊严和权利，推动形成更加公正合理包容的全球人权治理。
The international community should uphold the shared values of humanity – peace, development, fairness, justice, democracy and freedom. It must safeguard human dignity and rights, and strive for fairer, more reasonable and inclusive global human rights governance.

Example 6: 多年来，中国政府通过改革农村土地制度，稳定和完善农村土地承包关系，大力推进农田水利设施建设，使农业综合生产能力不断提升，主要农产品产量稳定增长。
Over the years the Chinese government has carried out rural land reforms to stabilize and improve land contracting system in rural areas. With improved irrigation infrastructure, China's agriculture has seen a continuing rise in productivity and steady increase in the output of main agricultural products.

Analysis: In example 1-6, the syntax is too long and there are too many clauses. Therefore, in order to avoid the syntax being too complicated, it is necessary to split it. At the same time, there are many non-subject sentences in Chinese while English sentences usually have subjects. Therefore, when translating Chinese sentences without subject into English, translators need to complete the subject of most sentences according to the context. For example, add pronouns “it”, “this”, or start with preposition "with". In this case, the translated sentences will make the readers more relaxed and comfortable in reading.

====Combination Under Translation Skills====
Combination refers to combining two or more sentences in the original text into one sentence. There are some examples extracted from ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'':

Example 1: 1982年，第五届全国人大五次会议通过了现行宪法。宪法明确规定了中国社会主义民主的主要内容和基本形态。
In 1982, the Fifth Session of the Fifth NPC adopted the current Constitution of the PRC, which clearly defines the substance and basic form of socialist democracy.

Example 2: 中国努力通过发展增进人民福祉，实现更加充分的人权保障。China strives to enhance people's wellbeing through development in order to better protect their human rights.

Analysis: Example 1 combines the two sentences with “which”, making the text more compact. In example 2, the combination is realized by “in order to”, which reflects the logical connection between sentences, and the purpose is clearer.

====Shift Under Translation Skills====
=====Shift From Active Voice to Passive Voice=====
There are some examples extracted from ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'':

Example 1：在新中国成立前夕，通过了具有临时宪法作用的《中国人民政治协商会议共同纲领》。
The Common Program of the Chinese People's Political Consultative Conference, which was adopted on the eve of the founding of the PRC and served as the provisional Constitution of China.

Example 2：第一届全国人民代表大会第一次会议通过的《中华人民共和国宪法》。
The 1954 Constitution of the PRC, which was adopted at the First Session of the First National People's Congress (NPC).

Example 3：应当尊重人权发展道路的多样性
Diversity in developing human rights should be respected.

Example 4：尊重和保障人权
Human rights are respected and guaranteed.

Example 5：在当代中国的人权实践中，既重视集体人权的发展，又重视个人人权的保障。
In China, equal attention has been paid to developing collective rights and ensuring individual rights.

Analysis: Chinese uses more active voice while English more passive voice. Therefore, in the translation of the original sentences, the subject is put in front and the passive voice is used. In addition, Chinese often express the logical relations between words and sentences by context and word order while English needs clear connectives to express them. Therefore, it is often necessary to add connective words to express logical relations in translation from Chinese to English.

=====Class Shift=====
There are some examples extracted from ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China'':

Example 1: 从1950年起，对国营厂矿交通企业的生产和管理制度进行民主改革，建立工厂管理委员会和职工代表大会。
The democratic reform of the production and management of state-owned factories, mines, and transportation operators that started in 1950 set up factory management committees and workers' congresses in these entities.
Here the verb“民主改革”is shifted to a noun, and leads this sentence, which stresses the role of it.

Example 2人民基本居住条件显著改善。Improved housing conditions.

Example 3饮水安全获得切实保障。Safe drinking water.

Example 4国民健康水平持续提高。Better health for the people.

Example 5 经济凋敝、民不聊生 a shattered economy, a destitute populace

Analysis: In example 2-4, all the verbs are shifted to adjectives in above sentences, which become neater and terser. In example 5,“民不聊生” means ordinary people is too hard and poor to survive themselves. If just literally translate it like above, the sentence will not so succinct or regular as well as not conform to the sentence structure of four characters in parallelism.

===Conclusion===
This text introduces ''Seeking Happiness for People: 70 Years of Progress on Human Rights in China''. Because the white paper is a typical central document published by government, propagating the concept of human rights, practical measures and gains, and takes the comprehensive and accurate introduction as the purpose. What’s more, it is closely related to national interests and national image.

Based on its political characteristics, this paper studies its translation strategies, methods and techniques from the perspective of Skopos theory, and finds that the difference between the Chinese version and the English version is mainly due to the different readers. The English version is aimed at English audiences, and linguistic form and culture in England are different from China’s. For example, English uses more passive voice, while Chinese uses active voice; when translating Chinese without subject into English, except those passive voice translations, the correct subject should be added into the translation; English focuses more on logic and connection while Chinese on the meaning and content of text.

The differences may affect readers' understanding of the translation. Therefore, in the process of translation, translators should use appropriate translation techniques and methods according to their differences. Moreover, for such a political report, there are many official words, long sentences and heavy emphases on tone. Thus, the techniques of literal translation, division, addition and subtraction are frequently used.

From the perspective of Skopos theory, translation takes into account not only the function and purpose of the original text, but also the receptivity of the audience and the effect of the translation. Through the study of this white paper, we can see that translators need to stand on the perspective of the audience in the white paper translation, should shift from Chinese language patterns to western with facility, use appropriate translation methods, strategies and techniques, and be faithful to the original content in order to translate political intent clearly and accurately. In this way, misinterpretation, leaking and unclear translation can be avoided, so as to let foreign audiences can quickly and efficiently receive the information that the original text intends to pass on. This study can provide theoretical basis and good ideas for the future translators to find the best translation methods and strategies.

===References===
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[9]Shuttleworth, M. &M. Cowie. (2004). ''Dictionary of Translation Studies''. Shanghai: Shanghai Foreign Language Education Press.

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[11]Seeking Happiness for People: 70 Years of Progress on Human Rights in China.(2019).''The Journal of Human Rights''.

[12]VERMEER HANS. J. (1989). ''Skopos and Commission in Translational Action.'' ANDREW CHESTERMA. Readings in Translation. Helsinki: Oy Finn Leetura Ab.

[13]He Jiaying 何嘉莹, et al.(2020). "翻译目的论视角下英语新闻的编译策略——基于江苏某科技组织微信公众号平台和南方某高校外国语学院英文网站建设." [Translation Strategy Is Based on the Skopos Theory: The Construction of English News Website Based on the Official Account of WeChat, A Science And Technology Organization in Jiangsu, and the English Website of A Foreign Language College in Southern China.] 科技传播 Science And Technology Communication.

[14]Luo Mazhang 罗新璋.(1984). 翻译论集[Translation Volume]. 北京：商务印书馆 Beijing: Commercial Press.

[15]Ma Huijuan, Miao Ju 马会娟，苗菊. (2009). 当代西方翻译理论宣读[Reading of Contemporary Western Translation Theories].北京：外语研究与教学出版社 Beijing: Foreign Language Research And Teaching Press.

[16]Xiong Bing 熊兵.(2014). 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 [Conceptual Confusion in Translation Studies: A Case Study of " Translation Strategies ", " Translation Methods " And " Translation Techniques "] 中国翻译 Chinese Translators Journal.

[17]Information Office of the State Council of the people's Republic of China 中华人民共和国国务院新闻办公室. (2019). "为人民谋幸福：新中国人权事业发展70年" [Seeking Happiness for People: 70 Years of Progress on Human Rights in China]. 人民日报 People’s Daily.

==Translator’s Subjectivity from Translator’s “Invisibility” to “Visibility” 胡百辉 Hu Baihui 202070080590 MTI==

<center>胡百辉 Hu Baihui 202070080590</center>

===Abstract===

This paper is on translator’s subjectivity from translator’s “invisibility” to “visibility”. As we all know, the translator is the subject of translation, by whom the meaning of the translated text is conveyed. However, the invisibility of translator has always been emphasized in the traditional theory of translation. Until 1970s, with the “cultural turn”, the translators’ role has been redefined and their subjectivity in translation has caught much attention. As a key point in translation studies, the translator's subjectivity should not be confined to the change from “invisibility” to “visibility”, but should be studied in all respects. In addtion, the current challenges should also be identified and dealt with. Translators should give full play to their subjective initiative and deal with the relationship between them.

===Key Words===

Translator’s subjectivity; Invisibility; Visibility.

===题目===

译者主体性：从“隐形”到“显性”

===摘要===

本章从译者的“隐形”到“显形”论述译者的主体性。众所周知，译者是翻译的主体，翻译文本意义的传达是通过译者实现的。然而，传统译论一直强调译者在翻译中“隐形”。直到20世纪70年代出现了翻译研究的“文化转向”，才重新定义了译者的角色，其主体性才得到关注。译者主体性作为翻译研究的重点，我们不能简单说译者的角色从“隐形”转化为“显性”，而是从多个方面探讨，并且关注和解决其面临的挑战。译者要合理发挥自己的主观能动性，合理地处理二者之间的关系。

===关键词===

译者主体性；“隐形”；“显性”。

===Introduction===

The translator's “invisibility” and “visibility” have always been a controversial topic in the field of translation, and both of which have their own theoretical basis and purpose; however, both of them are the result of the exertion of the translator's subjective initiative. These arguments are not to prove who is right and who is wrong, but to enrich the arguments in the process of proving their personal views or persuading others, so as to perfect the relevant theories. (Wang Yu, Tian Cuiyun 2020, 128)

For a long time, the translator's subjectivity has been one of the focuses of scholars, but the role of translators in translation activities has always been neglected. It was not until the “cultural turn” in the 1970s that translators and some scholars began to study and discuss this issue. There are some translation theories in the West that face the target culture. So with these translation theories that oriented toward target culture, the scholars will inevitably do some research in translator’s subjectivity. (Wang Yu, Tian Cuiyun 2020, 129)

At present, there are many researches on translator's subjectivity in China. This shows that the study of translator's subjectivity is deepening day by day. The translator should not continue to be invisible in the process of translation. The translator's subjectivity will directly affect the translator selecting words and sentences and the style of translation. In short, at present, the status of translator and translator's subjectivity are highly praised in the field of translation studies. However, it should be emphasized that in today's information technology era, the translator's subjectivity is not only valued, but also faced with great challenges. (Wang Yu, Tian Cuiyun 2020, 129)

===Translator's Subjectivity===

Traditional translation theories often neglect the study of translator's subjectivity, but tend to explore the linguistic level of the translated text. Therefore, translation, as a dynamic process, is often ignored and the translator's subjective factors are not paid enough attention. On the one hand, the traditional translation view, holds that translation is not creative and can not be compared with creation. On the other hand, it is against advocating the translator's subjectivity and creativity, and requires the translator to worship the original author, which also tends to the original. "And the traditional role of translator was identified as the “servant” of the author, while assessing fidelity to the original text was primary. Pulled between the two poles: fidelity and treason, the translator faced the dilemma of lacking independence and subjectivity" (Shufen Huang 2019, 100). Now it seems that this view of negating translator's subjectivity is unreasonable.

As mentioned in the abstract, attention to the translator’s subjectivity did not arise until the 1970s, when Susan Bassnett and Andre Lefevere have come up with the idea of “the cultural turn”. They stated that translation is not the simple transform between two languages, it goes in special cultural environment. "And studies on the role of translators as well as the function of their subjectivity in the translating process have begun to flourish. However, the role of the translator and his subjectivity have been renewed and affirmed with the development of translation theory and translating activities. In the transitional years for translation studies, new translation theories were proposed"(Shufen Huang 2019, 100). "Those influential translation series, such as the polysystem theory and manipulation school have integrated researches on translator’s subjectivity into their massive system respectively" (Zhiwei Gu 2017,24). At present, the study of translator's subjectivity is emerging in an endless stream.

====1. Definition of Translator's Subjectivity====

According to Za Mingjian and Tian Yu, translator’s subjectivity can be defined that on the premise of respecting the translation text, the translator shows his subjective initiative in order to achieve the purpose of translation. Its basic characteristics are the cultural consciousness, humanistic character, cultural and aesthetic creativity of the translator. And the essential characteristics of the translator’s subjectivity refer to the translator’s “active cultural consciousness”, “human character” and “ascetic creativeness”. (Zha MIingjian, Tian Yu 2003, 22)

====2. Related Theories on Translator's Subjectivity====

In the 1970s, some scholars proposed the idea of “culture turn”, and since then many scholars such as Susan Bassnett (1980), Theo Hermans(1985), Andre Lefevere(1992), Tejaswini Niranjana (1992), Lawrence Venuti(1995), and Douglas Robinson (1997) have made studies on translator’s subjectivity. The issue of translator's cultural identity and subjectivity has naturally become an important research topic. While in China, some scholars studying in translation theory have conducted in-depth study in the translator’s subjectivity since the 1980s. In recent years, there are many papers on the study of translator's subjectivity.

The studies on translator’s subjectivity of some typical schools will be introduced as follows.

=====2.1 Polysystem Theory=====

This theory is introduced by Tynjanov, and he argues that "elements do not exist in isolation, but always in an interrelationship with other elements of other systems" (Even-Zohar, Itamar 1979, 287). Actually, Tynjanov is a cultural theorist, but his polysystem theory has made the study on translator more popular. But his pioneering work continues to exert considerable influence on translation, particularly when studying translation in emerging cultures or cultures in crisis. He said, it is necessary to include translated literature in the polysystem. "And through studies on the translated edition, it provides a feasible way to reconsider issues like the proper translator, suitable network on translation edition, translating adequacy and so on. This theory ushers in the cultural shift paves the way for the appearance of manipulation school" (Zhiwei Gu 2017,24).

=====2.2 Manipulation School=====

The name of manipulation school was given by the title of a collection of essays edited by Theo Hermans(1985), The Manipulation of Literature:Studies in Literature Translation, which gathers a number of studies by scholars such as Van Gorp and Andre Lefevere. "From the point of view of the target literature, all translation implies a degree of manipulation of the source text for a certain purpose" (Hermans 1985, 30), said Hermans. They sited that "translating is rewriting”, which is the foundation of the manipulation school. They have made the translation studies shift from the source-text oriented to target-text oriented. In their opinion, translators have their own feelings for the source text, and they respond to their intuitive feeling, and render the source text in the target culture.

====3. Factors Influencing the Translator's Subjectivity====

The exertion of translator's subjectivity runs through the whole process of translation activities. When different translators read the same article, their understanding varied. Also when selecting words, choosing translation strategies, the translators would have their own opinions. Understanding the factors that influence the translator's subjectivity makes great contribution to the study of the translator's translation style and characters. (Li Yingying, Lan Jie 2014, 21)

=====3.1 The historical background of translator=====

The historical background determines the criteria of value evaluation of translation, which also leads to the trend of mainstream translation style. The era in which translators live will limit the breadth and depth of their understanding. Therefore, the former translation standards may no longer conform to the contemporary development. It took a long time for the translator's position to rise from invisibility to visibility. Yan Fu, a famous translator in China at the end of the 19th century, has put forward the translation standard of “faithfulness, expressiveness and elegance”. At this time, China was written in classical Chinese, so the “elegance” here means that the translation should be elegant and be translated in classical Chinese.

Since the May Fourth New Culture Movement, vernacular gradually replaces classical Chinese. Translators begin to translate a large number of classic works of Marxism Leninism, literary theory, progressive literary works of Soviet Union and other countries. Therefore, the translation at this time emphasizes the plainness and energy. So in 1979, Liu Zhongde, a translation theorist, has come up with a new translation criteria of “faithfulness, expressiveness and closeness”, which is accepted by the majority now. Different background determines different criteria of translation value, and the change of criteria also leads the trend of mainstream translation style, with obvious era brand. (Li Yingying, Lan Jie 2014, 21)

=====3.2 Translator's bilingual cultural competence=====

The translator's bilingual cultural competence includes linguistic knowledge and cultural knowledge. When translating an article, the translator accepts the cultural influence of the original text and brings the translation into another culture. The coordination of the two cultures reflects the translator's bilingual cultural ability,which directly affects the translator's choice of translation strategies. In general, if the translator has a strong native language ability, he tends to choose the “domestication” strategy when translating the foreign language into the native language. On the contrary, when translating the native language into a foreign language, the translator often uses the strategy of “foreignization” because he can't find the corresponding foreign language expressions. (Li Yingying, Lan Jie 2014, 21)

This is often seen in the translation of literary works and proverbs. It rains dogs and cats, which means it rains heavily. When translating into Chinese, it should be “大雨倾盆”. If this sentence is translated words by words, the target readers will not understand it. In fact, it is obvious in translation whether a translator's bilingual ability is good enough.If not, it will often make errors.

=====3.3 Understanding of the original=====

In the process of translation, only when the translator has a thorough understanding of the meaning of the original can he accurately convey the meaning of the original to the readers. As a saying goes," A thousand readers make a thousand Hamlets ". There is a growing tendency to believe that it is the reader that decides the meaning of the literary text.

Zhu Shenghao, a famous translator in China, has translated a lot of Shakespeare's works in his life. Shakespeare's works began to be introduced and translated in China at the beginning of last century. Zhu Shenghao is recognized as an early translator of Shakespeare's works in China, and his translation style has also been highly recognized. Different from the chronological arrangement of the Oxford edition, he divides the works into comedy, tragedy, historical drama and zaju, which are arranged in a self-contained system. Since he has a thorough understanding of the original, he could rewrite and rearrangement it and his translation text is well received at home and abroad. (Li Yingying, Lan Jie 2014, 22)

In a word, the process of translation is also a process of recreation. Under the new study of translation theory, the translator's subjectivity is encouraged and supported, but it needs to be limited. In the process of translation, the translator can always choose their preferred translation strategy and style, and fully develop your own style and characteristics in the translation. In this context, it is always restricted by the original work, and can't be separated from the original meaning. (Li Yingying, Lan Jie 2014, 22)

===The Influence of Translator's Invisibility and Visibility on Translator's Subjectivity===

In literary translation, the word "invisibility" refers to "the translator should insist on the translation in a smooth and accurate way, and can not add the translator's emotion"; while "apparent" is put forward according to the opposite of "invisibility", which means that the translator can put his own subjective feelings into literary translation, At the same time, in literary translation, the fact is that there are some differences in the transformation of language symbol system to make reasonable and appropriate explanation of words, sentence processing, space structure reconstruction and other forms of translation through their own understanding.Translator should fully make use of it. (Li Zheng, Yang Xianyu 2011, 71)

Cultural differences refer to different cultural styles in different cultural environments. Cultural differences also provide a more free creative environment for translators. Specifically, they can display their own unique styles by refining words, sending sentences and making sentences. This difference leads to the inevitable existence of the translator's "appearance".(Li Zheng, Yang Xianyu 2011, 71)

1. Translator's invisibility

The traditional translation theory focuses on the issue of language, focusing on how the ideal translator should do and what kind of requirements a perfect translation should achieve. It tries its best to eliminate the translator's traces in language and cultural transformation, and faithfully and completely convey all the information of the original work.

According to the traditional translation theory, the translator should be invisible, that is, to achieve "transparency" and "invisibility". The "transparency" of the translation requires the translator to strive to achieve fluenct, while the "invisibility" refers to that the target readers should not see the trace and influence of the translator when reading the translation text. "The translator's invisibility depends on the following three conditions, which are often emphasized in the traditional translation theory: first, the translator should not incorporate his own subjective idea into the translation; second, the translator should not show his own personality in the translation; third, the translator should take the original text as the basis." (Xu Jun, 2003).

In a word, "faithfulness" and "equivalence" should be achieved in translation. The criterion of "faithfulness" also contributes to the tendency of traditional translation theories to neglect the translator's subjectivity. The traditional translation theories would emphasize to eliminate the differences in language, even some extreme domestication translation, even cultural differences. In domestication, the translator seems to be invisible. But the fact is that in order to meet the requirements of the target language and cultural norms, and get the recognition of the target language readers, the translator will spare no effort to exert his subjective initiative, which is the process of subject intervention. In this process, the translator should give full play to his subjectivity and bring his subjective idea into play. Therefore, on the surface, the translator seems to be "invisible", but in essence, this "invisibility" is also the result of the translator's subjective initiative, which is the translator's conscious choice and abandonment. (Li Zheng, Yang Xianyu 2011, 72)

2. Translator's visibility

In the 1970s, some scholars proposed the idea of “culture turn”, and since then many scholars have made studies on translator’s subjectivity. The issue of translator's cultural identity and subjectivity has naturally become an important research topic. The most familiar one is the Translator's Invisibility by American scholar Lawrence Venuti. In this book, he put forward the concepts of “foreignization” and “domestication”. According to his view, “domestication” emphasizes fluency and smoothness in order to minimize the exotic flavor in the translation and provide a natural and fluent translation for the target language readers.(Li Jieping, Wu Yuanqing, 2006)

However, “foreignization” is intended to break through the conventions of the target language, retain the exotic flavor in the original text, and inject the linguistic and cultural differences in foreign texts into the target language. He called on translators to "resist" and adopt poor translation. "Venuti believes that foreignization translation can not bring about the improvement of faithfulness. On the contrary, it is a misuse of faithfulness. Not only will some features of the original language be lost, but also new things will be added." (Li Jieping, Wu Yuanqing, 2006)

As a result, the translator appears and the independent status of translation is revealed. In the actual translation process, the translator deliberately uses the "resistance" translation strategy to retain the expression and sentence pattern of the original text, so as to avoid the smooth translation. In this context, the readers can clearly feel that what they are reading is the translation, thus feeling the existence of the translator, reflecting the creativity of the translator and highlighting the role of the translator. (Li Jieping, Wu Yuanqing, 2006)

===The Challenge of Translator's Subjectivity===

As the focus of translation studies, the translator's subjectivity should not be limited to the transformation from being ignored to being valued, but should be found and faced up to the challenges it is facing from a comprehensive perspective.

1. The challenge of modern information technology to translator's Subjectivity

With the rapid development of modern information technology, translation activities can be completed efficiently in a short time. In the past, translation was time-consuming and laborious, and the executor was the translator. Now, with the emergence of translation software and machines, the subject of translation activities has been increased in the traditional sense. These modern technologies have become the active elements in translation activities, which has caused a challenge to the translator's subjectivity. In some occasions where the requirements for translation are low and there is a certain tolerance for translation errors, translators have completely retired from the background. Because software and machines are supported by powerful corpora, they cover a wide range of fields, can process all kinds of texts, and can produce high-quality translations in a short time.

Therefore, the target language readers can quickly get the original translation through the translation software or machine. In addition, in other occasions where translation requirements are high, translators with the help of translation software and various tools can not only shorten the translation time, but also obtain the translation with high accuracy. However, without the help of translation software and other tools, the translator needs to spend time to mobilize the initiative of all aspects, which can not be as fast and efficient as the machine assisted. (Wang Yu, Tian Cuiyun 2020, 129)

There is no doubt that a series of modern information technology has played a positive role, which requires the translator not only to have the consciousness of language operation, cultural characteristics, artistic creation, aesthetic standards and humanistic character, but also to closely combine his own ability with modern information technology and have the ability to skillfully apply translation software and various auxiliary tools, However, the excessive dependence of translators on translation software can not be ignored. (Wang Yu, Tian Cuiyun 2020, 129)

Some translators are eager for quick success and instant benefit, and make use of translation software and machines to make them become money making accelerators and produce poor quality translation works. In the mixed translation market, there are not a few translators who completely rely on machine for translation with only minor modifications. In the absence of machine translation, translation activities mainly rely on the translator's mental operation, and the translator's subjectivity can be brought into full play.

But now, with the shortcut of translation, some translators can't help being lazy, which makes the most important part of the translation activities to fully display the translator's demeanor and play the translator's subjectivity lose its significance and turn into mechanical language output. In this process, the translator is satisfied with the convenience of machine translation and ignores the full play of the translator's subjectivity. Although translation tools can speed up the translation and improve the quality of translation in the process of translation activities, the excessive dependence on translation tools poses a challenge to the translator's subjectivity. (Wang Yu, Tian Cuiyun 2020, 129)

2. The challenge of the era to the translator's Subjectivity

In the past, professional translators always had to practice a lot of translation, combined with their preferences and strengths, to be able to translate works of interest to people. Many famous translations were produced at that time. Now, with the “one belt, one road” and the common destiny of mankind, the political, economic and cultural exchanges between China and other countries are becoming more frequent. More and more translators need to be served as bridges. The increasing number of translators and the professionalization of translation make translation a means of livelihood.

The common existence of translation companies makes the threshold of becoming a translator too low, which reduces the requirement of translators' competence to a certain extent. From the recruitment information released by various companies, it can be found that many companies place too much emphasis on the language proficiency of interpreters, and they do not attach importance to translation experience or request to check relevant translation works, and neglect to investigate whether the translator's subjectivity, which reflects their profound skills, is fully exerted in their works. At present, the requirement of the translator's ability to survive in the field of translation has been reduced. Translation activities have become a kind of assembly line operation, and the translators participating in the assembly line have also changed from elite translators with strong translation ability to mechanical translation product producers. (Wang Yu, Tian Cuiyun 2020, 129)

From this point of view, professionalization also prose challenges on the translator's subjectivity. With the continuous updating of the information in various fields, the powerful corpus behind the translation software and machine can not be updated automatically, so it is necessary for the translator to explore the untranslated fields in order to obtain the relevant corpus to fill the corpus. From this point of view, as the subject of translation activities with individual thinking, translators must be prior to machines. If they excessively rely on modern technology, they will despise their initiative of thinking and choosing translation strategies in the process of translation, and can not give full play to the translator's subjectivity. (Wang Yu, Tian Cuiyun 2020, 129)

3.The rational exertion of translator's subjective initiative

The translator's "invisibility" and "manifestation" are both the manifestation of subjectivity, and have their specific social and theoretical background. "Translation is the active creative activity of the subject and the author's own language experience. Only through the translator's translation and interpretation can the text survive. The original text needs the participation of the translator's subject to help it obtain new life. The objective "uncertainty" needs to be filled and processed by the translator, so that the original intention of the composition can be revealed " (Wang Zhengliang, Ma Tan, 2010).

However, this kind of filling and processing is not random. Before translation, translators should first confirm whether their own conditions and temperament can adapt to the original text, and then translate the original composition. If the translated text is translated and interpreted at will, it will exaggerate the translator's autonomy to control the original work, and overemphasizes the translator's intervention in the work and the translator's interpretation space. Even under the banner of respecting the translator's identity and status and highlighting the translator's subjectivity, it is difficult to avoid the suspicion of "overcorrection". In this process, we should pay attention to the influence of the mainstream ideology in the historical background of the translator. (Wang Yu, Tian Cuiyun 2020, 130)

When there is a conflict the ideology between the translator and the target culture, there are many translators in history who delete and change the original content in order to conform to the mainstream ideology and exert their subjective initiative. When the source language poetics is different from the target language poetics, the translator also needs to play an active role in mediating the differences between the two poetics, so as to make the translation get new life in the target language.(Wang Yu, Tian Cuiyun 2020, 130)

===Conclusion===

Many scholars have put forward their own views on the translator's subjectivity. However, few scholars have mentioned the challenge to the translator's subjectivity. Therefore, more attention should be paid to the challenges faced by translators' subjectivity. On the one hand, translators are required to improve their ability to exert their subjective initiative, closely integrate their own abilities with modern information technology, learn and skillfully apply various translation software, search tools, corpus and other auxiliary tools to improve the speed and quality of translation, On the other hand, the translator should be warned not to rely solely on the tool while neglecting the translator's subjectivity. The translator's subjectivity is an important support for our translation research and translation activities. We must face up to the challenges and actively deal with them.

Translation is a process of gradual development and change, not a process of translating one language into another. Translators should fully understand, be familiar with and be familiar with the cultural differences in the original language in order to realize the true transmission of the original content. According to "invisibility" and "manifestation" in contemporary literary translation, we should know "invisibility" when necessary to ensure the fluency of language. According to Venuti's viewpoint of "invisibility or invisibility is to make the translator invisible", we can better understand the meaning of "invisibility" of the translator, and pay attention to the application effect of "manifestation" when necessary, which can not only make people pay attention to the translator, At the same time, it also reflects the cultural differences and image understanding in the process of reading. Therefore, the choice of "invisible" or "explicit" in translation is worth considering.

==='''References'''===

Even-Zohar, Itamar. (1979). "Polysystem Theory". Poetics Today (1) 287.

Hermans, Theo. (1985). "The Manipulation of Literature: Studies of Literary Translation". London and Sydney: Croom Helm. (12) 30.

Lan Hongjun 蓝红军. (2017). 译者主体性困境与翻译主体性建构 [Translator's subjectivity dilemma and construction of translation subjectivity]. 上海翻译 Shanghai Translation Journal (2) 21-27.

Li Hua, Li Guochao 李华,李国超. (2019). 文学翻译中译者的“隐身”与“显形”——以《第十个人》翻译中人物形象的塑造为例[J] [The translator's "invisibility" and "manifestation" in Literary Translation--Taking the creation of characters in the translation of the Tenth Man as an example]. 智库时代 Think Tank Tines (42) 130-132.

Li Yingying, Lan Jie 李盈盈,兰杰. (2014). 浅谈翻译中的译者主体性 [On the translator's subjectivity in Translation]. 考试周刊 Weekly examination (24) 21-22.

Li Zheng, Yang Xianyu 李铮;杨贤玉. (2011). 论译者的“隐形”和“显形” [On the translator's "invisibility" and "visibility]. 邢台学院学报 Journal of Xingtai College (26) 71-72.

Shufen Huang. (2019). “A Study of the Translator’s Subjectivity in Literary Translation--Exemplified by the English Version of The Border Town”. Open Journal of Social Sciences(JSS) (7) 100.

Wang Yu, Tian Cuiyun 王玉,田翠芸. (2020). 从译者的“隐形”“显形”到“忘形”谈译者主体性 [Translator’s Subjectivity from Translator’s “Invisibility” and “Visibility” to “Complacency”]. 华北理工大学学报(社会科学版) Journal of North China University of science and Technology (SOCIAL SCIENCE EDITION) (28) 128-131.

ZhaMingjian, Tian Yu 查明建,田雨. (2003). 论译者主体性—从译者文化的边缘化谈起 [On Translator's Subjectivity -- from the Marginalization of Translator's Culture]. 中国翻译 Chinese Translators Journal (1) 22.

Zhiwei Gu. (2017). "On Zhang Peiji's Prose Translation from the Perspective of the Translator's Subjectivity", English Language and Literature Studies (1) 24.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 11:32, 20 December 2020 (UTC)

==The Visible Images and Invisible Hands: An Analysis of Lefevere’s Manipulation Theory and Venuti’s Deconstruction of The Translator’s Invisibility - 马智星 Ma Zhixing Japanese Language and Literature==

<center>马智星 Ma Zhixing 202020080625</center>

===Abstract===
Throughout the history of western translation, as the subject of translation, the change of translator's identity reveals a process from "invisibility" to "appearance". In different historical periods, different translators have never stopped discussing the "invisibility" and "appearance" of translators. From the perspective of historical development, this paper examines the different evolution of Lefevere's operation theory and Venuti's invisible translation theory in the western translation history, so as to analyze the change of the translator's identity and discuss the translator's subjectivity.

===Key Words===
translator's view;translation behavior;invisibility;

===摘要===
纵观西方翻译史，作为翻译主体的译者，其身份的变化彰显了一个由“隐身”到“现身”的过程。不同历史时期，不同翻译家们对于译者的“隐身”和“现身”的讨论，从未停止。本文从历史发展的角度，考察西方翻译史中勒菲弗尔的操作论和韦努迪的译者隐身翻译理论的不同演变，以此分析译者身份的变化，从而对译者的主体性进行探讨。

===关键词===
翻译观；译者行为；隐形

===Ⅰ.Lefevere’s Manipulation Theory===
In the 1980s, culture, rather than text, emerged as the Unit of translation, bringing cultural studies into a new stage of translation theory: Cultural Theory of translation. This change is called the "cultural turn" in the field of translation studies. Andrea, a representative of the Cultural School of Translation Studies, is an important theoretical figure in the field of contemporary Western Comparative Literature and Translation Studies. The translation studies school originally originated in Europe, and Lefevere's profound insight enriched and advanced the further development of this theory in the United States and the world.

Lefevere's manipulation theory is a well-known theory in the Cultural School of Translation Studies. Lefevere regards translation as a rewriting of the original and a manipulation of the original, which breaks the traditional thinking of evaluating translation with the original as the criterion. Lefevere's manipulation theory generally refers to the process of translation, adaptation, compilation, criticism and editing of literary works. He points out that translation is a form of rewriting the text, and a form of creating another text image Literary criticism, biography, film, drama, parody, reader's guide, compilation of history, criticism and editing are all rewriting of the text, which are all forms of creating another text image. In other words, translation creates the literary and cultural images of the original text, the original author, and the original text. And all rewriting, regardless of its intention, reflects a certain ideology and poetics.(Bassnett & Lefevere, 1990:8 )

Lefevere studies translation in a broad sociocultural context, emphasizing the role of ideology, mainstream poetics and culture. Translation is bound to serve certain ideology and poetics. In his view, "rewriting" is "manipulating" . It can "manipulate" literature and "culture" , the positive aspect of which is to help the evolution of literature and society through the introduction of new concepts, new literary genres and new means of expression. The rewriting of different historical periods should be controlled by ideology and mainstream poetics, and finally be related to power and become a means to serve it. The three elements of Lefevere's manipulation theory are set out in translation, rewriting, and the manipulation of literary fame. In his opinion, translation can not truly reflect the original work, mainly because it is always manipulated by three factors: ideology, poetics and patronage.

'''1.Ideological'''

ideology refers to a system of ideas that reflects the interests and requirements of a particular economic form, class or social group. Its basic contents include people's political, legal, moral, philosophical, artistic and religious views, etc. . Translation, as a cross-language and cross-cultural communicative activity, will inevitably be affected by ideology. Lefevere points out that ideology has a great influence on translation, which exerts a subtle influence on the translator's thinking and translation activities. Ideology influences the translator's basic translation strategies and the interpretation of the original language and culture. Under the control of ideology, the translator may add, delete or change the original text at will, making the translation serve his own political purposes.
At the same time, different translators will form their own ideology because of their different personal experience, educational level, social and cultural environment, etc. . If a translated work wants to enter into the social and cultural system of the target language, it is bound to be restricted by the corresponding social and ideological standards. If the translation violates or offends ideological taboos, it will be difficult to spread smoothly in the target language culture, and may even be banned. Through the analysis of famous translators such as Lin Shu's works, we can clearly feel that it was controlled and influenced by the ideology and poetics of Chinese society at that time. Ideological manipulation of translation can be reflected in the influence on the purpose of translated novels, the choice of translated texts and the application of translation strategies.-

'''2.Poetics'''

Poetics is a theory about poetry and the study of poetry and its techniques. It is also a theory about literature and art. The formation of poetics occurs in a certain period, which is often a choice for some types of practice at that time, while excluding other types. According to Lefevere, the methods of translation adopted by translators are carried out under the restriction of certain poetic factors. The study of poetics is as small as a word, as large as a sentence, the style of the whole text and the translation strategies. Translation greatly influences the interpenetration of different literary systems, not only by successfully introducing the image of a writer or a work into another literary system, but also in the introduction of new literary means into a certain poetics.

In lefevere's opinion, as the manipulator of translation, such rewriting should be regarded as a cultural necessity in essence, because in the process of translation, the translator is bound to be affected and restricted by various social and cultural factors. The rewriting of poetics is an important part of the cultural system in which the rewriter works. In order to conform to the dominant ideology and poetics of the period in which the work is rewritten and to be accepted by as many readers as possible, the rewriter often makes some adjustments to the original work. Some masterpieces have also been dealt with to varying degrees so that they can be adapted to the cultural background of different social and historical conditions.

In the development of translation theory, more and more attention has been paid to the indispensability of poetics in translation. Poetics is concerned with what literature should or could be, and has two components, "One is a list of literary techniques, genres, themes, typical characters and situations, and symbols; the other is an idea of what role literature plays or should play in the overall social system. " To a certain extent, the poetic factors also determine the social role that the translation will play and the degree of its influence. The aesthetic sense of poetry in a work will disappear if the significance is emphasized but the poetic factors and the literary brilliance are ignored.

'''3.The Power of Patronage'''

Lefevere regards literary translation and other forms of rewriting as one of the social systems. This literary system has two controlling factors, one is the internal factor of the literary system, which is made up of various professionals such as critics, critics, teachers and translators The other is a patron who works outside the system and is "generally more interested in the ideology of literature than in the poetics of Literature" , "The powers (people or institutions) that promote or discourage literary reading, writing or rewriting, such as religious groups, classes, government departments, publishing houses, mass media organizations, can also be personal forces" (Lefevere, 1992:17)

In Lefevere's theory of the three elements, the most important factor is the power of the sponsor, who is always in charge of the whole process of translation. Translation itself is not an isolated act, but closely related to political, social and economic factors. Most translators translate well and safely within the space allowed by the social and political authority of their times. As "any force that may contribute to the production and dissemination of literary works and may hinder, prohibit and destroy literary works" (Chen Dehong, Zhang Nanfeng, 2000:176) , the power of patron can play a role through ideology, economic interests and social status.

Generally speaking, they play a vital role in the trend of translation activities, the development of translated literature and the social status of translators. For example, Yan Fu, as a translator and thinker, although he had his own clear goals and ideas in selecting translation materials, he was also an official appointed by the Qing government, therefore, his selection of translation materials is also controlled by the ideology of the sponsors. There is also a series of translations, translated or edited by Lin Yutang, that are closely related to the requests and suggestions of his patrons, the Pearl Buck and her husband.Lefevere's manipulation theory has opened up a new perspective for translation studies, which has shifted researchers'attention from the internal factors of the text to the external factors of the text, such as ideology, poetics and the power of patronage, this is of great significance to translation studies. Manipulation theory broadens the horizon of translation studies from text to culture. In recent years, with the rise of the Cultural School of Translation, the Study of translation from the perspective of the three elements of manipulation theory has become increasingly attractive.

=== Ⅱ. Venuti’s Deconstruction of The Translator’s Invisibility===

'''2.1the Translator's Invisibility'''

Lawrence Venuti, an Italian American scholar, is an important representative and advocate of deconstructive translation theory. His translation thoughts are mainly concentrated in his monograph translator's invisibility published in 1995, his deconstructive translation essays rethinking and translation scandal.n his monograph the translator's invisibility, Venuti puts forward the term "invisibility", which is used to describe the status of translators in ontemporary British and American translation circles. He pointed out that the "invisibility" of the translation makes the reader unable to see the translator, as if he were reading the original rather than the translation.

There are two reasons why the translator is actually "invisible". First of all, translators themselves tend to translate into "fluent" English. Secondly, the way the target readers read the translated text. Whether it is prose, poetry, fiction or other types of subjects, most people accept that the ranslation is fluent in reading, without any unique language or style. It seems that the translation has reflected the author's substantive significance, and the translation seems to be not the translation but the original work.However, the premise of translation is that different languages and cultures are different and there is no absolute equivalence between them. This fluent translation method not only ignores the relationship between the author and the translator, the source text and the target text, obliterates the translator's interpretation, due status and efforts, but also conceals the differences between languages and cultures.

Therefore, Venuti puts forward the "resistance" translation strategy and advocates the translator to show his form. This kind of resistance is the courage to admit the differences between the source language and the target language in terms of language and culture, and to show such differences, and even deviate from the original text. The translator should deliberately retain the expression and sentence pattern of the original text to avoid the smooth translation, so that readers can clearly feel that what they are reading is the translation, thus feeling the existence of the translator, reflecting the creativity of the translator and highlighting the role of the translator.

The emergence and development of deconstructionism is a landmark in the history of both translation theory and practice. Before its appearance, all translation theories depend upon some notion of equivalence. As a deconstructionist, Venuti contributes much to translation studies. Venuti criticizes the ethnocentric and imperialist cultural consequences of the domestic values.

'''2.2 Foreignization -- the Core of Venuti's Translation Thought''''

In 1813, Schleiermacher pointed out in his speech on different translation methods: "either the translator should keep the author at home and let the reader approach the author as much as possible, or the translator should keep the reader at ease and let the author approach the reader as much as possible." The former shows the language and cultural differences in foreign texts and sends readers abroad, which belongs to foreignization translation; the latter, centering on nationalism, naturalizes foreign values into the target culture and invites the original author to China.

Different from Schleiermacher, Venuti believes that foreignization translation can "suppress the violence of racial center in translation" and suppress the "violent" domestication of translation cultural values in English speaking countries. Therefore, foreignization translation is also known as resistance translation, which means that the translator highlights the foreign identity of the foreign text in the translation works by adopting non fluent translation techniques, and protects the original text from the control of the cultural ideology of the target language, so that he is no longer the "implicit person" of translation. Through the selection of foreign texts and foreignization translation, it challenges the cultural hegemony of English speaking countries and achieves the goal of cultural exchange.

'''2.3The Progress of Foreignization Translation Theory'''

Venuti considers translation in the context of society and culture and criticizes the way in which foreign literature is assimilated into the target language by domestication. He proposed and advocated foreignization translation strategy or "resistance strategy", emphasizing that the translation should maintain the flavor of the foreign language text and let readers feel the exotic customs. This kind of translation strategy is not only helpful for the translator to "manifest" in translation, but also more conducive to cultural exchange and supplement in the context of world cultural integration.

Contrary to the traditional view, hold that foreignization translation is a kind of recreation, and there is no strict boundary between creation, translation and research. The original is not self-made, but the author uses the long-standing cultural materials, after reorganization, according to some values. Different cultural places are the places for readers to understand. Therefore, Venuti believes that translation should not deny the necessity of "reserving differences" under the pretext of "seeking common ground". He believes that foreignization translation can not bring about the improvement of faithfulness, on the contrary, it is "the misuse of faithfulness". It will not only lose some characteristics of the original language, but also add new things. As a result, the translator appears and the independent status of translation is revealed..

'''2.4The Limitations of Foreignization Translation Theory'''

Translation is an activity of cross language and cultural communication, but the premise that can not be ignored is that the source language and the target language are different in ideology, values, habitual expression, logical thinking and so on. Venuti's foreignization strategy is to resist cultural hegemony when translating a weak culture into a strong one. For the weak culture and the marginalized and excluded culture, when they are translated into the strong culture by means of foreignization, the strategy is undoubtedly the best way to resist the strong culture and values and express ideas and culture. However, when a strong culture is translated into a weak culture in the same way, foreignization translation is likely to play a role in boosting the flames. In the face of superior British and American cultures, foreignized translation may subvert the norms of the target language, destroy the target language and the target language culture, or become the accomplice of cultural colonialists inadvertently.

Although foreignization translation reflects the characteristics of the source language and has positive significance for cultural communication, it imposes the language system and cultural phenomena in the source language on the target readers. For ordinary readers, without familiar language expression and the same cultural knowledge background, reading foreignization translation of foreign text will not only feel that the translation is obscure and difficult to understand, but also will gradually alienate or even exclude the foreign text. In this way, foreign texts will not be accepted by the public and can only be shelved.

Venuti says that the translator‟s invisibility raises such troubling questions about the geopolitical economy of culture that a greater suspicion toward translation is urgently needed to confront them. Foreignization is benefit for keeping the characteristics of the source-language texts. It changes the status of the translations. And at the same time, it can advance the translators. However, the transformation of translation ideology needs future more hospitable to the differences that the translator must negotiate.

The emergence and development of deconstructionism is a landmark in the history of both translation theory and practice. Before its appearance, all translation theories depend upon some notion of equivalence. As a deconstructionist, Venuti contributes much to translation studies. Venuti criticizes the ethnocentric and imperialist cultural consequences of the domestic values.Venuti says that the translator‟s invisibility raises such troubling questions about the geopolitical economy of culture that a greater suspicion toward translation is urgently needed to confront them. Foreignization is benefit for keeping the characteristics of the source-language texts. It changes the status of the translations. And at the same time, it can advance the translators. However, the transformation of translation ideology needs future more hospitable to the differences that the translator must negotiate.

==='''Ⅲ.My Thought of "Visibility"&"Invisibility" in Translation Behavior'''===
Venuti believes that in order to translate a good work, the translator must eliminate his sense of racial and cultural superiority, and try to retain the
language style of the original text, so that the target language readers can be exposed to the original foreign language and culture, so as to promote the language and cultural exchange between countries. His foreignization translation strategy can make readers better understand foreign language characteristics, foreign culture, local customs, traditional customs and aesthetic habits.

By reading foreign versions, readers can learn different ways of thinking and language expression, thus expanding their horizons and enriching their own language and cultural knowledge. With the continuous development and evolution of language, foreignization translation plays an important role in promoting cultural exchange and absorbing vocabulary and language structure from different countries. It is precisely because of foreignization translation that many foreign words, such as sofa, salon, clone, generation gap, hot spot and so on, are often used in newspapers, magazines and literary works, which greatly enriches our language and culture. And the words developed from Chinese, such as kowtow, Taichi and kungfu, also have a firm foothold in English dictionaries. Under the background of world cultural integration, this kind of translation strategy is more conducive to cultural exchange and supplement.

The purpose of vernuti's foreignization translation is to pursue cultural diversity. This strategy can effectively resist the interference and tampering of British and American cultures on the inequality of weak cultures, so as to curb ethnocentrism and cultural hegemony. At the same time, he claims that the translator's "manifestation" is of positive significance to the affirmation of the translator's value and to the improvement of the translator's status.
However, foreignization translation is not the best way to be universally accepted, and there are also limitations. Foreignization translation requires too much knowledge of readers and is not suitable for translating non literary texts. The strategy adopted in translation plays an important role in the translation, which determines what kind of translation will be produced in the end. Domestication translation and foreignization translation have their own advantages and disadvantages, and they play an irreplaceable role in each other. Therefore, in practice, no matter what translation strategy the translator chooses, he should consider the differences between readers' receptivity, text type and ideology, and strive to find a balance between different languages and cultures to achieve the best effect of equal communication.

===Ⅳ.Conclusion===
Throughout the history of western translation, we find that, in addition to the special historical period, the translator has been gradually pushed from behind the scenes to the front of the screen. The traditional translation theory holds that translators must abide by the principle of faithfulness, and there is only one correct translation. In this way, translators begin to become "invisible people". People ignore that translators are independent individuals in social life and have different understanding of the world, just like everyone else. Translation is a subjective activity. Translators play an important role in intercultural communication in the process of translation. Therefore, we should consider the translator's subjectivity in translation studies.

===Reference===

Chen, Fukang.[陈福康].(1992).中国译学理论史稿[M].上海外语教育出版社.(4):28-31

Guo,Jianzhong.[郭建中].(2000).当代美国翻译理论[C].湖北教育出版社.(6):31-22

Shi,Jianwei.[施建伟].(1999).林语堂传[M].十月文艺出版社.(8):23-24.

Chen,Dehong/Zhang,nanfeng.[陈德鸿,张南峰].(2000)西方翻译理论精选[M].香港城市大学出版社.(3)25-21

Bassnett,Susan and André Lefevere .Translation, History and Culture[M]. Pinter Publishers.(3)26-13

Lefevere,Andre.Translation,(1992a).Rewriting and the Manipulation of Literary Fame[M]. Routledge.（6）28-4

==Translation of Business Contracts from the Perspective of Functional Equivalence Theory 胡瑾 Hu Jin 202070080591 英语笔译==

<center>胡瑾 Hu Jin </center>

===Abstract===

With the rapid development of globalization in China and the increasing frequency of modern commercial activities, commercial contracts are particularly vital in order to ensure the smooth progress of commercial activities. In a business contract, it is required to ensure that the expression of any text in the contract is accurate as far as possible, and the same is true when translating it. Contracts provide vital basis for the smooth development of business and the protection of rights. Accurate and vivid translation of contracts has an important impetus to the development of business, the protection of rights and obligations and the resolution of disputes. Therefore, it is of practical significance to study the translation of business contracts. According to Nida's functional equivalence theory, equivalence is first realized in meaning and then in form. Dynamic equivalence is used to break the static equivalence and maximize the meaning of the translation. This thesis gives a preliminary introduction to the translation of business contracts, studies the application of functional equivalence theory in contract translation, and puts forward some major translation skills and methods, which will be of some guiding significance to the future translation of business contracts, thus avoiding unnecessary disputes between the two parties.

===Key words===
business contract; Functional Equivalence Theory; contract translation

===摘要===

随着中国全球化进程不断加快，现代商务活动日益频繁，为了确保商务活动的顺利进行，商务合同的签订显得尤为重要。在商务合同中，要求尽量确保合同中的每一个文字都表达准确，在对其进行翻译时也是如此。合同是确保业务开展顺利和进行权利保障的重要依托，对合同进行准确生动的翻译对业务的开展和权利、义务的保障以及出现争议时的解决等有着重要的推动力。因此，研究商务合同的翻译有一定的现实意义。根据奈达的功能对等理论，对等首先在意义上实现，然后在形式上实现，利用动态对等，打破静态对等，使译文意义最大化。此课题初步介绍了商务合同的翻译，研究了功能对等理论在合同翻译中的应用，提出了一些主要的翻译技巧和方法，对今后商务合同的翻译具有一定的指导作用，从而避免合同双方出现不必要的纠纷。

===关键词===

商务合同；功能对等理论；合同翻译

===Introduction===

Since China promoted the Silk Road Economic Belt, China's economic exchanges with other countries in the world have been increasing day by day. China's exports volume is also rising, and goods are exported to other countries in the world. In 2013, China overtook the United States as the world's largest trading nation. In this context, in order to ensure the smooth progress of transactions and reduce trade friction and disputes, commercial contracts, which have legal effect, have attracted more and more attention. Contract translation belongs to the category of legal translation. Accurate translation of contracts plays an important role in the development of business, the protection of rights and obligations, and the resolution of disputes. However, commercial disputes in China's foreign economic and trade business are very common, and many disputes are caused by various problems in contract translation. Therefore, they should be guided by scientific translation theories. (Jin Di 1998，112)

This paper mainly includes 3 chapters. The first chapter is the introduction of business English contracts, including the definition of business contract, the categories of business contract, and the linguistic features of English business contract. (Jin Di 1998，115)

The second chapter introduces the theoretical framework of functional equivalence translation, including Nida's main principles and viewpoints of functional equivalence translation theory and the feasibility of applying functional equivalence principle to business contract translation.
The third chapter is the main part of the article, namely the translation techniques to be adopted in translating English contracts under the guidance of functional equivalence theory. (Jin Di 1998, 115)

===Chapter1 General Introduction of Business Contract===

This chapter first introduces the definition of business contract and the categories of business contract, and then analyzes the linguistic features of English business contract from lexical, syntactic and textual levels respectively.

====1.1 Definition of Business Contract====

As an important link in foreign trade activities, business contracts have always been highly valued by people. Article 2 of The PRC Contract Law clearly stipulates that commercial contract refers to the agreement clauses that are formally concluded according to law, notarized and must be abided by jointly in order to determine their respective rights and obligations during certain commercial cooperation between the parties concerned. It can be seen from this that a commercial contract is the result of the consensus reached by the parties and is a civil legal act. A legally established contract shall take effect from the date of its establishment and shall be legally binding. This provides a legal guarantee for avoiding trade frictions effectively. (Ma Huijuan 2005, 24)

However, special attention should be paid to the fact that China's Economic Law on Foreign Contracts stipulates that commercial contracts can take many forms, such as formal contracts, letters of intent, memorandum, agreements, commissioned purchase orders, etc. But no matter what form it takes, it should be signed in writing. Since the oral agreement cannot be submitted to the court as evidence after the dispute occurs.(Ma Huijuan 2005, 24)

====1.2 Categories and Structure of Business Contract====

Based on different standards, business contracts can be divided into many categories. According to the contract maker, they can be divided into sales contract (made by the seller) and purchase contract (made by the buyer); according to the subject matter, they can be divided into technology transfer contract, processing contract, foreign labor contract, and agency agreement, etc; according to the details of the contract, they can be divided into sales contract, sales confirmation letter, purchase contract and purchase confirmation letter; according to the price terms used in the contract, they can be divided into CIF contract, FOB contract and goods arrival contract, etc. (Ma Huijuan 2005, 26)

Although there are many types of commercial contracts, the structure of commercial contracts is generally fixed, generally including three parts: preface, text and contract end. The first part is the preface, which generally includes the name of the contract, the parties to the contract, the date of signing and the place of signing. The second part is the main body of the contract, which mainly stipulates the rights and obligations of both parties to the agreement, the specific conditions of the traded goods, such as commodity name, quantity, total value, delivery date and validity period, port of shipment and destination, insurance and confidentiality clauses, payment clauses,etc. The third part is the end, which mainly includes the signatures of all parties to the agreement, the language of the contract, the number of copies of the contract and the explanation of the validity of the contract. (Ma Huijuan 2005, 27)

====1.3 A Contrastive Analysis of Stylistic Features of Chinese and English Business Contracts====

English business contract style is solemn with the highest degree of formality among all styles of English. A comparative analysis of the similarities and differences between Chinese and English business contract in terms of vocabulary, syntax and discourse will be made in this chapter. (Wang Yang 2009, 13)

=====1.3.1 Lexical Features of Business Contracts=====

As the most basic semantic constituent unit, vocabulary plays the most basic and important role in the whole contract text. For the characteristics of words can often reflect the characteristics of the whole text. Therefore, it is necessary to study the characteristics of vocabulary so as to lay a foundation for the study of the whole text. (Wang Yang 2009, 30)

First of all, the use of archaism is the most prominent feature in international business contract English. The extensive use of archaic words in business contracts and legal styles fully reflects their solemn and serious style, which is related to the social function of English style of business contracts and the particularity of international business. The archaic words most commonly used in business contract English are compound adverbs, such as herewith(与此一道), therein(在其中)，therein-after(在下文中), thereof(其), thereto(附随), whereas(鉴于). (Wang Yang 2009, 34)

In contrast, some classical Chinese words are often used in Chinese business contract terms, such as“兹、若”. This is to reflect the conciseness and clarity of the Chinese contract text. Strictly speaking, Chinese business contract terms are more straightforward, the classical Chinese vocabulary is less frequently used, and the stylistic features are not as obvious as English business contracts. (Wang Yang 2009, 36)

Secondly, the use of synonyms is another feature of English business contracts. Two or more synonyms are often used together in English business contracts. And his is to make the terms of the contract more precise and accurate, and to avoid ambiguities and omissions as much as possible, for example, by and between, sole and exclusive, make and enter into, etc. (Wang Yang 2009, 37)

However, we must note that synonyms are not commonly used in Chinese business contracts. This is mainly because of the differences in expression habits between Chinese and English and the differences in legal and cultural traditions between countries. (Wang Yang 2009, 38)

Thirdly, as a contractual document with legal effect, legal terms are also used in the contract. In formal English business contracts, drafters often use “convene” instead of “hold or assemble”; “dispatch” instead of “spread out or handout”; “terminate” instead of “stop”. Similarly, in Chinese business contracts, interpreters use“承诺”to indicate “commitment”;“撤销”to indicate“cancel”instead of “取消”;“裁决” to mean “decision” instead of “决定”. Finally, the contract contains many professional knowledges and terminologies. (Wang Yang 2009, 40)

=====1.3.2 Syntax Features of English Business Contracts=====

Besides vocabulary, the syntax of business contracts also has their own characteristics, such as common clauses, declarative sentences, passive voice, modal verbs, etc.
The most obvious feature in business contracts is the use of subordinate clauses. And they are in obvious positions to explain, restrict and supplement the meaning of the main sentence. The positions of these clauses are relatively flexible. For example, attributive clause can be placed together with the central word or separated from the central word. A noun can be modified by multiple attributive clauses, and an attributive clause can also modify multiple nouns. The adverbial clause of time can be placed at the beginning, the middle or the end of the sentence. (Wang Yang 2009, 44)

In contrast, the positions of attributive clauses and adverbial clauses in Chinese are relatively fixed. The adverbial clause of time is usually next to the modified verb because there is no temporal change in Chinese verbs. Declarative sentences are clear in meaning, division of powers and responsibilities, objective and fair in stating facts, and conform to the requirements of business contract terms. Therefore, they are frequently used in Chinese and English business contracts, while interrogative sentences, imperative sentences and exclamatory sentences are seldom used. (Wang Yang 2009, 45)

Passive sentences are also quite common in business contracts. The passive voice is often used when there is no need to clearly indicate the behavior agent and the emphasis is placed on the object of the behavior. (Wang Yang 2009, 47)

=====1.3.3 Textual Features of English Business Contracts=====

The textual features of Chinese and English business contracts are mainly reflected in textual cohesion and textual structure. In business contracts, whether Chinese or English, contextual cohesion is realized by adding conjunctions or repetitions of words, which indicates the logical relationship between sentences and reflects the rigour and solemnity of business contract language. (Ma Huijuan 2005, 45)

The discourse structure of Chinese and English business contracts is basically the same, with highly stylized features. (Ma Huijuan 2005, 47)

This kind of consistency is not only to obtain formal uniformity, but also due to the requirements of meaning, so that readers have the impression that the contents expressed by clauses with the same sentence pattern are equivalent in the legal effect of the contract.① (Liu Miqin 1998, 310-312)

===Chapter 2 General Study of Functional Equivalence Theory===

This chapter introduces Nida's functional equivalence translation theory and the feasibility of applying functional equivalence principle to business contract translation.

====2.1 The Development of Functional Equivalence Theory====

Nida first proposed the “dynamic equivalence” theory, then further developed the theory, emphasizing the equivalence of two aspects, namely “formal equivalence”and“dynamic equivalence”. “Formal equivalence” emphasizes the form and content of the information itself and believes that the translation should be close to the original structure. “Dynamic equivalence”refers to“reproducing source language information from semantics to style with the closest (original) natural equivalent in the recipient language”.② (Nida, E. A., and J. D., Ward 1986, 113-120 )

Tan Zaixi（谭载喜） pointed out, in this definition, there are three key points: 1. Natural, the translation cannot have a translationese. 2. Closeness, referring to selecting the translation with the closest meaning to the original text on the basis of nature. 3. Equivalence, which is the core. (Tan Zaixi 2004, 23-27)

After the proposal of dynamic equivalence, many disputes have arisen. It is considered as free translation or live translation. In order to change people's misunderstanding of it, Nida pointed out:“Everything in the text is meaningful, including speech forms, so forms cannot be sacrificed easily.”④ (Nida, E. A 1993, 119-130) Therefore, he replaced “dynamic equivalence” with “functional equivalence”. There is no essential difference between the two, but the latter highlights the concept of “function”.

On the question of which level of equivalence should be reflected, Nida pointed out that in addition to content and form equivalence, style equivalence should also be considered. (Nida, E. A 1993, 119-130)

In addition, Nida divided functional equivalence into “maximum functional equivalence” and “minimum functional equivalence” since absolute equivalence is impossible to achieve. The so-called “maximum functional equivalence” means that the target readers can understand the original text in a way consistent with the original readers and further appreciate the original text while “minimum functional equivalence” means that the target readers can understand how the original readers understand and appreciate the original through their understanding of the target text. (Nida, E. A 1993, 154)

====2.2 Researches on Functional Equivalence Theory====

Abroad, Beekman(1972: 32) pointed out:“Nida's functional equivalence theory makes theorists and translators believe that a good translation must be able to convey the meaning and dynamics of the original text at the same time.”⑤ (Beekman 1974, 191-221)

Wilss(2001: 51) stressed:“Nida's functional equivalence theory can be applied to translation practice because it can achieve effective translation.”⑥ (Wilss 2001, 72-86)
Venuti said:“Functional equivalence theory also eases the debate between translators on“domestication” and “foreignization” from the perspective of language and culture.”⑦ (Venuti 1995, 76-89)

At home, Jin Di(金堤) put forward“equivalence theory”on the basis of“functional equivalence theory”, and applied it to the translation of Ulysses, which illustrates the feasibility of“functional equivalence” theory in practical translation. Tan Zaixi made a comprehensive and systematic summary of the formation process of Nida's translation theory and its profound connotation. In addition, in the CNKI database, retrieval using“functional equivalence theory” as the key word shows that there are 2444 related articles in various core journals and magazines. (Jin Di 1998, 122)

====2.3 Applicability of Functional Equivalence Theory to E-C Translation of Business Contract====

At present, there are no authoritative translation principles and standards for commercial contract translation, but the three principles of contract translation put forward by Ma Huijuan(马会娟) are highly recognized: First, the words used are accurate and the translation is complete. The translator shall not add, delete or change any information contained in the contract at will. The language of the translation shall be accurate, complete and natural. Second, the organization is clear and the format is equivalent. The translation should correspond to the original text format as a whole and reproduce the structural features of the source language as much as possible. Third, the translation should be in line with the stylistic characteristics of the contract. (Ma Huijuan 2005, 134)

Functional equivalence theory emphasizes content equivalence, form equivalence and style equivalence. These three requirements are consistent with the three principles above put forward by Ma Huijuan respectively. Both of them limit the translation standards from the aspects of content, form and style. Therefore, the functional equivalence theory can be fully applied to the translation practice of business contracts. (Ma Huijuan 2005, 154)

===Chapter 3 Business Contract Translation Guided by Functional Equivalence Theory===

This part focuses on the translation techniques to be adopted in translating English contracts under the guidance of functional equivalence theory. Combining with actual translation cases, this chapter analyzes the common problems in contract translation and puts forward corresponding solutions. (Miao Xipu 2011, 78)

====3.1 Equivalence at the Lexical Level====

Vocabulary is the basic component of sentences and chapters. In the specific translation process, if vocabulary translation is not handled well, sentence and chapter translation will be impossible. (Miao Xipu 2011, 98)

=====3.1.1 Equivalence of Technical Terms—Literal Translation and Free Translation=====

The contents of business contracts involve all trades and professions, and there are many subject matters, including many professional knowledge and terminology, which is a big obstacle for many translators who do not know the professional knowledge of the industry. Therefore, before translation, translators should understand the relevant industries involved in the contract and master the necessary knowledge in the industry so as to avoid the layman's words and semantic errors in the translation, which will affect the accuracy and formality of the contract and cannot achieve functional equivalence. (Miao Xipu 2011, 116)

Example1:“The balance 80% (Eighty percent) of the contract value shall be paid against irrevocable L/C at 360 days sight to be accepted by both parties.”

译文：“合同金额的80%（百分之八十）以不可撤销信用证的方式在交单的360天予以支付。”

Many words in the contract appear in the form of letter abbreviations. As shown in this example,“L/C”is the abbreviation of letter of credit, which is translated literally into“信用证”. This is a well-established translation method in the industry, which can reflect both the equivalence of meaning and the professionalism of language expression. (Liao Ying 2005, 23)

Example2:“The seller shall present the following documents required for negotiation or collection to the banks.”

译文:“卖方应向银行提交议付或托收所需的下列文件。”

In this sentence,“negotiation”and“collection”are both technical terms of the contract, they are translated into“议付”and“托收” respectively, instead of“谈判”and“收取”. The expressions not only conform to the professional expression of the economic and trade industry, but also accurately reflect the meaning of the original text and achieve the meaning and style equivalence emphasized by the functional equivalence theory. (Liao Ying 2005, 34)

Example3:“UNIT PRICES: FOB Xingang, Tianjing USD 22 150.00 per unit (US Dollars twenty two thousand, one hundred and fifty only).”

译文:“单价: FOB天津新港, 每辆22150.00美元（贰万贰仟壹佰伍拾美元）。”

In this example,“FOB”is an abbreviation of “Free on board”. It can be translated into “FOB” by free translation or by shifting translation. This is mainly because the readers of business contracts themselves are professionals in the industry. They usually exchange price terms in the form of English letters and abbreviations in their daily work. Therefore, when translating such price terms, their source language expressions can be retained. (Liao Ying 2005, 43)

=====3.1.2 Equivalence of Archaism—Omission, Addition and Literal Translation=====

Archaisms are rarely used in modern English, but they are still common in business contracts. They can not only reflect the formal rigour of business contracts, but also highlight the conciseness and clarity of language. The archaisms most commonly used in English business contract are compound adverbs, such as herewith(与此一道), therein(在其中), hereinafter(在下文中), thereof(其), thereto(附随), whereas(鉴于), etc. (Miao Xipu 2011, 118)

Example1:“The parties hereto shall, first of all, settle any dispute arising from or in connection with the contract through amicable negotiation.”

译文:“合同双方首先应该通过友好协商，解决因合同而发生的或与合同相关的争议。”

In this example,“hereto”means“本协议的、本合同的”. It can be translated with omission. The contract subject relationship is clear, literal translation will only lead to redundant repetition of the translation, so there is no need to translate it. (Liao Ying 2005, 50)

Example2: Now, therefore, in consideration of the recitals set forth above and the mutual covenants, promises, and agreements contained herein, and other good and valuable consideration, the receipt and sufficiency of which are hereby acknowledged, the Parties do hereby agree as follows:

译文：因此，考虑到上述陈述和本协议中包含的共同契约、承诺和协议，以及其他良好和有价值的对价，双方特此达成如下协议，特此确认其接收和充分性。

In this example, herein usually means“此中，于此”. But such translation here will confuse readers. Therefore, we can adopt addition and translate it into“此协议中”. Although this expression is not as concise as“于此”, accuracy is the first requirement in contract translation. (Liao Ying 2005, 53)

Example3: After arrival of goods at port of destination, the buyer shall apply to China Commodity Inspection Bureau (hereinafter referred to as CCIB) for a further inspection as to the specifications and quantity/weight of the goods.

译文：货到目的港后，买方将申请中国商品检验局(以下简称商检局)对货物的规格和数量重量进行检验。

In this case, the original meaning of“hereinafter”is“以下，在下文中”. Its original meaning is directly inserted into the sentence, which not only accurately expresses the original meaning, but also makes the translated language natural and smooth, meeting the requirements of functional equivalence theory. (Liao Ying 2005, 63)

=====3.1.3 Equivalence of Formal Words—Literal Translation=====

“Functional Equivalence”emphasizes the transmission of reading experience, requiring the translator to transmit not only language functions but also legal functions, so as to enable the target readers to feel the reading experience of the original readers. (Miao Xipu 2011, 122)

Example1: The agreement does not operate as an acceptance of any conflicting terms and conditions and shall prevail over any conflicting provision of any purchase order or any other instrument of Customer.

译文：本协议不接受任何与本协议产生冲突的任何条款。若在乙方订单或任何文件中出现与本协议相冲突的条款，应均以本协议为准。

Example2:“Time of shipment: within 15 days after receipt of the advance payment and the L/C of balance value to be accepted by the × Bank.”

译文:“装运日期：收到预付款且剩余货款的信用证被××银行承兑后的15天内装运。”

In the first example, although the basic meaning of“胜过”is also expressed, it is usually translated into“以....为准” or “效力高于”in legal texts. In the second example, the common meaning of“accept”is “接受”, but in legal translation it is usually translated as “承兑”. Formal words are usually translated according to conventions, so the difficulty in translation lies not in the choice of translation strategies, but in the grasp of semantics and the reproduction of style. (Miao Xipu 2011, 113)

=====3.1.4 Equivalence of Juxtaposition—Contracted Translation=====

English business contracts often use two or more synonyms to ensure the uniqueness of words meaning. The functional equivalence theory emphasizes the equivalence of meaning and form, but in the actual translation process, the absolute equivalence between the two, that is, the “maximum functional equivalence”proposed by Nida, is impossible to realize. (Miao Xipu 2011, 115)

Example1:“The agreement is made and entered into on April 16, 2007 by and between Party A and Party B.”

译文:“此合同由甲乙双方于2007年4月16日达成。”

In this example,“made and entered into”and“by and between”are juxtaposed by two pairs of synonyms. When translating, these words only need translate once, which is called contracted translation. (Liao Ying 2005, 83)

Example2: This agreement constitutes the entire agreement between the parties with respect to the subject matter hereof and supersedes all prior agreements, understanding, warranties, representations, negotiations and discussion, whether oral or written, of the parties except as specifically set forth herein.

译文：此合同是双方就合同主体所达成的全部协议，将取代双方过往所有口头或书面的协议、理解、声明、保证、谈判和讨论，在此明确阐明的除外。

In this example, several synonyms are juxtaposed to make the terms of the contract include all relevant matters as much as possible so as to make the writing strict and clear. Here, we can adopt literal translation strategy, keeping the total number of words listed in the original text, and looking for the corresponding Chinese words to achieve the double equivalence of content and form. (Miao Xipu 2011, 116)

====3.2 Equivalence at the Syntactic Level====

Cliches are commonly used in official documents and usually have fixed translation methods. Passive sentences and subordinate clauses have long sentence patterns and complicated logical relations, which tests the translator's translation ability and logical expression ability. (Miao Xipu 2011, 122)

=====3.2.1 Conventional Phrases—Imitation Translation=====

There are many cliches in business contracts, which are common at the beginning and end of contracts. (Miao Xipu 2011, 139)

Example1:“In consideration of the mutual covenants contained in this agreement, the parties agree as follows:”

译文:“考虑到本协议中的共同承诺，协议双方约定如下:”

Example2: This Agreement may be executed in two or more counterparts, each of which shall be deemed an original and all of which together shall constitute one instrument.

译文：本协议可签署两个或两个以上的副本，每一副本构成本协议的一份原件，所有副本构成一份法律文件。

Although the original expression of each text is not the same, the basic meaning is the same. A relatively fixed translation method has been formed, so the translators should know the common expressions in advance, or look for the parallel text to imitate the translation. (Miao Xipu 2011, 140)

=====3.2.2 Equivalence of Passive Sentence=====

Passive voice is a typical language structure in English business contracts. It can effectively show the objectivity and fairness of contracts. However, unlike English, passive voice is seldom used in Chinese. Therefore, in translation, we usually use various translation strategies to convert passive voice into active voice. The most common translation strategy is conversion, that is, the object of the original text is converted into the subject, and the subject is converted into the object. (Miao Xipu 2011, 150)

Example1: This Contract is made by and between the Buyer and the Seller whereby the Buyer agree to buy and the Seller agrees to sell the commodity in attached Annex according to the terms and condition stipulated below:

译文：买卖双方同意按下述条款购买出售附件中的商品并签订本合同：

Example2: Agent shall be entitled to nominate mandate other third parties to act upon behalf of Agent in generating business to the Parties, as Agent’s sole discretion.

译文：代理人有权自行指定、授权其他第三方代表代理人为缔约方带来业务。

From the first example, “by and between” is used as adverbial in the sentence. The object“the Buyer and the Seller” is the originator of this sentence, which is transformed into the subject of Chinese, and the recipient of the action“this contract”is transformed into the object of Chinese, thus the passive sentence of English is transformed into the active sentence of Chinese. In addition, some passive sentences in business contracts can also be translated into active sentences without changing the subject of the original sentence, as shown in the second example. (Miao Xipu 2011, 158)

=====3.2.3 Equivalence of Long Sentence—Combination, Division and Reconstruction=====

Long sentences must contain many clauses and modifiers, and their writing ideas are quite different from those of Chinese. Therefore, how to split the sentences into several parts, how to extract the core meaning of complex logical relations and how to reorganize Chinese are the three major difficulties. (Miao Xipu 2011, 188)

Example1: Agent’s undertaking and obligation is to search, locate and refer (lead) potential and prospective clients/customers to Principal who are seriously interested, ready, willing and able to apply for the Product.

译文：代理人的责任和义务是为委托人寻找、定位和推荐（引导）潜在的、真正对本产品感兴趣、准备好且愿意申请的客户。

This is a restrictive attributive clause. We often adopt a combination method, translating the subordinate clause into“...的” and putting it before the modifier in the form of adjectives. This is mainly due to the structural differences between English and Chinese. The attributive elements in Chinese are not as flexible as the attributive clauses in English. (Miao Xipu 2011, 190)

Example2: The parties may not assign or transfer this Agreement or any of its rights and obligations under this Agreement without the prior written consent of the other party, which shall not be unreasonably withheld.

译文：未经另一方事先书面同意，缔约方不得出让或转让本协议或本协议项下的各项权利和义务，此要求不得被无理拒绝。

This sentence is a non-restrictive attributive clause. Since this clause and the antecedent are not closely related and generally play an explanatory role, we often use division method in E-C translation. That is to say, the two should be separated and naturally combined by repeating antecedents. (Miao Xipu 2011, 192)

Example3: Should Principal be reasonably sure that Agent violated this rule, or should any client/customer present proof of such violation, Agent will not be entitled to its omission for the particular client or group of clients and Principal may terminate this Agreement with immediate effect at its own discretion.

译文：如果委托人有理由确定代理人违反了此项规定，或如果有客户提供了其违反此项规定的证据，代理人将无权享这一客户或这一组客户的佣金，委托人可自行终止本协议，即刻生效。

This sentence is a adverbial clause. The structure of“should+subject+verb”belongs to the unreal conditional sentence. But there is no such usage in Chinese. Therefore, we can reconstruct the original text according to the logical structure of the original sentence and adjust the word order appropriately to make it natural and more in line with the Chinese expression habits. (Liao Ying 2005, 103)

====3.3 Equivalence at Textual Level====

The text consists of sentences, so the following focuses on the cohesion and format of the text. (Miao Xipu 2011, 218)

=====3.3.1 Text Cohesion=====

Text cohesion is realized through the use of conjunctions and lexical repetition, reflecting the rigour and solemnity of business contract language. (Miao Xipu 2011, 228)

Example:
Thereafter, this Agreement shall be renewed automatically for successive additional one-year terms under the same terms and conditions unless either party chooses not to continue the relationship and provides written notice 30 days prior to the natural expiration of the existing one-year term.

译文：此后，本协议应以同样的条款自动延期一年，除非任何一方选择解除合作关系，并在一年合同期满前30天提交书面通知。

Here, explicit connectives,“thereafter, and, unless”are clearly translated, which is conducive to textual cohesion and indicates the logical relationship between sentences. Therefore, we can translate them into “此后、和/并、除非”, which not only realizes the formal equivalence between the translation and the original, but also achieves the semantic equivalence. (Liao Ying 2005, 213)

=====3.3.2 Text Format=====

As one kind of legal documents, commercial contracts are highly normative and have strict writing format. Therefore, attention should be paid to the corresponding format in translation. (Miao Xipu 2011, 238)

Contract No: ××××××

Date: Aug. ××,2013

The Buyer: ××××××( hereinafter referred to as ×××)

Legal Address: ××××××

Representative: ××××××

Tel/Fax: ××××××

The seller: ××××××( hereinafter referred to as ×××)

Legal Address: ×××××

Representative: ××××××

Tel/Fax: ××××××

译文：合同编号：××××××

日期：2013年8月×号

买方：××××××（以下简称××××）

注册地址：××××××

代表人：××××××

电话/传真：××××××

卖方：××××××（以下简称××××）

注册地址：××××××

代表人：××××××

电话/传真：××××××

Here, we should pay attention to the linear characteristics of the contract text, and keep the format of translation and original text in alignment during translation. Firstly, capital words with the first letter should be emphasized in terms consistent with Chinese expression habits. Secondly, the parts marked in bold or italics in the contract shall still be marked in bold or italics in the translation. (Liao Ying 2005, 223)

===Conclusion===

To sum up, according to the requirements of functional equivalence theory on translation quality, commercial contract translation should meet the following standards:
In terms of content, first, the translation language should be natural and fluent and conform to Chinese expression habits. Second, pay attention to the professionalism of the language expression in the translation, avoid using colloquial expressions, and achieve the meaning equivalence emphasized by functional equivalence theory. (JIn Di 1998, 298)

To sum up, according to the requirements of functional equivalence theory on translation quality, commercial contract translation should meet the following standards:
In terms of content, first, the translation language should be natural and fluent and conform to Chinese expression habits. Second, pay attention to the professionalism of language expression in translation, avoid using colloquial expressions, and achieve the meaning equivalence emphasized by functional equivalence theory. (JIn Di 1998, 298)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:30, 19 December 2020 (UTC)

In terms of format, we should pay attention to the linear characteristics of the commercial contract text and try our best to achieve the formal equivalence emphasized by functional equivalence theory. (JIn Di 1998, 298)

In terms of format, we should pay attention to the linear characteristics of commercial contract text and try our best to achieve the formal equivalence emphasized by functional equivalence theory. (JIn Di 1998, 298)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:30, 19 December 2020 (UTC)

In terms of language style, the translation should retain the original language style as much as possible. The business contract language is professional and solemn, so the translation should reproduce the strict and formal legal style of the original text on the premise of ensuring accurate content and natural language. (JIn Di 1998, 298)

As to language style, the translation should retain the original language style as much as possible. The business contract language is professional and solemn, so the translation should reproduce the strict and formal legal style of the original text on the premise of ensuring accurate content and natural language. (JIn Di 1998, 298)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:30, 19 December 2020 (UTC)

Under the guidance of functional equivalence theory, this paper analyzes and summarizes specific contract terms and puts forward countermeasures. Although the translation strategies given in this paper have certain universality, the research text is slightly narrower than that of the whole commercial contract text research. Due to the space limitation, the cases provided are limited. Therefore, the scope of the research text should be broadened and analyzed from a broader research perspective in future research. (JIn Di 1998, 310)

Under the guidance of functional equivalence theory, this paper analyzes and summarizes specific contract terms and puts forward countermeasures. Although the translation strategies given in this paper have certain universality, the research text is slightly narrower than that of the whole commercial contract text research. Due to the space limitation, the cases provided are limited. Therefore, the scope of the research should be broadened in the future. (JIn Di 1998, 310)--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:30, 19 December 2020 (UTC)

===Reference===

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* Venuti, L. The Translator’s Invincibility: A History of Translation[M]. London: Routledge, 1995.

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* Yallop, C. The construction of equivalence[A]. Berlin: Mouton de Gruyter, 2001.

* Dun Guangang 顿官刚. (2002). 经贸英语词汇的特点及翻译 [Characteristics and Translation of Business English Vocabulary]. 山东外语教学 Shandong Foreign Language Teaching Journal (1) 112-114.

* Jin Di 金堤. (1998). ''等效翻译探索''[Translation Theory and Practice Series]. Beijing; China Translation Corporation Press 中国对外翻译出版公司.

* Liu Miqing 刘宓庆. (1998). ''文体与翻译''[English Varities and Translation]. Beijing: China Translation Corporation Press 中国对外翻译出版公司.

* Liao Ying 廖瑛. (2005). ''实用公关英语''[Practical English PublicRelations]. Shanghai: University of International Business and Economics Press 对外经济贸易大学出版社.

* Ma Huijuan 马会娟. (2005). 论商务文本翻译标准多元化 [On Diversification of Business Text Translation Standards]. 中国翻译 Chinese Translators Journal (1) 24-154.

* Miao Xipu 苗锡璞. (2011). 功能对等理论指导下的商务英语翻译 [Business English Translation Guided by Functional Equivalence Theory]. 内蒙古财经学院学报 Journal of Inner Mongolia (1)78-238.

* Tan Zaixi 谭载喜. (2004). ''西方翻译简史''[A Short History of Translation in the West]. Beijing: The Commercial Press 商务印书馆.

* Wang Yang 汪洋. (2009). 浅析商务合同的词汇与句法翻译技巧 [The Lexical and Syntactic Features of Business Contract and its Translation]. 科技文汇 The Science Education Article Collects (2) 13-47.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:50, 21 December 2020 (UTC)

==The identity of translator in translation activities张毓婕 Zhang Yujie 202070080626 MTI英语笔译==

===Abstract===
In translation activities, translators have freedom in the choice of texts to be translated and translation strategies. They also have freedom in the choice of ways to understand the author’s emotions and values and reproduce the connotations and cultural flavor of the text. And Only when translators truly realize what roles they should play in translation activities and play these roles well can they create high-quality translations. Therefore, the translation is deeply imprinted by the translator, and the roles of the translator have become an important issue that cannot be ignored in translation studies. And with the development of translation studies, the issue of translator's identity has received due attention. This article also discusses the issue of translator’s identity.

===Key words===
Identity of translator, Translation activities, Roles of today’s translator

===题目===
论翻译活动中译者的身份

===摘要===
翻译活动中，译者既可以在翻译文本、翻译策略的选择上发挥主观能动性，也可以在对作者情感和价值观的理解、语言的选择、文化风味的重现上发挥主观能动性。而只有译者真正认识到自己在翻译活动中应该扮演什么角色并且扮演好这种角色，他们才能创造出高质量的译作。因而译作深深地打上了译者的烙印，译者的身份角色成为翻译研究中不可忽视的一个重要问题。而随着翻译实践的发展，译者的身份问题受到了应有的重视，本文也对这一问题进行了探讨。

===关键词===
译者的身份，翻译活动，当今译者的角色

===Introduction===
It is vital for translators to play roles well in the accomplishment of high-quality translations. Therefore, the identity of translator is an important issue in translation studies and much attention should be paid to it. As for this paper, first of all, it makes an analysis of the importance and necessity of valuing the issue of translator’s identity. Then, it expounds different kinds of roles translators have played in the history. Next, it concludes the features of the changes of translator’s identity and its complexity. Finally, from the perspective of today’s translators, it shows what roles today’s translators should play with today’s development of society and technologies, so as to explain how can we make more contributions to culture and development of the world.

===1.The Importance and Necessity of valuing the issue of translator's identity===
Two scholars Zhong Weihe and Zhou Jing made the following overview: as the subject of translation, translators need to respect the objective translation environment and fully understand the cultural needs of the target language, and they must also show their self-consciousness through subjective initiative. For example, they can show it through language operations, cultural characteristics, artistic creations, aesthetic standards, and humanistic characters. In addition, they must give full play to their autonomy, initiative, purpose, creativity, and acceptance. This is the subjectivity of translation. （Zhong and Zhou, 2006）

The two scholars not only pointed out the objective conditions that translators need to consider in translation activities, but also further explained that translators need to stimulate their subjective initiative and creativity, which is very enlightening. The translator’s activity is the specific translation behavior, that is, the conversion between two different languages and cultures. He can be creative and active in the choice of the text to be translated, the order of translation and translation strategies. The translated version is also deeply imprinted by the translator. Although the translation is derived from the original, it is no longer the original and have a new life. In addition, the translator can not only give the original work a new look, but also decide which new look to give it, so that it will be presented to the target language readers in an acceptable appearance. Therefore, the identity of the translator runs through the entire translation activity and is closely linked to the original and translated works. It is an important issue worthy of our attention.（Zhong and Zhou, 2006）

===2.Different Kinds of Roles Translators Have played in History===
====2.1 The Identity of Translator Under the Source Language Centralism====
Under the source language centralism, the purpose of translation is to reproduce the author’s original meaning and the highest standard of translation is being faithful to the original text. In these translation theories, translators’ cultural status is marginalized, and many of these translators are invisible, given various kinds of humble titles and roles.

=====2.1.1 Translator as a Servant=====
There are certain common cognition and understandings of the identity of translators in China and western countries. Due to their long-exist limitations in public awareness of translation activities and the low social status of translators, translators were once generally regarded as playing the "servant role" both in the East and the West.

John Dryden compares a translator to a slave, thinking that the "slave" can only work in someone else's manor, manuring and pruning the grapes, while the wine produced belongs to the owner. （Tan, 1991）

American modern translator Weinberger complained that although his translation works had attracted millions of readers, there was no his name on the cover of the translations, so he was merely an unsung hero.

Yang Jiang also said in her book ''Experience of Failures-Trial Translation'' "At least, this is a hard job, because translators as servants have to follow the master and cannot be self-assertive. Moreover, a servant serves two masters at the same time: one is the original text, and the other is the readers of his translation." (Jin and Huang, 2019)

The identity of servant requires translators to be completely faithful to the original text, adhere to the source-centered and author-centered theory, and not be affected by their own emotions and values. Playing this kind of role, the translator should only faithfully convey the connotation of the text and the author's original intention, so the translator is like a slave in shackles without personal freedom, and can only follow the author in anywhere. Of course, it is true that translators’ playing a role as a servant can help translators to faithfully restore the author’s intention and not distorting his original meanings to meet the requirements of “faithfulness” and “loyalty”, but this kind of theory ignores the translator’s subjectivity and will place translators in a very low social status. Just as an ancient craftsman did not have the right to sign his name on his carvings, a translator also doesn’t have this kind of right and is neglected in their translations.

Therefore, this theory reveals various prejudices and disregard of public to translators. And even in today’s China with prosperous economy and society, most people still hold the view that translation is merely the mechanical conversion of the source language and the target language. They believe that if they understand English, they are absolutely qualified for the job of translation. At the same time, a lot of issues such as a chaotic translation market, low salary for translators, talent shortage in translation and gloomy employment prospects are very prominent. What’s more, even in the Chinese translation circles, there are long-exist serious problem of "seeing things but not people". Translators have a low status in the literary world and are treated with indifference and contempt. And their fruits are not valued or even recognized on many occasions.

=====2.1.2 Translator as An Invisible Person=====
One topic that has been heatly debated for a long time in the translation world is that whether translators should be invisible or visible in translation. The translator's "invisibility" and "visibility" have their own purpose and theoretical basis respectively, but both "invisibility" or "visibility" are translators’ own choices made after deliberations.

Venuti, the translation theorist of deconstruction, explained invisibility in his monograph ''The Translators Invisibility'' A History of Translation with Norman Shapiro's words and he thought that the translation should be transparent so that it does not look like the translation. A good translation is like a piece of glass. There are only small imperfections on the glass like scratches and bubbles. And the ideal is to have nothing. The translation should never cause readers to feel that they are reading the translation. (Venuti, 1995)

Qian Zhongshu also had similar points of view and stated in the article ''The Translation of Lin Shu'' that "The highest standard of literary translation is 'sublimation'." In translation, if you can not only not show the traces of being blunt and far-fetched due to the differences of language habits, but also completely preserve the original flavor, then it will meet requirements of "sublimation". In the seventeenth century, someone praised this kind of translation as "the transmigration of souls" of the original text, whose body was changed and the spirit remained the same. In other words, the translation should be so faithful to the original that it does not read like the translation, because the original work will never read as if it is translated from somewhere else. （Qian，1984）

The French translation theorist Munin once wrote in his translation monograph ''Les Belles Infideles'' "The ideal translator, as defined by Gogol, should turn into a glass, so transparent that readers can't even feel its existence."

The "invisible" identity of the translator means that the translator can reproduce the spiritual essence and style of the source text naturally, so as to achieve the "transparency" of the translation and the "invisibility" of the translator. The translation needs to be fluent and natural, in line with the reading habits of the target language readers, and translators should avoid obscure word choice and mechanical sentence conversion. While reading the translated text, readers should not feel the existence of the translator and the influences he exerts on the text. And when the translator is nowhere to be seen and felt in the text, we can say that the translator's "invisibility" has been achieved. This requires translators to pay attention to three points that are often emphasized in traditional translation theories: one is that the translator should not incorporate their own emotions and values in the translation; the second is that the translator should not show his or her own personality in the translation; the third is that in translation the author should be based on the original text and follow the author in each choice. （Xu，2003）

=====2.1.3 Translator as a Painter=====
Dryden once compared the translator to a painter. He advocated the translation view of comparing translation to painting. In translation, a translator should regard the original text as a model, and use his own colors to express the power and effect of the original text. The earliest Chinese translator who used metaphor like this was Chen Xiying. He believed that translation is the same as a painting, although imitation is the most important, the colors used in the copy of a painting and the painting itself are the same. While the languages and strategies used in the original text and the translated version are totally different. On the other hand, a person who can appreciate the original painting has the ability to appreciate the copy one, while most people who can read the original book cannot read the translated version, and most people who can read the translation cannot understand the original text. This is the first difficulty the translator will face. And Chinese are much more familiar with Fu Lei’s statement, “In terms of effect, translation should be like a painting, and what you should restore is not the form but the spirit.” This theory extracts the common characteristics of translation and painting, and vividly elaborates the process and details of translation activities.

====2.2The Identity of Translator Under the Translator Centralism====
In 1980s, there was a cultural turn of translation studies in western countries from language translation to cultural translation. Translation theorists began to study translation with valuable theories from other subjects such as Semiotics, Hermeneutics, Philosophy, Literature and so on, which helped them to improve the traditional translation models. The subjectivity of translators were valued at that time and there appeared various kinds of roles of translators which emphasized the creativity, imagination, and activity of translators.

=====2.2.1 Translator as a Manipulator=====
The manipulator status of the translator originated from the manipulation school. Manipulation school was an important part of the cultural school of translation studies in the 1980s. It was developed in the category of comparative literature. The main representatives are Hesman and Lefevre. Hesman said: From the perspective of the target text, all translations are manipulations of the original text for a certain purpose. Lefevre combines translation studies with power, ideology, patronage, and poetics and believed: “Translation, of course, is a rewriting of the original text. Rewriting is manipulation.” （Lefevere, 2010）The manipulation school is different from those schools that put "loyalty" and "faithfulness" in the most important place. Its representatives believe that translation is the manipulation and rewriting of the original text, the translator is the manipulator of the text, and the translation and the original text are both important. This theory is contrary to the original work-centered theory and author-centered theory, and is subversive to the previous translation theories. It shifts the focus of translation from the original author to the translator, which is conducive to improve the status of translators. They also particularly emphasized the status of culture in translation and the significance of translation to culture. They believed that the purpose of translation is not to simply complete the conversion of words, phrases and sentences, but to achieve cultural correspondence, so that the cultural meanings conveyed by the translation is consistent with the cultural meanings in the original text.

=====2.2.2 Translator as a Writer=====
Women and translation have been long connected with each other for both of them occupy very humble positions. The traditional view holds that translation is considered as a secondary work dependent on and subservient to the original text, just as women are inferior to men under patriarchal power.

Feminist translation theory came into being in a wave of opposition to this kind of traditional thought. It combined feminism and translation, and its representatives put forward many translation viewpoints influenced by feminism, providing a new perspective for translation studies and subverting the traditional translation theory. The representatives of feminist translation theory include Sherry Simon, Lori Chambelain, Luise von Flotow, etc. Thus, translation studies began to distrust the traditional hierarchical order and gender roles, and began to question the faithful rules and universal standards of meaning and value. They believed that translators should not be faithful to the original text or the author, but the identity and discourse power of women. The purpose of translation is to make language speak for women, improve their status and liberate women through language. Feminist translators revealed many sexist words and phrases in translation, re-examined the relationship between the original text and the translated version, advocated rewriting translation strategies, and required feminist intervention and rewriting of the original text. In this way, feminist translation theorists improved the status of translators and helped them to go to the front of the stage from behind the scenes, playing the role of an author.

=====2.2.3 Translator as a Conqueror=====
As a social practice activity, translation is also a product of political thoughts and ideologies in a sense. When translators deal with cultural phenomena in translation, they will always be consciously or unconsciously affected by their political stance and ideologies, and the translator’s cultural identity and cultural attitude are always political. Therefore, the translated text is not exactly equivalent to the original, because in the process of translation, translators will add their own feelings and values to the translated version. What's more, some people think that translators are aggressors, and the purpose of translation is to impose one culture on another, such as the translations serving as a tool for the construction of subjectivity of colonialism in the process of colonization and maintaining cultural hierarchy after the end of the colonial era. This type of translation is used as a tool for political purpose and is just like a conqueror.

=====2.2.4 The Translator's "Independent" Status=====
Post-colonial research in the field of modern translation believes that translation has three functions: (1) the means of colonization (2) the lightning rod for cultural inequality (3) the tools of decolonization.(Robinson, 1997) As is mentioned above, when translators deal with cultural phenomena in translation, they will always be consciously or unconsciously influenced by their own political stance and ideologies, and thus become a tool for cultural expansion and maintaining cultural hierarchy in the colonial era. Similarly, this tool can also be applied to the activities of anti-colonialism. In fact, in the process of anti-colonialism, translation has also played an important role, providing a stage for anti-colonialism activities and becoming a tool used by the colonized to get rid of the colonial yoke and weaken cultural hegemony.

=====2.2.5 Translator as a Creative Rebel=====
The term creative rebellion comes from French literary sociologist Robert Escarpit. He holds the view that translation is rebellious, because it puts the work in a completely unexpected reference system (referring to language); Translation is creative, because it gives the work a new look and makes it more comprehensive. So that readers can have a brand-new literary exchange.（Escarpit, 1987）On the one hand, this theory believes that translation is creative in the process of translation, in order to restore the original contents and cultural flavor, the translator must use his creativity and imagination to find suitable words and styles in the target language to stimulate readers to have similar associations. This is a kind of creative work that can give the original work a new life in a new language. On the other hand, translation is rebellious. When using the target language to restore the connotations of the original text, the translator must discard some of the original form. Creative rebellion can be divided into three types: the creative rebellion of the translator, the creative rebellion of the recipient, and the creative rebellion of the receiving environment. The creative treason of the translator can be conscious and unconscious, such as personalized translation, mistranslation, omission, compilation, adaptation and so on.

=====2.2.6 Translator as a Language Quality Controller(Li and He, 2018)=====
In recent years, with the development of the world economy and internet technology, computer-assisted translation has become more and more popular. It has overturned the traditional translation model and most of the work of language conversion is completed by computers instead of translators. However, although the computer can complete the task of translation, the translated texts usually don’t have a very high quality and need to be improved by human translators. Especially in literary translation, as we all know, when translating a literal work, translators need to have sufficient cultural background knowledge, and in the process of literal translation, they must put themselves into the author’s context and fully understand his emotions, attitudes and values in order to create translations with high quality. This is something that computer translation software are unable to achieve. Therefore, translators play the role of processing, modifying, and polishing the texts produced by computers. They are the controllers of language quality, making up for the flaws in the translation given by the computer, ensuring the fluency of the translation and choosing an appropriate style for it. This identity of the translator does not mean that the translator is marginalized again and in a low position. On the contrary, translators are playing an irreplaceable role in ensuring the quality of translation.

===3.The Features of the Changes of Translator’s Identity and Its Complexity===
====3.1 The Identity of Translators Changed from Invisible to Visible, from Subordinate to Dominant, from Author-centered to Translator-centered. ====
At the beginning, due to the limitations of people’s understanding about translation activities, translators had low social status, and most of them played the roles of "invisible man", "slave", "servant" and "painter". The author and the original text were the center of translation activities, while the translators were marginalized.

Later, with the cultural turn of translation studies, translators gradually got rid of the shackles, moved from behind the scenes to the front stage, and became the subject of translation activities. （Yao, 1996）This feature is reflected in translation views of manipulation school, feminist translation theories, creative treason translation views and post-colonial translation views. At that time, translators played many other roles, such as "manipulator", "writer", "creative rebel", "conqueror “and so on.

Nowadays, with the rise of computer-assisted translation technology, translators have gained more roles such as "language quality controller", "learners of new technology and new knowledge" and so on. Although part of the translator's work is done by a computer now, this is not a manifestation of the translator's marginalization again, but a manifestation of the translator's freedom and subjectivity.

Therefore, translators today should grasp the trend of the evolution of the translator's identity, give full play to their subjective initiative in translation practice, and avoid becoming servants or slaves of the original text. At the same time, this does not mean that the translator can distort the author’s original meaning arbitrarily. Translation is just like “dancing with shackles". On the one hand, we should be faithful to the author and adhere to certain translation principles. One the other hand, we can adjust our translation strategies according to our purposes of translation and find a good way to restore the feelings, values and attitude of the original author as well as cultural flavor of the original text. In this way, the translator can present a high-quality translation to readers.

====3.2 The Identity and Status of Translators are Closely connected with the Era ====
Throughout the history of translation studies at home and abroad, the role of the translator was ignored in the early translation studies due to the limitations of the times, and translators had a low cultural and social status. It was not until the cultural turn in the 1970s that translators truly moved from behind the scenes to the foreground. We can say that the shift of the focus of translation studies and the change of the identity of translators are deeply influenced by the time and cultural backgrounds. For example, in the 1970s, the slogan "women must be liberated from language, and women's liberation must start with language" emerged and translation had always been in a position similar to that of "women" in its own hierarchical structure. Therefore, the feminist translation theory rose and its representative translation theorists revealed discriminations in the field of translation, and liberated women by liberating translation. Another example is that many translated works under colonial expansion and anti-colonial struggle have obvious ideological characteristics, and translators of that time hoped to use culture as a tool to achieve certain political goals.

====3.3 Complexity of Translation Activities and the Identity of Translators====
In different times, the identity of translator is complicated. Faced with different works, the identity of translator changes, because translators different purposes and needs when translating different works. Even when the translator is only faced with one work, in many cases, the identity of the translator will not be a single one, but a combination of multiple identities. It is the integration of these identities that makes the translation more smooth and complete. For example, with the rise of computer-assisted translation technology, translators have multiple identities such as "learner of new knowledge and new technology", "selector of the style", and "controller of language quality". Translators can play different roles for different translation purposes and requirements as well as in different steps of translation.

===4. The Roles of Today’s Translators===
====4.1 Dancers in Shackles. ====
Historically, there are many arguments about whether translators should be visible or invisible, a servant or a master. From today’s point of view, translators should keep a balance between them. They should not merely follow the author’s steps, and be the “servant” of the original text, nor should they believe that they can distort and rewrite the original text arbitrarily. Instead, they should act as a dancer in shackles. The translator should not only be faithful to the original text, adhere to specific translation standards and principles, carefully consider the choice of words and sentences, but also give full play to his subjective initiative and choose the most appropriate, natural and easily acceptable languages to convey the connotations of the original text.

====4.2 Megaphones of Real Problems.====
Feminist translation theory combined feminism with translation, and at that time translation became a tool for women to fight for independence and liberation. This reflects that translations are instrumental in reflecting social problems and seeking appropriate solutions to them. Excellent translation theorists can not only pay attention to the text translation itself, but also pay attention to the reflecting and solving of realistic issues in the field of translation and using translation as a tool to reasonably convey their appeals to the public on behalf of a specific group.

====4.3 Learners who Keep up With the Time.====
Translation is progressing with the time developing. If you stand still, you will lose out, and so will translators. They need to continuously learn new translation theories and accumulate more experience in practice in order to create excellent translation works. In addition, they must continue to learn new technologies and other new knowledge, such as computer-assisted translation technology, so that they can not only keep the traditional translation model in mind, but also find better ways to translate. In this way, they can adapt to the society and technological development more easily, and create high-quality translated works more efficiently. What’s more, translators should also pay attention to hot issues happened around the world, because translators should not only practice their translation skills, but also learn more new culture, which is vital in translation in the future.

====4.4 Promoters of Cultural Communication.====
Translators are the bridges between the source language and the target language, the author and the readers. Translators with profound knowledge in language skills and cultural backgrounds can accurately grasp the connotations of the original text, reproduce the original style, convey cultural messages, and bring readers to foreign authors with unique emotional attitudes and values. With the globalization, today's world is characterized by frequent economic, political, and cultural exchanges between China and the West. Translators play the role of cultural communicators of the world. But this is different from the “conqueror” in the context of colonial expansion in the past, because China has long respected the diversity of world culture and treated the culture of every country and nation equally, so the purpose of translation activities for today’s translators is not cultural aggression but spread valuable Chinese culture to other countries and receive the essence of other countries' cultures. The role of today’s translators is the promoter of communication of cultures.

===Conclusion===
The identity of translator is an important issue of translation studies. Throughout the history, translators have played various kinds of roles in translation. At the beginning, translators had a low cultural status and are given such roles as “servant” and “invisible man”. And the subjectivity and creativity of translators were ignored in translation studies. Later in 1970s, with the cultural turn in translation studies of western countries, translators got much more attention and walked from behind the scenes to the front stage, and various kinds of roles are given to them such as: “manipulator” “writer” “creative rebel”. The status of translators had been improved. Then with the development of society and technology, translators are playing more roles such as “language quality controller” “new learner” and “selector”. From the changes of the translators’ identity, we can conclude many features of it and realize what roles should today’s translators play in order to give full play to their creativity and subjectivity, so as to create wonderful translated versions.

===References===
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[4] Lefevere, Andre (2010). ''Translation, Rewriting and the Manipulation of Literary Fame'': Shanghai: Shanghai Foreign Language Education Press.

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[6]Tan Zaixi谭载喜（1991），''西方翻译简史''[A Brief History of Western Translation]，Beijing:Commercial Press北京：商务印书馆：153

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==Study of Domestication and foreignization in Cross-cultural Translation 顾东方 Gu Dongfang 202070080635 Interpretation英语口译==
<center>顾东方 Gu Dongfang </center>

===Abstract===
In today's economic globalization, international cultural exchanges are expanding, and translation as a communication tool is also crucial. As a form of cross-cultural and cross-linguistic communication, translation is a kind of communication and interaction between two cultures with very different social backgrounds and cultural traditions. Therefore, in cross-cultural translation, the application and selection of translation strategies should not only reflect the translator's style, but also directly affect the audience of the translated work among the target language readers. In 1995, Lawrence Venuti, a famous American translation theorist, proposed two translation strategies, domestication and foreignization .

In The Invisibility of Translators. domestication and foreignization are both opposed and unified, i.e. there is no such thing as absolute domestication or absolute foreignization. This paper will discuss the selection and application of domestication and foreignization in cross-cultural translation, based on the two translation strategies themselves and actual translation cases, so that translators can use these two translation strategies more flexibly in translation to better convey the meaning of the original texts and make the translations reach more readers, and thus promote the communication between different cultures.
===Key words===
domestication and foreignization; cross-cutural; translation strategies

===摘要===
在经济全球化的今天，国际间文化交流也在不断扩大，而翻译作为一种交流工具也显得至关重要。作为一种跨文化、跨语言交际的形式，翻译是一种社会背景与文化传统很不相同的两种文化间的交流与交往。因此，在跨文化翻译中，翻译策略的运用与选择不仅仅要体现出译者的风格，也会直接影响译作在目的语读者中的受众程度。美国著名翻译理论学家劳伦斯韦努蒂于1995年在《译者的隐身》中提出了归化与异化两种翻译策略。归化与异化，既对立又统一，也即绝对的归化或者绝对的异化都是不存在的。本文将从归化与异化这两种翻译策略的本身出发，并结合实际翻译案例，来探讨归化与异化在跨文化翻译当中的选择与运用，使得译者能够在翻译中更灵活地使用这两种翻译策略，更好地传达出原作的意蕴，使译作受众于更多的读者，以此促进不同文化之间的交流。

===关键词===
归化与异化；跨文化；翻译策略

=== Definitions of domestication and foreignization.===
Domestication is to localize the original language and focuses on the target language or readers by conveying the original text in the way target readers are familiar with. In order to close the readers of target texts.Domesticated translation requires the translator to speak like a native author, and the translation must become authentic to the native language if the original author is to speak directly to the readers. It helps the reader to better understand the translation and enhances the readability and enjoyment of the translation.

Foreignization is that the translator tries not to disturb the author as much as possible, so that the reader can get closer to the author". In translation, it means to accommodate the linguistic characteristics of foreign cultures, absorb foreign expressions, require the translator to approach the author, and adopt the expressions corresponding to the source language used by the author to convey the original content. The purpose of the foreignization strategy is to consider about the differences in national cultures, to preserve and reflect the characteristics of foreign nationalities and linguistic styles, and to preserve the exoticism of the translated text for the readers.（Wang Ying 2007）

===The relationship between literal translation and free translation ,and domestication and foreignization.===
Historically, foreignization and domestication can be seen as extensions of, but not identical to, literal and free translation. The terms "literal translation" and "free translation" are English translation version. Literal translation is a kind of method or text that keeps the original content and the form of the original text. Free translation means that it keeps only the content of the original text, not the form of the original text. Literal translation appeared during the May 4th Movement, emphasizing the need for faithfulness to the original text so that the translation can be "expressive" and "elegant".

Literal translation does not mean translating word for word in mechanical way. Since English and Chinese have different structures, it is impossible to translate them word for word. Literal translation is to fully and accurately clarify the meaning of the original work, without any distortion or random addition or deletion of the original ideas to maintain the original style. Sometimes even the original mood or emotion, such as anger or embarrassment, sarcasm or irony, joy or happiness, should not be ignored.

The free translation, on the other hand, starts from the meaning and requires only the main idea of the original text to be expressed without excessive attention to detail, but a natural flow of the translation. In translation, if we cannot directly adopt the structure and expression of the original, we must change the sentence structure and expression to convey the meaning of the original according to the form and characteristics of the expression.

Since there are many differences between the original language and the translated language in word order, grammar, changing forms and rhetoric, we can only use appropriate ways to convey the meaning of the original and reproduce the effect of the original. Mr. Jing-Shen Zhao once said, "A smooth and fluent version is better than one that focuses only on fidelity to the original". Obviously, Mr. Zhao was in favor of foreignization, and so did Mr Yan Fu.

Foreignization has been used in many works of Yan Fu, for example, the Evolution and Ethics is a typical example . In literal translation, faithful to the original form should be placed first, followed by faithful to the original content, again the fluency and popularity of translated language; while in free translation, faithful to the original content should be placed first, translation language fluency and popularity of the second, but free translation is not limited to the form of the original.

Some scholars often discuss literal translation, free translation and domestication and foreignization together, which is understandable, but it is necessary to make a distinction. Based on the level of language and culture,domestication and foreignization focus more on the use of language from the perspective of cultural differences and are a kind of translation strategy, while literal and free translation is a translation technique, which is only at the level of language.

There may be only one main translation strategy for a text or a work, but each strategy may use both literal and free translation methods, and each method serves the general direction of the translation strategy. The choice of the main translation strategy depends on the purpose of the translation, if it is to maximize the understanding of foreign cultures or cross-cultural comparative study, then the main focus is on foreignization; if it is to understand the information or story development through reading, then the domestication may be the best choice.

Taking the translation of the famous work Dream of the Red Chamber as an example, there are two versions by two masters, Yang Xianyi and Hawkes, the former adopts foreignization to deal with the cultural factors in the language, that is, to keep the source culture as much as possible in the translation, while Hawkes adopts domestication in order to avoid the conflict between two different cultures, Chinese and English.(Wang Ying 2007)

===National and international research on the development of domestication and foreignization.===

===The history of the development of domestication and foreignization abroad.===
The German translator Schleiermacher, in his work, On the Different Methods of Translation, elaborated the need for translations to bring the reader as close as possible to the original author, and for the first time introduced the concepts of domestication and foreignization.

At the same time, in the British academic circles of the time, domestication was the main translation strategy, but Francis Newman in England, when discussing the translation work on Homer, advocated that translators should consciously translate in the ancient language to emphasize the heterogeneity of the work.

In the 1960s A.D., Nida proposed the theory of domestication for the first time in many structuralist theoretical works, and since then the climax of the debate on domestication and foreignization rose on the stage in western translation field . In Nida's view, domesticated translation does not need to stick to the form of the original text, but only needs to express the content with the closest and most natural equivalent in the translated text to achieve equivalence.

The French theorist Antoinette Bellman deplored the tendency of eliminating foreignization in translation through the strategy of "domestication". He said: "The proper theoretical goal of the translation action is to accept heterogeneity as it is." This view seems to have an impact on Venuti's strategy of "foreignization" .

In his book The Invisibility of the Translator, Italian scholar Venuti discusses the "invisibility" of the translator by combining the two translation strategies of domestication and foreignization for the first time. He strongly advocates foreignization and questions domestication, arguing that domestication is essentially a means of cultural colonization by Western colonizers. At the same time, he also suggests that the purpose of translation is not to eliminate linguistic and cultural differences in translation, but to express linguistic and cultural differences.(Liu Ping 2008)

===Domestic development history on domestication and foreignization===
The earliest translations of Buddhist scriptures have included the debate between assimilation and dissimilation. During the Eastern Han Dynasty, the translator Zhiqian pioneered the translation style of using free translation instead of transliteration, which had far-reaching significance and influence in history.

At the end of the 19th century, several other great translators emerged in Chinese history, and Yan Fu was one of them. At the end of the Qing Dynasty, foreign powers invaded extensively and the Chinese nation faced an existential crisis, under such a background, Yan Fu believed that translation must be carefully chosen based on the social and historical reality of the country into which it is translated. In the translation, the translator should take the literary tradition of the nation and the specific historical and cultural purpose as the main purpose, combining the cultural and linguistic background of the readers.

The translator should not focus on how to be "faithful to the original", but how to adapt to the social and cultural choices of the time.
With the rise of the May 4th New Culture Movement, many translators tried to learn from foreign literature in order to transform literature and society.Lu Xun's most famous dictum relating to translation was "I'd rather be faithful than smooth", and advocated "preserving the foreign flavor as much as possible" and "the need for exoticism".

After the founding of New China, China's translation industry entered the third high point, and a large number of Western and Soviet works were introduced, which was connected with the spiritual needs of people at that time. After the reform and opening up, with the influx of Western translation ideas, "foreignization" has emerged. Many scholars have put forward the idea that "Foreignization is primary while domestication is supplementary".(Liu Ping 2019)

===Domestication and foreignization of cultural exchange translation===

====The relationship between culture and language====

In a broad sense, culture refers to the material and spiritual wealth created and accumulated by human beings in the course of social development; in a narrower sense, it refers to the ideology of society and the system of organizational constructs that corresponds to it. Culture has the following four basic characteristics 1) culture is owned and shared by all members of a society; 2) culture is acquired rather than inherited; 3) culture is biologically based; and 4) culture is based on a symbolic system.

The relationship between language and culture is between the part and the whole; language is a subsystem of culture, and language cannot exist apart from culture; it embodies all the beliefs and emotions of a cultural group. Language and culture interact and influence each other and are inseparable. Based on the close relationship between language and culture, more consideration should be given to cultural factors in translation research, which means that translation research should be carried out in a more macro context.

Translators should be aware of enough cultural differences when dealing with the cultural differences between the original language and the target language. Due to the cultural differences between English and Chinese, many English and Chinese phrases, although literally having the same or similar meanings, are inherently different. Therefore, a word-for-word translation without considering cultural factors can lead to ambiguity.（Wang Hongwei 2002）

==== Translatability and untranslatability of cultures====
On the one hand, the similarity of human experience worldwide contributes to the translatability of cultures. In this regard, Nida has said that "all human beings eat, work, sleep and procreate, and they produce objects such as furniture, tools and vehicles. They also organize themselves into families, clans, internal and external groups, nations and inter-national organizations. They have a conscious similarity in their views of the universe, values, religion and supernatural forces.

In fact, the different groups of people in the world have much more in common with each other than they do with each other." It is the similarity of the cultures of different peoples that allows people of different cultures to understand each other and makes translation possible. Nida thus states, "Linguists and anthropologists have discovered that what binds human beings together far outweighs what alienates them, and this is the basis for generating communication." Many expressions that are unique to one culture can be found almost identically in a culture and become the best evidence of cultural translatability.

On the other hand, each people has a culture that is distinct from the others, which hinders mutual understanding with the others and may even cause cultural shock. Due to different cultural inheritances, the languages of different nationalities have their own symbol systems and lexical, syntactical and grammatical characteristics, which often make them untranslatable. For example, the Chinese phrase "客上天然居，居然天客" is one of the examples of untranslatable culture.(Wang Hongwei 2007)

====Factors influencing cultural translation strategies====

=====Motives and objectives of translation=====

Different motivations and purposes for translation lead to different translation principles and methods

=====Text type=====

Different texts influence the choice of translation strategies. According to Christiane Nord, translation can be divided into instrumental translation, which refers to the means of transferring information from the source language to the target language, and documentary translation, which refers to the means of transferring information about communication activities from the source language to the target language. This type of translation emphasizes the transmission and conveyance of information and mainly includes non-literary writing, including advertising, media writing, scientific writing, propaganda and announcements, etc. With this method of translation, which is guided by the culture of the target language, the information that needs to be conveyed can be better expressed and accessed.

The other type of text is documentary translation. This type of translation refers to the presentation of real communicative activities and information to the target language readers. The term "documentary translation" is appropriate for translating (language-)-specific expressions, where translation of language and content are equally important. eter Newmark distinguishes between communicative and semantic translation of such texts, emphasizing the "strength" and "clarity" of the message. " in order to achieve the same effect on the readers of the original language as on those of the target language.

Although this type of translation is a subjective process, the translator will attach great importance to the effect of the translation on the reader's mind. By reorganizing and rearranging the order of sentences, the translator will eliminate obscurities and ambiguities in order to achieve "strength" and "clarity". Most non-literary writing, informative articles and books, as well as textbooks, bulletins, standardized writing, and novels are suitable for this type of communicative translation; because it emphasizes the need to have the same effect on both the original and target language readers, it often uses expressions that are customary and easily understood in the language in which they are written.

Thus, communicative translation is equivalent to naturalized translation, where the translator's preference for idiomatic expressions is produced or determined by the translator's preference for the target language. Semantic translation attempts to get as close as possible to the exact meaning of the original text in terms of wording. Semantic translation focuses on the expression of the exact meaning of the content in order to preserve as accurate a style of the original text as possible.

This type of translation is an objective process during which the translator focuses only on whether the translation is precise and retains the flavor of the original text. In this type of translation, the translator tries to preserve the semantic and syntactic structure of the original text, as well as the tone of the original text, etc. semantic translation applies to autobiographies, private correspondence, personal emotional texts and quotations. A semantic translation is equivalent to an alien translation in an attempt to achieve the preservation of the flavour of the original, due to the translator's original language preference.(Wang Hongwei2007)

=====Acceptance by readers=====
In the past, traditional translation theories placed one-sided emphasis on extra-author-centred and text-centred research, neglecting the involvement of translators and target language readers. Modern reception aesthetics considers the reader not as an unimportant and unnecessary perspective, but as a historical, active and creative factor in the relationship between author, text and reader.

This is why different people have different interpretations of the same text of Hamlet. Naida was influenced by the acceptance of the aesthetic sub. His theory and practice of translation are very much focused on the readers' reflection. He pointed out that "Judging the validity of a translation does not stop at the comparison of word meanings, grammar and rhetoric; what is important is the extent to which the recipient is able to understand and appreciate the translation correctly."(Wang Hongwei2007)

===Cultural Schools of Translation===

In 1990, the representatives of the cultural school of translation, Bassnett and Lefevere, in their co-edited book Translation, History and Culture, formally proposed the slogan of "Cultural Turn of Translation", which also marked the official emergence of the cultural school of translation. In the following years, they published several monographs, individually or together, discussing about the relationship between translation and literature, ideology, rights and culture.

In the following years, they published several monographs, either individually or jointly, to discuss the relationship between translation and literature, ideology, rights and culture. Unlike the literary or linguistic schools of translation in the past, the cultural school is a school with a strong "revolutionary" element in translation theory, and some people even consider their views to be "subversive" to the previous translation theories.

This is mainly because they especially emphasize the status of culture in translation and the importance of translation to the spread of culture and the promotion of social and cultural progress. Other translators, such as Lambert and Robyns, argue that translation is more accurately regarded as a communication activity between two cultures than as a bilingual conversion activity.

Therefore, they believe that translation activity is a cultural conversion. In recent years, Chinese scholars have done some research and reflection on the essence of translation. In the researches of many scholars, under the current globalization environment ,the importance of translation to cultural exchange and communication is getting more and more attention from people.

For example, Lv Jun proposes that "translation is a kind of cross-cultural information exchange activities, and its essence is dissemination. To a certain extent, the viewpoint of Chinese scholars and the Western cultural schools can be said to echo each other. Language is not only a carrier of information, but also a carrier of culture. Therefore, in essence, translation as a kind of inter-linguistic communication, it is not only the conversion of language information , but also the transplantation of cultural information. Therefore, in essence, translation is not only a language information conversion, but also a cultural communication activity.(Wang Hongwei2007)

====Application of domestication in English-Chinese Translation====

Chinese famous writer Mo Yan has won the Nobel Prize for Literature for a series of works including Fatigue of Life and Death (2006) and Frog (2009) and American sinologist Ge Haowen should also be credited , who was called “the only midwife of Mo Yan’s works”.Ge's translation of Life And Death Are Wearing Me Out reflects his consistent principle: "The author is writing for the Chinese, while I am translating for foreigners,translating is a process of rewriting”. Ge Haowen did a lot of rewriting and compilation based on respecting the original work, and in the translation of Life And Death Are Wearing Me Out, the domesticated translation reflects his relentless pursuit of "accuracy", "readability" and "acceptability". (Zhou Yongkun 2019)

例一：常言道‘螃蟹过河随大流’，‘识时务者为俊杰’，不要顽固不化，不要充当挡路的石头，不要充硬汉子。

Join the commune and stop working for yourself, end your quest for independence.Stop being headstrong,and an obstructionist.

“螃蟹过河随大流” is a two-part allegorical saying in Chinese folks . It means "following the majority of people to speak or act". A post-slip is a short, witty phrase that can be used as a philosophical and wisdom-boosting phrase. A man who knows the times is a hero" is an idiom derived from a historical allusion, meaning "only those who can recognize the trend of the times can become heroes and heroines". Ge Haowen domesticated these two slang expressions: first, because they have the same meaning as the one that follows: "Don't be stubborn ...... don't be a tough guy anymore", which is used to kindly advise people who are unable to see the current affairs of the day, but are still stubbornly stubborn.

The deletion of these two daily phrases does not affect the main content of the narrative and the expression of ideas in the context. Secondly, there is the concern that the translation may not produce the desired effect of depth, image, and humor as the source language. And then there is the fact that the target language readers are relatively unfamiliar with Chinese slang, so it is better to delete it directly than to translate it to increase the readers' reading burden and affect their understanding and grasp of the whole text. Ge Haowen's domesticated translation method reflects his holistic view of discourse as a unit

例二：但一个二十多岁就当了县级领导干部的人，和农村姑娘结婚的可能性几乎是零，无论她貌如西施还是色比婵娟。

There was no chance that a leading country-level cadre in his twenties would ever actually marry a peasant girl , no matter how pretty or fetching she might be.

Wang Zhaojun ,Xishi, Diao Chan and Yang Yuhuan were the main characters with unique beauty at that time in historical illusions ,named as “Four Beauties in ancient times”.In the original work, Mo Yan chose only two historical figures, "Xishi" and "Chanjuan", to contrast and emphasize the beauty of rural girls. In the process of translation, Ge did not translate "Xishi" and "Chanjuan", nor did he make any commentary, but took into account the target audience's alienation from the historical allusion to the Four Beauties.

Therefore, he adopt a domesticated translation method to make a simplification, breaking the constraints of the original language and enhancing the readability of the translation, without deviating from the original meaning.(Zhou Yongkun 2019)

In the above example, when dealing with unfamiliar allusions or common sayings and proverbs, Ge Haowen boldly rewrote and deleted them, translating the work from the reader's point of view, so that the target readers will be pleased with his translation.

5.2 The Application of Foreignization in English-Chinese Translation

The nature of foreignization is such that it deals with elements of the original language that are culturally distinctive, and the result of the translation is to bring in new forms of expression that are different from the mother tongue and the cultural connotations attached to them. Language is an open system with a strong capacity for absorption and inclusion.

With the deepening of communication among countries and peoples, various languages have been enriched to different degrees, and variant translation plays a more important role in this process. In Chinese, the terms "internet", "gene", "blue print", "blue print" and "blue print" are used to refer to the "Internet", "gene", "blue print" and "blue print". "Time is money", "ivory tower", "washroom".... (crocodile tears), "black humor" , and "qi gong" ), "taijiquan" , "kong fu" , "typhon”

These words did not originally exist in the Chinese and English language systems. However, translators make a large number of words with exoticism in the way of foreignization more popular and acceptable among the massive culture . Therefore, foreignization is not only beneficial to introduce local history and culture to foreign countries, but also gives local readers the opportunity to understand foreign customs and realize the purpose of cross-cultural communication.
（Wang Ying 2007）
例一.打破铁饭碗

Break the”iron rice bowl”

"Iron rice bowl" is a Chinese idiom, in Chinese we compare "rice bowl" to an occupation, while "iron rice bowl" refers to a stable job, no doubt, it is difficult to convert such words with obvious Chinese characteristics into the target language through the method of "domestication", but foreignization not only retains the imagery of the source language, but also introduces the unique culture of China to Western readers.

例二.下海

A.to jump into the sea of business

B.To turn professional

In the early days of reform and opening up, the word “jumping into the sea of business” was popular, mainly meaning the trend of doing business.For this new phenomenon ,translators adopt different methods. Text A used foreignization and direct translation while the later domestication. In comparison, the former was more expressive and vivid, conveying the meaning of source language in a proper way.

Domestication and foreignization is more apparent in the literary translation. Here I will take the translation of Dream of the Red Chamber as an example and compare the translations of Mr. and Mrs. Yang Xianyi ,and Mr. Hawkes. The translation of Dream of the Red Chamber by Yang Xianyi and his wife is a typical representative of foreignization, which is highly praised by domestic readers, but some scholars have conducted a survey and found that it is far inferior to the British sinologist David Hawks in terms of the number of borrowed readers, citations and reprinted editions. Why the "cold shoulder"? Let's find out by comparing and analyzing some examples of the two translations.

例一.刘姥姥道: “这倒不然。谋事在人，成事在天。咱们谋到了，靠菩萨的保佑，有些机会，也未可知。”

A.“ Don’t be so sure,” said Granny Liu. “Man proposes, Heaven disposes. Work out a plan,trust to Buddha,and something may come of it for all you know.”

B.“ I wouldn’t say that.”said Grannie Liu.”Man proposes, God disposes.It is up to us to think of something. We must leave it to the good Lord to decide whether He’ll help us or not. Who knows, he might give us the opportunity we are looking for.”

Dream of the Red Chamber is a literary work full of Buddhist and Taoist thoughts. Yang Xianyi and Hawks have different approaches to the phrase“谋事在人，成事在天”， which also reflects different religious thoughts. In Yang's translation, "God" is replaced by "Heavenly Father," which is in line with the Chinese religious belief that Heavenly Father in control of everything, while retaining the religious flavor of the source culture.

However, Hawks gave priority to the religious background and acceptance of the English readers, so he adopted the English proverb directly without any modification, thus transforming the Buddhism and Taoism in the East to Christianity in the West, in accordance with western religious belief and thinking ways.

The two translations have their own merits. The choice of translation strategies is based on different objectives. Mainly depending on the foreignization stategy, Mr. and Mrs. Yang tried to spread Chinese literature classics and convey Chinese traditional culture originally.However, they didn't get the desired results.One of the main reasons is that Mr. and Mrs. Yang regard faithfulness as the first priority and overemphasize the foreign culture of the translated works, neglecting to consider the reception environment and the recognition of the target readers.（Wang Ying 2007）

===Conclusion===
With the continuous expansion of international cultural exchanges, the human cultural gap is gradually narrowing, language as an important carrier of culture has also been affected by the same, an appropriate increase in the use of "foreign" translation,can not only inject the new elements into domestic culture, but also promote the spread of local culture, achieve cross-cultural exchange and accelerate the process of "cultural globalization".

It should be pointed out foreignization is not at the expense of forgetting one's own culture, on the contrary, it is based on the familiarity with other cultures, and then carry out painstaking, creative translation work. To give more attention to "alienation" translation is not to deny, reject the domesticated translation method, because domestication and foreignization play an irreplaceable rol in the target language and culture.Therefore, the two translations will always co-exist and complement each other. Flexible use of foreignization and domestication is the real way of addressing the cultural conflicts. (Xiong Bing 2003)

===Reference===
Wang Ying王瑛. "跨文化翻译中的归化和异化." 内蒙古财经学院学报(综合版) 03(2007):83-87.

Zhou Yongkun周永堃. "归化异化在跨文化翻译中的选择与运用——以《红楼梦》和《生死疲劳》为例." 邵阳学院学报(社会科学版) 18.01(2019):103-108.

Wang Hongwei王红卫. "跨文化交际翻译方法:归化和异化策略." 西南民族学院学报(哲学社会科学版) 9(2002):250-253.

Xiong Bing熊兵. "文化交流翻译的归化与异化." 中国科技翻译 16.003(2003):5-9.

Liu Ping刘苹. "中国翻译史上的归化和异化." 滨州学院学报 24.001(2008):74-75.

--[[User:Gudongfang|Gudongfang]] ([[User talk:Gudongfang|talk]]) 00:31, 22 December 2020 (UTC)Gu Dongfang

==The Translation Strategies of Chinese Political Discourse under the Standard of "Political Equivalence", 高明珠 Gao Mingzhu, MTI 英语笔译==

===Abstract===
With the development of globalization, the political exchanges among countries is more frequent, and the translation of political discourse has gradually become one of the heated topics in the translation field. The translation of political discourse is challenging, not only because it is related to important issues such as the relationship between countries, national status and political attitudes, but also because political vocabulary is developmental and new words are constantly coming into the political vocabulary, and some political words will add new connotations with the development of the times. In addition to the above characteristics, Chinese political discourse has many affixes, abbreviations, four-character phrases, metaphors.In 2008, Yang Mingxing and other scholars put forward the "Political Equivalence" based on Eugene Nida's "Functional Equivalence" theory for the translation of Chinese political discourse, which pointed out that the translation of political discourse should follow the three principles of "political", "dynamic" and "balanced". On the basis of some related papers, this chapter will sum up the specific strategies such as supplement, omission, keeping or converting analogical body, adding explanation and narration for translating Chinese political discourse with characteristics of having lots of affixes, abbreviations, four-character phrases and metaphors following the guidance of "Political Equivalence".

===Key words===
political equivalence; Chinese political discourse; translation strategies

===摘要===
随着全球化的发展，各国间的政治交流愈加频繁，政治话语的翻译也逐渐成为翻译界讨论热点之一。政治话语的翻译是具有挑战性的，不仅是因为它关系到国与国之间的关系、国家地位、政治态度等重要问题，而且因为政治词汇是发展性的，政治词汇中会不断有新的词汇涌进，且某些政治词汇会随着时代的发展而增加新的内涵。而中国政治话语除了具有以上特点，它还有多词缀、缩写、四字短语[1]，多用隐喻等修辞手法的特点。2008年，杨明星等学者针对中国政治话语的翻译，基于尤金·奈达的“功能对等”理论提出了“政治等效”翻译标准，该标准指出政治话语的翻译要遵循“政治性”、“动态性”、“平衡性”三大原则。本文基于相关文献，总结出在该标准下，对中国政治话语在具有多词缀、缩写、四字短语及多采用隐喻这几个特点下的翻译可采用的具体的翻译策略，如增补法、省略法[1]、喻体保留法（完全保留、部分保留）、喻体转换法、喻底补充法、喻义直叙法[2]等。

===关键词===
政治等效; 中国政治话语; 翻译策略

===1. Introduction of Background===

Political discourse is a vehicle of communication or one kind of discourse behaviors used to articulate a country's foreign policy, governance mechanisms or political ideas, including both oral and written expression. Oral expressions includes leaders' speeches, the contents conveyed by various government agencies' press conferences, and written expressions includes diplomatic documents, white papers, legal provisions, treaties, agreements and communiques issued by relevant state agencies. With the improvement of China's comprehensive national strength and the continuous expansion of its global influence, the study of the translation standards, principles, strategies of Chinese political discourse has become an important topic in the field of translation. A study in 2019 has shown that domestic political discourse translation studies started in 2000 and entered a stage of rapid development with the convening of the 18th CPC National Congress in 2012. The current research hot spots of political discourse translation include the translation of Xi Jinping's speeches and works, the application of various translation laws and interpretive theories, the principle of political equivalence and the theory of ecological translation(Chu Xingjun 2020,36).

===2. The Significance of Translating Political discourse===

This chapter holds that the significance of political discourse translation mainly involves two aspects----politics and linguistics. Firstly, in terms of politics, translating political discourse is to promote the political communication between countries and show the country's political attitudes, theories and policies to the outside world. Political discourse translation plays a significant role in promoting the relationship between the countries, taking one’s stand, safeguarding one’s national interests and shaping one’s national image and so on. Secondly, in terms of linguistics, political terms are developmental. With the advance of the times and the rapid development of the world, new political terms will constantly emerge, which is also the process of language expansion. The study of the translation of new words is not only an obligatory task for translators, but also of great significance to the development of translation studies.

===3. The Difficulties in Translating Political discourse===

The difficulties are mainly reflected in three aspects. Firstly, the translator should correctly understand the political connotation of the source language and translate it faithfully to the target language. Secondly, different expression ways between two languages. There are quite few equivalent words in both languages, so when translating the source language as the target language, the expression habits of the target language users should be taken as account, so as to facilitate the target language users to accurately understand the original meaning. In particular, Chinese political discourse is often presented metaphorically which may not be easy for foreigners to understand, thus when translating such words, methods that we can adopt not only include literal translation, transliteration plus explanation, but also sometimes it would be better to translate those words on the basis of the target language’s culture to make the translation more vivid and help readers understand the meaning accurately. In a word, be more flexible in adopting methods according to different cases; Finally, the same political term may have different meanings in different contexts, or it may require translators to adopt different translation methods in different contexts. In addition, the connotation of some political terms will develop with the advance of the times. Therefore, translators should keep up with current events and deal with them flexibly in translation.

===4. The Connotations of Political Equivalence===

(1)The proposal and connotation of the "political equivalence" standard

In 2008, US Department of Defense mistranslated the term "韬光养晦" which led to the propaganda "China threat theory". Therefore, based on Eugene Nida's functional equivalence theory, a scholar, Yang Mingxing, proposed the translation concept of "political equivalence" for the first time from the perspective of international relations and diplomatic analysis (Yang Mingxing 2008, 05). The connotation of this concept mainly involves three aspects: firstly, the translator needs to truthfully convey the political ideas of the source language as well as the speaker; secondly, when translating, the translator should choose the target language according to the expression ways that the target language users get used to, so that the information and political thoughts brought by the target text to the target language users are equivalent to those brought by the source text to the source language users; Thirdly, in different contexts and historical backgrounds, the connotations of political discourse will be different. Translators' translation should keep pace with the times and be determined in accordance with the situation (Yang Mingxing 2008, 05).

In 2012, Yang Mingxing and other scholars further proposed three prominent principles or characteristics of the "political equivalence" translation standard: political, balanced and dynamic. Among them, political nature, namely accurately grasping the political connotation of the source language, is the most prominent characteristic, which is determined by the strong political color of the political terms themselves. Balance means to maintain a balance among source language, target language, speaker and audience without focusing on any one of them, and strive to make the effect produced by the translation in the foreign readers be similar or equivalent to that produced by the original text in local readers. Dynamic means that the equivalent process mentioned above is a dynamic equivalent process. As political terms’ connotation changes with the advance of the times and varies from different contexts, translators need to keep pace with the times, follow up the connotation development of political terms, and translate flexibly according to different situations.(Yang Mingxing, Yan Da 2012, 35)

In 2018, Yang Mingxing and other scholars proposed a compound translation standard of "political equivalence + aesthetic representation" on the basis of the translation standard of "political equivalence" (Yang Mingxing, Qi Jingjing 2018,15). This standard was put forward in the context of the appearance of ancient poetry in political discourse. In addition to meeting the requirements of "political equivalence" mentioned above, this standard also requires to take the literary beauty of ancient poetry and prose, such as rhythm, form, artistic conception, etc as account.

In January 2020, Yang Mingxing and other scholars proposed another compound translation standard of "political equivalence + image representation" based on the frequently used the rhetoric device metaphor in political discourse(Yang Mingxing, Zhao Yuqian 2018,41). The purpose of realizing "image reproduction" and "aesthetic reproduction" is basically similar, both of which are to reproduce the aesthetic experience of the original text.

In October 2020, Yang Mingxing and some other scholars made a review of several major diplomatic events in the Sino-British diplomatic history and put forward that the realization of the "political equivalence" standard should not only rely on the translator's ability, but also have some connections with the national policy of translation, translation system and equal speaking rights between two countries, among which equal speaking right is the key to realize "political equivalence"(Yang Mingxing 2020,05).

(2)The differences between “political equivalence” and “functional equivalence” put forward by Nida

"Firstly, the 'equivalence' emphasized by Nida does not pay enough attention to the political connnotations of the original text in translation, ignoring the particularity of diplomatic or political discourse, and that whether the original text and translation are quite consistent in political standpoint and political connotation. Secondly, although functional equivalence pays attention to the information equivalence between the original text and the translated text, it does not pay enough attention to the real intention of the speaker or the writer of the original text, because the literal meaning of the original text cannot be equal with the political standpoint and ideological connotation of the speaker or writer. Thirdly, the concept of 'dynamic' proposed by Nida in 'functional equivalence' theory ignores the dynamic changes in context and connotation of original text and translation. However, for diplomatic or political discourse, the connotations of the political terms do not remain unchanged. It changes constantly with the speaker's context, political tendency and historical background at that time. On the other hand, the target language is also dynamic, because the meaning and usage of the target language are constantly changing, the translator must keep track of the latest development of the target language and the domestic political and cultural background of the target audience "(Yang Mingxing 2008, 05).

In a word, the translation standard of "political equivalence" is an important theory aiming at the translation of foreign affairs, diplomacy and political discourse, providing theoretical guidance and normative requirements for the translation of political terms.

===5. Requirements of “Political Equivalence” for Translators ===

First of all, translators should grasp not only the meaning of the original text, but also the political intention of the speaker or the writer, because sometimes the literal meaning of Chinese words in the political discourse cannot fully represent the real intention of the speaker or the writer.What translators should do is to learn more about the related background knowledge before translating and keep pace with the worldwide current events in daily life, and choose the proper translation strategies according to specific situations to make the translation be in line with the context and political background of the speaker or the writer as well as the audience or reader, which is the key to the realization of "political equivalence".(Yang Mingxing 2008, 05)

Secondly, translators should treat both the source language and the target language equally, and grasp the relationship between the speaking country and the receiving country. The translation of political discourse should not only aim at correctly understanding and expressing China's political thoughts, but also fully consider the national emotions, language habits and identity psychology of the receiving country, which requires the proper selection and use of the target language. If the translation only focuses on one side, it will be difficult to achieve "political equivalence" and even cause political events.(Yang Mingxing 2008, 05)

Thirdly, translators should know well about the differences between English and Chinese customs, cultures, national emotions and ideologies.As we all know, translation is not only the transformation of language symbols, but also a kind of cross-cultural communication behavior. The translation of political discourse is closely related to the cultural background of language. Due to the differences between China and West in way of thinking and language environment, the corresponding words in English and Chinese may have different national emotion and political connotation.For example, sometimes we may meet idioms, metaphors, allusions, myths and fables in the political discourse which are the quintessence of a nation's language with its own characteristics. They formed and developed on the basis of different culture and living environmnet, so it is necessary to strictly distinguish their differences in cultural connotation and political orientation which are the difficulties and key points in political discourse translation.(Yang Mingxing 2008, 05)

Fourthly, translators should also know well about the differences between the two languages.In English, there are many grammatical rules different from from those of Chinese, such as tense, voice, subjunctive mood, singular and plural, case, article, etc. If translators deal with these special expressions improperly, these expressions will hinder the realization of the "political equivalence" in translation. (Yang Mingxing 2008, 05)

Fifthly, to achieve "political equivalence" in translating political discourse, translation strategies should not be single, rigid but flexible and diversified. In addition, the translation either cannot be confined to the primitive form of the original text and the original or even several extended connotations of the words in it,instead,translators should recognize the real connotations of the political terms according to the context and different occasions. Translators should make the necessary adjustment and bold choices in supplement and omission to the language form of the original text in accordance with the context and the real thoughts of the speaker or the writer and the background of the political relationships between the two countries.(Yang Mingxing 2008, 05)

lastly, translators should ensure the political correctness in the translation of political discourse using their knowledge reserves. Many countries have such sensitive issues as appellation, ethnicity, religion, sovereignty and territory. These are the "minefields" of political translation. When translating, one must handle it carefully and respect the language and cultural habits of the other party, otherwise it will easily lead to "translation storm" and affect the "political equivalence" of translation. (Yang Mingxing 2008, 05)

===6. Translation Strategies under The Standard of Political Equivalence===

Under the guidance of the standard of "political equivalence", the following translation strategies are provided for reference on the characteristics of Chinese political discourse.

(1) Characteristics of Chinese political discourse

Affixes are often seen in Chinese political discourse such as “化” in "现代化" and "城镇化", so are abbreviations like "‘十四五’规划", "四个自信", etc., and four-character phrases such as "和平共处", "和而不同", etc. Besides, metaphor is also used frequently in Chinese political discourse such as "‘老虎’、‘苍蝇’一起打", among which "老虎(tiger)" and "苍蝇(flies)" refer to officials accused of bribery and corruption. Therefore, how do we translate these words that have Chinese language characteristics but need us to take their political implications as consideration? Pointing at these characteristics, some scholars have proposed specific translation strategies based on the "political equivalence"standard.

(2) The strategies of supplement and omission for affixes, four-character phrases and abbreviations(Wu Jing 2014, 30)

① supplement

The supplement strategy is to add words appropriately in the translation so as to convey the meaning of the original text accurately. When Chinese political terms are translated for foreigners, this strategy is mainly applicable to two situations. Firstly, the abbreviation, which is a refined utterance of many political words for the convenience of memory. When the target language users don’t have relevant knowledge or language background about those abbreviations, supplementary explanation plays its role. Secondly, four-character phrases. Four-character phrases are typical examples of Chinese expressions. In order to conform to the expression habits of the target language, these condensed words should be supplemented and explained so that the audience can understand the meaning of the original text correctly.

The strategy of supplement can be applied to the following situations: firstly, supplementing relevant knowledge background. For example, “‘十四五’规划”is translated by China Daily as “the 14th Five-Year Plan(2021-2025) for economic and social development”. In the translation, “十四”is translated as “the 14th” and“五” is translated as “Five-Year”, which adds category words to those numbers and time horizon as well as the nature of the plan to the content; Secondly, supplementing detailed content to abbreviations. For example,“四个自信”is translated as “confidence in the path, theory, system and culture of socialism with Chinese characteristics.”

②Omission

English and Chinese belong to two kinds of language families, having great differences from vocabulary to the sentence structure, expression ways, etc. There are quite few equivalent words in the two languages, so in order to make the translation smoother and be more in line with the expression ways of the target language, translator can use the strategy----omission, namely omitting those expressions without practical significance but hindering translation work, on the basis of being faithful to the original text.

The strategy of omission is often used in the process of translation from Chinese to English, and the translation of Chinese political terms is no exception. For emphasis, Chinese political leaders often use parallel sentences or repeated words, so we can omit those repeated words in the translation. For example, “治理赤字、信任赤字、发展赤字、和平赤字仍然在扩大。”can be translated as “Governance, trust, development and peace deficits continue to grow.” In addition, there are situations where multiple sentences express the same meaning, in which omission is also available without changing the meaning. For example, “改善人民生活，增进人民福祉。”can be translated as “improve people’s livelihood”.

(3) Translation strategies for metaphor

Metaphor refers to the use of known figurative concepts to explain abstract concepts in diplomatic discourse. The translation standard and strategies of metaphor are determined by their inherent special attributes, which are not only the key factors to select their translation strategies, but also the important yardstick to test whether those strategies are applicable(Yang Mingxing, Zhao Yuqian 2020, 41). Metaphor is an objective phenomenon that has existed in political discourse for a long time. Its special attributes are reflected in political discourse, such as high political sensitivity, high cultural load and strong national characteristics. In view of the strong political sensitivity of diplomatic discourse, plain and direct words in political discourse is often empty of words, which is difficult to produce obvious communicative effect in foreign relations. In most cases, metaphorical discourse can be used to imply and disseminate a country's diplomatic ideas, attitudes and positions to achieve better communication effects (Yang Mingxing, Zhao Yuqian 2020, 41).

Through reading relevant papers, this chapter finds that the translation strategies proposed by scholars for metaphorical rhetoric in political discourse are mainly as follows(Long Xinyuan, Li Qiuxia 2020, 27):

① Literal translation of the metaphorical entities

Although English and Chinese belong to different language families, and the cultural background and geographical area on which they live are also different, language is created by human beings, and human emotions always have something in common. At the same time, human beings live in the same world, especially in an increasingly integrated world like today, where the communication between human beings and the collision between cultures are inevitable. As a result, we are becoming more tolerant and understanding of different cultures and languages. When translating metaphorical words with cultural characteristics, we can render the metaphorical words in literal translation under the condition that the audience can understand them correctly, which is easier to arouse emotional resonance and cultural identity.

For example, “新时代的长征路” is translated as "Long March of the new era". The original text compares China's development path in the new era to the new Long March. In Chinese history, the Long March was a bloody road trodden by the communist party of China to save the country and its people. On the one hand, the literal translation of "The Long March" retains the historical allusions used in the original text, so that the audience can understand its meaning only by a simple association. On the other hand, it is more conducive to show the national spirit of China.

② Substitution of the metaphorical entities

After all, the differences between languages far outweigh the similarities, so sometimes adopting literal translation in the text by using metaphor does not make the audience clear, but may mislead the reader. However, different metaphorical entities are often used to express the same abstract concept between Chinese and English. At this time, in order to make the audience better understand and accept the original metaphor, translator can replace the original metaphorical entities with those referring to same thing in the target language, which can also improve the external communication effect of Chinese political discourse.

For example, Foreign Ministry spokesman Hua Chunying once said:”The US wants to make China a scapegoat(对于美国的花式‘甩锅’，我们不想接也不能接。).”“甩锅”is an internet buzzword in China used to vividly express the meaning of shifting the blame onto someone else. And the word“scapegoat” originates from an allusion in the Bible which has the same meaning with the Chinese word “甩锅”(Yang Mingxing, Zhao Yuqian 2020, 41), so translator made a conversion between the two words. In this way, English readers can better understand the political connotation of the original sentence. However, if adopting literal translation, English readers will not understand it.

③literal translation+explanation

In some other cases, where either literally translating those metaphorical entities or using corresponding ones to substitute them cannot eliminate the language barrier caused by cultural differences, then translator can adopt the strategy of “literal translation + explanation”, which is to literally translate the metaphor entity and then add explanation to it. In this way, the translation not only maintains the cultural characteristics of the source language while enabling English readers to be clear with the meaning of them, but also contributes to the spread of Chinese culture to the outside world.

For an instance, “不能腐的笼子越扎越牢”is translated as “the cage of institutions that prevents corruption has been strengthened”. The Chinese words “笼子”refers to the strict management institutions against corruption set up by the Chinese government. Comparing the institution to the cage makes the action of fighting against corruption become more vivid. However, for English readers, it is hard to understand the original political connotation according to a simple word “cage”, so translator needs to add some explanations like “the cage of institutions that prevents corruption.” As a result, the meaning is clear and vivid.

④abandoning the figurative body and translate its connotation directly

Metaphor, as a figure of speech, is highly culture-loaded, while political discourse is a kind of words with high political sensitivity. These characteristics make the translation of Chinese political discourse more difficult, and it is inevitable that translators may encounter the situation where they cannot easily balance and take all these characteristics into consideration. At this time, the translator should choose to abandon the figurative body and keep the metaphorical meaning, after all, it is the first ipriority to convey the correct political implication.

For example, “保障‘米袋子’、‘菜篮子’安全”is translated as “ensure the security of grain supply and non-staple food supply”,among which the Chinese words “米袋子(rice bag)”and“菜篮子(vegetable basket)”refer to major grain supply and non-staple food supply respectively. Since rice is the staple food in most parts of China while vegetable is the complementary food, such a metaphor is very vivid and down-to-earth. However, it's hard for foreigners to understand the meaning of "rice bag" or "vegetable basket" without a similar living environment, so we have to discard the original figurative body and translate its meaning directly.

===7. Conclusion===

From the summary of the above-mentioned translation strategies pointing at different situations in translating Chinese political discourse, it can be seen that every strategy follows the three principles under the standard of "political equivalence” ---- political, balance and dynamic. Every translation strategy takes the correct transition of the political implications of the original text as the first rule, namely being political; and then keeps the cultural or linguistic characteristics of the original text as much as possible, namely keeping balance; additionally, adopting appropriate translation strategies according to different contexts or situations, namely being dynamic.

The translation of political discourse has its unique characteristics and is of great importance, so it is necessary to be careful in choosing translation strategies. Translators should not only have high linguistic literacy and fair political standpoint, but also keep up with current events, correctly and fully understand the political meaning of the original text, and make specific analysis according to different contexts and occasions to adopt the most appropriate translation strategies.

===8. References===

楚行军. 中国政治话语翻译研究二十年(2000—2019)[Studies on the Translation of Chinese Political Discourse over the past 20 years(2000-2019)]——基于中国知网的分析[J]. 焦作师范高等专科学校学报,2020,36(03):24-27+40.

吴静. 基于“政治等效”的中国政治新词翻译策略解析[An analysis of translation strategies of Chinese new political terms on the basis of "political equivalence"][J]. 兰州文理学院学报(社会科学版),2014,30(01):95-98.

龙新元,李秋霞. “政治等效+认知趋同”：认知翻译观视阈下的政治文本翻译研究["Political Equivalence + Cognitive Convergence" : A Study of political Text translation from the perspective of cognitive Translation][J]. 天津外国语大学学报,2020,27(05):104-120+161.

杨明星. 论外交语言翻译的“政治等效”——以邓小平外交理念“韬光养晦”的译法为例[The application of "Political Equivalence" in diplomatic Language Translation -- Taking Deng Xiaoping's diplomatic idea "韬光养晦" as an example][J]. 解放军外国语学院学报,2008,(05):90-94.

杨明星,闫达. “政治等效”理论框架下外交语言的翻译策略——以“不折腾”的译法为例[Translation strategies of diplomatic language under the framework of "Political Equivalence"-- Taking the translation of "韬光养晦" as an example][J]. 解放军外国语学院学报,2012,35(03):73-77.

杨明星,齐静静. 外交修辞的复合性翻译标准:“政治等效+审美再现”——以国家领导人外交演讲古诗文为例[The composite translation standard of diplomatic rhetoric: "Political equivalence + aesthetic reproduction" -- taking the ancient poems and essays in diplomatic speeches of national leaders as an example][J]. 中国外语,2018,15(06):89-96+109.

杨明星,赵玉倩. “政治等效+”框架下中国特色外交隐喻翻译策略研究[A research on translation strategies of metaphors in diplomatic discorses with Chinese characteristics under the framework of "Political Equivalence plus"][J]. 中国翻译,2020,41(01):151-159+190.

杨明星,张琰. 中英外交翻译中“政治等效”与话语平等辩证关系分析——从马戛尔尼使华到共建“一带一路”(1792-2019)[Dialectical relationship between "political equivalence" and discourse equality in diplomatic translation between China and Britain -- from macartney's mission period to "One Belt And One Road" period(1792-2019)][J]. 上海翻译,2020,(05):24-29+94.

==Classification, Chinese translation methods and Strategies of Russian Proverbs - 张虎 Zhang Hu 202020080666 俄语语言文学==

<center>张虎 Zhang Hu 202020080666</center>

===Abstract===

Russian proverbs are produced under the specific cultural background and have rich cultural connotations. They are an important part of Russian language and culture. However, there are great cultural differences between Russian and Chinese, and the language forms of Russian and Chinese proverbs have their own characteristics. This chapter attempts to classify Russian proverbs and explore the translation methods and Strategies of Russian proverbs.(This chapter only discusses the Chinese translation of Russian proverbs and the English translation of proverbs is for reference only.)

===Key words===
Russian proverb，classification，Chinese translation methods，translation strategies

===题目===
俄语谚语的分类、汉译方法及策略

===摘要===
俄语谚语于特定的文化背景下产生，具有丰富的文化内涵，是俄语语言文化的重要组成部分。而俄汉两族文化差异较大，俄汉谚语语言形式各具特色，俄语谚语的翻译问题成为一个难题。本文试对俄语谚语进行分类，探究俄语谚语的翻译方法及翻译策略。

===关键词===
俄语谚语；分类；汉译方法；翻译策略

===1.Introduction===
Proverbs are a genre of folk literature（Wang Yanrong 2013,114) , and they are simple, popular and meaningful fixed sentences commonly used by the people. Generally speaking, proverbs are rhythmic in form, including various life phenomena in content, rich in educational significance, vividly reflecting the cultural connotations and characteristics of a nation, and are the result of wisdom of the broad masses of people and the essence of a national language（Zhou Changyu 2006,5). Therefore, understanding proverbs is an effective way to understand a nation. Proverbs of different nationalities have their own characteristics. The translation of proverbs among different nationalities has become an important issue in translation studies. This chapter attempts to explore the translation methods and principles of Russian proverbs.

===2.Classification of Russian proverbs===
The formation of Russian proverbs is inseparable from the production, life, customs, religion, culture and history of the nation, and has a distinctive national style. The Russian and Chinese languages belong to different language systems, and there is a big difference in the way of expression. In order to fully understand Russian proverbs and grasp the translation methods of Russian proverbs, this chapter first compares Russian and Chinese proverbs, and divides Russian proverbs into three categories based on the degree of consistency between Russian and Chinese proverbs, namely “complete consistency” and “partial consistency” and “complete inconsistency”（Wang Yanrong 2013,114).

====2.1 Complete consistency====

"Complete consistency" means that Russian proverbs and Chinese proverbs are completely consistent in terms of thinking and figurative meaning. Such Russian proverbs can be found in Chinese that fully correspond to them. The number of such proverbs is relatively small, but they reflect the cultural commonality between the Russian and Chinese languages, indicating that the two peoples are similar in cognitive mode, thinking mode and personality characteristics between the two countries(Chen Ying 2000,89/Wang Yanrong 2013,114).

For example, there is an ancient Chinese proverb in the Biography of Zhao Chongguo, The History of the Former Han Dynasty in ancient my country “百闻不如一见.” The meaning of this sentence is “it is better to see once than to hear a hundred times,” which expresses that hearing more is not as reliable as seeing it. And there is a widely used proverb in Russian “Лучше один раз увидеть, чем сто раз услышать.(Jia Shufen 1996,146)” They are completely consistent and show that the people of the Russian and Han ethnic groups have the same understanding of the importance of “seeing with their own eyes.”

Another example is “Из искры возгорится пламя” in Russian. It was first written by Decembrists, famous Russian poet, A. I. Odoevsky(А. И. Одоевский) in reply to Pushkin’s support of Decembrists’ revolution, and was later written by Lenin. The application in Iskra is well known and circulated. The Chinese counterpart “星星之火, 可以燎原(A single spark can start a prairie fire)” is widely known and become a proverb because of Mao Zedong's articles(Chen Ying 2000,89).

Similarly, "Беда не приходит одна." and "祸不单行(Misfortune never come alone)(Jia Shufen 1996,6)", "Сытый голотного не разумеет." and "饱汉不知饿汉饥(Fatty people do not know hungry people are hungry)(Jia Shufen 1996,378)", "Близкий сосед лучше дальней родни." and "distant relatives are not as good as neighbors", “Одно дерево - не роща, одна птица - нестая” and "孤树不成林，孤鸟不成群(A single tree does not form forests, a lone bird does not form flocks)(Wang Jinhua,Zhang Li 2006,76)", etc., are completely consistent in image and meaning.

====2.2 Partial consistency====
"Partial consistency" means that Russian proverbs are the same or similar in thinking, cultural image or meaning to Chinese proverbs. Such Russian proverbs can find corresponding or related proverbs in Chinese to a certain extent. The large number of such proverbs reflects the differences in the understanding of different things and phenomena between nations(Chen Ying 2000,89/Wang Yanrong 2013,114).

For example, the Russian proverb "Расти как грибы после дождя" means "grow like mushrooms after rain", which means that things develop rapidly. Due to factors such as geographical location and natural environment, Russia is rich in mushrooms, and mushrooms grow rapidly after rain in Russia. In the same way, our country's "雨后春笋(bamboo shoots in spring)" have also grown rapidly, becoming a proverb that expresses the rapid development and emergence of things(Chen Ying 2000,90). This pair of Russian and Chinese proverbs uses the same thinking mode and different cultural images to express the same meaning.

Another example is the Russian proverb "Первый блин комом." It means that the first time you make a cake, you will always make a dough, which means that the first attempt is always easy to fail. The "блин" in the proverb is the unique Russian food "Russian pancake", which reflects the distinctive national characteristics. In Chinese, the proverb "三脚难踢，开锣的戏难唱(It's hard to kick the first three feet, and it's hard to sing the gongs)" uses images such as "三脚(three feet)" and "开锣的戏(plays with gongs)" to express that things are difficult at the beginning of attempts, and that "万事开头难(everything is difficult at first)" meaning. The two are very similar in their embodied meanings.
Some other examples included in this category are:

(1)Два медведя в одной берлоте неуживутся. 一个洞穴中不会住两只熊(Two bears in one berlot won't get along)(Lei Yumei 2014,114).

(2)И Москва несразу строилась. 莫斯科不是一下就建成的(And Moscow was not built immediately)(Chen Ying 2000,89).

(3)Гром не грянет, мужик не перекрестится. 不打雷，农夫不祷告(Thunder won't strike, the man won't cross)(Yang Min 2017, 202).

(4)Скарть со стола, и дружба сплыла.桌布一撤，友谊全无 (Scrap off the table and friendship floated away)(Lei Yumei 2014,114).

These Russian proverbs correspond to the Chinese "一山不容二虎(The mountain cannot accommodate two tigers)", "一口吃不成个胖子(You can't make a fat man with one bite)(Chen Ying 2000,90)", "临时抱佛脚(Temporary holding a Buddha's feet)", and "人走茶凉(No sooner has the person gone away than the tea cools down)(Lei Yumei 2014,114)". These sets of corresponding Russian and Chinese proverbs have different cultural images, but the meaning is the same.

====2.3 Complete inconsistency====
There are some Russian proverbs that have nothing to do with Chinese proverbs either in image or meaning. Such Russian proverbs can be classified as "completely inconsistent"(Chen Ying 2000,89/Wang Yanrong 2013,114). The Russian and Chinese ethnic groups have their own unique national cultures. The differences in political economy, geographical environment, climate characteristics, vegetation, animals, historical allusions, living customs, religious beliefs, etc. have given birth to a series of ethnic proverbs(Yang Min 2017, 200).

For example, the literal translation of the Russian proverb "Дело-табак" is "事关烟草（it's about tobacco.）" What does it mean? It turned out that the boatmen on the Volga River used to hang tobacco bags around their necks to prevent the tobacco from getting wet. This sentence was used to remind people that the water depth is close to the neck. It has now been used to express "things are bad, the situation is not good". (Chen Ying 2000,90)

Another example is the Russian proverb "Хвалилась синица, что море зажжет." literally translated as "山雀吹嘘要把大海点燃(The tit boasted to light the sea)". This proverb comes from an allusion in Krylov’s fable: "The tit yelled everywhere that it was going to burn the sea. The news reached the animals' ears. Everyone ran to see the result, but the sea did not dry up. Everyone ran to see the result, but the sea did not dry up. "This proverb satirizes those who like to brag, but can't get things done. Such ethnic-specific proverbs are sometimes difficult to understand, and it is necessary to trace their roots to understand their meaning(Zhou Changyu 2006,40).

These three types of Russian proverbs and Chinese proverbs have different levels of consistency in content, and the degree of difficulty of understanding also varies. Therefore, in the translation process, it is necessary to select one or a combination of multiple translation methods for translation according to different proverb classifications to achieve the purpose of "prescribe the right medicine".

===3. Chinese translation methods of Russian proverbs===
Chinese and foreign translation theorists have put forward different opinions on translation standards. From Yan Fu's "Faithfulness, Expressiveness, and Elegance" to Qian Zhongshu's "Concept of Transcendence"; from Qu Qiubai's "Concept of Equivalence" to "Functional Equivalence" by the famous American translation theorist Eugene A•Nidar Or "dynamic equivalence". We can see that the central point in their proposition is that the translation should faithfully express the meaning of the original text and reflect the appearance of the original text(Sheng Yichao 2009,110).

On the basis of this important point of view, we analyze the classification of Russian proverbs and apply various methods comprehensively in order to obtain a more perfect translation. Specifically, there are the following methods: translation method, set translation method, literal translation method, free translation method, borrowed translation method, and added word and annotation method(Zhou Changyu 2006,40).

====3.1 Equivalent translation(对译法)====
"Equivalent translation" is directly using Chinese proverbs corresponding to Russian proverbs for translation. When using this translation method, the information conveyed by the literal and image meanings of Russian and Chinese proverbs should be the same. This translation method can correctly convey the pragmatic information contained in the image of the original language, enhance the readability of the translation, while completely retaining the rhetorical color of the original language, so that readers can understand the original text most accurately(Zhou Changyu 2006,40).

This translation method is applicable to the "completely consistent" Russian proverbs mentioned above. For the Russian proverbs listed in 1.1, the existing proverbs in Chinese proverbs can be directly used as translations, and for example:

(1)Век живи, век учись. 活到老,学到老。(Live and learn.)

(2)Капля камень точит. 滴水穿石。(Constant dripping wears away a stone.)

(3)Куй железо, пока горячо. 趁热打铁。(Strike while the iron is hot.) (Jia Shufen 1996,135)

====3.2 Corresponding and literal translation====

In the Translatology Dictionary , the translation method “corresponding” is interpreted as the mutual translation of synonymous idioms. If the content, form, and rhetoric color of the target language roughly match the target language, then it is possible to adopt this method(Fang Mengzhi 2003,111). If the images and metaphors are the same or similar, this translation method is more appropriate; while the literal translation method is based on the form of the original text, which retains the metaphor, image and national characteristics of Russian proverbs. These two methods can be used simultaneously in translation practice.

“Corresponding” is suitable for the translation of "partially consistent" Russian proverbs introduced in 1.2 of this chapter. "Partially consistent" Russian proverbs can be found in Chinese with corresponding proverbs with different images but the same or similar meaning. At this time, if the “equivalent translation” is adopted, readers will be misunderstood and the translated language will lose the national characteristics of Russian proverbs. Therefore, when translating such proverbs, the original image should be kept as much as possible and the expression form of Chinese proverbs should be used. In addition to the examples already mentioned above, there are similar ones:

(1)Ложка дёгтю в бочку мёду. 一勺焦油坏了一桶蜜(A spoonful of tar breaks a bucket of honey), referring to the Chinese proverb "一粒老鼠屎坏了一锅汤(A mouse poop breaks a pot of soup)"(Jia Shufen 1996,145)

(2) Нет дыма без огня. 无火不生烟(No fire, no smoke)， refers to the Chinese proverb "无风不起浪(No wind, no waves)"(Jia Shufen 1996,240).

(3) Шила в мешке не устаишь. 口袋藏不住坠子(Pendant cannot be hidden in the pocket）, refers to the Chinese proverb "纸包不住火(Paper cannot keep fire)"(Jia Shufen 1996,303).

Such Russian proverbs refer to the expression form of Chinese proverbs. On the basis of retaining the language structure characteristics of Russian proverbs, they do not lose the national cultural characteristics of Russian proverbs. They are successful translations. “Corresponding” uses the expression form of Chinese proverbs to make the translation easier to be accepted by readers. While using the translation method “corresponding”, in fact, the literal translation method is also used. The two are closely combined to maximize the original image and style(Zhou Changyu 2006,39).

====3.3 Free translation and loan translation====
The national cultures of China and Russia are quite different. When Russian proverbs and Chinese proverbs use completely different figurative images, the figurative images in the literal original text will make the translation difficult to understand and accept, or cause misunderstandings. Using “corresponding” to translate Russian proverbs may cause deviation in understanding. In order to accurately convey the meaning of the original text, free translation can be used for translation at this time. Free translation refers to a translation method that readjusts the structure of the original text on the basis of the meaning of the original text and expresses the meaning of the original text clearly in a new way of expression.

For example, the Russian proverb "Язык до Киева довезёт. 舌头（语言）把你带到基辅。(The tongue (language) brings you to Kiev)" Kiev is an ancient city in the former Soviet Union. In ancient times, Kiev was called the mother city of the Russians and one of the most famous cities (Chen Ying 2000,90). Therefore, as long as you ask for directions, you will find Kiev. Therefore, this Russian proverb actually emphasizes the importance of "язык". The literal translation will obviously make readers puzzled. However, it can be translated as "有嘴走遍天下（With a mouth to travel all over the world）" through free translation, which is more appropriate and easy to understand(Zhou Changyu 2006,39).

"На воре шапка горит(Jia Shufen 1996,176)." is literally translated as "小偷的帽子着火(The thief's hat is on fire)". If you don’t understand the source of the proverb, you cannot understand its meaning. This proverb originated from a story: Someone found a thief stealing, so he shouted in the crowd, "The thief's hat is on fire." When the thief heard it, he involuntarily looked at his head and exposed himself and was arrested. . Through free translation, this proverb can be translated as "the thief has a guilty conscience", so that the meaning of the original text can be more accurately conveyed to the reader(Zhou Changyu 2006,39).

There are always commonalities and individualities in Russian and Chinese national cultures. Therefore, as mentioned in 1.2, there are cases where Russian and Chinese proverbs express the same or similar meanings in different cultural images. In this case, when the differences between Russian and Chinese proverbs are too prominent, you can also consider loan translation to translate, that is, by analyzing the internal meaning of Russian proverbs, borrowing Chinese proverbs with different images but expressing the same meaning for translation(Zhou Changyu 2006,39). E.g:

(1) Семь раз примерь, один раз отрежь.三思而后行(Jia Shufen 1996,345)。(Look before you leap.)

(2) Всякая лисица свой хвост хвалит. 王婆卖瓜，自卖自夸(Jiang Xiuhua 1999,166)。(Every cook praises his own broth.)

(3) Горбатого могила исправит. 禀性难移。(Human nature is hardly changed.)(Ye Fanglai 1987,102)

Using this translation method, the translation is not exactly the same as the original, and the content and form of the two are also very different. This distinguishes the loan translation method from the equivalent translation counterpart translation method and the “corresponding”. In fact, the loan translation method can be regarded as a variant of the free translation method, because the loan translation is actually an expression made by re-adjusting the structure of the original text on the basis of understanding the meaning of the original text. But it should also be distinguished from free translation, because the loan translation method borrows the proverbs already in Chinese. This method has lost the image in the original proverb and cannot be called a perfect translation method. It should be avoided as much as possible(Zhou Changyu 2006,39).

====3.4 Addition and annotation====

Addition and annotation are compensatory translation methods, which supplement and reveal the cultural information in the original text.(Wang Yanrong 2013,114), the two explanations in the translatology dictionary are "to add some words according to the needs of semantics, rhetoric or syntax in translation, so as to faithfully and smoothly express the ideological content of the original text." And a translator's compensation method in order to fully express the original semantics and style in the process of translation is to help achieve the equivalence of translation. (Fang Mengzhi 2003,111)

Many Russian proverbs may produce pragmatic failure after literal translation. In order to avoid this failure, we can use the method of adding words or adding notes to introduce the image and cultural background of the original text in the form of annotation. This method makes the translation more vivid and intuitive, while retaining the image of the original text, showing the national characteristics of Russian proverbs(Zhou Changyu 2006,39).

For example, the Russian proverb "И на солнце есть пятна." is literally translated as "太阳上也有黑点。(There are black spots on the sun.)" This translation is obviously difficult for readers to accept and understand, but if the Chinese proverb "金无足赤，人无完人(Gold can't be pure and man can't be perfect.)" with the same meaning is added after it to reveal its connotation, “太阳上也有黑点—金无足赤，人无完人。(There are also black spots on the sun—Gold can't be pure and man can't be perfect.)” This form of translation can allow readers to understand the meaning of the proverb clearly and keep the original image in Russian proverbs(Zhou Changyu 2006,40).

Another example is "В Тулу со своим самоваром не ездят." literally translated as "不要带着茶炊去图拉。(Don't take a samovar to Tula.)" This Russian proverb has a strong Russian national color. Tula was once famous throughout the country for the production of samovars, and was the center of Russia's metallurgical industry and metal manufacturing. Taking the samovar to Tula, which is rich in samovars, actually means "make an unnecessary move". This proverb is very vivid. Russians can naturally understand and understand its meaning, but as Chinese readers who do not understand Russian culture, it may be difficult to understand the literal translation of this proverb.

Therefore, this proverb can be translated as "带着茶炊去图拉—多此一举(Bring a samovar to Tula--make an unnecessary move)", or add a note in brackets: "Tula is famous for making samovars." In this way, readers can not only understand the meaning of proverbs, but also intuitively feel the cultural elements of Russia. It can said as killing two birds with one stone(Zhou Changyu 2006,40). This translation method is often used in the situations described in 1.3. Examples also include:

（1）За двумя зайцами погонишься ни одного не поймаешь. 一人追双兔，到头两手空—一心不可二用。(One man chases two rabbits, and in the end two hands are empty--no man can do two things at once.)

（2）На языке мёд а в сердце лёд. 嘴上甜似蜜,心里冷若冰—笑里藏刀。(Sweet as honey on the mouth, cold as ice in the heart--hide a dagger in a smile.)

The above-mentioned several Chinese translation methods of Russian proverbs have their own advantages and disadvantages. In the practice of Russian proverb translation, we should not be limited to one of them. We should make a specific analysis according to the specific situation, flexibly use different translation methods, and learn from others' strong points, so as to achieve a harmonious translation.

===4. Translation strategies of Russian proverbs===

Russian proverbs are concise in language, rich in meaning, vivid in image, beautiful in rhythm and strong in national color. It is not easy to translate them into Chinese accurately and vividly. In the practice of Russian proverb translation, we should pay attention to the translation strategies in addition to the flexible application of various translation methods.

====4.1 Trace the origin and accurately interpret====
There are great cultural differences between Russian and Chinese. When interpreting Russian proverbs, translators are likely to stay on the surface of the text and interpret the meaning from the text, resulting in misunderstanding and translation errors. Therefore, when translating Russian proverbs, especially those with historical or national background, we should carefully examine their allusions, trace back to the source, and accurately interpret the hidden meanings of proverbs.

For example, the Russian proverb "Недосол на столе, а пересол на спине." is literally translated as "菜淡了在桌上，菜咸了在背上。(The dish is light on the table, and the dish is salty on the back.)" This proverb can be traced back to the time of serfdom. Salt was a very valuable thing at that time, and those who wasted salt will be punished. Russians usually have salt shakers on their tables. If the dishes are weak, you can add salt at will, but if they are salty, the cook will be punished by whipping his back. Therefore, the basic meaning of the proverb is that if the dish is cooked, salt can be added, and if the dish is salted, the cook will be beaten. (Ma Weiqun, Zhang Xiaoyun 2008,149)
However, this proverb was once translated as "多一事不如少一事(One thing more is worse than one thing less)" or "宁缺毋滥(It is better to leave a deficiency uncovered than to have it covered without discretion)". This kind of translation is obviously not appropriate. It is "taking the words too literally" without understanding the historical background(Ye Fanglai 1987,101).

Similar proverbs include "Была бы спина, а то будет вина." literally translated as "只要有脊背，就会有过错(As long as there is a back, there will be fault)" , this Russian proverb also contains the cultural image of "back". As mentioned above, whipping the back was a common punishment method at that time. At the same time, since the whipped person violated the discipline, not the law, there was a certain degree of randomness in determining the punishment object and the degree of punishment. (Sheng Yichao 2009,110)

Therefore, this proverb actually expresses the meaning of "欲加之罪，何患无辞(Give a dog a bad name and hang him)". If you don't know Russian history, you can't understand the meaning of this proverb. Therefore, it is very important to study the allusions of proverbs and understand their deep cultural meanings.(Sheng Yichao 2009,110)

====4.2 Retain characteristics and respect national culture====
Proverbs are the cultural crystallization of a nation and have distinctive national characteristics. When translating Russian proverbs, attention should be paid to the comprehensive use of multiple translation methods, to maximize the retention of national characteristics, not only to restore the original image and style, but also to reflect the national cultural connotation, while taking into account the reader's understanding and acceptance. At this time, we may use the methods of addition and annotation mentioned above, and try to avoid over-domestication of Russian proverbs, and respect the national culture. We should analyze it in the specific original text and translate it flexibly(Zhou Changyu 2006,42).

For example, the Russian proverb "Не всё коту масленица, бывает и великий пост." is literally translated as "a cat does not celebrate the festival of Marriage every day, and it always has a Lent." Readers who do not understand the Russian national culture may not understand the meaning of this proverb, if you add a comment at this time, “In Russian festivals, the 7-day Maslenitsa can best reflect the traditions of the Russian nation. (Sheng Yichao 2009,110)

The “Ross-Robs Festival” originated from the Orthodox Church. The 40-day fast in the Orthodox During the period, people are forbidden to eat meat and entertainment. Therefore, in the week before the start of Lent, people indulge in joy and every family pay close attention to eating meat to make up for the ascetic life during the fast period."If the background cultural knowledge contained in the proverb is revealed, readers will be able to more clearly understand the meaning of the proverb "good times will not last long, and a feast is hard to come by".(Sheng Yichao 2009,110)

Another example is the proverb "Не учи рыбу плавать. 不要教鱼儿游泳(Don't teach fish to swim)". Some people have translated the proverb as "不要班门弄斧(Don't go to teach hewing to the God of Carpenters)". This translation borrowed and translated the image in the original text into a well-known allusion(“班门弄斧”) image in Chinese people. The distortion of the cultural connotation in proverbs is excessive domestication, so it is not appropriate.(Zhou Changyu 2006,42)

====4.3 Pay attention to expression and focus on language use====

On the one hand, as a unique language form, proverbs are popular among the people, and they are a kind of spoken language style with the characteristics of spoken language style. Therefore, in the translation of Russian proverbs, the characteristics of easy to understand and easy to speak should also be reflected in the translation; On the other hand, as the famous Russian linguist A. A. Potebnya（А. А. Потебня） said, proverb “is a short literary work”. Proverbs are also a kind of folk literature, which is actually a literary form. We should pay attention to the aesthetic characteristics of proverbs in translation(Zhou Changyu 2006,43).

For example, if the proverb “Не учи рыбу плавать.” mentioned above is translated as “不要教鱼儿游泳(Don’t teach fish to swim)”, obviously the literal translation method will accurately retain the original metaphorical image while retaining the colloquial nature of the proverb. It is easy to understand and the translation of "不要班门弄斧(Don't go to teach hewing to the God of Carpenters)(“班门弄斧”is an Chinese allusion)" is blunt and overly written(Zhou Changyu 2006,43).

Another example is "Слово серебро, молчание золото" literally translated as "雄辩是银，沉默是金(eloquence is silver, silence is gold)" to express the phonology in the original text very well and make people read it catchy. If the Chinese proverb "是非只为多开口，烦恼皆因强出头(Right and wrong just for more mouth, worry all because of strong)", although the meaning is the same, it loses the metaphorical image and popularity of the original text; as for the aesthetic characteristics, the translation of the Russian proverb "Красна птица пером, а человек умом." "鸟美在羽毛，人美在头脑(The beauty of birds is in the feathers, and the beauty of people is in the mind.)" This translation adopts the method of literal translation, while preserving the original image, it also restores the structure of the original text and the rhetorical symmetry, which conforms to the aesthetic characteristics of the original text(Zhou Changyu 2006,44).

===5. Conclusion===
In short, Russian and Chinese are two very different languages, and the proverbs of the two ethnic groups also have their own characteristics in language form. The translation must take into account the unique style, connotation and meaning of the original text at the same time, while maintaining the fluency of sentences, perfect expression, and achieving the harmony and unity of sound, rhyme and meaning. It is by no means easy, and it is a major test for translators. Translators should not only have a thorough understanding of the original text and the cultural background of the original text, and be proficient in tempering words, but also should flexibly use various translation methods, master translation strategies, and strive to accurately express the profound meaning of Russian proverbs.

===6. References===
[1]Jia Shufen.贾淑芬.(1996). 简明俄汉语谚语词典[A Concise Dictionary of Russian and Chinese Proverbs]. 辽宁大学出版社[Liaoning University Press].

[2] Ye Fanglai.叶芳来.(2005) 俄汉谚语俗语词典[A Dictionary of Russian and Chinese Proverbs].商务印书馆[The Commercial Press].

[3] Yang Min.杨敏.俄汉谚语翻译中的形象处理.(2017).[Image processing in the translation of Russian-Chinese proverbs]. 文化学刊[Journal of Cultural Studies]200-203.

[4]Wang Xingsong王兴松. (2016). 浅谈俄语谚语的翻译.[On the translation of Russian proverbs].读书文摘[Reading Abstract]78.

[5]Lei Yumei.雷玉梅.(2014).文化视角下的俄语谚语翻译.[Translation of Russian proverbs from a cultural perspective]. 边疆经济与文化[Frontier Economy and Culture]113-114.

[6] Ma Weiqun, Zhang Xiaoyun. (2008). 马为群，张晓云．谚语版俄语语法教程.[Proverbs Edition Russian Grammar Course]. 哈尔滨工业大学出版社.[Harbin Institute of Technology Press].

[7] Wang Yanrong.王艳荣.(2013).俄语谚语的翻译方法. [The translation method of Russian proverbs]. 安徽文学[Anhui Literature (second half of the month)]114.

[8] Zhou Changyu.周长雨. (2006).俄语谚语的汉译问题. [Chinese translation of Russian proverbs]. 哈尔滨工业大学.[Harbin Institute of Technology].

[9] Sheng Yichao.盛义朝.(2009).俄语谚语翻译初探. [A Probe into the Translation of Russian Proverbs]. 吉林省教育学院学报.[Journal of Jilin Province Education College] 110-111.

[10]Chen Ying.陈颖.(2000).从俄汉谚俗语的对译看民族个性. [Looking at the national personality from the translation of Russian and Chinese proverbs].黑龙江教育学院学报. [Journal of Heilongjiang Institute of Education]89-90.

[11]Wang Jinhua, Zhang Li.王金花,张丽.(2006).俄语谚语翻译中有关问题的探讨 [Discussion on Related Issues in Russian Proverb Translation]. 内蒙古财经学院学报(综合版)[Journal of Inner Mongolia University of Finance and Economics (Comprehensive Edition)]76-78.

[12]Yu Jun.于军.(2008).浅析俄语谚语及其汉译问题.[Analysis of Russian proverbs and their Chinese translation]. 考试周刊.[Examination Weekly]226-227.

[13] Ye Fanglai. 叶芳来. (1987).浅谈俄语谚语的翻译.[On the translation of Russian proverbs]. 郑州大学学报(哲学社会科学版).[Journal of Zhengzhou University (Philosophy and Social Sciences Edition)] 99-103.

[14] Jiang Xiuhua. 姜秀华.(2000). 俄汉语谚语在民族文化方面及修辞特点的对比.[Comparison of Russian and Chinese proverbs in terms of national culture and rhetoric characteristics]. 呼伦贝尔学院学报.[Journal of Hulunbuir University] 66-68.

[15] Hu Aimin.胡爱民.(1986).也谈俄语谚语和俗语的民族色彩.[Also on the national colors of Russian proverbs and sayings]. 外语与外语教学.[Foreign Languages Teaching]52-54.

==An Analysis of Liaison Interpreting from the Perspectives of Reception Aesthetics and Translator-Centered Theory 李璐伊 Li Luyi 202020080612 亚非语言文学==
<center>李璐伊 Li Luyi 202020080612 亚非语言文学 </center>

===Abstract===

In a time of increasing intercultural communication, the working scenes of liaison interpreters are increasingly complex, and the role of interpreters are still controversial. From the perspective of aesthetics of reception and translator-centered theory, this paper analyzes the role positioning of liaison interpreters in terms of customers' expectations on the role of interpreters and their own understanding of the role of interpreters, and develops corresponding strategies for different types of liaison interpreters.

===Keywords===
Liaison Interpreting；Positioning of Interpreter；Reception Aesthetics ；Translator-Centered Theory

===摘要===
在跨文化交际日益频繁的今天，联络口译译员的工作场景日益复杂，而其角色定位还存在争议。本文拟通过接受美学和译者中心论的视角分别从客户对口译译员的角色期待以及口译译员自身角色认识两方面分析了客户对口译员的角色期待和口译员对自身的角色定位，并针对不同联络口译类型制定了相应的应对策略。

===关键词===
联络口译；译员角色定位；接受美学；译者中心论

===1.Introduction===
====1.1.Research Background and Significance====

In a broad sense, where there is a society, there is intercultural communication, which usually refers to the communication activities carried out by people in different cultural backgrounds. With the acceleration of globalization in recent years, intercultural communication has become increasingly frequent and complex. Susan Bassinet once argued that translation is by no means a purely linguistic act, it is deeply rooted in the culture in which the language is spoken, and that translation is the communication within or between cultures.

This view is also reflected in his book ''Translation, History and Culture''“Translators are allowed more liberties on what one might be tempted to call‘the purely linguistic level,’ certainly if the translation is not meant to‘represent’ the original in the translators' culture, but simply to help translators refine their knowledge of their own language.”(Bassnett, Susan; Lefevre, Andre 1996,4).

As an important bridge in intercultural communication, interpreting is real-time, which requires interpreters to adjust their interpreting strategies in the new era to meet the increasing demand for interpreting.

Translation studies is a relatively young research field, the current translation studies work an obvious trend to written translation studies, with less attention in the study of interpreting, this is probably due to the earlier tradition of the translation studies -- In the past, people only discussed the translation strategies of literary classics. As for this point, some scholars have proposed before that "in terms of translation theory research itself, only written translation theory research is paid attention to rather than interpreting research, especially the study of specific problems in the process of interpreting by interpreters" (Liu Yingjun 2014,141- 143).

We believes that the reasons for this situation are as follows: first, the corpus of written translation recorded in the form of words are easier to preserve than the interpreted corpus, and the research is also easier to retrieve the corpus of written translation; Second, Culture-related content is more common in translation than in interpreting. In addition, at present, the entry point of interpreting studies on cultural issues in liaison interpreting is often limited to a specific interpreting setting. For example, Zhao Xiaomei makes an analysis of the role of medical liaison interpreters, and believes that interpreters should abandon the tradition of complete neutrality in the process of interpreting (Zhao Xiaomei 2020, 105- 108). However, different interpreting settings have different requirements for interpreters, so the study confined to a specific scene does not accord with the actual situation that interpreters must be in multiple settings to interpret.

In addition, many Chinese liaison interpreting studies are practice reports of MTI majors, lacking systematic theoretical discussion. Against such a background of translation studies, it is very necessary to study liaison interpreting from the perspective of receptive aesthetics and "translator-centered theory". The value of this study lies in: first, it provides a new theoretical perspective for liaison interpretation analysis; Second, it provides coping strategies to solve the cultural barriers of interpreting in intercultural communication.（Wang Shaolong 2020,39-40/Mao Zhen 2020,33-34）

====1.2.Definition of Liaison Interpreting====

Generally speaking, interpretation is divided into consecutive interpreting and simultaneous interpreting according to its working mode, while it is divided into two-way interpreting and one-way interpreting according to the direction of interpreting. The liaison interpreting we discuss here is a typical two-way interpreting. We generally believe that liaison interpreting is a kind of interpreting which is different from conference interpreting and has a variety of working scenes, and it's working mode is mainly consecutive interpreting. Henri van Hoof, when talking about liaison interpreting earlier, described it as an interpreting practice existing in business negotiations (Franz.Pǎchhacker 2010,12).

This is the early propositions which business interpreting is equivalent to liaison interpreting, and in the later long period of time has been recognized and widely used, but this description has obvious limitations. With the development of society and the diversification and complexity of interpreting settings, the connotation of liaison interpreting has been expanded to include various forms of interpreting within the society or within the community. Later, R. Bruce W. Anderson (1976/2002) generically described liaison interpreting as a "tripartite communication" model, which is characterized by the emphasis that liaison interpreting is an activity in which two monolingual speakers communicate through a bilingual interpreter (Franz.Pǎchhacker 2010,14).

Of course, this definition is more in line with the current practical understanding of liaison interpreting, but it is also difficult to distinguish the specific forms of liaison interpreting because of the high generality of its description. According to Anderson's point of view and the definition of conference interpreting, liaison interpreting is a "bilateral interpreting" within the society, rather than an international conference interpreting for representatives of several countries. Therefore, not only business interpreting, but also legal interpreting and guide-interpreting should be included in liaison interpreting.

====1.3.Research Method====

Based on the "reader-centered theory" of reception aesthetics and "translator-centered theory" of "Eco-translatology", this paper mainly adopts the method of literature research and takes liaison interpreters as the object to discuss customers' expectations on the role of interpreters and interpreters’ awareness of their own role, so as to seek interpreting strategies in different situations of liaison interpreting.

===2.Reception Aesthetics and Translator-Centered Theory===

====2.1.Reception Aesthetics====
Reception aesthetics, also known as reader-centered theory, is a critical approach in literary studies, developed in the 1960s by H.R. Jauss and Wolfgang. Iser. This theory is different from the previous critical method which is centered on author or works. It turns to the critical method which is centered on readers' aesthetic acceptance and aesthetic experience. Phenomenology and modern hermeneutics are the theoretical basis of reader-centered theory, and the term "reception aesthetics" was first introduced in Hans Robert Jauss's essay ''Literary History as a Challenge to Literary Theory'', which is a manifesto for reception aesthetics to become an independent school.(Jin Huxiong 2002, 264-267)

Izer once said, "Reception aesthetics advocates the reader's initiative and creative ability. Reading is not a passive perception but an active creative activity. The transformation of the reader's role can be said to be an epoch-making transformation in the development of literature"(Guo Hongan 1997，338-339).

There are several important concepts in reception aesthetics. The first is the "the horizon of expectations"， which Jauss coined. Jauss believes that due to the complex reasons of individuals and society, readers who are the subject of receiving literature often have established thinking orientation and concepts in their psychology before and during the process of literature reading.(Wang Tong 2020, 198-199)

The second concept is the "response-inviting structure", which was proposed by Iser. Iser considers the meaning of a text to be indeterminable, so the meaning of a text would never have been generated by itself, but there is a "text blank" in the text that only the reader can fill.(Jin Huxiong 2002,274)

"Text blank" can induce the reader to think aesthetically. Reception aesthetics in interpreting is reflected in that the success of a interpretation product largely depends on the response of the recipient to the work and whether the recipient has generated aesthetic pleasure, and the evocation of the text and the satisfaction of the recipient have become the criteria for evaluation of interpretation products. From the perspective of reception aesthetics, interpreting serves the recipient completely.

====2.2.Translator-Centered Theory====
The concept of "translator-centered theory" is closely related to "Eco-translatology" put forward by Professor Hu Gengshen. "Eco-translatology" is a new concept, and there are still many controversies and misunderstandings about it among Chinese scholars. In the opinion of Leng Yuhong, "If we want to construct a systematic and complete “Eco-translatology Theory”, the first thing to be overturned must be the 'translator-centered'!" (Leng Yuhong 2011, 72-73).

The main reason for his conclusion is that he has a misunderstanding of "translator-centered". Leng Yuhong believes that the "translator-centered" puts the "translator" above the "original text" and the "recipient", and takes the translator to an extreme like “translation-center theory”.

Some other scholars believe that, on the one hand, the "translator-centered theory" fails to break through the dichotomization of subject and object; on the other hand, it is interpreted from the perspective of concrete operation instead of philosophical reasoning. Therefore, it lacks an organic connection with the anti-centrism and equality core contained in the Oriental ecological wisdom.(Luo Dijiang 2017， 65)

Then professor Hu retorted, the "translator-centered" concept, in the process of translation is mainly reveals the "leading" role of the translator in the translation process, specifically refers to the translator in the translation process must first "adapt to" the ecological environment of translation, and then, the translator in according to the ecological environment of translation to decide on the "choice" of translation , which includes the translator "selective adaptation" and "adaptive selection" and so on, all the translation behaviors of translation activity is determined by translator, this is the core and intention of "translator-center theory . In other words, the translation system is pluralistic, and the translator should actively adapt to the environment in the process of translation, instead of destroying the relationship between each subject in the translation system to reach the dominant position. Professor Hu also emphasizes the distinction between "translator-centered theory" and "subjectivity" in order to emphasize the dynamic role that translators can play in translation.(Hu Gengshen 2013, 208, 218-219)

Yin suiqiong also believes that ecological paradigm is not a commonality between translation studies and natural ecosystems, but a feature shared by all social science research systems. Hu said that Yin's erroneous conclusion is based on a misunderstanding of the concept of "paradigm", and that “Eco-translatology” and its "translator-centered theory" are the common beliefs of recent translation scholars, rather than emphasizing that they are unique to translatology and natural ecosystems.(Yin Suiqiong 2017, 56-62/ Hu Gengshen 2017, 63-68)

In addition, there are many arguements about “Eco-translatology” and "translator-centered theory" in China, we think that the “translator-centered theory” under the perspective of “Eco-translatology” not mean that "translator" above the "source language" and "recipients", but hope from the perspective of "translator" thinking about the problems in the translation process and the solution to the problem, emphasizes the "translator" actively adapt to the social scene and positive response to this strategy.

Then, what is the relationship between the "reader-centered theory" of reception aesthetics and the "translator-centered theory" of Eco-translatology studies? We think that the two are dialectical unity, reception aesthetics require the translator to fully consider the recipient's cultural quality and cognitive levels, but completely according to the requirements of the recipient to make the choice of translation strategy and translation quality evaluation is too biased, because recipient's aesthetic of translation products too subjective and lack of professionalism, and "translator-centered theory" advocate that the difficulties encountered in the translation should be solved by translators according to their professional judgment and also encourages translators to seek more change through its own development strategy.

Of course, "reader-centered theory" and "translator-centered theory" are not diametrically opposed, and translator-centered theory also requires translators to consider the needs of recipients of translation products. It can be said that "reader-centered theory" is a reference item of "translator-centered theory", and "translator-centered theory" is a further development of "reader-centered theory".

===3.Positioning of liaison interpreter===
In the field of interpretation, there have always been different opinions on the principle of fidelity of interpretation products: some people believe that "sentence by sentence translation" should be carried out, and interpretation products should be faithful to the original text in form. That is, the interpreter should "be like a megaphone" ; Some people believe that interpreters should take into account the cultural context in which communication takes place, and that interpretation products should be faithful to the "meaning" of the original text, that is, the central meaning expressed by the speaker .(Franz.Pǎchhacker 2010,153)

However, there are significantly more supporters of the latter than the former. This is similar to the debate on the principle of translation in translation studies: literal translation v.s. free translation. The discussion of translation principles is generally focused on literature. At present, we generally believe that different translation strategies should be adopted according to different literary genres and themes. It is also similar in the study of interpretation. Liaison interpreters should adopt different interpreting strategies according to different interpretation scenes and themes. The difference between liaison interpretation and translation comes from R. Bruce W. Anderson's "tripartite communication" theory.(Franz.Pǎchhacker 2010,14）

Liaison interpreters are directly facing customers when interpreting, and their interpreting products will be delivered to customers in a timely manner, so the quality of their translation products depends entirely on customers' judgment at present. So when we think about the role of the liaison interpreters, one of the most important references is what the client expects of the interpreter. In addition, the interpreter acts as a bridge between the two sides in communication, and the role of the liaison interpreter is more prominent than that of other types of interpreters.

Therefore, the positioning of the interpreters on themselves is also very important. In addition, another characteristic that distinguishes liaison interpreters from other types of translators is that liaison interpretation is often in a dynamic and diversified scene, unlike other translators who are only in a single translation setting. Therefore, analysis of the interpreting setting is also a part that cannot be ignored when discussing the role positioning of the interpreter.

====3.1.Client's Expectation of the Interpreter's Role====
From the perspective of reception aesthetics, clients will estimate and expect interpretation products in advance according to their reading experience and aesthetic taste. Donova-Cagigos talked about the measurement and judgment of interpretation quality, and believed that if "faithfulness" could not be quantified, it could only be relevant to specific communicative occasions so the results of the clients expectation investigation, such as the user's preference for the delivery of the main idea over the full translation, can be used as an important criterion for rating accuracy and omission.(Franz.Pǎchhacker 2010，169)

This requires the liaison interpreter to adjust his/her role to the client's expectations. Each user's knowledge base, education level and other aspects of the difference will lead to their expectations of liaison interpreters change. We divide clients' expectations on interpreters into two categories: one is that interpreters are expected to interpret faithfully, neutrally and impartially, without mixing their own interpretation with concise output of source language information; The other is to expect interpreters to add their own explanations through omission, addition and other interpreting techniques when interpreting source language information, so as to make interpreting products better understood.

The role expectations of the above two kinds of clients depend largely on the nature of the clients and the purpose for which the clients accept the interpretation. The first kind of clients who hope interpreter completely follow the principle of "faithfulness" , have a comprehensive understanding of the areas involved in interpretation, they receive interpretation mainly for the purpose of obtaining extended knowledge of known fields or general information, or because of the limitation of interpretation theme requires an interpreter to stay neutral, such as legal interpreting.

In this regard, Collados Aís studied the requirements on the interpretation quality standards of the interpreting clients who are experts and found that the subjects did not give low marks to the content errors in the "pleasant to hear" interpretation, but scored them according to other standards. The principle of "faithfulness", which the clients attach most importance to, did not play a corresponding role in the evaluation.(Franz.Pǎchhacker 2010，171)

The second group of clients expect interpreters to go beyond "translation machines" and become helpers who can answer their own questions and facilitate communication. Such clients generally have little knowledge of the fields involved in the interpreting content, and the purpose of receiving interpreting of them is to understand a completely unfamiliar knowledge field and acquire as much new knowledge as possible.

In practice, most clients prefer the latter, which is also determined by the nature of liaison interpreting. One characteristic of liaison interpreters is that interpreters often act as "escorts" (Zhan Cheng 2010,3).

As an example, the author accompanied the "Confucius Institute" visiting group of South Korea's Wonkwang University during undergraduate years., for the purpose of cultural communication, the school asked the author with the delegation visit to cultural sites such as Hunan Provincial Museum, the author's main role in the trip is interpreter, but due to the particularity of interpreting theme, the author needs to explain the names of cultural relics and supplement relevant historical knowledge to the delegation members, so while interpreting, the author also plays the role of a tour guide.

====3.2.The Interpreter's Position on Themselves====
In the perspective of Foucault's power theory, the interpreter is no longer the traditional "transmitter", and the subject consciousness of the interpreter is highlighted. In the practice of interpreting, the interpreter's cognition of his/her status, ability and value is an important manifestation of the interpreter's subjectivity (Wang 2019,14). In liaison interpreting, as a person directly involved in communication and proficient in bilingualism, the liaison interpreter must have the advantage of adopting appropriate interpretation strategies according to power distribution in a communication. From the perspective of "translator-centered theory", liaison interpreters also have the obligation to adapt to different interpreting environments and coordinate the discourse of communication parties. Then the following situations usually occur:

In order to ensure the quality of their interpretation products and promote the progress of communication, liaison interpreters tend to go beyond the act of interpretation itself and make supplementary explanations of the content of interpretation that may cause communication barriers, either intentionally or unintentionally. Or when the interpretation content is of a strong national or national nature, liaison interpreters will inevitably have a tendency to protect the rights of their own country and nation and increase the discourse power of their own country and nation.

Of course, in general, interpreters will try their best to follow the principle of "faithfulness" in interpretation, and the ratio of "faithfulness" to "creativity" depends on the "choice" made by the liaison interpreter according to the translation environment.

====3.3.The Role of Interpreter under Different Liaison Interpreting Types====
"There is no absolute or unambiguous criterion for determining whether a method of interpreting is' good 'in all respects. Different types of interpreting activities have different target structures, different concerns, needs, expectations, and different levels of participation by all parties involved, which means that there are a variety of requirements for interpreters ".（Franz.Pǎchhacker 2010，172）

Therefore, the author believes that when discussing the role of the liaison interpreter, the role of the interpreter should be analyzed according to the different interpretation types. Next, the author intends to take business interpreting, guide-interpreting and legal interpreting as examples to analyze the roles of interpreters suitable for different interpreting type.

=====3.3.1.Business Interpreting=====
Business interpreting is different from other liaison interpreting. First, business interpreting usually takes place in the context of cooperative project negotiation. In communication, the monolingual speakers respectively represent the interests of their enterprises and, usually, the interests of the countries where the enterprises are located.Secondly, the communicative parties usually have the purpose of long-term cooperation. Third, the content of business interpreting usually contains a large number of professional terms and figures; Fourth, business interpreters are usually permanent employees of one side of the communication. Fifthly, advanced diction is usually used in business interpretation.

Due to the above characteristics of business interpreting, it is necessary for liaison interpreters to have the following accurate understanding of their role positioning.

First, business interpreters are channels to convey "meaning". This is the basic professionalism of an interpreter. Liaison interpreting is also known as bilateral interpretation. The existing bilateral interpretation model is based on the "tripartite communication" model. As one of the three parties, the liaison interpreter, like the Internet connecting two terminals, undertakes the task of processing the communication information between the two parties.

Second, business interpreters are debaters for the benefit of their clients. Because of the long-standing relationship between liaison interpreters and clients, clients tend to treat the interpreters they hire as their "inside" colleagues.In many business communication situations, clients represent the interests of their own enterprises and are in a fast-changing vanity fair, and the business interpreters employed by them, as bilingual and with certain knowledge of the business, are bound to be the target for clients to seek help.(Zhang Meng 2014，29)

Third, business interpreters are mediators of the negotiation atmosphere. In business negotiations, it is often the case that the two parties in communication fight for their own interests and the negotiation comes to a deadlock. Business interpreters have the obligation to use interpreting strategies and techniques to soften the atmosphere and act as a buffer when both sides are using increasingly extreme language and tone.

Fourth, a business interpreter is also a professional "business practitioner". Business interpreters are professional "business practitioners" who are the second most important role besides "interpreter". This is also based on the first point of the basic role of the interpreter positioning. Sometimes the two sides of communication have different professional terms for the same concept. In order to facilitate the smooth communication between the two sides, usually the interpreter needs to be familiar with the relevant terms and interpret them quickly and accurately. In other words, it requires not only a good command of a foreign language, but also a good knowledge of business.（Zhang Meng 2014，29）

=====3.3.2.Guide-interpreting=====
In addition to the business interpreting and legal interpreting mentioned by Pǎchhacker in the classification of interpreting, guide-interpreting is also distinguished from other liaison interpreting in that it has the most prominent intercultural characteristics and the emphasis of interpretation is on the inheritance of the culture reflected in the source language. In a sense, the role of a guide-interpreter is similar to that of a diplomat, who not only needs to make tourists understand the history and culture of China, but also needs to answer their questions accurately and timely. As a result, guide-interpreters should pay more attention when making role positioning.(Jia Zhiyong 2017，223/ Franz.Pǎchhacker 2010,160-162)

First, guide-interpreters are facilitators of communication. In the tourism-themed interpreting work, the interpreter's duty is to help tourists and tour guides communicate, which is also the embodiment of the interpreter's "bridge" role in the field of tourism. So in some cases, it is necessary for an interpreter to supplement the source language, such as when a Chinese tour guide introduces a mountain to English-speaking tourists and says:

ex）“大家现在看到的山远看像一条卧龙，因此取名卧龙山。”
And then the interpreter can interpret this sentence as:

1）*"The mountain you see now looks like a sleeping dragon from a distance, so it was named Wolong Mountain."

2）"The mountain you see now looks like a sleeping dragon from a distance, so it was named Wolong Mountain. ‘Wolong’ means sleeping dragon."

Obviously, the first interpreting product does not convey the original intention of the tour guide to the tourists. The tour guide's original intention is to let the tourists know that the name of the mountain has something to do with its appearance. However, if the name of the mountain is transliterated directly without supplementary explanation, the tourists will still not understand the connection between the name of the mountain and its shape.

Second, tour interpreters are "cultural brokers". Besides interpreting the words of tour guides to tourists, interpreters should also properly explain some incomprehensible cultural phenomena to tourists. For example, a tour guide introduces the Palace Museum in Beijing to foreign tourists.(Franz.Pǎchhacker 2010,161)

The Palace Museum in Beijing is a completely symmetrical building built along a central axis. The ancient Chinese, influenced by Confucianism, believed that a completely symmetrical building could foil the majesty of the emperor. If the interpreter only changes the language of the original when interpreting this sentence, it will not make the foreign tourists understand The Chinese Confucian culture correctly. Because the guide as well as Chinese tourists learn at an early age and contact with Confucianism, so the Chinese subconsciously has "symmetrical architecture", "Confucianism" and "Confucianism" link up without the need for further explanation, but as an interpreter should be aware that foreign tourists are likely to have no contact with Confucianism, also don't know "symmetrical architecture" and "Confucianism", so when the tour guide has no further explanation, the interpreter is necessary for additional instructions, play the role of a "cultural agent".

Third, guide-interpreters are the keepers of the atmosphere. The working scenes of guide-interpreters are informal, such as scenic spots and hotels, so the intonation and wording of interpreters should be in line with the current atmosphere. If the intonation is too plain and the wording is too serious, foreign tourists will find it difficult to adapt to it, and the interpreting products of interpreters will also "reject" the interpreting settings.

Fourth, guide-interpreters are "experts" in the tourism industry. Similar to a business interpreter, a guide-interpreter requires a comprehensive and detailed knowledge of the relevant field, which is the basis for the interpreter to act as a "culture broker".

Fifthly, there is another special case in which a guide-interpreter may be both an interpreter and a tour guide. When the author was an undergraduate, the author acted as an interpreter for the "Confucius Institute" delegation of Wonkwang University in South Korea, mainly following them to various cultural tourist attractions. Since the author had been to relevant scenic spots for many times, the author acted as a dual role of "interpreter" and "tour guide" without employing professional guides.

=====3.3.3.Legal Interpreting=====
Legal interpreting refers to interpreting under legal settings, including judicial interpreting and quasi-judicial interpreting. Judicial interpreting refers to "interpreting under court settings", while quasi-judicial interpreting refers to interpreting taken place outside the court and closely related to court procedure (Zhao Junfeng，Dong Yan 2020,70).

In distinguishing between international and community settings, Pǎchhacker points out that court interpreting is "the most obvious binding setting for community interpreting". (Franz.Pǎchhacker, 2010,177) The author takes courtroom interpreting as an example for analysis. In court interpreting, the situation of interpretation is more serious than that of other types of interpreting, because of the rigor of the law, the interpreter should also be more precise in the wording and sentence construction. The roles of court interpreters are as follows:

First, an invisible interpreting machine. In most court interpreting, the restrictions imposed by the legal system on interpreters are often contrary to the standards advocated by the interpreting profession (Franz.Pǎchhacker 2010,178). In order to maintain the rigor of the law, court interpreters are required to be "invisible" and interpret word by word, so the nature of the law gives court interpreters a role positioning that distinguishes them from other types of interpreters -- "artificial intelligence interpreting machine" with high accuracy.

Second, conflict mediators. This role is due to the large power gap between legal practitioners such as judges and non-legal practitioners such as defendants and plaintiffs in the courtroom. In tense court debates, interpreters often act as conflict mediators in order to keep communication going.

Third, intercultural agents. In fact, it is not only guide-interpreting, there will be more or less cultural barriers in any intercultural communication, and court interpreting is no exception. There was a famous case in which a Chinese-grandmother who lived in the United States gave "刮痧" to her sick grandson. Her son-in-law mistakenly thought that she had abused the child, so she was brought to court. The grandmother argued in court that it was only "刮痧", and the interpreter made additional explanations and said："‘刮痧’is a traditional Chinese medicine therapy" in order to make the American judge understand "刮痧" , and the case was finally dismissed. This example well demonstrates the important role of interpreters as intercultural agents in court interpretation. (Du Mengmeng, Tan Jianying 2013,106-107)

Fourth, legal "experts". In order to ensure the accuracy of the interpreting and the accurate understanding of legal terms by the listener of the TL, interpreters usually need to master a large amount of legal knowledge and relevant vocabulary accurately, and be able to provide basic answers for the listener lacking legal knowledge when necessary.

To sum up, the role of an interpreter is generally related to the above three aspects. In other words, due to the limitations of client's expectation and interpreter's own knowledge and setting, interpreters need to make "adaptive selection" and "selective adaptation" to different interpreting environments according to client's expectation and interpreter's own knowledge. The role positioning of the interpreter affects the interpreting strategies that the interpreter chooses in the actual interpreting process, so the balance between "reception aesthetics" and "translator-centered theory" in different interpreting settings is of vital importance.

===4.Interpreting Strategies in Different Interpreting Settings===
====4.1.The Influence and Application of Reception Aesthetics and "Translator-Centered Theory" on Interpreting Strategies====
As mentioned in the previous section, there are two main types of interpretation customers: those who expect faithful interpreting and those who expect supplementary interpreting. When interpreters fail to communicate with clients in advance and adjust their interpreting strategies according to clients' expectations, they will often produce interpreting products deviating from clients' needs, thus leading to errors in the transmission of interpreting information and resulting in interpreting barriers. The influence of such factors can be largely eliminated by preparation before interpreting.

In the pre-interpretation preparation stage, interpreters can understand the cultural background of clients in advance or directly communicate with clients to understand their needs. Only by integrating interpretation products with clients' expectations can they be regarded as successful interpreting products. However, in practical interpreting, interpreters also encounter another kind of difficulty, that is, clients have aesthetic expectations of interpreting products and expect interpreters to make detailed explanations of relevant information.

We know that the aesthetic value of an interpreting product derives from the "places of indeterminacy" of the product. Generally speaking, it is the space to appreciate an interpreting product, similar to the "blank space" in a Chinese painting. A balance should be struck between the degree of supplementary explanation and the degree of artistic "white space" in interpreting, which is difficult to grasp precisely because the clients who often make such requests do not have an accurate definition. In order to deal with this problem, interpreters have to make perceptual judgments based on their rich practical experience. Of course, it is not feasible to develop interpreting strategies based entirely on clients' expectations.

Lv Jun once put forward, "Every reader has different natural talent, endowment, experience and cultivation, so the works will present different meanings to each reader... If based on such a theory, how can we draw the conclusion of ‘principle of equivalence’?" This is also the paradox between reception aesthetics and Nida's ‘functional equivalence theory’" (Lv Jun 1997，51).

As interpreters are participants in intercultural communication, their own factors must have a great impact on the quality of interpreting. The author believes that the problem of interpreting obstacles caused by interpreters' own factors can be solved through the "translator-centered theory" in "Eco-translatology". The "translator-centered theory" requires interpreters to develop themselves, that is, interpreters should change their interpreting circumstances and improve their interpreting ability, so as to obtain freedom of choice to ensure their central position in interpreting activities.(Luo Dijiang 2019，219)

Interpreters can expand their power in interpreting activities by improving their interpreting ability and using interpreting techniques. According to Pǎchhacker, there are two ways to improve interpreting skills: personal qualities and professional skills. Personal quality includes biological individual function and psychological quality. Professional skills mainly refer to bilingual skills. First of all, how to improve personal quality and ability. Apart from the inherent intelligence factor, interpreters should actively improve their psychological quality, which is a necessary guarantee for the smooth progress of interpreting.（Franz.Pǎchhacker 2010,181）

In case of difficulties, interpreters should not be flustered, but should actively take various countermeasures to overcome or temporarily avoid the difficulties to ensure the quality of the overall interpreting products. Zhan Cheng suggested that interpreters could simplify this by seeking help from the speakers (Zhan Cheng 2010，153-154).

In addition, the author believes that the predicament of interpreting can also be solved by "imitation words"， which is a special kind of loanwords. Take Chinese-Korean interpreting for example. In the Hunan Provincial Museum, there is a collection called "纪念木牍", which is a piece of wood used for writing in ancient China to records the time of some events, a time when the interpreter didn't know its corresponding proper nouns, can according to its pronunciation rules imitate a word - "기년목독". Since both countries belong to the same cultural cycle of Chinese characters , Koreans learn basic Chinese characters from an early age, so they can understand the meaning and use of the imitated words even if they are not accurate.

There is also a case in French where the word science-fiction is directly interpreted into English. This is very useful for solving the sudden interpreting obstacles encountered in the process of interpreting.(Munday, J 2014, 80)

In terms of improving professional skills, before the beginning of interpreting, interpreters should have a systematic system of interpreting notes, which should be as concise as possible to improve the efficiency of interpreting symbols, and should be used to test the practicality of symbols in practice. Interpreters should also accumulate professional knowledge and vocabulary in various fields in daily life, and be familiar with the interpreting content and background knowledge before starting an interpreting.

At the end of the interpreting work, the interpreter should review the difficulties encountered in the interpreting activities and think positively about the solutions to avoid repeating the past mistakes. With the development and progress of science and technology, modern science and technology have been widely used in the field of interpreting. Using digital recording technology, the interpreters can replace the notes in the interpreting by simply using portable devices such as computers to attach the source words to the digital audio tape and then playing them through headphones (Franz. Pǎchhacker 2010, 186).

In addition, modern technology can also be used to build artificial intelligence corpus, which can be used to classify corpus according to different translation topics.

====4.2.Interpreting Strategies in Different Settings====
Whether it is business interpreting, guide-interpreting or legal interpreting, interpreters are faced with the choice of "faithfulness" and "creativity". However, different types of liaison interpreting have different "interpreting ecological environments". The author analyzed the interpreting strategies applicable to these three types of liaison interpreting respectively.

The clients of business interpreting have unclear requirements on interpreting products, which require interpreters not only to profit for the company but also to regulate the atmosphere, while the ecological environment of business interpreting requires interpreters to be both "faithful" and "creative". Therefore, the interpreter has to adjust the strategy according to the specific interpreting content at any time. When both sides of the communication are negotiating for benefits, the interpreter should adopt the strategy of “faithfulness” rather than “creativity”; when the two sides are chatting, the interpreter should adopt the strategy of “creativity” rather than “faithfulness”; and when the two sides enter into a deadlock, the interpreter should use the "creative" interpreting to ease the atmosphere.

In guide-interpreting, the interpreter's role as "cultural broker" and "atmosphere maker", clients are usually expect interpreters interpret products for their own pleasure, so in the interpreting process of the guide-interpreting, interpreters should be as creative as possible through omission or addition, lively tone and appropriate word choice to achieve clients' expectations. At the same time, interpreters should not completely rebel against the principle of "faithfulness" without regard to the content of the SL.

Although interpreters also play the role of intercultural agents in legal interpreting, their more important role is interpretation machine for legal provisions. The ecological environment of legal interpreting is in a highly tense and rigorous atmosphere, which requires interpreters to adapt to the rigorous atmosphere and try their best to interpret sentence by sentence.

===5.Conclusion===
In this paper，we discussed how interpreters should adapt to the interpreting environment and make correct translation strategies from the perspectives of reception aesthetics and "translator-centered theory".

The first part of this paper is an introduction, which introduced the definition of liaison interpreting, the current situation of interpreting studies in translation studies and the significance and methods of this study. The second part introduced the two perspectives of this research -- reception aesthetics and "translator-centered theory". The third part analyzed the influence of two perspectives on the role positioning of liaison interpreters and the different types of liaison interpreters. The fourth part puts forward how to adjust translation strategies and how to use translation techniques to achieve the balance between "faithfulness" and "creativity".

We believes that in the context similar to business interpretation, contact interpreters should adjust the translation strategies of "faithfulness" and "creativity" according to the constantly changing interpretation content. In the guide-interpretation, interpreters should pay more attention to the "creativity" of interpretation products on the basis of "faithfulness", so as to bring tourists more relaxed and pleasant experience. In legal interpretation, due to the rigor and inviolability of the law, interpreters should try their best to interpret "word by word". Only in certain circumstances can they provide necessary explanations for both sides of communication by adding interpretation content.

This paper also puts forward other specific strategies. Interpreters can reduce errors in interpreting by communicating with customers in the preparation stage. In the process of interpreting, the translation strategies can be flexibly adjusted by adopting various translation techniques, such as addition and omission. After the end of interpretation, we can reflect on the mistakes and make an interpreting corpus to avoid repeating the mistakes in the future.In a word, interpreters should strike a balance between "faithfulness" and "creativity" by relying on their professional quality and customers' expectations, which is the only way to improve the quality of interpretation products.

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--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 17:23, 20 December 2020 (UTC)

=Translation Appreciation=

==Study on Xu Chi's Translation of ''Walden'' from the Stylistic Perspective 袁诗琦 Yuan Shiqi 202020080664 英语语言文学==

<center>袁诗琦 Yuan Shiqi no.202020080664</center>

===Abstract===

''Walden'' is a classic literary work of Henry David Thoreau, which has become a classic work in American literature. Chinese translator Xu Chi first translated it into Chinese, and since then ''Walden'' has been retranslated and republished for many times in China. The version of ''Walden'' translated by Xu Chi is the most widely spread and the most influential one in China, and it is regarded as a classic translation. There have been a lot of studies on ''Walden'' both at home and abroad, such as studies on ecology of the book, studies on birth background and living conditions of the author Henry David Thoreau, and systematic studies on Chinese translation version of ''Walden'' under different theoretical frameworks. However, there are relatively few studies on Chinese translations of ''Walden'' from stylistic perspective. This paper will focus on lexical, syntactic and rhetorical features of Xu Chi's translation and analyze their stylistic effects. It is hoped that this study will be of certain value to translation studies of ''Walden'' and literary translation criticism from the stylistic perspective.

===Key words===

''Walden'', Chinese Translation of ''Walden'' by Xu Chi , Stylistics

===题目===
从文体学角度看《瓦尔登湖》徐迟译本

===摘要===

《瓦尔登湖》是亨利·大卫·梭罗的经典文学作品，已经成为美国文学宝库中的经典之作。中国译者徐迟首先将其译入国内，此后《瓦尔登湖》多次被重译再版。在中国，徐迟翻译的《瓦尔登湖》汉译本流传最广、影响最大，而且一直被推崇为“译文经典”。对于《瓦尔登湖》的研究，在国内和国外有很多，例如对散文涉及生态的研究，对于作者亨利·戴维·梭罗出生背景和生活状况的研究，以及不同的理论框架下对于《瓦尔登湖》中文翻译版本的系统研究。但是从文体学角度研究《瓦尔登湖》中译本的不多。本文着重探讨徐迟译本在词汇、句法、修辞层面上的特征，分析其文体效果。希望本研究对《瓦尔登湖》的翻译研究及从文体学视角开展文学翻译批评具有一定的参考价值。

===关键词===

《瓦尔登湖》、徐迟中译本、文体学

===Introduction===

====Introduction to Henry David Thoreau and ''Walden''====
=====Introduction to Henry David Thoreau=====
''Walden'' is a collection of essays written by American writer Henry David Thoreau. Henry David Thoreau was born in 1817 and died in 1862. He was a famous writer, philosopher, representative of Transcendentalism, abolitionist of slavery and naturalist in the United States. He advocated returning to original mind and being close to nature. Thoreau created more than 20 first-class prose collections in his whole life. His essays are concise, powerful, simple and natural which represent a unique style among American proses in the 19th century. In 1845, he lived in seclusion by Walden lake, two miles away from Concord, at there he cultivated his own land, ate food grown in his land and experienced a life that is simple and close to nature. Thoreau loved and appreciated nature and he immersed himself in nature. He advocated simple life, so he abandoned all material enjoyment and pursued spiritual enrichment.

=====Introduction to ''Walden''=====
''Walden'' is a record of Thoreau's life when he lived alone by Walden lake. ''Walden'' is composed of 18 essays, which records Thoreau's hands-on life by walden lake for two years from 1845 to 1847. This book advocates simple life, appeals readers to return to nature, and expresses Thoreau's love for nature. The simple way of life in the book reflects Thoreau's view of nature.This book has certain philosophical significance as well as artistic and aesthetic value.
''Walden'' is a Transcendentalist classic and is recognized as the most popular non-fiction work in American literature. After more than 100 years of circulation, this book has become a classic in American literature. So far, it has been published in more than 150 editions and translated into more than 40 languages.
Thoreau's own practices in reality and his works both reflected his ideal, that is returning to nature. In his works, he constantly pointed out that most of modern people are trapped by their families, works and various material needs, thus they lost their spiritual pursuit and lived a materialistic life. Thoreau persisted in pursuit of spiritual happiness and rejected material comforts. This is why Thoreau lived a simple life by Walden lake, enjoying a life of leisure while his neighbors pursued a life of wealth and material comforts, enslaved by their own desires.

====Introduction to Xu Chi and His Translation of ''Walden''====
=====Introduction to Xu Chi=====
Xu Chi is famous for his poems, essays and reportage. He was once awarded by Mao Zedong's inscription "Poetry expresses ambition", and he was known as "Contemporary Chinese Goethe" and "Father of Reportage". Another little-known identity of this famous Chinese writer is being as a translator. He not only wrote poems, essays, reportages, novels and reviews, but also translated and introduced a large number of foreign literary works, with a total of 10 million words in his life (Yao Junwei 2005, 145).

=====Introduction to Xu Chi's Translation of ''Walden''=====
In 1949, Xu translated ''Walden'' into Chinese called "华尔腾". However, his translation failed to elicit widespread attention. Because at that time, people all over China were immersed in the joy of gaining liberation from feudalism and imperialism, so that ''Walden'' which promotes tranquility and transcendentalism, was ignored.

In 1982, Xu Chi retranslated it and titled it "瓦尔登湖", which was so popular that it was republished for many times since then. Xu Chi's version of ''Walden'' chosen in this study is its second edition, published in 1982, to which Xu Chi added a preface to present information about Thoreau and comments on ''Walden''. To some extent, readers are able to have a glimpse of Xu Chi's own emotions and thoughts in his translation of ''Walden'' (Yao Junwei 2005, 145).
Xu Chi usually selected and translated works that were close to his own nature and could move him, because only in this way, could he have more resonance with the writers and their works and thus he could reproduce the style of the original author. For Xu Chi, he expressed his own feelings and thoughts through translating these writers'works to a certain extent.(Yao Junwei 2005, 146).

Only when his soul was in harmony with Thoreau's work, did Xu Chi love this book so much and he decided to translate this book. It was in the summer of 1949 that Xu Chi began to translate Thoreau's ''Walden''. Because Xu Chi was extremely fond of this book, he spent lots of efforts in translating this famous work. In the first stage of translation, he tried to understand the meaning of the original work, hoping to be able to deeply understand the original work. He confessed that it was a very profound book which is full of translation challenges. He was very busy during the day, so he sometimes did not have time to read it. Because this book was too difficult to understand, Xu Chi found that it seemed that this book was not so interseting and attractive to him, and it seemed that it was of no benefit to translate it. However, later he found that his mood gradually became peaceful after dusk. When he read this book at this time, he felt it quite interesting. The language was amazing, the words were shining, and his heart was touched. When the night became quiet, the book became not so obscure and he could not help but be fascinated by it (Yao Junwei 2005, 145).

''Walden'' is Xu Chi's most successful translation. He translated it first in 1949, then again in 1982 and finally in 1996. In recent ten years, there have been more than 20 new translations of ''Walden'' in recent years, but Xu Chi's translation is still regarded as the best translation and the first choice for many presses to publish as Chinese translation of ''Walden''. Although there are many Chinese translations of ''Walden'', most of them take Xu Chi's translation as a reference , which indicates the authority of Xu Chi's translation (Wang Zhao 2009, 147).

====Style and Styllistics====
=====Style=====
Originated from Latin or Greek word "stile" or "stilus", "style" originally refers to a sharp instrument made of metal or bone, used as a writing tool, and later symbolizes a way of writing. At first, it was mainly used in writing. As time goes by, its application has been broadened into areas like music, dance, painting, fashion, behavior,literature, architecture and so on. As it has been mentioned in the introduction part, the research object ''Walden'' is a piece of literary work, consequently, this thesis will mainly study literary style (Hu Zhuanglin 2015, 374).
Since ancient times, style has always been the object of people's study. Aristotle, Cicero, Demetrius, and Quintilian all used style as an appropriate decoration for thought. This view prevailed throughout the Renaissance, when devices of style could be classified. An essayist or orator needs to construct his or her point of view by means of exemplary sentences and prescribed kinds of "figures" that conform to his or her mode of discourse (Hu Zhuanglin 2015, 375).

For a long time, the definition of style has remained varied, and different scholars have given different definitions of it. It is unnecessary and impractical here to list them all. Some definitions will be given below to help us understand what style is.

One of the most successful attempts to define "style" in a comprehensive way is Leech and Short's definition. They offer a list of the items forming the basis of their own concept of style, which can be summarized as follows:
(a) Style is a way in which language is used; therefore it consists in choices made from the repertoire of the language.
(b) A style is defined in terms of a domain of language use (e.g. what choices are made by a particular author, in a particular genre, or in a particular text).
(c) Literary stylistics is typically concerned with explaining the relation between style and literary or aesthetic function.
(d) Stylistic choices is limited to those aspects of linguistic choices which concern alternative ways of rendering the same subject matter. (Leech and Short 1981)

Another example is Nida Eugene's definition. He pointed out that translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, firstly in terms of meaning and secondly in terms of style. So in translation of literary works, the author's style should be represented through the translator's style, and the translator's style should depend on the style of the author. Many translators are good at representing different writers'styles and yet has its own unique translation style (Nida Eugene 1982, 12).

The broad view of style includes the elements of linguistic style and non-linguistic style. Among them, the elements of language style mainly include the means of linguistic style, such as pronunciation, vocabulary, grammatical structure and rhetorical devices, and the elements of non-linguistic style include the author's emotion, the author's imagination and the author's intelligence. The narrow sense of style only involves the author's means of linguistic style. (Lv Jun & Hou Xiangqun 2001, 320).

In conclude, translation, especially literary translation as an cross-cultural process dose not only focus on the content of source text but also the style which is about how the writers write. Therefore, it is essential for a translator to know how to figure out the style of source text and reproduce it with target language.

=====Styllistics=====
Stylistics is a comprehensive frontier discipline that studies the characteristics, essence and laws of text forms. It is an interdisciplinary subject, which is in the ascendant between linguistics, literature and art, aesthetics, psychology and other disciplines. Its object of study is the style of language.

It is difficult to determine when stylistics became a field of academic study. It can be argued, however, that it was not until the late 1950s that stylistics began to make significant and measurable progress. This is a young frontier discipline that is growing over time. Stylistics has developed into a well-targeted and technically effective interdisciplinary field of study, which is expected to provide useful insights for literary criticism and literature teaching. It has also been influencing translation criticism. Modern stylistics provides an important theoretical basis for translation studies. As far as the development of the subject of translation is concerned, stylistics has been recognized for its value and function (Hu Zhuanglin 2015, 376).

=====Language Style and Stylistic Features of ''Walden''=====
''Walden'' is a masterpiece of prose style. It is concise, eloquent and profound in thought. Thoreau'language style of ''Walden'' can be summarized as plain, natural, concise, powerful, and unique. ''Walden'' is also a book which aims directly at the reader. Anyone who reads this book will feel like they are listening to and sharing Thoreau's ideals. However, this book is not easy for readers to understand, especially those who read it for the first time. Because ''Walden'' are manifested in four aspects: rich vocabulary, complex syntax and various rhetorical devices (Zhang Jianguo 2005, 107).

So it is helpful for translators to understand the original text and reproduce the stylistic equivalence in the translation. Therefore, the translator should fully understand Thoreau' stylistic characteristics, which is the premise of reproducing his language style in the target language.

===Stylistic Features of ''Walden''===
====Lexical Features of ''Walden''====
=====Degree of Formality=====
In ''Walden'', Thoreau used concise words to demonstrate his own ideas, natural scenery and cultural customs of Walden Lake. Unlike official documents, regulations, or academic creations, Thoreau's choice of words suggests that general style of ''Walden'' is not that formal. This section aims to analyze the degree of formality of nouns, adjectives, and verbs in the Xu Chi’s translation.

First, let us see a example of translation of nouns in Xu Chi's version.
Example 1：
…；where the washing is not put out, nor the fire, nor the mistress, and perhaps you are sometimes requested to move from off the trap—door; when the cook would descend into the cellar, and learn whether the ground is solid or hollow beneath you without stamping．(Thoreau 2012, 277—278)
Xu Chi’s Translation：在那罩，洗瀣物不比晒在外面，炉火不熄，女主人也不会生气，也许有时要你移动一下，让厨子从地板门里走下地窖去，而你不用蹬脚就可以知道你的脚下是虚是实。 (徐迟 2009, 270)

As can be seen from the above, "washing" in Xu Chi's translation is understood as "洗瀣物". "washing" is a common word English-speaking people use in their daily lives. However, "瀣" is not a word Chinese people encounter very often in their daily conversations. Although the word "洗瀣物" reproduced the content of "washing" but it can not reflect the degree of formality of the original word. Thus it fail to deliver the casualness reflected by the original text．

Because ''Walden'' is full of depictions of landscape, adjectives are indispensable in Thoreau's creation of various images and pictures, as well as his insightful comments. So let us look at a example of it.
Example 2：
Often the poor man is not so cold and hungry as he is dirty and ragged and gross．(Thoreau 2012, 85)
Xu Chi's Translation：往往是那个穷人，邋遢、褴褛又粗野，但并没有冻馁之忧。(徐迟 2009, 83)

In original text, the first adjective "poor" is used as an antecedent modifier and the other five adjectives are used as predicates. With the six adjectives being short and plain, the original text is generally of informal style. Xu transfered "cold and hungry" into a four-character noun phrase "冻馁之忧" which means which appears uncoordinated with three adjectives "邋遢", "褴褛" and "粗野" being placed before the noun phrase "冻馁之忧". What is more, this phrase is somewhat old-fashioned and is too formal to keep in line with the original style．So, it is not appropriate to reflect the original style.

Verbs are also frequently employed in ''Walden'' to depict the fighting between animals or other activities. The degree of formality marked by verbs is the target of the following analysis.
Example 3：
I took up the chip on which the three I have particularly described were struggling, carried it into my house, and placed it under a tumbler on my window-sill, in order to see the issue．(Thoreau 2012, 262-263)
Xu Chi's Translation：
我特别描写的三个战士在同一张木片上搏斗，我把这张木片拿进我的家里，放在我的窗槛上。罩在一个大杯子下面，以便考察结局。(徐迟 2009, 256)

As we can see from the example, these verbs in the original text are concise and they are common in our daily speech. They come mainly from Anglo-Saxon English and have informal stylistic characteristics. Therefore, the style of the original text is informal and should be preserved in Chinese translation. In this sentence, Thoreau prepared to wait and see how the battle between the ants would go on after a series of arrangements. Xu Chi translated the word "see" into "考察" which sounds serious and formal, because "考察" means carefully checking certain items or situations, and is often used in formal situations, such as "考察人" or "考察情况". So, Xu's version deviates from the original natural and informal flavor.

=====Expressive Meaning=====
The lexical meaning of a word or lexical unit may be thought of as the specific value it has in a particular linguistic system. But it is rarely possible to analyze a word, pattern or structure into distinct components of meaning; Nevertheless, it is sometimes useful to play down the complexities of language temporarily in order to appreciate them and to be able to handle them better in the long run (Zgusta 1971, 67).

Roman Jakobson coined the term expressive or emotive as one of the functions of language. He described it as the function focused on the ADDRESSER [speaker], which aims a direct expression of the speaker's attitude toward what he is speaking about and gives interjections as the prime example of this function (Jakobson 1960, 354).

It is worthy of our attention that differences between words in terms of expressive meaning are not simply equal to a matter of whether an expression of a certain attitude or evaluation is reproduced or not. The same attitude or evaluation may be expressed to widely varying degrees of forcefulness. Here is a exampe.
Example 4：It is said that a flood-tide, with a westerly wind，and ice in the Neva, would sweep St. Petersburg from the face of the earth. (Thoreau 2012, 22)
Xu Chi's Translation：据说，涅瓦河要是涨了水，刮了西风，流来的冰块可以把圣彼得堡一下子从大地的表面上冲掉的。 (徐迟 2009, 21)

According to the Oxford Advanced English-Chinese Dictionary, "sweeping" is the act of a sudden movement (of weather, fire, etc.) in an area or in a particular direction. In the original context, the combination of "flood tides", "westerly winds" and "ice" was destructive and therefore it is clearly detrimental to St.Petersburg. So the word "sweep" here reflects the speaker's negative attitude towards the possible outcome. Obviously, the word "冲掉" in Xu Chi's translation is a neutral term and does not reflect the speaker's attitude or feelings towards the potential disaster caused by flood tide, westerly winds and ice. Xu ignored the author's emotional attitude, thus ignoring the influence that these forces may cause and thus he did not produce equivalence of "sweep".

====Syntactic Features of ''Walden''====
Raffel (1994) points out that "the syntax of prose shows the style of the author, and the reproduction of the original style is the key to prose translation which stresses not only what message says, but also how the message is said." So, the syntactic features of ''Walden'' should not be ignored.

In the original text, there are many short sentences with neat structure and harmonious rhythm. Xu Chi did not change the original structures in translation and he adopted the method of literal translation. The so-called literal translation is to retain the content and language expression habits of the original text as well as the form and style of the original text. Since both Chinese and English are discourse systems, literal translation can be a good way to deal with them.
Example 5:
It is no dream of mine, To ornament a line; I cannot come nearer to God and Heaven, than I live to Walden even. I am its stony shore, and the breeze that passes o’er; In the hollow of my hand, are its water and its sand, and its deepest resort Lies high in my thought. (Thoreau 2012, 137)
Xu Chi’s Translation:
这不是我的梦，用于装饰一行诗;我不能更接近上帝和天堂甚于我之生活在瓦尔登。我是它的圆石岸，飘拂而过的风;在我掌握的一握，是它的水，它的沙，而它的最深邃僻隐处,高高躺在我的思想中。 (Xu Chi 2012, 151)

This paragraph has a neat structure and neat antithesis, and it has pleasing and harmonious rhythm. The original text is composed of ten verses. Xu Chi retained the original format, which can increase the depth and appeal of the translation, thus producing artistic effect and aesthetic value. And he paid attention to the rhythm of the original text and retained it in his translation, which makes his translation closer to the original text.

====Rhetorical Features of ''Walden''====
=====Metaphor=====
According to the Webster dictionary, "metaphor" means a figure of speech in which a word or phrase literally denoting one kind of object or idea is used in place of another to suggest a likeness or analogy between them (as in drowning in money).
Example 6:
Public opinion is a weak tyrant compared with our own private opinion. (Thoreau 2012, 7)
Xu Chi's Translation: 和我们的自知之明相比较，公众舆论这暴戾的君主也显得微弱无力。 (徐迟 2009, 6）

The ontology and metaphor in this sentence are "public opinion" and "weak tyrant". There must be something similar between them. The following statement gives the reason:"compared to our own private opinions". People are used to focusing on themselves in front of others, so public opinion is slightly weak. The use of metaphor here shows Thoreau's wisdom and thorough understanding of human nature. Xu Chi dealt with this metaphor perfectly, expressing the meaning of the original text.

=====Pun=====
Puns are deliberately declared polysemous words or homonyms created with double meanings in a certain language environment, with implicit, humorous and profound effects. Newmark (2001, 217) pointed out that "pun translation is unimportant but fascinating".

The use of puns in ''Walden'' is remarkable. The basic function of pun in ''Walden'' is to express logical relations. Because puns can express two layers of meaning in a word, a phrase or a sentence, they are often used as a link between the preceding text and following text. A key problem that haunts the reader when reading ''Walden'' is the lack of connection between two passages. A clear logical relationship is a prerequisite for expressing special effects, such as rhetorical and aesthetic effects. Therefore, the improper translation of puns will seriously affect logical coherence of the text and its rhetorical and aesthetic effects.

Example 7：
If the name was not derived from that of some English locality - Saffron Walden, for instance, one might suppose that it was called originally Walled-in Pond. (Thoreau 2012, 209)
Xu Chi's Translation: 如果这个湖名不是由当地一个叫萨福隆•瓦尔登的英国人的名字化出来的话，—那么，我想瓦尔登湖原来的名字可能是围而得湖。(徐迟 2009, 172)

This classic example of puns has been discussed many times. Thoreau suggested that "Walden" might come from "Walled-in". "Walled-in Pond", as a homophonic pun, serves as the logic link of the whole paragraph. Xu Chi wisely translated it as "围而得", retaining not only the similar pronunciation but also the similar meaning. "围而得" maintains the logical relation of the whole paragraph. It is eye-catching and stimulates readers to think more about Thoreau's intentions to use this word.

=====Personification=====
Personification refers to the practice of representing objects, qualities as a human being in art and literature. People subconsciously tend to reflect non-human things as human beings in order to express their feelings and thoughts. In ''Walden'', many natural objects, ranging from the lake to little ants are personified. There is a example below.

Example 8：
This further experience also I gained：I said to myself, I will not plant beans and corn with so much industry another summer, but such seeds, if the seed is not lost, as sincerity, truth, simplicity, faith, innocence, and the like, and see if they will not grow in this soil, even with less toil and manurance, and sustain me, for surely it has not been exhausted for these crops. (Thoreau 2012, 186-187)
Xu Chi's Translation:
我还获得了下面的更丰富的经验：我对我自己说，下一个夏天，我不要花那么大的劳力来种豆子和玉米了，我将种这样一些种子像诚实、真理、纯朴、信心、天真等等，如果这些种子并没有失落，看看它们能否在这片土地上生长，能否以较少劳力和肥料；来维持我的生活，因为，地力一定还没消耗到不能种这些东西。 (徐迟 2009, 182)

Thoreau shares his experience of growing beans and his plan for next summer with readers here. As we know, words like "sincerity", "truth", "simplicity", "faith" and "innocence" usually refer to qualities of humans. But here, these words are adopted to describe the characteristics of seeds. Xu Chi reproduced the rhetorical feature of the original text very well.

===Conclusion===
The language of ''Walden'' is rich in vocabulary with complex and diverse sentence structure and the use of various rhetoric devices makes the translation work more difficult. To sum up, Xu Chi's translation appears more formal than the original text and some words of his translation can not reflect the expressive meaning of the original one. It is found that Xu Chi tended to use words with typical features of his time which seem out of date at present. But due to the time he lived in, we believe that Xu Chi's translation satisfied the need and linguistic expectation of the target readers of his time which has its significance. We also found that sentences in Xu Chi's translation follow the syntax of English language. Xu Chi kept the structure beauty of the original work properly, respected the original work and kept the structure orderly, directly conveying Thoreau's thoughts and feelings. And Xu Chi indeed do well in reflecting rhetorical features of the original text, which is refered by many translators later. In general, Xu Chi's translation is close to the original text in style and language characteristics and is a classic translation of ''Walden''.--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 12:59, 21 December 2020 (UTC)

===References===
Leech.G.N. & M. H. Short. (1981). ''Style in Fiction：A Linguistic Introduction to English Fictional Prose''. Beijing: Foreign Language Teaching and Research Press.

Newmark P. (2001). ''A Textbook of Translation''. Shanghai: Shanghai Foreign Language Press.

Nida Eugene. (1982). ''Translating Meaning''. Sandimas: English Language Institute. 12.

Raffe. (1994). ''The Art of Translating Prose''. Pennsylvania: The Pennsylvania State University Press．

Roman Jaobson. (1960). ''“Linguistics and Poetry” in Style and Language''. Cambridge: MIT Press.

Thoreau Henry David. (2012). ''Walden''. New York: W. W. Norton & Company, INC.

Hu Zhuanglin 胡壮麟. （2015). 语言学高级教程 [Advanced Course in Linguistics]. Beijing：Peking University Press

Lv Jun & Hou Xiangqun 吕俊,侯向群. (2001) 《英汉翻译教程》[English-chinese Translation Course].Shanghai: Shanghai Foreign Language Education Press.320.

Wu Siying & Li Jing 吴巳英,李靖. (2011). 外国文学翻译体例的时代演变——基于《瓦尔登湖》不同译本的比较. [The Time Evolution of Foreign Literary Translation Styles: Based on the Comparison of different versions of Walden]. ''湖南农业大学学报（社会科学版)'' Journal of Hunan Agricultural University (Social Science edition) 12 83-87.

Xu Chi 徐迟. (2009). 瓦尔登湖. [Walden]. Beijing: Foreign Language Teaching and Research Press.

Yao Junwei 姚君伟. (2005). 徐迟与美国文学在中国的译介[Xu Chi and the Translation of American Literature in China]. ''外国文学研究'' [Study of Foreign Literature] 4 145-149.

Zhang Jianguo 张建国. (2005). 梭罗《瓦尔登湖》的语言风格探析 [Analysis on language Style of Walden By Thoreau]. ''河南商业高等专科学校学报'' [Journal of Henan Commercial College] 03 106-107.

==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation. 王美玲 Wang Meiling MTI 英语笔译==

<center>王美玲 Wang Meiling</center>

===Abstract===

The Renaissance is the fourth peak in the history of Western translation and a great development in the history of Western literature. During the 16th century and the period following the Renaissance in Europe, translation reached an unprecedented climax in the fields of thought, politics, philosophy, literature and religion. At that time, the German translation of the Bible by the Martin Luther is the most well-known one in the whole translation circle, and its influence is unique and long-standing in Germany as well as in the whole Europe continent. Since the Reform and Opening-up, China has gradually stepped into the center of the world arena, and its literary works bearing the quintessence of Chinese culture has become a crucial bridge connecting the rest of the world with China. Despite the rise of machine translation, it can never replace the overwhelming role of human translation in the literary translation. Luther’s translation thoughts have exerted an important influence on the development of Western translation theories, so what sparks can be drawn between his translation principles and Chinese modern culture and literary works? This paper makes a brief comment on the main translation activities of renaissance, then compares the translation thoughts of Luther and Lu Xun, and applies Luther’s detailed translation principles to the actual translation practice. Finally,some thoughts are acquired.

===Key words===

Renaissance; Luther; literary works; translation principles; influence;

===摘要===

文艺复兴运动是西方翻译史的第四次高潮，也是西方文学史上的一次大发展。文艺复兴在欧洲普遍开展的16世纪以及随后一个时期，翻译活动达到了前所未有的高峰，深入思想、政治、哲学、文学宗教等各个领域。在整个翻译界，德国马丁·路德的《圣经》德译本是该时期最负盛名的译本，其影响不论是在德国乃至整个欧洲都是独一无二且源远流长的。改革开放以来，中国日益走进世界舞台中央，承载着中华文化精髓的文学作品成为了中国连接世界的重要桥梁。纵然机器翻译兴起，但绝不能替代人工翻译在文学翻译领域的绝对性地位。路德的翻译思想对西方翻译理论的发展产生了重要影响，那么其翻译思想和理论原则与中国当代文化及文学作品又能擦出什么样的火花呢？本文将通过对文艺复兴时期的主要翻译活动进行简评，再对比路德与鲁迅的翻译思想，接着将路德的翻译细则运用到实际的翻译实践中，最后得出一些思考。

===关键词===

文艺复兴；路德；文学作品；翻译原则；影响；

===1.Introduction===

The Protestant Reformation Movement in Germany in the 16th century ushered in a new era of translation and dissemination of Bible. Under the protection of Protestantism, Martin Luther devoted himself to the German translation of the Bible. By the time of 1544 Luther’s death, 430 versions of his Bible translation had been published. In order to make common people more directly understand the meaning of the Bible, Martin Luther translated it in national language. He insisted on his translation thought and fought against the church power and his opponents. He made unremitting efforts in the great project of the Bible translation, which promoted the unification of German language and created a graceful literary language.His translation thoughts are still of great significance to the current translation theory and practice."First of all, from a historical point of view, translation has two main functions in promoting the birth and development of national culture and the transformation of national culture into world culture: one is to promote cultural exchange; the other is to disseminate ideas."（Tan Zaixi，2004：10）

Since the beginning of reform and opening-up, China has gradually stepped onto the world arena. China persists in its cultural development geared to the needs of the world and actively promotes cultural development to the world. Literary works bear the essence of Chinese culture, whose export is an crucial way to spread Chinese culture to the world. Over the years, despite the rise of machine translation, which has a certain practical role, it can not replace the overwhelming role of manual translation in literary translation. So what significance does Luther’s translation thoughts and principles have in guiding modern translation theory and practice, especially in the field of literary translation?

===2.Brief Comments on Translation Thoughts in the Period of Renaissance===

Translations must respect the original text and combine content and form, free translation and literal translation in the translation process. "In the high tide of translation in 16th century France, there were two outstanding contributors, one is Amyot, the King of Translation, and the other is Dolet, the translation theorist." Amyot believed that the translator must understand the original text thoroughly, and that the translator's task was not only to restore the author's meaning, but also to imitate and reflect the author's style and mood to some extent. He also emphasized the unity of content and form, and of free translation and literal translation; in France, the important figure in translation theory is Dolet. He believed that translators should avoid word-for-word translation because it was detrimental to the conveyance of the original meaning and to the beauty of the language. As we can see, Dolet's translation ideas were quite modern and involved the basic principles and problems of translation commonly raised by later European translation theorists. （Tan Zaixi，2004：68）

Holland of England was the most outstanding English translator in the 16th century and was regarded as the "Chief Translator" of the Elizabethan era, and he also advocated that the style of the original text must be reflected in the translation in order to make the translation authentic and without foreign accent. Thus, it can be seen that translators from various European countries actively explored new literary fields and brought new ideas to their own countries, inspiring the national consciousness and humanistic thoughts of their own people while trying to explore classical literature.（Tan Zaixi，2004：77-78）

Translation must convey new ideas on the basis of respecting the original work, that is, being innovative, and seek the style of translation.In his translation of ancient Greek and Roman masterpieces, Amyot put forward the idea of "trying to be comparable to the original work", and blended the language of the people with the language of scholars, forming a unique style of translation. Thus, some people commented that Amyot adopted the creative meaning; Dolet advocated that translators should not do translations word by word, but must choose the words and adjust the word order as well as use various rhetorical devices to make the style of translation consistent with that of the original text, giving readers a "feeling of beauty". （Tan Zaixi，2004：68-69）

The English translator North, who had little knowledge of the classical language and whose translations were not translated from the original text of Greek, was able to bring the translation style into full play. The prose style used in his translation of Biography of a Celebrity was new and elegant, which has become an immortal model in the history of English translation. There was another famous English translator, Florio, whose translation of The Tempest was the first to show English readers that prose could exist as a literary genre.(Tan Zaixi，2004：76-77）

From this, we can see that translators not only respected the cultural works of the classical period, but also gave full play to their own initiative in the translation process and injected humanistic thoughts and spirits into their translations during the Renaissance.Liu Junping said: "In the past years, translators were servants attached to God, but now they have shifted from God to the translator as the center, and their personal developments have become the goal and value of life. "（liu Junping,2009:76）

Translators focus on the practical spirit of translation.Emphasizing the needs of translations to serve reality, Holland compared his translations to the fruits of conquest and once asked Queen Elizabeth to protect his translations with the hope that his translations would benefit the country. "The translators, with the idea of serving their country, introduced the wisdom of the ancients to their own people through their translations, providing not only serious lessons for the Queen and the statesmen, but also story plots and materials for the dramatists and readers." (Tan Zaixi，2004：77-78）

This word profoundly reflects the dialectical relationship among culture, politics,and economy in Marxism: a certain culture is determined by certain economy and politics, and culture，in turn，acts on politics and economy with great influence on politics and economy. The above-mentioned translation ideas indicate the practicality and practical spirit of the practice of translation culture, which originated from the specific social and cultural contexts of the time. Under the guidance of these translation ideas, the translation culture and cultural practice of translators promoted the political and economic development, and laid the ideological foundation for the political and cultural needs of Western European countries.

In the practice of translation, translation of all national languages achieved parallel and independent development when Latin gradually receded into a tributary.During the Renaissance, national self-consciousness was further strengthened, and linguists recognized the unique style and expressive ability of their own languages, and began to shift the emphasis of translation from the original language to the translated language.(Tan Zaixi，2004：83）

Finally, Latin was no longer prevalent. These phenomenon were especially prominent in Germany. Under the pressure of the national language and the Reformation, the German translator Luther adopted the language of the people to translate the great work of the Bible, that is, to translate the original text into the authentic German one. Luther's German translation of the Bible not only had a profound influence on German life and religion, but also created a literary language form accepted by the German people, which played an immeasurable role in the development of the unified German language and shook the absolute and unshakable position of Latin in the European language system.(Tan Zaixi，2004：64）

===3.Comparison Between Luther’s and Lu Xun’s Translation Thoughts===

====3.1 Introduction to Luther and Lu Xun====

Lu Xun was the greatest literary scholar, thinker and revolutionary of modern China, an important participant in the New Culture Movement, who was regarded as "the writer who occupied the largest territory on the cultural map of East Asia in the twentieth century". Lu Xun also had outstanding achievements in translation, and made a series of superb remarks on translation issues, which had great influence on the whole translation circle at that time and established a monument in the history of Chinese translation theory.(Liu Hongyan,2010:1）

Martin Luther was a German religious reformer and translator in the 16th century. In his translations, Luther followed the principles of being popular, clear, and acceptable to the public. His translation of the Bible is known as the "first Bible of the common people”and enjoyed the highest reputation in the entire translation community. Luther was a leader in the Reformation movement in the 16th century in Europe, so his translation had a significant impact on Germany and Europe as a whole.(Tan Zaixi，2004：68）

====3.2 Different Translation Thoughts====

=====3.2.1 Lu Xun's "Foreignization"=====

Lu Xun lived in the period of the May Fourth New Culture Movement，whose translation thoughts and activities were closely connected with his political life. In the period of transition between the old culture and the new one, literary translation was also at its climax. In this regard, Lu Xun put forward the translation concept of "Foreignization" , which preserved the "exoticism". Moreover,he insisted that the translation should be consistent with the original text as much as possible and put fidelity in the first place and fluency in the second, and exchanged unfluent translation for fidelity. He believed that the translation method of "Foreignization" could introduce foreign sentences to enrich Chinese language and culture. Lu Xun said bluntly, "Like carrying arms for the uprising slaves, translation is directly aimd at servicing the revolution."（Chen Fukang,2000;286）

With regard to his translation concept of "Foreignization", he had such remarks :

“还是翻译《死灵魂》的事情。……动笔之前，就先得解决一个问题:竭力使它归化，还是尽量保存洋气昵?日本文的译者上田进君，是主张用前一法的。……所以他的疑问，有时就化一句为数句，很近于解释。我的意见却两样的。只求易懂，小如创作，或者改作，将事改为中国事，人也化为中国人。如果还是翻译，那么，首先的目的，就在博览外国的作品，小但移情，也要益智，至少是知道何地何时，有这等事，和旅行外国，是很相像的:它必须有异国情调，就是所谓洋气。其实世界上也小会有完全归化的译文，倘有，就是貌介神离，从严辨别起来，它算小得翻译。……(Lu Xun,1935:4th Volume)

From this, we can see that Lu Xun engaged in translation work with the aim to "conveying feelings" and "improving education", and his translations could facilitate readers to experience foreign customs, history, language and culture, as well as advanced ideology. Lu Xun would enrich these at a deeper level, so as to subvert the outlook on life and values of the whole society at that time and to inspire and educate the young generation to achieve the purpose of saving the country, thus promoting the revolutionary cause.

=====3.2.2 Luther's "Domesticization"=====

In the context of the Reformation, Martin Luther embarked on the translation of the Bible. As the leader of the German Reformation movement, he could only ensure the eventual victory of the Reformation cause by quickly establishing and growing the Protestantism . Under the pressure of the Reformation and the national language, Luther had to translate the Bible in a way that served a specific audience, not priests and pastors, but the common people. It required that Luther had to do translations in people’s language and that " Translation had to adopt authentic German instead of Latinized German."
In the ''A Short History of Translation in the West'', Tan zaixi made summary about Luther's translation thoughts：(Tan Zaixi,2004:64-67)

"Translation must employ the vernacular language; translation must pay attention to the connection between grammar and meaning; translation must follow seven principles (translators can change the word order of the original text; one can make reasonable use of intonation auxiliaries; translators can add necessary conjunctions; translator may omit word in the original that was not equivalent word in the target language;translator may use phrase to translate a single word;translator may translate metaphorical usage into non-metaphorical usage and vice versa; translator should pay attention to variation from usage and accurate explanation of a word (Wen Jun, 2004:39);Translation must be a brainstorming exercise."

Luther insisted on these principles in order to translate the Bible from the reader's point of view on the basis of a grasp of the original meaning and to achieve the greatest possible approximation to the reader's level for the purpose of "naturalization. Generally speaking, Luther advocated translation based on a grasp of the meaning of the sentence. When the original meaning of a sentence could not be well expressed in words, Luther used illustrations to represent it. Luther's German translation of the Bible enabled the common people of Germany to directly quote from the Bible to defend their own class interests, which played an invaluable role in the unification and development of the German language.

====3.3 Conclusion====

Lu Xun's translation principle of "Foreignization", which preserved "exoticism", satisfied Chinese readers' curiosity and appreciation of foreign culture and made them experience exoticism, which, to a certain, awakened the thought of common thoughts and stimulated the patriotic consciousness and revolutionary enthusiasm of some youth groups. That was the aim and purpose of Lu Xun's translations, and was also what that volatile age longed for.

Luther's “Domesticization” thought was based on his recognition that the German people began to value their own national language as a counter to the Church's forced use of Latin. Luther translated the Bible in the language of common people, so that readers who knew neither Hebrew, Greek, nor Latin and had a low level of literacy could understand the Bible in German.

Translation thoughts between Luther and Lu Xun are rather different, but their translations equally made profound implications and were recognized by the two peoples of their respective countries. Moreover, their audience were both the common people, and they took into full consideration the receptiveness of their readers in the process of translation. Therefore, the dichotomy in translation is only relative, and finitude and infinitude are dialectically unified.(Liu Hongyan，2010:2）

===4.The Application of Luther's Translation Principles and Thoughts for Modern Literary Translation Practice===

Engels praised Luther:"Luther not only cleared the church's Ogias, but also cleared the German language of the Ogis, created modern German prose, and wrote the words and songs of the hymns of the Marseilles with victory and confidence into the 16th century." (Tan Zaixi，2004:64）In his translation of the Bible, Luther came up with systematic translation thoughts and principles, followed the principles of being popular, clear and acceptable to the public, and created modern German prose. Thus, his translation thoughts and principles have certain significance for us to translate literary works whose language style is “grounded”.

'''Example one '''

“You can translate metaphor usage into non-metaphorical usage.”

“The translator can change the word order of the original text”

“严闭的心幕，慢慢的拉开了，涌出五年前的一个印象。” （《笑》—— 冰心）

Through the analysis of the original text, the translator finds that this sentence uses metaphor,because the action of "拉开" can only be issued by human beings, and the "心幕" is not a physical object which cannot be "pulled open". In the process of translation, we find that the action of "拉开" does not have a subject, and the predicate-object pairing of "拉开" and "心幕" is unreasonable, not to mention translated into the passive voice. Therefore, it is not feasible to translate the metaphor usage. The translator chooses to omit this metaphor and the verb "拉开", which is in line with Luther's sixth principle of translation. The translator finds that the emphasis of the original text is on the second half of the sentence, so we changes the order of the whole sentence and choose"涌出" as the predicate and translated it into the intransitive verb "unveil". Naturally, the phrase "五年前的一个印象" becomes the subject. scene of five years ago", and the word "before" was used to show the relationship between “印象” and “心幕”. It is in line with language habit of English, that is, to express the main content clearly and put it in the important position as an important component. Here comes the translation "A scene of five years ago slowly unveiled before my mind's eye." It is consistent with the first principle of Luther's translation. If translated according to the original word order, it would be translated to "The tight mind's eye was opened slowly, and a scene of five years ago slowly unveiled.”Although its meaning is complete, the sentence structure is incoherent and the relationship between the "心幕" and the "印象" is not highlighted. As a translator, we need to read the original text carefully and then relate it to the context in order to get close to the original style and to achieve the requirement of "faithfulness", meanwhile, we should take into account the reading feelings of the audience.

'''Example Two'''

“The necessary conjunctions can be added.”

“作为一个中国人，经书不可不读。我年过三十才知道读书自修的重要。” （《时间即生命》—— 梁实秋）

After reading the original text, we find that the original text is composed of two sentences. If we do not read it carefully, we will not grasp the key point, that is, the relationship between the two sentences: transition. The translation is“The reading of Chinese classics is a must for all chinese. But it was not until I was over 30 that I came to realize the importance of self-study.”We all know that Chinese sentences are short with more punctuation marks, and that Chinese is a formative language with few conjunctions between sentences.(Zhang Sijie,Zhang Bairan,1998:54)

Therefore, when doing translation, translators should carefully search for the hidden logical relationship between sentences and fit the language habits of the readers in order to accurately convey the ideas that the author wants to convey and to arouse the emotional resonance between the author and the readers. During the Renaissance, Luther found the characteristics of the readers, German citizens, and grasped their aesthetics. Then he made certain degree of stylistic shaping with the Bible as a benchmark and focused on integrating the spirit of humanism into the translation.

'''Example Three'''

The translator can use a phrase to translate a single word.”

“不过，花草自己会奋斗，我若置之不理，任其自生自灭，它们多数还是会死了的。” （《养花》——老舍）

Translators find that the original text is inclined to be colloquial and its literal meaning is easy to understand. But for the readers, if they only saw the literal meaning, the central idea of the original text would be not well conveyed,leading to their losing interest in reading the work, then the translator was not much of doing a good translation job. In the original text, the word "奋斗" may be a confusing point for readers, they may wonder how flowers and plants could struggle? When it comes to "奋斗", the first word that comes to the translator's mind may be "struggle", "fight", and "strive", one of which most translators would choose if they wouldn’t look deeper into the original text and take into account the characteristics and writing style of the original text. The theme of the original text is "raising flowers", which tells the story of the author and his inner feelings in the process of raising flowers. We should relate to the reality that the "奋斗" of flowers and plants is to resist the wind, rain and sun. Therefore, a good translator will choose to enrich the word "struggle" by using such phrases as "weather through", "carry on the struggle for existence" to express the real experience of plants and flowers. It is in line with Luther's fifth principle. In translation, the translator should pay attention to the language habits of the readers, because different people of various countries will have rather different interpretations of the same literary work. Although the literal meaning of modern Chinese literature is easy to understand, the literary ideas are between the lines. If the translation does not convey the meaning of the original text properly, readers will not feel the meaning conveyed by the author. This is just as Luther took into account when he translated the Bible, he would create a literary form of language acceptable to the German citizens according to their language habits.

'''Example Four'''

“Translation must be a brainstorming exercise”

In addition to translation principles, Luther also placed great importance on team cooperation. Luther believed that doing a translation on one's own was not enough, especially for a masterpiece like the Bible.As Luther said, "One cannot go it alone in the matter of translation, for the correct and proper translation words won’t always occur to the only him."（zecher, 1993:12-13) Thus, Luther's later revisions of his New Testament, as well as his translations of the Old Testament and the Apocrypha, were done with the assistance of the Collegium biblicum, an academic translation committee.

Martin Woesler, the professor who teaching me the course Introduction to Translation Studies, also worked with a team in the translation of the great work, Dream of the Red Chamber. It is the first complete German translation of Dream of the Red Chamber. In 2000, Professor Wu set up a workshop consisting of 57 translators, and this team was so strong that the average annual translation volume increases considerably. According to Martina Ulrike Hasse, only 11 new works by Chinese authors were published in Germany in 2011. In recent years, thanks to the efforts of the team, the number of Chinese literature translated into German has increased to 17 per year, which has greatly contributed to the translation and dissemination of Chinese literature in the German-speaking world.

===5.Conclusion ===

In conclusion, the Renaissance saw the independent and parallel development of national languages and the promotion of social changes, thanks largely to the extensive literary translation activities undertaken by key advocates, especially Martin Luther's German translation of the Bible, which ushered in a new era in the development of the German language. Luther's translation principles and thoughts were so influential due to the great success of his German translation of the Bible . When Wlliam Tyndale in England and Reina and Valera in Spain later translated the Bible into English and Spanish respectively, they both referred to and partially adopted the translation principles and thoughts proposed by Luther.(Tan Zaixi，2004：67）

After carefully reading Tan Zaixi's ''A Short History of Translation in the West'' and Chen Fukang's ''A History of Translation Theory in China'', the author has gained a better understanding of Luther's and Lu Xun's translation thoughts and principles, and has gained two insights: first, even though their countries, political environments,translation thoughts are rather different, the nature of translation determines that there must be certain similarities in their translation thoughts; second, even though the age between Luther and the author is so long, his translation thoughts and principles still have implications for the author and other translation learners of her time.

As an interdisciplinary student, the author lacked a systematic understanding of many translation thoughts and principles at the beginning of this term. After studying in this semester and reading related professional books,the author have benefited a lot and formed her own translation habits and thinking implicitly, and she hopes to improve her translation quality by more practice.

===6.References===

[1]Eric. W.Gritsch.Luther as Bible translator [J] in Donald K. Mckim ed., The Cambridge Companion of Martin Luther (Cambridge: Cambridge University Press,2003),62-63.

[2]Chen Fukang 陈福康.(2000).中国译学理论史稿[A History of Translation Theory in China].

[3]Liu Hongyan 刘红岩.(2010). 鲁迅与马丁·路德翻译思想对比研究 [A Comparative Study of Lu Xun's and Martin Luther's translation Thoughts]

[4]Liu Junping 刘军平.(2009).西方翻译理论通史[A General History of Western Translation Theory]

[5]Lu Xun 鲁迅.(1935).鲁迅全集.[The Complete Works of LU Xun]

[6]Tan Zaixi 谭载喜.(2004).西方翻译简史.[A Short History of Translation in the West]

[7]Zhang Sijie, Zhang Bairan 张思洁,张柏然.(1998).意合与形合.[Parataxis and Hypotaxis]

==Study on Interpreter's Memory and Translation Memory in Interpreting 康浩宇 Kang Haoyu 202070080638 英语口译==

<center>康浩宇 Kang Haoyu</center>

===Abstract===

In interpreting, interpreter's memory plays an important role, and the level of the memory even determines the quality of interpreting and affects the results. Memory cognitive ability is one of the comprehensive qualities of interpreters. How interpreter's memory ability works is closely related to memory principles, types and mechanisms. With the development of science and technology, translation memory, as a new type of "memory", appears in front of the public and is widely used in translation field. In the field of interpretating, some interpreters are also doing interpreting with the help of such tools. This paper explores the translator's memory ability and the application of translation memory in the interpretating industry from the principle of memory.

===Keywords===

Memory; Translation Memory; Interpreting

===摘要===

在口译中，译者的记忆里发挥着举足轻重的作用，记忆水平的高低甚至决定了口译质量的好坏，影响口译结果。记忆认知能力是口译员的综合素质能力之一。译者记忆能力的发挥与提升和记忆原理，类型，机制等因素息息相关。随着科学技术的发展，翻译记忆作为一种新型的“记忆”出现在大众面前并在翻译领域广泛使用。而在口译领域，一些译员也在通过这类工具来协作口译。本文旨在从记忆的原理出发探究译者记忆能力以及翻译记忆在口译行业的运用。

===关键词===

记忆；翻译记忆；口译

===1 Introduction===

'''1.1 Background'''

Memory plays an important role in interpreting and it is a part of interpreter's competence. The information processing in interpreting is complicated. When the information is input, interpreter first recognizes and keeps the information, which will then be analyzed, encoded, stored and retrieved. And the interpreter finally decodes the information into the target language.Because of the fast input of information and limited time for pausing, great memory is required for interpreters. Whether a good or poor memory has a direct effect on the quality of interpreting(Wang Jianhua, 2019).

With the development of science and technology, machine translation and computer aided translation, which is also called CAT, was invented as two effective ways for translation. In CAT, there is a tool called translation memory. Different from human beings’ memory, translation memory is more likely a database. Nowadays, translation memory of CAT has been put into wide use in translation. And in recent years, translation memory has also been applied as a tool in interpreting. As the technology is not yet mature, there are still some limitation and weakness in this aspect(Su Mingyang, 2007, 73).

'''1.2 Significance of the Study'''

There are some studies on the memory of interpreters. But most of them focus on its practical aspects such as how to improve interpreters’ memory or how to make the best of memory in interpreting, instead of substantial facts. The nature of memory and mechanism of memory is also worthy to be studied, so readers can have a better understanding and cognition of what is memory and how it works. Therefore, readers can better address their problems in memory of interpreting. The study will fully analyze memory from the aspect of psychology and science. And then it will study on the memory of interpreting in details including systems, mechanism and effects(Li Jun, 2020, 127).

Translation memory is quite a novel topic as it refers to a sort of science and technology. As the world stepped into information era, digital era and even Artificial Intelligence era, translation memory has been used more widely than ever before. It facilitates the translators as it both saves a lot of time and greatly improves the translation efficiency. However, there are few studies on the translation memory application in interpreting field. Actually, in many situations, interpreters also uses this kind of technology to help their interpreting. They study will research on the fact of translation memory application in interpreting(Li Jun, 2020, 127).

'''1.3 Structure of the Study'''

This thesis will be developed in five chapters.
Chapter 1, the introduction part, is initiated by introducing the background, research problems, and significance of the study.
Chapter 2 is functioned to define and categorize the memory.
Chapter 3 will present the memory mechanism and related theories in interpreting.
Chapter 4 will mainly focus on the translation memory technology at present and its application in interpreting.
The concluding chapter generalizes the content of the study and put forward the limitations.

===2 Study on Memory===

'''2.1 The definition of the Memory'''

Memory has different definitions in different fields. Generally speaking, human memory is a reflection of what the brain has experienced. From the perspective of psychology, memory is the recognition, maintenance, reappearance of experienced things in the human brain, and it is the basis of advanced psychological activities such as thinking and imagination. It is the retention and extraction of past experience of human brain. It is a psychological process in which individual experience is accumulated and preserved in the mind. All things that have been perceived can be kept in people's minds, and can be reproduced when necessary. This refers to the process in which the human brain encodes, stores and extracts meaningful information input from the outside world. From the perspective of neurology, human memory is closely related to the changes of chemical composition in hippocampus of the brain. All memory that exists in the brain depends on various nerve cells, which are called neurons. According to information processing theory, memory process is the process of encoding, storing and extracting input information. Only coded information can be remembered. Coding is the process of processing and transforming the input information, and it is the key stage of the whole memory process(Che Wenbo, 1987, 403).

'''2.2. Memory Systems'''

Based on the structure, memory can be categorized into three systems. There are sensory memory, short term memory and long term memory. The later two systems are also often referred as STM and LTM. The three memory systems are different from each other but closely related(Bao Gang, 2005, 150).

'''2.2.1 Sensory Memory'''

As the shortest memory system, sensory memory is the first channel for human brain to get the information. It has some capacity. According the research in Cognitive Psychology(Wang Su, Wang Ansheng, 1992), People’s visual sensory capacity has more than 9 chunks while their auditory sensory memory capacity has less capacity, which is about 5 chunks. The "chunks" here are memory units, and the size of chunk varies with people's knowledge and experience. A chunk can be a word, a number, a phrase, a sentence, a word list, etc. Sensory memory works as temporary storage for sensory information. It depends on the physical nature of external stimulus to code the information and it is the real copy and transcription of the external stimulus. Most sensory memory can stay for one to two seconds and then disappear. Only with more attention and focus can the sensory memory be further processed and then become short term memory(Bao Gang, 2005). People’s visual sensory memory can just keep for less than one second while their auditory sensory memory can keep for 4 seconds. It is inevitable that information will lose with the disappearance of sensory memory(Bao Gang, 2005, 150).

'''2.2.2 Short Term Memory'''

Short term memory is the second memory system. Short term memory is based on the neuron network in hippocampus. It keeps the information that has been selected in the hippocampus of human brain. In some cases, part of information will move from the short memory in hippocampus to long term memory in cerebral cortex. In psychology, short term memory can keep for about one minute with the capacity of about 7 chunks. That means that people can memorize seven unrelated numbers or phonemes for about one minute with their short term memory. However, the capacity of short term memory is not decided by the amount of stimulus but by the modes of chunk and coding. Chunks can effectively expand the capacity of short term memory. When processing information, people can use the knowledge and experience stored in long term memory to combine several single stimuli into larger information units, which can effectively expand and increase short term memory span and improve memory efficiency. Moreover, the coding of short term memory is mainly auditory coding, and there are also visual coding and semantic coding. Instead of chunk and information unit, people can also use retelling to transfer short term memory to long term memory. Retelling refers to the psychological operation process of repeating the materials just memorized by language to consolidate memory. In the case of retelling, the learning materials kept in short term memory will be transferred to long term memory. The content of short-term memory can be transformed into long term memory by retelling(Bao Gang, 2005, 150).

There is a special type of short term memory, working memory. The concept working memory was first proposed by Baddeley and Hitch. It is used to describe the process of a person temporarily memorizing the fact and thoughts when addressing problems or working(Baddeley, 2006, 22). In spite of limited resources and storage time, working memory is still different from short term memory in temporary storage of information(Hitch, 2012, 266). Compared with short term memory which stores information passively, the working memory process is more dynamic. Generally speaking, there are three differences. First, working memory emphasizes storing and processing information at the same time, while short-term memory only focuses on information storage. Secondly, working memory is a multi-factor system, while short-term memory is a single system. Third, working memory is more important than short-term memory for many advanced brain functions and even almost all human cognitive work(Wang Jianhua, 2019， 76). The disappearance of short term memory is often due to the interruption.

'''2.2.3 Long Term Memory'''

Different from short term memory, long term memory is stored in human’s cerebral cortex where there is more room for storage. Long term memory is very important in keeping information for a long time. It can keep information for more than one minute and even for a whole life. Its capacity is unlimited. All the information kept by long term memory has been selected and filtered.According to Tulving, long term memory is stored mainly as two types(Tulving, 1974). They are episodic memory and semantic memory. Episodic memory is about one’s experience of some specific situations. Semantic memory refers to knowledge such as words, concepts, rules and other abstract things.

'''2.3 Memory Mechanism'''

Generally speaking, the process of memory includes three key steps. They are memorizing, keeping and recalling. In interpreting, memorizing is related to interpreters' listening and understanding to what the speaker says, keeping is related to the storage of original information and recalling refers to the output of interpreting(Tulving, 1972, 36).

'''2.3.1 Memorizing'''

Memorizing refers to the process of distinguishing and recognizing the characteristics of things and leaving a certain impression in the mind. Some things can be remembered after one perception, while most of the contents need to be perceived repeatedly, so that the new information can be connected with the existing knowledge structure. As the first step in the memory process, memorization has a very important influence on the memory. Therefore, understanding and mastering the rules of memorization will help improve memory(Liu Yin, Su Qiaolin, 1997, 23).

According to whether memorization has a purpose or not, memorization can be divided into unconscious memorization and conscious memorization(Ma Zhengyu, 2013, 26).Unconscious memorization refers to the memorization that happens naturally without a predetermined purpose and without a certain effort of will. When they are perceived, there is no intention to memorize them, but these contents can reappear in people’s mind in the future naturally. And this is unconscious memorization. The content of unconscious memorization is an important part of experience, and it has great effect on people’s psychological activities and behaviors. Inadvertent experience can do as much help as existing experiences when people consciously face certain situations and deal with certain problems. In daily life, the environment, contact and work will influence people unconsciously in psychology and behavior. Generally speaking, there are two characteristics of unconscious memorization. First, the stimulation acts on people's sensory organs which is of great significance and attracts people's attention. For example, people will never forget new and different things; Second, it is in people's needs, interests and content so that it can produce deeper emotional experience. Unconsciousness plays a positive role in people's acquisition of knowledge and experience(Zhao Zhongyuan, 2004, 173).

Conscious memorization refers to memorizing with a predetermined purpose, which requires a certain amount of will and effort in the process of memorizing. The process of conscious memorization is controlled by the purpose of memorization. The purpose of memorization determines that memorizing process is an active coding process for memorizing content. This coding includes "what to remember" and "how to remember". "What to memorize" determines the direction and content of memorization, and "how to memorize" is the method to better memorize the content. All people's knowledge and experience are acquired through conscious memorization and unconscious memorization. However,as for memorizing effect, conscious memorizing is better than unconscious memorizing(Zhao Zhongyuan, 2004, 173).

'''2.3.2 Keeping'''

Keeping refers to the process of remaining and consolidating the memorized materials in brain. It is the process of information storage. Keeping is the middle step which is between memorizing and recalling and it is closely related the quality and effect of recalling(Bao Gang, 2005, 163).

The effect of keeping is related to whether the materials to be memorized are vivid or not. When brains memorize verbal materials, if the materials are vivid, they can leave a deep impression on people, while the materials with empty contents are easy to be forgotten quickly. Many psychological experiments have also proved the important role of the "image" in the memory of human brain. The memory effect of image materials is generally better than that of words materials, and similarly, the effect of visual memory is generally better than that of auditory memory. This suggests that if interpreters make full use of the image carrier of the source language in interpreting memory, it is possible to improve their information storage of the source language(Bao Gang, 2005, 163).

Keeping is a dynamic process during which the amount and nature of the stored information could be changed. In the aspect of amount change, the amount of stored information will decrease with time. In other words, this is forgetting. Forgetting is a very natural phenomenon that experienced by every person. Although forgetting is a complex psychological phenomenon, its occurrence and development have certain rules. Ebbinghaus, a German psychologist, was the first to do this research. He used meaningless syllables as experimental materials and himself as experimental object. After memorizing the materials, he relearned them at regular intervals, and drew the forgetting curve with the time and times saved by heavy school as the index. Forgetting curve reflects the relationship between time variables. This curve shows the rule of forgetting: the process of forgetting is unbalanced, and the amount of forgetting is relatively large in the initial period after memorization, and then gradually decreases. That is, the speed of forgetting is fast at first and then slow. After Ebbinghaus, many people have studied the forgetting process and confirmed that Ebbinghaus's forgetting curve is basically correct(Liu Yin, Su Qiaolin, 1997, 26).

Keeping is the process of consolidating what have been memorized in people's minds, and it is also the process of storing information. It is not a static and solidified process, but a process of reconstruction(Bao Gang, 2005, 163).

'''2.3.3 Recalling'''

The final step of memory is recalling. It is the process of retrieving the information that has been stored in people’s brain(Zhang Wei, 2011, 33). Recalling is the reappearance process of past experiences in the mind under the action of certain inducement. Memories can be divided into two categories: intentional memories and unintentional memories. Intentional recalling is the recalling of past experience under the action of the intended purpose. Unintentional memories are memories that happen naturally without a predetermined purpose. Memories can be divided into direct recalling and indirect recalling according to whether there are intermediary factors involved in the recalling process. Direct recalling is the recollection of old experiences directly aroused by current things. Indirect recalling is a kind of recalling with the help of intermediary factors. In the aspect of difficulty, indirect recalling is more difficult than direct recalling(Wang Jianhua, 2019, 72).

'''2.4 Primacy Effect and Recency effect'''

Primacy effect and recency effect are two famous phenomena related to people’s memory. And both of them play a very important role in interpreting(Bao Gang, 2005, 166).

'''2.4.1 Primacy Effect'''

The concept “primacy effect” was first proposed by A. S. Lochins, an American psychologist. It refers to the fact that the first impression has a huge effect. Although the first impression may not always be right, but it is most vivid and solid. In primacy effect, information input plays a key role. Experimental psychology research shows that the order of external information input is important in determining the cognitive effect. The first input information plays the most important role, and the last input information also plays a great role. This feature of brain processing information is the internal cause of the primacy effect. When different information is combined, people always tend to attach importance to the former information. Even if people pay attention to the following information, they will think that the following information is non-essential and accidental. More importantly, even if the following information is inconsistent with the former information, people will succumb to the former information(Wang Jianhua, 2019, 81).

'''2.4.2 Recency Effect'''

Recency effect, also put forward by an American psychologist Lochins, refers to the phenomenon that when people memorize a series of things, the memory effect of the last part is better than that of the middle part. The reason is that the previous information is gradually blurred in memory, while the recent information clearer in short-term memory. Recency effect is contrary to the primacy effect, and recency effect emphasizes that the last received information has the greatest effect. In people's perception, when the information obtained before and after is different, if there is irrelevant work in the middle to separate them, then the latter information plays a greater role in forming the total impression(Wang Jianhua, 2019, 81).

Obviously, the primacy effect and recency effect are different, or even opposite. The primacy effect emphasizes the information received initially, while recency effect pays more attention to the information that comes into contact later. However, the primary effect and recency effect exist in our society and play their respective functions. Through a large number of experiments, it is found that the primacy effect and recency effect depend on people themselves. Generally speaking, people with relatively simple cognitive structure are prone to produce the primacy effect, while those with complex cognitive structure are prone to produce recency effect(Wang Jianhua, 2019, 82).

Although the primacy effect and recency effect are different form each other, both of the effects are extremely beneficial to the memory of interpreters, and they can be used in different interpreting situations(Wang Jianhua, 2019, 82).

===3 Memory in Interpreting===

In interpreting, time is very limited for interpreters to do the work and the information of original language is transient. Thus, interpreters are required ton have a good memory. The memory in interpreting is not mechanical. It refers to the processing and coding of the original language, and then storage and retrieval of the coded information. The process of language understanding in translation is based on the information stored in memory such as pronunciation, grammar and speech structure(Bao Gang, 2005, 150).

'''3.1 Memory Mechanism in Interpreting'''

When interpreters listen to what the speakers says, their brains are receiving stimulus. That means their brains begin to process these information. In interpreting, when the language area of the brain is stimulated, the interpreter will use the brain to process the existing related information by identifying, explaining, inferring and analyzing the pronunciation, and then stores the results in the form of the internal speech, thus completing the information processing in a short time(Xu Han, 2007, 124).

Only through sensory memory can people obtain external information. Therefore, in a broader sense, the initial stage of memory is sensory memory, not short-term memory. Once the recipient's cells are activated, the information is retained in the sensory storage. Attention should be paid to selecting certain information as pattern cognition, and changing it from sensory memory to short-term memory to obtain its meaning. Therefore, when interpreters listen to the content, they first store all the information in their sensory memory. Then their brain begins to identify which is the important information and pay more attention to it in order to store it in short term memory. For those unnecessary information, it will be forgotten naturally as sensory memory can just be kept for less than one second(Wang Jianhua, 2019,77).

Short-term memory is the link between sensory memory and long-term memory. On the one hand, it directly accepts the information filtered by sensory memory; On the other hand, through a certain retrieval method, the relevant knowledge can be extracted from the long-term memory, and then combine the two to process and store the discourse information. Short-term memory plays a key role in connecting sensory memory and long-term memory, and functions as a central processing unit. When the information stored in sensory memory has been filtered by interpreters’ brain, then it is stored in short term memory. When interpreters start to interpret, they recall all those information that has been encoded in their short term memory and decode it into target languages. In most cases, these information become useless after the interpreting is finished, so it will soon be forgotten naturally by interpreters as short term memory also has a limitation of time. If there is some necessary and important information such as words or expression that could be useful in the future, interpreters can give it more attention and memorize it repeatedly to encode the information into long term memory(Han Xiaoming, 2004, 156).

Long-term memory is like an knowledge base of experiences, and the stored information needs to be activated before it can be decoded into short-term memory to participate in the processing of new information. When the speech chain is released, the brain will quickly activate the long-term memory, extract the relevant knowledge stored before, and start the sensory memory and short-term memory to analyze and process the information , so as to fully understand the meaning carried by the speech, thus making the communication proceed effectively. Long-term memory is the basis of interpretation(Ma Yingmai, Sun Changyan, 2004, 78). In the whole process of interpretation, long-term memory has four functions. The first one is information confirmation. That is to identify information consistent with interpretation long-term memory. The second function is information understanding. If the new information to be processed is consistent with the existing old information in long-term memory, its meaning will be accepted. The third function is information anticipation. The activation of knowledge system will bring about the anticipation of future information. The last one is information expression. When the interpreters understands what the original text conveys, they must look for appropriate words or expressions in long-term memory to express their meanings in the target language(Wang Jianhua, 2019,77). Long-term memory, like a database, stores a large amount of information that can be extracted at any time. More importantly, it also has great influence on sensory memory and short-term memory. If there is no information in long-term memory, the receiver will not be able to recognize familiar stimuli, and short-term memory will not be able to encode and store information in chunks, so information will not be able to change from short-term memory to long-term memory. Therefore, long term memory plays a decisive role when interpreters store the content of original language(Bao Gang, 2005, 160).

'''3.2 Deverbalization Mode'''

In the field of translation, as for the understanding of interpreting thinking process and interpreting memory mechanism, there are four different schools of translation theories, namely, information theory school, cognitive psychology school, neural network school and hermeneutic school. Among them, the most authoritative and influential interpretation theory is the "Deverbalization Mode" theory put forward by the French hermeneutics school(Liu Guiying, 2006, 117).

"Deverbalization Mode" theory was proposed by the French hermeneutics school, which is represented by French interpreting theorist Seleskovitch. In a language, sense is the content while words and linguistic signs are the shell. In this mode, what the interpreter needs to do is “shell” the language by coding the information. That is to only keep the sense of the language in memory and remove all the other things(Seleskovitch, 1978). According to the theory, the whole process of interpreting is divided into three stages. They are listening, understanding and expressing respectively. Understanding is considered to be the most important part in the process of interpreting(Seleskovitch, Lederer 2003, 41).

In interpreting, interpreters should first listen to and make clear these linguistic signs and find out the sense and content they express through analysis and understanding. Then the interpreters need to remove the “shell” of the language and forget the linguistic signs and their structure. Only the sense needs to be memorized. The final step for interpreters is to reconstruct the information of original language. They need to decode these sense with the linguistic signs of target language(Xu Ming, 2010, 6).

Deverbalization is not just a coding process from original language to target language but also a dynamic process of understanding and expressing. The central idea is that the interpreters should memorize the pure sense of content instead of the language shells. And they then should process these information with the language shell of target language(Xu Han, 2007, 124).

From the perspective of the theory, interpreters’ memory is not mechanical memory of isolated phonetic codes and information symbols of the source language, but the memory of the main meaning and key words of the source language information on the basis of understanding. Moreover, interpreters’ memory is not simply recalling of information stored in the brain, but a storage and extraction of the input information after analyzing, screening, processing and coding. Interpreters must extract the relevant background knowledge stored in the brain by means of "semantic retrieval", identify, interpret and reason the speech chain, then store the textual meaning in the form of internal speech, and complete the information restoration process in a short time(Xu Han, 2007, 124).

'''3.3 Memory Strategies for Interpreters'''

'''3.3.1 Logical Memory'''

Logical memory means that when the interpreters receive new information, they can fully stimulate the existing schema in their mind according to the main content of the information, get rid of the limitations of the source language, better remember the newly acquired information, and truly achieve the combination of "recalling" and "interpreting". In interpreting, interpreters use discourse knowledge to logically sort out the internal relations of the source language content and list the framework. In this process, the interpreters’ notes should mainly include the logical relationship between key words and information, and what the interpreters memorize in his brain is the main meaning and connection of the source material, rather than isolated phrases and sentences. In the interpreting stage, the interpreter uses the newly acquired information to activate the related schema in the brain to summarize and edit, so that the known information can reduce the memory burden. This memory method is suitable for the interpreting materials with organized contents and clear priorities(Chen Weihong, 2014, 86).

'''3.3.2 Visual Memory'''

Visual memory refers to a method in which an interpreter can quickly visualize the source language content in his mind, combine the existing background knowledge schema, and use the imagery thinking established in his brain to remember when he or she hears the interpretation content. Visual information storage tends to be more complete, and its retention time is relatively long. If images can be formed in the brain, it will definitely reduce the memory burden and produce better translations. Using visual memory of the information in descriptive or introductory interpreting materials will produce very good results(Chen Weihong, 2014, 86).

For examples, the following is part of President Xi’s, state leader of People’s Republic of China, speech at the 12th BRICS Summit.

“同时，我们坚信，和平与发展的时代主题没有改变，世界多极化和经济全球化的时代潮流也不可能逆转。我们要为人民福祉着想，秉持人类命运共同体理念，用实际行动为建设美好世界作出应有贡献。”(Xi jinPing, 2020)

The official translation is given as fallowed from XinHua News Agency.

“Despite all this, we remain convinced that the theme of our times, peace and development, has not changed, and that the trend toward multi-polarity and economic globalization cannot be turned around. We must keep people’ s welfare close to heart and pursue the vision of a community with a shared future for mankind. Through concrete actions, we will contribute our share to making the world a better place for everyone.”

From president Xi’s speech, he mentioned the theme of times, world and peace, multi-polarity and economic globalization, people’s well being. Thus interpreters can use visual memory here to imagine peace as a peace bird, globalization as a the picture of earth and people’s well being as a picture of a happy family(Chen Weihong, 2014, 86).

'''3.3.3 Chunk Memory'''

In the process of memory, individual information is often grouped into larger units, that is, recombined or recoded, which is called chunks. Although people's short-term memory capacity has only about 7 chunks, the information storage capacity of each chunk can be extended to a certain extent. People can reorganize the information of short-term memory by using the related schema in their minds, and form familiar larger meaning units. Therefore, in interpreting memory training, the translator should actively use the schema in his mind to make information memorized in chunks efficiently. Interpreters should reconstruct the information they hear, get rid of the language form of the original text, and transform it into meaningful information chunks. With the help of schema theory and interpretive theory, several single sentences can be condensed into several meaningful information chunks, thus reducing the memory pressure in interpretation and greatly improving the interpretation effect. Materials with poor logic and consistency are more suitable for this memory method(Miller, 1956, 63).

There is also a part from President Xi’s speech at the 12th BRICS Summit as followed.

“环顾全球，疫情使各国人民生命安全和身体健康遭受巨大威胁，全球公共卫生体系面临严峻考验，人类社会正在经历百年来最严重的传染病大流行。国际贸易和投资急剧萎缩，人员、货物流动严重受阻，不稳定不确定因素层出不穷，世界经济正在经历上世纪30年代大萧条以来最严重的衰退。单边主义、保护主义、霸凌行径愈演愈烈，治理赤字、信任赤字、发展赤字、和平赤字有增无减。”(Xi jinPing, 2020)

And the official translation is given as followed.

“Around the world, COVID-19 is posing a grave threat to people’s life and well-being. The global public health system is facing a severe test. Human society is going through the most serious pandemic in the past century. International trade and investment have shrunk considerably. The flow of goods and personnel has been impeded. Factors for uncertainty and instability are numerous. The world economy is witnessing the worst recession since the Great Depression in the 1930s. Unilateralism, protectionism and acts of bullying are becoming rampant, and the deficit in governance, trust, development and peace is widening instead of narrowing.”

In this part, president Xi mentioned many aspects. They are current situation, public heath, people’s health, economy and politics. Each aspect can function as a chunk. When interpreters hear these information, they can memorize these information in these chunks(Chen Weihong, 2014, 87).

===4 Translation Memory in Interpreting===

'''4.1 Translation Memory'''

With development of science and technology, translation technology become widely use in translation field such as computer aided translation, greatly improving the efficiency of translators. And translation memory is a tool used in computer aided translation(Shi Yuntao, 2000, 36).

'''4.1.1 Definition'''

Translation memory is also called TM. It is different from the psychological memory that has been well elaborated. It is a kind of database to aid the translation. The principle of Translation Memory (TM) technology is that users build one or more translation memories by using existing original texts and translations. In the process of translation, the system will automatically search the same or similar translation resources such as sentences and paragraphs in the translation memories, and give reference translations, so that users can avoid unnecessary repetitive work and only focus on the translation of new content. At the same time, the translation memory keeps learning and automatically storing new translations in the background, which becomes more and more "smart" and more efficient(Lv Lisong, Mu Lei, 2007,36).

'''4.1.2 Mechanism'''

The translator first provides a source text to the translation memory, and the program will analyze this text first, and try to find out whether the existing translation section is consistent with the translated text in the past in the database. If matching translation pairs are found, they will be presented to the translator for reference. Translators can choose to accept the old translation, reject it or modify it. If it is modified, the modified version will also be recorded and stored in the database(Wang Jinquan, 2004, 14).

Some translation memory systems only search for 100% matching words, which means that only the new source that is accurately compared with the database and completely matching data will be presented. There are also other systems that use the fuzzy comparison principle to find similar segments, and present them to translators with special marks to make them easy to recognize. It is very important that the general translation memory system only searches the source language from its database. Text segments that have no match at all will have to be translated manually by the translator. These newly translated text segments will be stored in the database, and future translations may be adopted immediately because the source text appears repeatedly. Translation memory will work well when the repetition of articles is quite high, such as some technical documents or manuals. Translation memory is also very helpful when translating a situation where existing documents are gradually added and revised from the past. Generally speaking, translation memory will not be considered in literature or creative documents, mainly because these types of articles have low repeatability. However, some people think that these words with extremely low repeatability are still worth collecting, for example, they can be used in the search of concordance. Other help collected from translation memory can also be helpful in quality verification and proofreading. When the translation memory is continuously used on appropriate words for a period of time, it will save a lot of workload for translators.(Wang Jinquan, 2004, 14)

'''4.2 Application of Translation Memory in Interpreting'''

'''4.2.1 Current Situation '''

Although most translation memory is used in the work of translation, it is also used in interpreting widely in recent years. Translation memory is also used in three stages of a interpreting(Li Jun, 2020, 127).

The first stage is the pre-interpreting period when interpreters make preparation for the interpreting. If there is script or some new terms and expressions, interpreters can first resort to machine translation to learn how to translate these content and then store these results in translation memory for future use(Li Jun, 2020, 128).

The second stage is when the interpreters are doing the interpreting. There is a very important technology called voice recognition. The technology can recognize what the speakers said and transcribe it into words. On the one hand, these words can show as subtitles on the screen. Listeners can choose to watch the subtitles or listen to interpreters by themselves. Ont the other hand, these recognized words can also show to interpreters for them to refer to. Thus, it can reduce their stress and burden to some extend. And if the speakers said the terms or words that have been stored in translation memory, they can soon be translated into target languages. The voice recognition technology can transfer speech into words. And then translation plays its role to help interpreters do their interpreting as it saves interpreters a lot of time to remember these words(Li Jun, 2020, 128).

The third stage is after the interpreting. Interpreters can have a review on their on interpreting by voice recognizing their record. If there is any new words that could appear again in the future, interpreters can store them in their own translation memory. If there are words that have benn stored in translation memory but needs modifying, interpreters can also upgrade them(Li Jun, 2020, 128).

'''4.2.2 Limitations'''

Although translation memory has been adapted in interpreting, its has still some limitations. There are mainly two aspects of the limitation. They are translation memory and voice recognition.

As for translation memory, the limitation is that what stored in translation memory are words and phrases. In most cases, people needs to translate a whole paragraph or text, so the cohesion is very important. Common translation memory uses a sentence as a Translation Unit or a Translation Segment, which makes it easy to translate multiple sentences separately and then combine them. And this makes the translation not as coherent as it’s required. Besides, translation memory is not compatible to all file formats such as words, the one most frequently used(Su Mingyang, 2007, 73).

As for voice recognition, when there are more than one language in the speech, the effectiveness of the technology could be affected. Besides, it sometimes fails to recognize conditional adverbials and adverbial clause induced by words such as If, every and although is not good. The reason is that the clauses caused by these words can be placed before or after the main sentence, which makes it difficult to recognize and automatically add punctuation marks. Moreover, the results of recognition is greatly affected by the pronunciation and intonation of the speaker and the environment(Li Jun, 2020, 129).

===5 Conclusion===

A good interpreter is required to have a good memory. It doesn’t only mean the ability to memorize many things but also knowing how to use different memory systems and modes of coding to optimize their memory. Moreover, with the development of technology, interpreters should also learn how to use these technology such as translation memory to help them do the interpreting. However, although translation memory is used in interpreting now, it is still not mature and needs to be improved. Interpreters can use these technology but not rely on it. They must rely on their own memory.

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== The Subtile Translation of Movie from the Perspective of Multimodal Discourse Analysis 王轩 Wang Xuan 202070080609 英语笔译==

=== Abstract ===
Mankind has entered the era of multimedia, so the language as a mono-modal form has been unable to fully express the meaning of communication. Thus we need some other modals to enhance, in order to fully express the meaning and reach the aim of communication, such as sound, visual image, color and so on. Thus the term Multimodality aroused linguist’s interest and attention.
The thesis is based on the Multimodal Discourse Analysis theory as the foundation, aims to analyze the following three areas under the theoretical framework of Multimodal Discourse Analysis: 1. The embodiment of Multimodality in the film “Benjamin Button”, then aims to analyze how does the subtitle and Multimodality combining to constructed the whole meaning under the theoretical framework of Multimodal Discourse Analysis.2. The second goal is to discuss the relationship between the movie’s subtitles and other modals, and the relationship between different modals. 3. By discussing the analysis of the movie subtitle expression function in the process of overall significance, this thesis attempts to put forward some suggestions on the movie subtitle translation.

=== Keywords ===

Multimodal Discourse Analysis；Audio-visual Product；Subtitle Translation

=== 摘要 ===

人类已经进入多媒体时代，语言作为一种单一的模态形式已经无法充分表达交际的意义。因此，我们还需要一些其他的情态手段加以加强，以充分表达意义，达到交际的目的，如声音、视觉形象、色彩等。因此，多模态一词引起了语言学家的兴趣和关注。
本文以多模态话语分析理论为基础，旨在在多模态话语分析理论框架下分析以下三个方面：1。多模态在电影《本杰明·巴顿》中的体现，则旨在分析在多模态话语分析的理论框架下，字幕和多模态如何结合起来构建整体意义。第二个目标是讨论电影字幕与其他情态动词的关系，以及不同情态动词之间的关系。三。通过对电影字幕在翻译过程中的整体意义的分析，本文试图对电影字幕翻译提出一些建议。

=== 关键词 ===

多模态语篇分析；视听产品；字幕翻译

=== Chapter One Multimodal Discourse Analysis Theory ===

''' 1.1 The Emergence And Development Of Multimodality '''

At present, experts and scholars have entered the stage of multimodal discourse analysis. This is not an accidental phenomenon, but inevitable, because they think that discourse or discourse is a unit of meaning, but the expression of meaning is not only through a single language, on the contrary, it can be constructed by many other symbol systems besides language.
Therefore, it is not comprehensive and specific to analyze discourse or discourse from the linguistic level, so multimodal discourse analysis comes into being. Multimodal discourse analysis was first proposed in foreign countries, and has been widely studied and explored. However, it is still in its infancy in China, and has attracted much attention in recent years.
In the early 1950s, American linguist Harris put forward the theory of discourse analysis for the first time. Since then, discourse analysts all over the world have been working hard to analyze and study, and have put forward many theories and methods of discourse analysis, and analyzed them through a large number of examples.

However, almost all the theories and methods of discourse analysis focus on language and ignore other forms of meaning expression, such as image, music, color and so on. Therefore, the research on discourse analysis at that time was not comprehensive and had great limitations. In the 1990s, multimodal discourse analysis was first proposed in western countries, which overcomes the limitations of discourse analysis to a certain extent. Therefore, once multimodal discourse analysis was proposed, it immediately attracted the attention of linguists and once became a hot topic. Especially in recent years, linguists at home and abroad have carried out extensive research and Exploration on multimodal discourse analysis.
In foreign countries, R. Barthes is the first French scholar to systematically analyze multimodality. As a famous semiotician, R. Barthes adopts the semiotic perspective to study multimodality. Therefore, multimodal discourse has been analyzed with semiotics from the very beginning. Multimodal discourse analysis breaks through the shackles of traditional single language information, and integrates more research in other fields, such as psychology, cognitive science and sociology. R. Barthes discussed the interaction and relationship between image and language in the expression of meaning. Based on Halliday's systemic functional linguistics, Kress & Van Leeuwen constructed a relatively perfect grammatical framework for the analysis of visual images, thus providing theoretical basis and analytical methods for multimodal discourse analysis. They believe that multimodality is a major feature of various discourses in modern society. In the digital age, these different modes play the same role in meaning reproduction. In addition, Kress & Van Leeuwen constructed an image analysis framework based on three pure functions in image reading, namely reproduction, interaction and composition.. In a word, Kress & Van Leeuwen's multimodal communication theory mainly focuses on the symbolic resources and their use.

In China, there are also in-depth and extensive research on multimodal discourse analysis. Professor Li Zhanzi analyzes multimodal discourse from the perspective of social semiotics, while Hu Zhuanglin, a professor of Peking University, studies multimodal semiotics in theory and practice, and proposes multimodal language teaching and research in social semiotics. Zhu Yongsheng has made an in-depth study on multimodality and summarized the theoretical basis and research methods of multimodal discourse analysis. Zhang Delu made a preliminary exploration on the theoretical framework of multimodal discourse analysis. Professor Zhang Delu pointed out that multimodal discourse refers to the use of hearing, vision, touch and other senses, through language, images, sounds, movements and other means and symbol resources for communication. This phenomenon is very common, which is mainly reflected in the following aspects. For example, in order to better understand poetry, people find that it can be attached with pictures, that is, it is attractive People's interest has reached the purpose of helping people understand. In addition, people can often add some auxiliary gestures or actions, and use different tone and tone when speaking, which is also a form of multimodality. However, multimodal discourse analysis has not been paid enough attention. Only in the study of modern linguistics, some linguists have paid attention to multimodality and started to study it from the perspective of non-verbal features and linguistic features. However, it is only studied as an auxiliary expression system of language, but not as a mode of meaning expression. Although multimedia discourse analysis came into being, it was not until recent years that scholars gradually realized the importance of multimedia discourse analysis. It can be seen that multimodality has attracted a large number of linguists in China and achieved fruitful results.

''' 1.2 The Theoretical Framework of Multimodal Discourse Analysis '''

Linguists have found that systemic functional linguistics can be used as the basic theoretical framework of multimodal discourse analysis. The five levels are: (1) cultural level, including ideology as the main form of culture and genre as the potential choice of discourse mode. (2) The context level includes the context configuration composed of discourse scope, discourse tone and discourse mode. (3) The meaning level includes discourse meaning and conceptual meaning, interpersonal meaning and textual meaning. (4) At the formal level, there are different formal systems to realize meaning, including lexical grammar system of language, visual ideographic form and visual grammar system, auditory ideographic form and auditory grammar system, tactile ideographic form and tactile grammar system, etc., as well as the relationship between the grammar of various modes. (5) Media level is the material form of discourse in the material world, including linguistic and non-verbal. Systemic functional linguistics provides a relatively ready-made theoretical framework for multimodal discourse analysis. On this basis, Professor Zhang Delu proposed a comprehensive theoretical framework for multimodal discourse analysis: (1) cultural level, (2) context level, (3) content level, (4) expression level

''' 1.3 The Forms and Relations of Multimodal Discourse '''

Multimodal discourse forms include: language, picture sense, sound sense and feeling. The typical multimodal discourse mode is a kind of modal discourse, which can not fully express its meaning, or can not express its full meaning. It needs to be supplemented by another one. The relationship between these modes is called "complementary relationship", while the other is called non-complementary relationship.

Complementary relationship can be divided into strengthening relationship and non strengthening relationship. Reinforcement relationship means that one mode is the main form of communication, while another or more forms strengthen it. For example, when expressing meaning, if language is the main form of communication, then other body movements such as gestures will strengthen the language. On the contrary, language may also be a reinforcement to other ways of communication. Strengthening relationship includes three kinds of relations: prominent, primary and secondary, and expanding. Non reinforcement refers to the relationship between two modes which are indispensable and complementary to each other. For example, in the process of watching a movie, the visual and auditory modes are combined with each other. There are also three forms of non strengthening relations: coordination, union and intersection. In the coordination relationship, different modes construct the whole meaning together, and the lack of any mode will be incomplete. Play the video at the same time, for example. The two modes of image and sound are both necessary and difficult to understand without one communication. In this case, the relationship between image and sound is harmonious. The joint relationship refers to the combination of different types of media in the same mode to express the meaning. For example, in the typical multimodal discourse form of film, the sound matched with the scene animation and the voice of interpretation are combined to reflect the meaning of auditory construction. The last one is the phenomenon of cross embodiment of meaning. For example, teachers do experiments while they are in the experimental class. At this time, the text is still unimodal. However, if you are talking with your friends about whether the weather is snowing, the size and shape of snow, and so on, the scene of snow, including the process and mode of snow, will directly participate in the overall meaning you want to express. At this time, your discourse has a strong situational dependence. A large part of the meaning of your speech is reflected by the situation, although the scene does not actively participate in it In your verbal communication. Therefore, context dependent discourse communication is multimodal.

=== Chapter Two Film subtitle translation theory ===

''' 2.1 Film Works and Subtitle Translation '''

With the advent of the multimedia digital era, foreign film and television works continue to flow into China, so subtitle translation is becoming more and more important. More and more people use subtitles to obtain foreign related information, understand foreign cultures and even learn foreign languages. Subtitling affects people's cognition of things, and subtitle translation has become a professional auxiliary form to facilitate the audience to understand multimedia works. Gottlieb defines subtitle translation as "a kind of written, additional and synchronous translation type for instantaneous and multi symbolic texts". (Gottlieb, 1997:309) in China, film and television translation started relatively late, and large-scale film and television translation began after the 1980s.
Although the number of mass media translation has greatly increased, subtitle translation has not attracted enough attention of the academic community, and the research results on subtitle translation are few. In recent years, subtitle translation, as a field of translation, has attracted more and more attention from experts and scholars all over the world. Subtitles have two major functions: first, to deepen the audience's impression of some film content; second, to assist the lack of listening. There are two kinds of subtitles: the first is intralingual subtitle, the second is interlingual subtitle. Intralingual subtitle translation does not need to translate one language into another, but only converts the discourse into text. "Interlingual subtitle refers to the translation of the source language into the target language and superimposed on the bottom of the screen while retaining the original sound of the film and television, which is commonly referred to as subtitle translation." (Li Yunxing, 2001:38)

''' 2.2 The Characteristics Of Subtitle Translation '''

Film subtitles are an important part of the film, and together with the visual image to construct the meaning, film subtitles can help the audience to understand the characteristics of the characters in the film, to master the character's character and to be familiar with the plot of the film. Film subtitle translation has the following characteristics:
Firstly, colloquialism. Subtitle translation in movies is mainly the translation of dialogues between the characters in the film. Therefore, subtitle translation should be as colloquial as possible and conform to the expression characteristics of the characters. On the premise of ensuring the coherence and smoothness of the context, the subtitle translation should be as close to life as possible so as to achieve natural and realistic effect.

Secondly, the characters in the film have their own unique personalities, which are often reflected by different language styles. Therefore, the second feature of film subtitle translation is to conform to the characters' personalities.
Thirdly, emotional, emotional help the audience better understand the plot, so the film subtitle translation should reflect the true feelings, the translation should be able to put oneself in the position and into the role, to achieve the artistic effect of sincere.
Fourthly, oral form is a typical feature of film subtitle translation, which is also the most obvious difference between film subtitle translation and literature translation. The basic task of translation is to provide a blueprint for dubbing. Therefore, the translation of subtitles should be consistent with the mouth shape of the characters as much as possible, and the accuracy and vividness of the translation should be guaranteed.
Fifthly, popularization means popularization. Popularization means that the translation can be understood by the audience on the premise of smoothness, so as to achieve the purpose of clear understanding and appreciation of both refined and popular tastes. The ultimate goal of popularization is to serve the audience and make the translation a bridge for effective communication between different cultures.

''' 2.3 Strategies Of Film Subtitle Translation '''

''' 2.3.1 Pay Attention To The Artistry Of Language '''

It is said that film is the seventh art after literature, music, dance, drama, painting and sculpture. As a young art, the only one who knows his birthday, film appeared as a popular art from the very beginning. Film is an art form with unique means of expression, and the artistry of its language is the basic element of film. Although Goethe once said: art should never be the same as reality, and it is impossible to embody art. But it turns out that film is not only a popular art, and it is the most popular art, which is called a kind of popular culture. From the point of view of the film itself, most of the films are for people to watch, and the audience of the film comes from different social strata, so their education level is also different. Therefore, the language in the subtitle of film translation must be in line with the audience's acceptance ability and actual level, so as to make the translation understood by the audience, more clearly, and achieve both refined and popular tastes. However, the vulgarization and popularization of the target language does not mean the vulgarization and generalization of the language. The language of film is rich in expressive force, and the language of subtitle translation must be accurate, natural and vivid. Therefore, in the film subtitle translation, we should not only retain the language characteristics of the source language and absorb the characteristics of foreign language expression, but also abide by the language tradition of our own culture, and use words with cultural color of the target language to translate the original text, so as to truly achieve the purpose of translation.

''' 2.3.2 Literal Translation And Free Translation Should Be Audience-Centered '''

The characteristics of film subtitle translation, i.e. instantaneity and popularity, determine its translation strategies. Subtitle translation must refer to the picture and sound of the film and television. Usually, the subtitle appears in front of the audience together with the original picture, so that the audience can not only enjoy the picture, but also have time to read the subtitle. This is the duality of subtitle translation. When the audience accepts the sound, picture and subtitle information of the original text, they are integrated, complementary and contradictory. Therefore, subtitle translation must consider that subtitle is not an independent mode, it includes the creation process and the reception process. In a word, both literal translation and free translation should focus on the audience. Literal translation can absorb new foreign factors and information, and can reflect foreign culture and sentiment. Free translation is easier to be accepted by the target language audience. Film subtitle translation must take into account the audience's language level and education, and take the audience of the target language as the center and adopt correct translation strategies.

''' 2.3.3 Processing Of Cultural Information '''

As an intermediary of cultural exchange, the translator's main purpose is to promote the exchange of different cultures and reduce the cultural gap. Because the film subtitle in the process of translation is subject to many restrictions, for example, there are a large number of words with strong cultural color and some special language forms, and there are many gaps in the culture of different languages and nations and can not be replaced, so it increases the difficulty of film translation. For example, when translating puns, word games and proverbs, translators usually have to give up, which is actually a treason to the original film.
There are three strategies to deal with cultural information in Subtitle Translation: first, the principle of cultural compensation. The principle of cultural compensation aims to preserve and introduce the cultural characteristics of foreign countries, so that the audience can understand the films of different languages and cultures. Second, adopt the principle of cultural transplantation. This principle can make subtitles more vivid, authentic and vivid. Translators need to discard the cultural characteristics of the source language and abide by the native language, so that subtitles can be easily understood and accepted by the target language audience. When neither of the two strategies is desirable, we can only use the third strategy, namely the principle of cultural coordination, which inevitably leads to the loss of cultural information in the source language and the target language. When dealing with the cultural information in subtitle translation, translators should pay attention to the combination of these three strategies with the film picture, and give full play to the illustrative and explanatory nature of the pictures, so as to achieve the purpose of cultural exchange.

=== Chapter Three Subtitle Translation Of "Benjamin Button" From The Perspective Of Multimodal Discourse Analysis ===

''' 3.1 A Brief Introduction of 'Benjamin Button' '''

'Benjamin Button', directed by the famous director David Finch is adapted from Fitzgerald's novel of the same name; the film tells the story of a strange Benjamin Barton who violates the laws of nature and is born in the image of an ancient and rare old man. As time goes by, he even lives more and more young. It is a story about the reversal of life.
The following part will analyze the characteristics of subtitles and the translation strategies that should be adopted in the expression of the film from the cultural level, context level, content level and expression level of the multimodal theoretical framework.

''' 3.2 Multimodal Translation in Movie Subtiles '''

''' 3.2.1 On Cultural Level '''

Under the influence of thinking patterns and habits, people have gradually formed a specific form of expression in which language can understand each other in communication. Therefore, it is particularly important whether the cultural factors in films are properly translated. Zhang Delu believes that "the cultural level is the key level to make communication possible". In some cases, the source language and the target language can not be translated literally. Therefore, in the process of translating movie subtitles, we should not only keep the original features, that is, faithfulness, but also take into account the habitual language awareness of the target audience, that is, free translation strategies should be adopted to make the translation smooth and consistent Cultural characteristics of the target language.
The English title of the film is ‘The Curious Case of Benjamin Button’, and a version is ‘本杰明·巴顿奇事’, but the translation of ‘返老还童’ has a larger audience. First of all, there is an English name in the title of Benjamin Button, which makes people feel the obscurity of the literal translation of foreign words. In Chinese, four character idioms or five or seven character quatrains or metrical poems are more catchy and easy to be accepted; Secondly, the title of "rejuvenate" is very suitable for the protagonist's inverted and retrograde life trajectory. In a word, it is very brilliant; Finally, the idiom ‘返老还童’ comes from ancient legends, which expresses people's desire for immortality and rejuvenation. Although it is a legend, modern people also want to be young and energetic, so the title of ‘返老还童’ can attract more audiences.
In this film, there are many translation notes added to the translation, which will explain the cross-cultural ambiguity clearly. Although there are many translations, it is the best way to make the audience accept accurate information.

When Daisy, the heroine, is old, she lies on the hospital bed and introduces the name of the Watchmaker: “they had the best clock maker in all of the south to build that glorious clock. His name was Mr. gateau Mr. Cake.”
The translation is: “还请来整个南方最好的钟表匠建了那座雄伟的大钟。那人叫盖图先生……蛋糕先生” (盖图/Gateau 在法语中是蛋糕之意)
There is such a narration at the foundation laying ceremony of clocks and clocks: “Papa said there were people everywhere. Even Teddy · Roosevelt came.”
The translation is: “爸爸说，那天人山人海。连泰迪·罗斯福也来了( 西奥多·罗斯福，昵称泰迪美国第26任总统)”
In the above two examples, the comments added to the translation itself are in brackets. In the former example, "Mr. cake" suddenly appears. In the latter example, how President Roosevelt called "Teddy Roosevelt" will make the target language audience very puzzled. Although the use of annotations makes translation numerous, it is the best way for the audience to quickly obtain accurate information. The audience knows that gateau means "cake" in French, and Roosevelt has a nickname of "Teddy".

''' 3.2.2 On Context Level '''

In a specific context, communication is constrained by contextual factors (Zhang Delu, 2009). The context level elaborated by Zhang Delu includes discourse scope, discourse tone and discourse mode. In order to express meaning or transmit information, subtitle and context jointly promote the development of film plot. Subtitle translation should be subject to context. In order to make subtitle translation not appear fault phenomenon, the film plot will advance naturally, and subtitle translation should also play a role of connecting the preceding and the following. In this way, in the process of translation, the translator should consider the contextual factors and pay attention to the smoothness and coherence of the translation within the sentence itself and between the sentences in the text.
When describing Queenie's fertility problem, Queenie sees Benjamin's heart full of love. Her husband, Mr. Weathers, said: I know you ain't got all the parts it takes to make one of your own, but this ain't your to keep. At first it was certainly hard to understand the meaning of this sentence, but as the plot developed, Queenie prayed to the pastor for a son. After her pregnancy, she announced happily: “I had a miracle happen. The Lord saw fit to answer my prayer.”

Little Daisy explained here: “ ‘I had a miracle happen’ means pregnancy.” （她有孩子了） In this way, the words said by Mr. Weathers was interpreted as: “我知道你没法有自己的孩子，可你也不能抚养这个。” Using free translation strategy, it is clear and faithful to the meaning of the source language, which makes the target language audience quickly know that Queenie likes children's characteristics and cares for Benjamin, an ugly ‘monster’.
When Benjamin and Daisy are reunited in New York, Benjamin said: “I thought I'd come here and sweet you off your feet or something.” The phrase "sweep you off your feet" means "to make you fall suddenly and deeply in love with you"（让你倾倒）. Benjamin and Daisy were separated from each other for many years at that time. Daisy, who was living in the dance circle, was popular and desirable there. Benjamin went to New York to find daisy after burying his father. He was in a mixed mood. In fact, he wanted to find a friend to express his melancholy. Therefore, Benjamin did not go to find Daisy to "fall in love" with her but "I thought I'd give you a big surprise when I came suddenly"(我本以为我突然过来找你会给你一个大惊喜), which is very brilliant. This sentence is more suitable for the protagonist's situation by using free translation strategy.

''' 3.2.3 On Content Level '''

The content level of Zhang Delu's expression includes discourse meaning level and form level. Discourse meaning is the conceptual meaning, interpersonal meaning and textual meaning conveyed in language expression. In the film, subtitle is the narrator's narration and dialogue content. Film discourse requires the translator to accurately express the subtitle meaning to the audience. In the process of subtitle translation, some gas words, names and address terms can be omitted, which still does not affect the expression of discourse meaning.
“Well, I know I don't have much to show for myself.”（我知道自己没有什么才能。） The omission of "well" does not affect the translation, but is more concise and can be understood more quickly.
“You know, you may've got a few more years out of it, but you choose to do something so special and unique that there were only a short window of time you could do it.” Daisy was in the dance business, but she had an accident later. Some expressions here such as “a few more years out of it” ( 跳几年舞), “something so special and unique”( 事业太与众不同), “a short window of time” （几年黄金时间) have been dealt more concrete, so the whole sentence is translated as: “也许，你能多跳几年舞，可你的事业太与众不同了，只有几年的黄金时间可以发展。”

As for its form, the formal features of different modes are interrelated and reflect the discourse meaning together (Zhang Fulu, 2009). The film system includes animation, pictures, music, language and other auditory and visual modes. Therefore, subtitles, together with listening and visual modes, work together to promote the expression of film meaning.
For example, Benjamin and Daisy finally met and got together. They whispered in the yellow-glowed room:
Daisy: “Will you still love me when my skin grows old and saggy?” ( 我要是成了黄脸婆你还会爱我吗?)
Benjamin: “Will you still love me when I have acne? When I wet the bed? When I'm afraid of what's under the stairs?” ( 等我老到脸上长满青春痘，老到尿床，老到连楼梯下有什么都怕，你还会爱我吗?)
The pictures, music and language all revealed the happy and loving life of the two people. In general, the film is based on the narration of a diary. In the film, the dialogue between the present and the narration in the diary is carried out alternately. In addition, the old pictures, the statement of time and the voice change of the narrator are used to make the past and the present change clearly and naturally, and they are applied in the formal level.

''' 3.2.4 On Expression Level '''

Zhang Fulu believes that the expression level can be divided into language media and non-verbal media. In the language media level, he thinks that the main forms of meaning communication are sound symbols and writing symbols. For films, subtitles and subtitle translation belong to writing symbols. In the process of translating subtitles, translators should fully consider the media characteristics such as voice size, intonation strength, tone, font size and layout, which play a very important role in the expression of films. The subtitles of the film are at the bottom of the screen. Except for the notes, the translation takes up a little bit more space, and most of the subtitles in the source language and the target language occupy one line, which ensures that the audience has enough time to read the information. Non verbal media include communicators' body and nonverbal means (mainly tools and environment). Nowadays, with the progress of science and technology, movies can be played in cinemas, networks and various electronic media, and the media for appreciation is rich.

Throughout the film, the dying old Daisy's tone is slow and strenuous on the bed. With the development of the story, light or heavy, a TV beside the bed broadcast the change of Hurricane weather activity, and the weather change also reflects Daisy's condition at that time.
Finally, Daisy hugged Benjamin, a baby in her arms, and watched him invert the end of her life. The dying Daisy dictated in a low voice and intermittent tone: "he looked at me and Iknow that he knew who I was.". (他看着我，那一刻，我知道他认出来了) The sound of the hurricane alarm suddenly sounded, sharp and obvious, and the picture of the staff of the hospital of traditional Chinese medicine was flustered, symbolizing that Benjamin's reversal clock was also washed away, and Daisy finally passed away. The sound, picture and words of the whole film are closely linked. It tells the story of eternal love, though limited in time, which is extremely shocking and thought-provoking.

=== Chapter Four Conclusion ===

The translator of the film tries his best to translate various modes such as discourse, picture, sound and music. The translation strategy is mainly free translation, and the subtitle processing is simple and appropriate, so that the audience can have a good understanding of the limited time in the film, only the eternal knowledge of love. Taking the film subtitle of "rejuvenation" as an example, this paper analyzes the characteristics of subtitle translation from the aspects of culture, context, content and expression, hoping to better understand multimodal discourse analysis and free translation strategies in film subtitle translation.

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==On the C-E Translation of Traditional Chinese Medicine Instructions from the Perspective of Adaptation Theory - A Case Study of Yulin Pharmaceutical Company 陈永相 Chen Yongxiang 202070080582 MTI 英语笔译==

<center>陈永相 Chen Yongxiang 202070080582 MTI 英语笔译</center>

===Abstract===

Traditional Chinese Medicine (hereinafter referred to as TCM), the precious property of Chinese medicine culture, boasts the favorable curative effect and enjoys a good reputation across the world. With the smooth development of "The Belt and Road Initiative" and national economy, TCM has been playing an increasingly significant role in the international trade, attracting more attention of foreign medical experts and consumers.

As the essential attachment of a medicine, medicine instructions belong to the genre of practical writing, characterized by the unique language structure and stylistic features. The translation of TCM instructions is a significant part of TCM translation, the quality of which determines whether the Chinese medicines could be understood and used properly by doctors and patients, as well as the prosperity of TCM in the international trade. Due to the inevitable differences in language and culture between English and Chinese, however, many problems appear on the C-E translation of TCM instructions.

According to Adaptation Theory proposed by the Belgian pragmatist Jef Verschueren, language use is a dynamic process of continuous choice-making and adaptation. As a cross-cultural communication activity, translation involves language use and requires translators to make choices of words, translation strategies and so on between the source language and the target language, and to adapt with different contexts, mentalities, cultures, etc. so as to achieve the ideal goal, from which the Adaptation Theory can be applied exactly into the study of translation. This paper will apply Adaptation Theory, therefore, as the theoretical framework, to study the C-E translation of TCM instructions of Yulin Pharmaceutical Company, tring to further discuss how to better translate TCM instructions.

===Key words===

Traditional Chinese Medicine instruction translation; Adaptation Theory; Yulin Pharmaceutical Company

===摘要===

中药是我国医药文化的瑰宝，有着良好的疗效和口碑。随着“一带一路倡议”的稳步推进和中国经济的平稳发展，中药药品在国际贸易中所占比重日益增加，得到了国外许多医疗专家和消费者的关注。

药品说明书作为药品的重要附件，是一种实用文体，有其自身的语言结构和文体特点。而中医药品说明书英译作为中医英译的一个重要组成部分，其英译质量决定了药品能否被医生和患者正确理解和使用，以及中医药产品的国际贸易繁荣。然而，由于英语和汉语之间存在着不可避免的语言和文化差异，中医药品说明书英译依然存在着较大问题。

比利时语用学家维索尔伦提出的语言顺应论认为，语言的使用是一个不断作出选择和顺应的动态过程。翻译作为一项跨文化交际活动，需要在源语与目的语之间，就用词、翻译策略等方面进行选择，对不同语境、心理、文化等层面作出顺应。可见顺应论适用于翻译研究。因此本文以顺应论作为理论依据，通过对广西玉林制药公司中医药品说明书英译进行分析研究，进一步探讨如何更好地翻译中医药品说明书。

===关键词===

中医药品说明书翻译；顺应论；玉林制药公司

===1. Introduction===

====1.1 Research Background of the Study====

As the precious property of Chinese medicine culture, TCM has been through a profound history in China. Since "The Belt and Road Initiative" proposed for the first time, TCM has tapped the potential of development opportunity to boost its reform so as to better make inroads into the international market. (Ou Xiufang, 2020)

As one of China's Top 50 TCM pharmacy enterprises, Guangxi Yulin Pharmaceutical Company is a renowned TCM pharmacy enterprise mainly engaging in R&D, production and sales of TCM. In 2015, Consun Pharmaceutical Group Lt. has successfully brought partial share of Yulin Pharmaceutical Company, which, in return, brought opportunities for the IPO and industrialization of the company. (Yulin Pharmaceutical Company, 2018)

As the essential attachment of TCM medicine, the instructions guide doctors and patients to learn and understand the medicine correctly, which closely relates to consumers' safety and are of great significance. The translation of TCM instructions is a significant part of TCM translation, the quality of which determines whether the Chinese medicines could be understood and used properly by doctors and patients, as well as the prosperity of TCM in the international trade. The quality translation of TCM instructions will accelerate TCM to enter into the international market, to occupy more competitive market share, and to better popularize the excellent TCM culture. (Ou Xiufang, 2020)

====1.2 Significance and Purpose of the Study====

It is noticed that studies and researches on TCM at home and abroad have boomed since the ancient Silk Road period. Regarding the translation of TCM instructions, however, little attention has been drawn from experts. Because of the inevitable differences in language and culture between English and Chinese, a lot of problems appear on the translation of TCM instructions. And against such a backdrop, there are no settled rules or translation standards to be applied and favored in the translation of TCM instructions, hence the necessity to study the C-E translation of TCM instructions in a more comprehensive way and to find out more effective methods and strategies for the instruction translation. (Cao Qing, 2011)

Adaptation Theory is proposed by Jef Verschueren, who thinks that language use is a dynamic process of continuous choice-making and adaptation. As a cross-cultural communication activity, translation is a type of language use and requires translators to make choices of words, translation strategies and so forth between the source language and the target language. (Yuan Binye, 2009)

A good translation version of TCM instructions can appropriately guide both doctors and patients to understand the pharmacological functions, usage and dosage, actions and indications, and contraindications of medicines. Therefore, the quality of instruction translation has a direct impact on whether TCM can be favored and obtained a good reputation among the foreign medical industry and consumers. This paper studies the C-E translation of TCM instructions of Yulin Pharmaceutical Company under the guidance of Adaptation Theory, trying to take the Company as a case study to further discuss how to translate TCM instructions in a better way. (Xiao Qiong, 2014)

===2. Features of TCM Instructions===

Being the essential attachment of a medicine, the instruction contains important information that explains what the medicine is, how to take it and the effects after taking it, guiding doctors and patients to understand and use medicines properly. It closely relates to consumers' safety. Thus, TCM instructions must be objective, accurate and concise. However, the information covered in most TCM instructions is drug name, ingredients, actions and indications, usage and dosage, while adverse effects, precautions, pharmacological effects, drug interaction, contraindications etc. are quite simple, even without any description of these items, failing to meet the requirement of international standards. (Xiao Qiong, 2014)

In addition, there are gaps and non-equivalence between TCM and Western Medicine. Most TCM instruction translations apply technical terms from Latin in terms of ingredients, but adopt simple words and phrases for describing actions and indications because the TCM language with Chinese characteristics finds no match in English. Ordinary people, as well as translators, who do not have the professional knowledge may have great difficulty in understanding and translating them. (Xiao Qiong, 2014)

What's more, due to the profound history of TCM developed in China, most of the unique TCM languages derive from the abstract philosophical concepts of ancient times. The peculiar traits of TCM language, and the technical terms, directly or indirectly, come from the abstract medical concepts of TCM. The classical style or semi-classical style used in ancient times remains. (Xiao Qiong, 2014)

The four-character structure is concise but comprehensive in meaning, implying the extensive and abstract medical concepts of TCM. The tradition of using it to describe the symptoms and ways of treatment in TCM hasn't been changed over time but continued to be applied and advocated in modern society. The four-character structure, vagueness and ambiguity of the language in Chinese can find no equivalence in English, hence the difficulty in translating them into English. (Xiao Qiong, 2014)

===3. Introduction of Adaptation Theory===

Adaptation Theory was firstly proposed in 1987 by the Belgian pragmatist Jef Verschueren, the secretary general of International Pragmatics Association. And then it has been developed and modified for several times over years, attracting a lot of attention in the linguistics community with its integrated system and solid philosophical foundation. In the book, ''Understanding Pragmatics'', Verschueren describes that "language use must consist of the continuous making of linguistic choice, consciously or unconsciously, for language-internal and/or language-external reasons." (Verschueren, 2000)

In other words, when making linguistic choices, language users are influenced by the internal structure of language and the external factors. Verschueren attaches great importance to the adaptation of linguistic structures and contexts, and takes communication as a conscious language choice-making process and dynamic adaptability. The essence of communication and expression is a dynamic process, and the context will change along with communication, thus, language forms and strategies should be taken into consideration so as to comply with the context and achieve effective communication. (Verschueren, 2000)

====3.1 Three Properties of Language====

According to Verschueren, there are three properties in language: variability, negotiability and adaptability, and it is the reason why we can make choices during language usage. "These three properties are inseparable with one another, variability and negotiability being the foundation, the ultimate purpose and core is adaptability." (Verschueren, 2000)

Variability provides a large number of linguistic choices during the process of language usage, and lays a basic foundation for the realization of negotiability and adaptability. Negotiability means language users will go through negotiation with themselves when choosing the most appropriate forms and strategies so as to make adaptation and fulfil the communicative intention. As the core of language property, adaptability enables language users to make linguistic choices provided by variability, and then negotiate to decide which choice to be made in accordance with different language contexts. (Verschueren, 2000)

As mentioned above, these three properties are inseparable with one another. Variability and negotiability make it possible and available for language users to choose the proper form and strategy of a language when making adaptation to a specific language context. (Verschueren, 2000)

====3.2 Four Aspects of Investigation====

Based on the guidance of Adaptation Theory, Verschueren advocates four aspects of investigation in linguistic research, namely, contextual correlates of adaptability, structural objects of adaptability, dynamics of adaptability and salience of adaptation process. (Verschueren, 2000)

Contextual correlates of adaptability "potentially includes all the ingredients of the communicative context with which linguistic choices have to be inter-adaptable." These ingredients include language users, the physical world, the social world (such as social relations, culture, social status and social settings), and the mental world (personality, emotions, beliefs, cognitive levels, motivations or intentions, etc.). Since it entails the objective and subjective factors and both sides of language users (utterer and interpreter), making adaptation to the context is of great significance. (Verschueren, 2000)

Structural objects of adaptability happens at all levels of the linguistic structures, ranging from codes and styles, words and clauses, to sentences and prepositional structures. In order to adapt to different cultures and linguistic structures, language users need to choose the most appropriate structure so as to build up the logical relationship and improve the readability and credibility in target language. (Verschueren, 2000)

Dynamics of adaptability means "the development of adaptability processes over time." It is created by the changes and development of language contexts and structures over time. And different words and translation strategies adopted in different contexts show the dynamic adaptability in language use. (Verschueren, 2000)

Salience of adaptation process refers to the various degree of consciousness in the process of making choices. The continuous making of linguistic choice, consciously or unconsciously, covers exactly different levels of salience. (Verschueren, 2000)

In conclusion, as the indispensable parts in linguistic analysis, the four aspects of investigation are the necessary factors to explain and describe any given linguistic phenomenon.

===4. Adaptation Theory Applied in Traditional Chinese Medicine Instruction Translation of Yulin Pharmaceutical Company===

From what has been mentioned above, as the important attachment of TCM, the instructions provide the correct and detailed medical information to doctors and consumers, guiding them to take medicine scientifically and properly, therefore, the medicine instructions must be objective, accurate and concise. As one of China's Top 50 TCM pharmacy enterprises, Guangxi Yulin Pharmaceutical Company is a famous brand in the whole country. Through observation of the C-E translation instructions of TCM for foreigners and export, there are some instructive significance for the translation of TCM instructions. (Xiao Qiong, 2014)

Because of the special characteristics of TCM instructions and the limited information included in the instructions of the Company, this part tries to analyze the C-E translation instructions from the perspective of Adaptation Theory, mainly employing the contextual correlates of adaptability, structural objects of adaptability and dynamics of adaptability, to further discuss how to better translate TCM instructions. (Verschueren, 2000)

====4.1 Contextual Correlates of Adaptability in TCM Instruction Translation====

As introduced earlier, according to Verschueren, the ingredients of contextual correlates of adaptability largely include the physical world, social world, and mental world. However, the author will mainly concentrates on the adaptation to the mental world and the social world due to the limited materials collected. (Verschueren, 2000)

=====4.1.1 Adaptation to the Mental World=====

Regarding the mental world, it involves the personality, emotions, beliefs, cognitive levels, motivations, intentions and so on of both sides of language users. In the translation process, translators should take target readers' mind into account, not just concentrating on personal mental world or literally translating the original text from one language to another language without any adaptation. (Verschueren, 2000)

Basically, consumers of drugs tend to rely on more renowned brands when facing a bunch of medicines displayed on the shelves. The key to attract their attention not only counts on the high quality of TCM, but also on the instructions with rigorous standards, concise specification and overall comprehensibility, which gives a sense of authority and credibility. (Ma Bangxin, 1998)

To begin with, the name of drugs is the most direct information delivered to consumers. Thus, a good name of the TCM can catch the eyes of buyers in the very beginning. "正骨水" is the most famous and important product of Yulin Pharmaceutical Company, however, the translation of its name in the instruction simply applies transliteration and Chinese Pinyin, namely, "Zheng Gu Shui", which fails to adapt with the mental world of target readers. Apparently, Pinyin isn't the way of expression that they are familiar with. Translators should consider their mental expectation and make adaptation with their familiar ways of expression. In that point, "Bone-setting Liquor" would be a better name for the medicine. (Yulin Pharmaceutical Company, 2018)

"Bone-setting" means the medicine is effective for the symptoms of bone problems, and "liquor" implies alcohol and other irritating ingredients of the medicine. Consumers can be aware of the precautions and avoid using it on fragile mucous membranes and anabrotic wounds when seeing its name. (Yulin Pharmaceutical Company, 2018)

Also, the same type of medicine can apply the same way of translation, such as, "金装正骨水" can be translated to "Golden Bone-setting Liquor", and "极品正骨水" is rendered as "Superb Bone-setting Liquor". Such a name conveys the correct medical information to consumers and better adapt to their thinking patterns. (Yulin Pharmaceutical Company, 2018)

Another example, "睡安胶囊", the translation is "Shui'an Jiaonang". Obviously, it will confuse foreigners since they don't recognize Chinese Pinyin in their cognitive levels. Translators should at least use "capsule" to indicate the type of this medicine. (Yulin Pharmaceutical Company, 2018)

A well-recognized name will arouse the attention and interest among consumers, attracting them to purchase the medicine. In order to adapt with their mental expectation and intention, as Ouyang Lifeng advocates, naturalization or domesticating translation can be applied in translation. "Sleep Mate" or "Insomnia Killer" can better attract their attention and adapt with their beliefs and cognitive levels. In English, "mate" is a common word, which will be more acceptable and natural in such a combination, and "killer" combined with "insomnia" implies the meaning of solving the insomnia problems, which is also more suitable and adaptable with their emotions and motivations. (Ouyang Lifeng, 2002)

=====4.1.2 Adaptation to the Social World=====

According to Verschueren, there is no principle limit to the range of social factors because linguistic choices are inter-adaptable. Basically, social settings and cultures play a significant role in the process of translation. What distinguishes TCM from Western Medicine mainly lies on the cultural differences. Language is the carrier of culture, and the cultural differences can be embodied in different languages, and then shown and reflected in society. Instruction translation, as the cross-cultural communication activity, is influenced largely by cultural differences in different social worlds. Followings are the very typical translation examples to illustrate the point: (Zhou Shumei, 2013)

Example 1 (感冒止咳露)

Source Text (ST): 用于感冒或流感发热，头痛鼻塞, 伤风咳嗽，咽痛，肢痛

Target Text (TT): Used for the treatment of cold, flu and fever, headache and nasal congestion, wind damage cough, angina and melalgia

Revised Text (RT): Used for cold, flu, fever, headache, snuffle, cough, sore throat and pain in muscles

Traditionally, "伤风" in Chinese means getting cold because of the invasion of "风" into the human body. "风" is actually one of the six exogenous pathogenic factors according to the medical theory of TCM, which cannot be explained from the perspective of Western Medicine. In western society, people have no concept that the natural phenomenon, say, "风" or "火", will cause diseases in the human body. So the revised text deletes this term with TCM characteristics to avoid ambiguity and makes it more natural and understandable in English. (Ouyang Lifeng, 2002)

In addition, most common patients who seek to buy medicines in pharmacies might not have the specific knowledge of medical field due to different social settings and backgrounds, thus, "angina" and "melalgia" might be beyond recognition and acceptance. Western world highlights the importance of brevity and conciseness in their society, and they place emphasis on simplification and efficiency, seldom using the very technical terms in their lives. Such social settings and cultural differences must be considered so as to make adaptation when translating. (Ouyang Lifeng, 2002)

Besides, "nasal congestion" is the word-for-word translation and may cause misunderstanding among foreigners. The revised text, therefore, adopts "snuffle" and "sore throat" to indicate the meaning of "鼻塞" and "咽痛". The same goes to "肢痛", using "pain in muscles" to replace the word of "melalgia", hence the adaptation with cultural differences in different social worlds. (Ouyang Lifeng, 2002)

Example 2 (治咳枇杷露)

ST: 治疗儿童伤风呃逆，咳嗽痰盛

TT: Used for children's wind-damage hiccup, cough and exuberant phlegm

RT: Used for cold, hiccup, cough and sputum in children

Similarly, example 2 also translates "伤风" into "wind damage", which is not appropriate in such description. As mentioned above, additions and deletions, if necessary, can be applied to make adaptation in translation. So the revised text deletes "wind damage" and "exuberant phlegm", adopting noun coordination and making it more readable and adaptable to the social world of target readers. (Ouyang Lifeng, 2002)

Literal translation is not always the first option in the C-E translation of instructions. For translators, the first thing they should consider is to be faithful to the original meaning of the text, not the text itself. They need to make adaptation to the target readers' social world, for instance, social status, social settings, social background, etc., striving to make the translation concise and easy to understand in their society. Amid such different social worlds, translators must bear in mind to render localization of different cultures to make adaptation without causing ambiguity and misunderstanding while successfully keeping and delivering the implied meanings as much as possible. (Nigel Wiseman, 2000)

====4.2 Structural Objects of Adaptability in TCM Instruction Translationn====

According to Verschueren, linguistic choice-making takes place at all levels of structure that shows variability of any kind. As indicated before, for the reason of limited information covered in the TCM instructions, the materials collected from the Company would be more meaningful if concentrating on the lexical level of the actions and indications of the instructions, which exactly features the typical four-character structure and language traits of TCM instructions. (Verschueren, 2000)

=====4.2.1 Adaptation to the Lexical Level=====

Differences in lexical level between TCM and Western Medicine largely reflect on terminologies and descriptions of diseases. The four-character structure in TCM language is concise in form but comprehensive in meaning. Currently, most translation versions of instructions are literally word-for-word translation and transliteration, failing to deliver the correct meanings implied in those TCM terminologies and words and lacking readability and authenticity. Here are some typical translation examples of the actions and indications of the medicines in Yulin Pharmaceutical Company: (Tang Xun, 2014)

Example 3 (蛤蚧补肾丸)

ST: 小便频数

TT: Frequent urination

Example 4 (金装正骨水)

ST: 祛风除湿

TT: Dispel wind and eliminated dampness

RT: Relieve rheumatic pain

Example 5 (珍黄丸)

ST: 消肿止痛

TT: Ease a swelling and relieve pain

RT: Relieve swelling pain

Chinese four-character structure in TCM language is concise in form but comprehensive in meaning, and most of them are the causal relationship. "祛风除湿" is a typical example. "风湿" is a disease caused by the invasion of "风" into the human body. If "风邪" cannot be removed from the body soon, "湿" will appear and gather together near the joints, causing diseases and pains in joints according to the medical theory of TCM. So, "祛风" is actually the result of "除湿", and vice versa. "消肿止痛" means that the pain is caused by swelling. Once the swelling disappears, so does the pain. (Ouyang Lifeng, 2002)

In example 3, "小便频数" is translated into "Frequent urination", the structure of "adjective + noun" in English, which is concise in form and easy to understand. Accordingly, the revised text of example 4 and 5 can also adopt such structure and translate into "Relieve rheumatic pain" and "Relieve swelling pain", not only implying the causal relationship in TCM language, concise and simple, but also avoiding translating repetitive meaning. (Ouyang Lifeng, 2002)

Example 6 (感冒止咳露)

ST: 止咳化痰

TT: Suppress cough and transform phlegm

RT: Relieve cough and sputum

Example 7 (乌军治胆片)

ST: 疏肝解郁

TT: To course the liver and resolve depression

RT: Relieve Qi stagnation in liver

In the above two examples, "止咳化痰" is translated into "Suppress cough and transform phlegm". It is noticed that simply employing the literal meaning of words to translate TCM instructions doesn't work well, especially in such medical context. Translators cannot ignore the relationship between the words and the context and translate in isolation. "化痰' means the symptom of sputum would be relieved and cured soon after taking the medicine, hence the key words being "咳" and "痰", not the verbs. So the translation of "Relieve cough and sputum" would be more comprehensible and readable. (Nigel Wiseman, 2000)

And the example of "疏肝解郁" is actually another one that can be shown the casual relationship in TCM language. "疏" and "解" deliver the same meaning in such context, and "肝郁" is not the meaning of "depression of liver", but the irregular circulation and stagnation of the abstract "Qi" in liver from the perspective of TCM. So translating into "Relieve Qi stagnation in liver" retains the original meaning of Chinese and makes it more acceptable. (Ouyang Lifeng, 2002)

=====4.2.2 Summary=====

Despite of the characteristics of four-character structure in TCM language, the phenomenon of repetitive meaning implied between the lines is quite common. For translators, they should fully understand what meanings indicated between those words and phrases prior to translating them into another language. According to Adaptation Theory, language has the properties of variability, negotiability and adaptability. Facing abundant choices of words in English, translators should choose the most appropriate words and expressions after negotiation and make adaptation to the lexical level, the structure, the context, etc. preferred in English. (Verschueren, 2000)

From the perspective of Adaptation Theory, translators should make linguistic choices not just at the lexical level, but also the syntactic level, textual level, rhetorical level etc. literally all levels of linguistic structures. Due to the limited information contained in TCM instructions of the Company, this part mainly develops from the adaptation of lexical level. It is found that most translations apply literal translation with abusive usage of words, failing to deliver the correct meaning implied in TCM language and lacking readability and authenticity. (Verschueren, 2000)

With the great progresses of TCM over years, Yin(阴) and Yang(阳), Wuxing(五行) and Qi(气), these basic concepts in TCM have been accepted and recognized among foreigners. It can be adopted directly when translating the TCM instructions. With regard to the verbs in TCM language, literal translation sometimes might arouse skepticism and confusion of target readers and fail to deliver the correct meaning and the effectiveness of medicines. Translators should adapt the wording preference in the target language and try to naturalize the translation but avoid abusive usage of words. Thus translators in this field should be equipped with excellent bilingual ability, sufficient background knowledge of TCM and Western Medicine, and the understanding of linguistics. (Ouyang Lifeng, 2002)

====4.3 Dynamics of Adaptability in TCM Instruction Translation====

As stated above, translation is a process of dynamic adaptation and involves the process of structural reconstruction and meaning regeneration. According to Verschueren "...strategies are always involved in any type of communication." It means not just linguistic choices, but also translation strategies are dynamic because of different time, context and structure of both sides of language usage and each of them varies in line with relative factors when language users make choices. (Verschueren, 2000)

The dynamics of adaptability in TCM instruction translation can be embodied from different words, phrases and translation strategies, even different languages applied in the medicine instructions. As for the part of ingredients, the instructions of the Company employ Latin to indicate each TCM, for instance: Radix Notoginseng (三七), Herba Artemisiae Scopariae (茵陈), Fructus Lycii (枸杞), Poria (茯苓), Radix Codonopsis (党参), Rhizoma Dioscoreae (山药). It is usually the part where doctors and experts who have the specific knowledge of this field would be interested in, and using Latin to translate the TCM is the international standard of naming medicines, hence it is a way of adaptation. (Yulin Pharmaceutical Company, 2018)

While next to the part of actions and indications, it resorts to different words and phrases in English to describe the indications of each medicine. English is apparently a better option for its universality and compatibility that common people can easily understand what the medicine is, and how to take it. Such adaptation to each part of the instruction in language shows the dynamics of adaptability in TCM instruction translation. Following are some examples to show the dynamics of adaptability in translation: (Yulin Pharmaceutical Company, 2018)

Example 8 (正骨水)

ST: 舒筋活络

TT: To remove obstruction from collateralls and channels and relieve muscular contracture

Example 9 (金装正骨水)

ST: 舒筋活络

TT: To relax and activate tendons

As for the translation of "舒筋活络", example 8 and example 9 employ different words to deliver the meaning. The former is detailed and elaborated, delivering the original meaning implied in the lines while the latter is relatively simple, only using "tendons" to express the meaning of "筋络". (Yulin Pharmaceutical Company, 2018)

Besides the different specifications of "正骨水" and "金装正骨水", the ingredients of these two medicines also show a wide difference, contributing to the different words and methods adopted in the same description of indications. From the above examples, it can be noticed, to some extent, that translators go through negotiation and then make dynamic adaptation with regard to different medicines. (Yulin Pharmaceutical Company, 2018)

Example 10 (金装正骨水)

ST: 旺盛局部血液循环, 增强细胞活力

TT: To strengthen partial blood circulation and improve vitality of cells

Example 11 (筋骨王)

ST: 改善局部血液循环，增强细胞活力。

TT: To accelerate local blood circulation, increase vitality of cells

Example 10 and example 11 are actually delivering the same meaning, but they change the words and phrases to adapt with two different medicines. With the variability and adaptability of language, the meaning of "增强" can be expressed by "improve" and "increase", and translators employs "partial" and "local" to express the meaning of "局部". As for the similar actions and indications, the translations of which vary in different medicines, demonstrating that translation is a dynamic process of continuous choice-making and adaptation. (Yulin Pharmaceutical Company, 2018)

Example 12 (睡安胶囊)

ST: 清心除烦

TT: To put your mind in a complete state of relaxation

Example 13 (蛤蚧补肾丸)

ST: 壮阳益肾

TT: To strengthen male sexual potency and boost the kidney

Example 12 and example 13 apply free translation to deliver the meaning of actions and indications of these two medicines. "清心除烦" is rendered into "To put your mind in a complete state of relaxation", and "To strengthen male sexual potency and boost the kidney" is more like the paraphrase of "壮阳益肾". Both the translations are much easier to understand and adapt to consumers' mind in a better way. (Yulin Pharmaceutical Company, 2018)

Unlike the others, the above translations avoid literal translation, which will be too demanding and abstract for both sides of translators and target people in these examples, and they resort to free translation to convey the correct pharmacological actions, simplifying the instructions and making adaptation with the translation strategies to better resolve the cultural differences. (Yuan Binye, 2009)

Translating a TCM instruction can never be a mechanical activity of making translation from one language to another; rather, it entails dynamic adaptation to the differences between thd source language and the target language. According to Adaptation Theory, language use is a dynamic process of linguistic choice-making, which should adapt to contextual correlates and structural objects of language. (Verschueren, 2000)

As a type of more complex language use related to different languages, C-E translation of TCM instructions is a dynamic process of adaptation to different contexts and linguistic structures. However, the dynamic linguistic choices require language users to go through negotiation with themselves when facing abundant choices to eventually choose the most appropriate forms and strategies in accordance with different contexts and linguistic structures so as to fulfill the communicative intention. In other words, translators should avoid abusive usage of variability and adaptability of language, being faithful to the original meaning of texts to meet the standard of translation as much as possible. (Yuan Binye, 2009)

===Conclusion===

Being a significant carrier of TCM information, the instruction is a bridge that links the excellent TCM theories and effectiveness to the world. With the smooth development of "The Belt and Road Initiative", TCM will be learned and used across the world at a much larger scale. Under the guidance of Adaptation Theory, this paper employs the contextual correlates of adaptability, structural objects of adaptability and dynamics of adaptability, mainly concentrating on the adaptation to the mental world, social world, and the adaptation to the lexical level to study the C-E translation of the TCM instructions of Yulin Pharmaceutical Company. (Verschueren, 2000)

Conclusion can be drawn that the C-E translation of TCM instructions of the Company is not that satisfactory after research. It doesn't deal with the cultural differences between TCM and Western Medicine properly. Literal translation and abusive usage of words frequently appear in the C-E translation of instructions, failing to deliver the correct meaning and lacking readability and credibility, having a bad impact on the brand image. (Yulin Pharmaceutical Company, 2018)

While at the same time, there are some places worthy to be praised from the perspective of Adaptation Theory. It shows the dynamics of adaptability in the C-E translation of TCM instructions, which can be demonstrated through the various words, phrases, strategies applied in the process of translation. Still, much work has to be done to improve the quality of translation and make it more comprehensible and acceptable by target cultures and consumers. (Yulin Pharmaceutical Company, 2018)

From the perspective of Adaptation Theory, as a way of language use, translation involves the continuous making of linguistic choices. Not only words, language forms and structures, but also strategies should be taken into consideration when translating. Translators should adapt with the differences between English and Chinese, and meanwhile, pay attention to the features of TCM instructions, avoiding some obvious mistakes to achieve the ultimate goal of keeping the original meaning of TCM while delivering the accurate and rigorous medical information to foreigners. (Zhou Shumei, 2013)

The author advocates that adaptation is required during the process of translation, combined with transliteration and literal translation for some simple and basic concepts in TCM that have been well-recognized by foreigners. And free translation and domestication should be adopted with regard to the cultural differences in translation, if necessary, additions and deletions are also appreciated on the basis of being faithful to the original meaning of texts. (Ouyang Lifeng, 2002)

Unfortunately, due to the limited materials collected and the incompetence of the author, the analysis of this paper only applies the contextual correlates of adaptability, structural objects of adaptability and dynamics of adaptability of Adaptation Theory, failing to study in a more comprehensive way. In addition, this paper only conducts the research in studying the C-E translation of TCM instructions of Yulin Pharmaceutical Company, failing to reach at a larger scale. Last but not least, there are some drawbacks and imperfections in Adaptation Theory, which the author fails to touch upon for lacking of knowledge and experience. Still, the author is willing to take all comment and advice.

===References===

Nigel Wiseman. (2000). Translation of Chinese medicine terms: A source oriented approach. University of Exeter.

Verschueren J. (1987). Pragmatic as a Theory of Linguistic Adaptation. International Pragmatic Association.

Verschueren J. (2000). ''Understanding Pragmatics''. Foreign Language Teaching and Research Press.

Yulin Pharmaceutical Company. (2018). 玉林制药公司 http://www.chinayulin.com/

Cao Qing 曹情. (2011). ''中文药品说明书的翻译'' [Translation of Chinese Drug Instructions]. Hunan: University of South China 南华大学.

Ma Bangxin 马邦新. (1998). 英文药品说明书的翻译 [Translation of English Medicine Instructions]. ''中国科技翻译'' [Chinese Science & Technology Translators Journal] (3)16-18.

Ou Xiufang 欧秀芳. (2020). ''“一带一路”背景下中药贸易研究现状分析'' [Analysis on the Business Studies of Traditional Chinese Medicine under the Background of the Belt and Road Initiative]. Gansu: Gansu University Of Chinese Medicine 甘肃中医药大学.

Ouyang Lifeng 欧阳利锋. (2002). 中医药说明书的英译 [English Translation of TCM instructions]. ''中国科技翻译'' [Chinese Science & Technology Translators Journal] (2)17-20.

Tang Xun 唐勋. (2014). ''基于目的论的中医药说明书翻译'' [Translation of Traditional Chinese Medicine Instructions Based on the Skopos Theory]. Hunan: Central South University 中南大学.

Xiao Qiong 肖琼. (2008). ''中医药说明书的翻译'' [Translation of Traditional Chinese Medicine Instructions]. Guangdong: Guangdong University of Foreign Studies 广东外语外贸大学.

Yuan Binye 袁斌业. (2009). 语言顺应论对翻译的启示 [Enlightenment of Linguistic Adaptation Theory on Translation]. ''四川外国语学院院报'' [Journal of Sichuan International Studies University] (9)111-113.

Zhou Shumei 周书梅. (2013). 顺应论视角下的翻译研究 [Translation Studies from the Perspective of Adaptation Theory]. ''山东省农业管理干部学院学报'' [Journal of Shandong Agricultural Engineering College] 30(5)138-140.

--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 03:14, 21 December 2020 (UTC)

=Machine Translation=
==Will Machine Translation Replace Human Translation or not? 莫玲 Mo Ling 202070080602 MTI 英语笔译==
<center>莫玲 Mo Ling </center>

===Abstract===

Science and technology constitutes a primary productive force. In the contemporary era, with the continuous development of science and technology, artificial intelligence has shown more and more mighty strength, and machine translation has also prospered in the field of translation. In this regard, many people are beginning to worry that machine translation will one day replace human translation. When it comes to me, science and technology is people-oriented, and the continuous development of it aims at servimg mankind in a better standard. Therefore, it is not realistic to separate science and technology from humanities. The appropriate way to solve this dilemma is to integrate the two to achieve the perfectly qualitative change of "1 + 1 > 2". This paper will first analyze the cons and pros of human translation and machine translation, and then explore the development of computer-aided translation based on the combination of the two types above and the progress should be made in different sectors among our society.

===Key Words===

Human Translation, Machine Translation, CAT, Compatibility

===题目===

机器翻译会取代人工翻译吗？

===摘要===

科技是第一生产力。在当代，随着科学技术的不断发展，人工智能展现出越来越强大的实力，在翻译领域也相应地衍生出了机器翻译。对此许多人都开始担心机器翻译终有一天会取代人工翻译。在笔者看来，科技以人为本，科学技术的不断发展是为了更好的为人类服务。因而将科技与人文割裂开来的观点是并不现实的，最好的解决办法应是将二者结合起来，实现1+1＞2的完美质变。本文将分析人工翻译与机器翻译各自的优势和劣势，进而探讨二者相结合的后的计算机辅助翻译的发展和社会各个层面应该做出的改进。

===关键词===

人工翻译，机器翻译，计算机辅助翻译，融合

===Introduction===

In these years, artificial intelligence has experienced a skipping development and more and more advanced technologies have been applied in our daily life. For example, many factories have introduced some robots to replace the repetitive works done by ordinary workers before. In addition, some restaurants have adopted robots to send the dishes to guests, etc. More and more cases in our life demonstrate the gigantic strength of science and technology.(He Liutao 2018,17)

Panicked by this reality, a constantly growing number of people are worrying that they will lose their job one day when the artificial intelligence are more practical than them. This anxiety is also quite common in translation industry. In this field , human translation and machine translation are the two main kinds of translation methods. The former merely relies on human to do tranlation, while the latter is based on the vast corpus and developed technique.(Liang Jie 2020,18)

Since this enormous contrast, some people put forward a question that “Will Machine Translation Replace Human Translation?” Toward this doubt, The answer is absolutely “no”. Actually, these two approaches are not incompatible. Instead, they both have their own advantages and disadvantages and through analysis,we can find that they can remedy their shortbacks by learning the valuable aspects from the other so as to form a “perfect pitch”. In other words,they are complementary to each other.(Pang yingyu 2019,164)

Based on these viewpoints, first of all , the pros and cons of human translation and machine translation will be displayed one by one and then the new type of translation---computer-aided translation will be analyzed in detail. At last,confronted with the constantly changing world there are somes personal suggestions for those who work in the translation industry or those who are preparing to march into this field as well as government, colleges and universities.

===2. Pros and Cons of Human Translation and Machine Translation===

====2.1 Human Translation====

=====2.1.1 The Advantages =====

As the traditional main force of translation, mankind own some irreplaceable edges.Firstly, they master a sordid foundation about the translation work, including extensive vocabularies, complex grammars, the construction of sentences and so on and so forth. Therefore, it’s hardly for them to make such mistakes.(Zhu Chaowei 2018,103)

Secondly, due to the advanced education they have received, a great number of them have an encyclopedic knowledge. Furthmore, during the years of learning foreign languages, they have acquired not only the language knowledge but also the histories and cultures of these countries so that they are able to handle with the problems of cultural differences in translation very well.(Zhu Chaowei 2018,103)

Thirdly, people have a capacity of rich emotion and thoughtful mind. When facing with some obscure translation materials, at the beginning they will make a transformation about it and then translate it with their understanding yet maintaining the main idea of the original texts.(Zhu Chaowei 2018,103)

=====2.1.2 The Disadvantages=====

However, the volume of brain is limited and it is impossible for mankind to memorize all the things in the world. Sometimes, they may forget what they have translated and in result it causes a repetition of the same work they have done before.It is shown from some data that the output of human translation is 2000 words per person in eight hours. Actually that speed is a little bit slow especially when there are strenuous tasks waiting for them. Besides, editors have to check and revise their translations which is quite time-wasting.(Chen Yi 2018,30)

Generally speaking, most translators work for governments, institutions, companies or some rich indivuduals. And right now in the translation market ,the standard price are several hundred Yuan per thousand characters. And the wage of intepreting is even more expensive. As a result, ordinary people won’t bother to hire a private translator. Under some circumstances, human translation can’t give a hand to the needed immediately. For instance, when Chinese people are travelling in the foreign countries, they can’t understand the words of those foreigners. At that time, an opportune and cheap translation tool is more desirable.(Pang yingyu 2019,164)

====2.2 Machine Translation====

=====2.2.1 The Superiorities=====

In the condition mentioned above, machine translation can meet tourists' needs perfectly. There are many translation applications in the app store, just like Baidu Translation, Google Translation, Youdao Translation, Hujiang Translation and so on. All of them are free for using and able to translate the language you input in just 1 second. And these applications have covered dozens of foreign languages so as to be the optimum choice for many people.（Zhu Chaowei 2018,102）

Besides the adoption in daily life, machine translation has also been utilized in some important conferences. "Translation headset" is one of the most popular translation tools. It is usually combined with a smartphone application to translate the foreign language it heard to users. "After decades of research, we have created an algorithmic framework to recognize language patterns in the same way as the human brain (neural network)," said Andrew Ochoa, CEO of Waverly labs. By combining it with speech recognition technology, we have greatly improved the accuracy of translation. " Therefore, Wearable translation machines made by companies like Waverly labs are really popular at conferences(Global Collections 2020,17).

With the development of science and technology as well as the artificial intelligence, the system of machine translation has been polished step by step. Nowadays, it has developed a huge corpus which contains tens of millions of storations, and translation with high accuracy can be available in some non-literary texts.(Luo Huazhen,Fan Zhengqin,Yi Yongzhong 2017,21)

=====2.2.2 The Inferiorities=====

Nevertheless, a lot of noticeable defects still remain in machine translation. When it comes to the literary genres just like proses, poems and ancient essays, machine translation is not familiar with the language habits of these genres so as to incline to a failure in comprehending the latent meaning of the words thus nor it can work out an outstanding translation.(Liang Jie 2020,17)In most cases it will adopt the method of literal translation, which can not express the idea of source language and the images in it can be missed. Take the following poem for example:

江雪

唐柳宗元

千山鸟飞绝，万径人踪灭。

孤舟蓑笠翁，独钓寒江雪。

'''Version of Baidu Translation'''

River Snow

Birds flying away,

The trail of thousands of people;

A lone boat with a straw hat,

Fishing alone in cold river snow.

'''Version of Xu Yuanchong'''

Fishing in snow(Xu Yuanchong,2000)

From hill to hill no bird in flight,

From path to path no man in sight;

A lonely fisherman afloat

Is fishing snow in lonely boat.

Between these two versions, we can easily identify which one is better. In Xu’s translation, he translates “鸟飞绝” &“人踪灭”into “no bird in flight” and “no man in sight”, which get rid of the form of the original text, not only expressing the deep meaning, but also conforming to the English expression habit. In addition, due to the repetition of two sentences in the same pattern, readers can feel a strong sense of monotony. And The most splendid point is the rhyme of first two sentences and last two sentences, which makes the whole poem cathy and add the musical beauty of the translation. On the contrast, the first version by machine is inferior in that it fails to express the artistic conception of the poem. People can’t feel the beauty described in the poem. What’s worse, some readers may be puzzled about its imcomplete images and incoherent sentences!(Dong Wugang,Xue Jiabao 1996, 56)

Nor is this all, machines can’t grasp the rich emotions of mankind. Thus they incline to misundersand of tone and deep meanings of the words(Liang Jie 2020,18). Nay, China has a broad and profound civilization and there are numerous of polysemous words in Chinese.Just like “意思”and “方便”.

Example:

When Zhang San is sending money to his leader, an interesting dialogue occurs between them. Please pay attention to the different meanings of “意思”in the following sentences.(Luo Huazhen,Fan Zhengqin,Yi Yongzhong 2017,22)

领导(leader)：“你这是什么意思？”(Why do you send me money?)

张三(Zhang San)：“没什么意思，意思意思。”(No special purpose, just a small gift.)

领导：“你这就不够意思了。” (Why don’t you tell me your true purpose?)

张三：“小意思，小意思。”(Not a big deal.)

领导：“你这人真有意思。” (It’s so interesting of you.)

张三：“其实也没有别的意思。”(I don’t have other special intentions on you.)

领导：“那我就不好意思了。”(Well, since that, I will accept your money.)

Apparently, it may even be difficult for some people to get the deep meaning behind this dialogue let alone the senseless machine. Machine translation derived from science and technology is always under the control of human beings, they are always working under the manipulation of humanbeings. Mankind possess an intelligible brain and they can cteate new things according to their needs and imaginations. While machine can not achieve the rich creativity as human brain.(Zhu Chaowei 2018,103)

From all the analysis above, it can be easily seen that human translation and machine translation are strongly complementary. Thus, the best way is to combine them together to learn from the other’s strong points to make up one’s deficiencies.(Pang yingyu 2019,165)

====3. Computer-Aided Translation====

To meet the constantly-increasing demand of the market, a new type of translation method named Computer-aided translation (CAT) emerges at the right moment. It is the combination of the two translation methods mentioned above and can help translators complete the translation work with high quality, efficiency and ease. Different from the previous machine translation software, it does not rely on the automatic translation of the computer, but accomplishes the whole translation process with the participation of human beings. Besides, its translation speed can be twice of the human translation, with the quality being the same standard or better. CAT makes a change from the arduous human translation to a half-automatic process, greatly improving the efficiency and quality of translation.(Pang yingyu 2019,165)

====3.1 The Preponderance of This Method====

=====3.1.1 Translation Memory=====

Translation memory system, the main tool of computer-aided translation, is a "language database storing the original text and its translation". During the time when people are working out a translation, CAT is also constructing a translation memory corpus in the backstage. The corpus can automatically store all the translated content. What contributes to our great convenience is that the translation memory system will automatically search the contents in the translation memory database in the later translation.(Chen Yi 2018,31)

The system will automatically output the translation results if the contents are the same as the sentences and language fragments in the memory corpus; and if the structures or vocabularies of the materials are similar to the sentences in the translation memory database, it will also produce corresponding translation references and suggestions. In a word, translation memory system can benifit translators to utilize the contents of previous translation effectively and avoid repeated work, thus greatly improving the speed and quality of translation and saving translation time. According to the statistics, the application of translation memory system can increase the average productivity by 30%, and reduce the translation cost by 15-30%(Chen Yi 2018,31).

=====3.1.2 Terminology Database=====

After stepping into the translation industry and becoming a professional translator,it is inevitable that people will be confronted with materials from various fields, just like iatrology, law and science. All of these industries have a great number of terminologies. While human’s brain are limited that they can’t remember all the terms. Under this condition, a ready-made terminology database can be extremely helpful.(Chen Yi 2018,31)

Terminology management system provides a shortcut for translators to automatically search for terms appearing in the translation materials by displaying terms in the interface window of translation memory database or using hotkeys to search the entries in terminology database. Some programs have other hotkey combinations that enable translators to add new terms to the terminology database at the same time during translation.(Global Encyclopedia)

Some more advanced systems allow translators to check interactively or in batch if the correct source / target word combination is used within and between translation memory fragments of a given project. There is also an independent term management system, which can provide workflow functions, visual taxonomy, and be used as a term Checker (similar to a spelling checker to mark terms that are not used correctly), and can also support other types of multilingual term categories, such as pictures, videos or sounds(Global Encyclopedia).

=====3.1.3 Revise and Automatic Alignment=====

After translators finish their task on CAT system, it will scan the translation and figure out the number of mistakes including spelling, punctuation and so on. This proofreading can make one’s translation more accurate. In addition, the aligner can divide the source text and the target text into multiple fragments and make sure the right match of them so as to build a translation memory database or other reference resources. Many aligners also enable translators to manually realign mismatched fragments (Global Encyclopedia).

====3.2 Current Situation====

Right now, due to the tremendous market demand, CAT steps into the golden era of development. There are several popular CAT softwares such as Trados、Déjà V、TransStar、IBM Translation Manager、WordFisher、Wordfast，OmegaT, among which the most famous is the first one. Theses softwares have experienced a long period of development and are relatively mature. They make the translation progress much more convenient than before.(Hua Fuwei 2015.8.5,Douban)

However, CAT is not yet a consummate system right now. It has a few drawbacks to be solved. To begin with, CAT is insufficient in the construction of the corpus. Right now, most domestic CAT softwares only store hundreds of thousands of entries in the database, which is far from enough to meet the needs of translators. In a result, many people gradually emerge an idea that CAT is not workable. People still have to rely on themselves to search the complicated documents and their work are not able to decrease as they want.(He Liutao 2018,18)

Nor is this all, sometimes it can be hard for people to extract the terms they need becauese of the failure of identification and although some easy mistakes can be found out, it may be difficult for the system to check out the sophisticated errors, and thus people have to spend more time to tackle with the problems in person.(Yao Li 2020,202)

====3.3 Prospect====

Despite of the insufficiency of CAT right now, the defects can’t obscure the virtues. CAT has greatly emancipated the productivity of translation industry. Not only that, it has played an important role in reducing translation time, cutting down labor costs, standardizing translation documents, maintaining terminology consistency and ensuring translation quality, etc. In the near future, it is bound to become the main trend of translation development with its wide application all over the world and the functional improvement of various translation softwares. And the problems mentioned above can be effectively polished with the advancement of science and technology.(Chen Yi 2018,32)

===4. Suggestions===

Facing with the unstoppable trend of artificial intelligence and CAT, should mankind repulse it or accept it? Apparently, the second attitude is more reasonable. For one thing, we can’t hinder the unstoppable trend. For another thing, this is a good opportunity for people to utilize the tool to improve themselves.(Pang yingyu 2019,165)

So, first and foremost, people should set up an open attitude, accepting CAT with an embracing mentality. There is no need to be afraid that machine will surpass human. Instead mankind is always the master of science and technology. Putting oneself on a pedestal is not a good way to make progress. And holding fast to one’s established ideas will eventually be sifted out by the era.(Zhu Chaowei 2018,108)

In Qing Dynasty(1636-1912), the emperor and even the whole country praised the nation as the great kingdom. Since ancient time, China was abundant in natural resources and they were self-sufficient and self-contained. Thus the government constantly pursued a policy of “cutting off the country from the outside world”.(Qiu Cui, Chen Xue 2012,8)

At that time, the Western countries were going on an unprececedentedly industrial revolution. Through the renovation, the westerners immensely improved their productive forces and their countries got a rapid development. When the trend were heard by the Chinese emperors, they disdained to learn from the technology and regarded it as a diabolic trick.(Qiu Cui & Chen Xue 2012,8)

In this way, the gap between the East and the West was larger and larger. It was not until the outbreaking of the Opium War that Chinese people realized they had lagged behind a lot. Once a country was backward, it would be insulted by anyone else. After that, the Qing government was constantly forced to sign treaties of humiliating the country and forfeiting its sovereignty. The citizens were plunged into dire suffering. Under this circumstance, social conflicts were intensified. Finally, the Revolution of 1911 broke out and overthrew the Qing Dynasty. A feudal dynasty of more than 200 years fell down.(Qiu Cui,Chen Xue 2012,8-9)

Since the principle that lagging behind leaves one vulnerable to attacks is even applicable to a country, let alone the ordinary people. There is an old saying that “He who goes with the tide prospers, and he who goes against it dies”. The power of science and technology should never be looked down upon. The original purpose of this technology is to benifit the mankind rather than overthrow us. It is a powerful tool to help us scale new heights. If tranlators refuse to acquire the new skill, they will one day be weeded out by the industry.(Liang Jie 2020,18）

In order to meet the needs of market, the quality of translation talents should be improved accordingly. The span for talent training of translation majors in China is relatively short that it has only been 10 years since the establishment of Bachelor of Translation and Interpreting(BTI) and Master of Translation and Interpreting(MTI) in colleges and universities across the country. The current situation of translation technology education in the cultivation of translation professionals is not optimistic either.(Zhu Chaowei 2018,106)

First of all, compared with foreign universities and domestic universities in Hongkong, Macao and Taiwan, there is still a long way to open translation technology courses in domestic universities. According to the research by Lv Lisong and Mu Lei(2007,37), universities in Hong Kong and Taiwan of China work closely with translation companies to provide translation technology teaching for students. Similarly Manchester, London University, Ottawa University of Canada and other foreign universities have established a developed system in terms of machine translation, terminology management, translation technology training curriculum, personnel training mode and translation testing, and formed an effective model.(Zhu Chaowei 2018,106)

On the contrary, many domestic colleges and universities still do not pay enough attention to translation technology education, which leads to the deficiency of translation technology education courses in some colleges and universities. A survey of 12 universities in Beijing, Tianjin, Shanghai, Chongqing, Liaoning, Jilin, Henan, Hebei, Hubei, Zhejiang, Guangdong, Jiangsu, Sichuan and other provinces and universities found that 11 of the 43 universities (a large part of which are "985" universities and "211" universities) with MTI have not yet opened translation technology courses, accounting for 25%. If the scope of the survey is extended to the secondary and tertiary institutions, the situation may be even worse.(Zhu Chaowei 2018,106)

In this regard, the education of Chinese mainland is a little bit backward. There are several reasons for this phenomenon. To begin with, the perception of the educators and education system are rather outdated. The existing education system pays much attention to the translation and interpreting ability of students. This is a common pattern in many middle schools, high schools and even colleges and universities.(Wu Sheng 2016,14-15)

As an English major student, the writer has the personal experience. During the university period, most of our courses still focus on the cultivation of the basic skills of students. Although there are translation and interpreting classes every week, the normal model is that at first teachers will teach some translation theories or techniques, and then there will be some exercises for students to practice. Students are almost inaccessible to CAT courses.(Lv Lisong & Mu Lei 2007,37)

This may resulted from the lack of appropriate funds for education. China is a nation with a great number of population, and its population growth rate is also fast. As a result, the pressure on education has been relatively high. The commonly used index to measure whether a country's financial education funds are sufficient or not is the proportion of financial education funds in Gross Domestic Product(GDP). In China, this proportion has been at a low level for a long time. Although the education funds have been increasing with the continuous development of China's economy after the Reform and Opening up, yet the fact is that “There are too many monks and too little gruel.”---the funds allocated to each school are still far from enough.(Wu Sheng 2016,14-15)

In the year of 2000, China's financial education funds accounted for 2.87% of GDP, which failed to reach the target of 4% of GDP in 2000 as proposed in the outline of China's education reform and development. In 2003, the GDP of Hunan Province was 463.4 billion yuan, and the national financial expenditure on education was 11.179 billion yuan, accounting for 2.44% of GDP, an increase of 0.01 percentage points over the previous year. However, in 2004, the proportion of national financial education expenditure in GDP decreased to 2.34%, which is still far from the target of 4%.(Wu Sheng 2016,14-15)

In response to this problem, the writer deems that government and universities should both make some changes. As for government, they should carry out a policy that encourages the cultivation of computer skills; when it comes to the colleges and universities, they are supposed to enlarge the investment in the multimedia intelligent classrooms, and more teachers who are sufficient in the operation of CAT should be enrolled. So far, Peking University has opened a major named CAT, which is aimed to cultivate the professional talents to meet the needs of market.(Zhu Chaowei 2018,106-108)

===5. Conclusion===

Will machine translation replace human translation or not? Toward this question, the answer is an absolute “No”. As far as I am concerned, both the human tranlation and machine translation have their pros and cons.(Pang yingyu 2019,165)

Human beings are able to comprehend the complex emotions in the texts and handle it with flexible expressions. In this aspect, machine can’t reach the human standard just like examples of “《江雪》”and “意思”mentioned above. Besides, mankind is familiar with the differences between various of countries so as to minimize the rate of committing a blunder.(Pang yingyu 2019,165)

While the machine doesn’t have a brain like human’s. Their work is to translate the materials according to the superficial meanings. However, machine owns a huge volume (much more larger than human brain)which can store numerous materials and its working speed is hundreds of times of human’s(Pang Yingyu 2019,165).

In the contemporary era, translators should first of all polish their translation skills and improve their ability to flexibly use various translation strategies and skills(Yao Li 2020,201-202). The old saying goes that “It takes a good blacksmith to make steel.” By the time, people are still the main force in the translation industry and machine translation stays in an auxiliary position. Human should not rely on machine to do all the works. The translators should improve their competitiveness through sordid multi-lingual knowledge, translation practice as well as stronger learning capacity and so on and so forth.

At the same time, translators are also supposed to adopt an embracing attitude to acquire the computer-aided translation skills. After all, with the further advancement of science and technology, the trend is inevitable. Actually, human translation and machine translation are highly compatible, which can greatly improve the translation efficiency and reduce people’s workload. Thus, the combination of the two methods is highly appreciated and the new type of CAT is bound to become the tide of the future.(Pang yingyu 2019,165)--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:40, 20 December 2020 (UTC)Mo Ling

===References===

Chen Yi,Fan Jiaolian. 陈谊,范姣莲.(2018). 计算机辅助翻译——新世纪翻译的趋势[Computer-Aided Translation-the Trend of Translation in the New Era] 中国现代教育装备[China mordern educational equipment] 30-32.

Dong Wugang,Xue Jiabao. 董务刚,薛家宝.(1996). 评许渊冲诗《江雪》[Appreciation of Xu Yuanchong's Translation "Fishing in Snow"] 盐城师专学报[Journal of Yancheng Normal School] 56.

He Liutao. 何刘涛.(2018) 人工智能背景下计算机辅助翻译在中国发展的思考[On the Development of Computer-aided Translation in China Under the Background of Artificial Intelligence] 英语广场[English Square], 17.

计算机翻译会取代人工翻译吗？[Will Machine Translation Replace Human Translation or not?] (2020) 环球采风[Globe Collections] 17.

Liang Jie. 梁洁.(2020). 人工智能对翻译行业的影响[The Influence of Artificial Intelligence on Translation Industry] 家庭科技[Family Science and Technology] 17-18.

Luo Huazhen,Fan Zhengqin,Yi Yongzhong. 罗华珍,潘正芹,易永忠. (2017) 人工智能翻译的发展现状与前景分析[Analysis of the Development and Prospect of Artificial Intelligence Translation] 电子世界[Electronics World], 21.

Lv Lisong,Mu Lei. 吕立松,穆雷.(2007) 计算机辅助翻译技术与翻译教学[Technique of Translation-Aided Translation and Translation Education] 外语界[The Field of Foreign Language] 37.

Pang Yingyu. 庞盈羽. (2019) 谈机器翻译与人工翻译的关系—从机器翻译与计算机辅助翻译的发展角度[Analysis of the Relationship Between Machine Translation and Human Translation--From the Perspective of the Development of Machine Translation and Computer-Aided Translation]. 科学大众·科学教育[Scientific Masses·Scientific Education] 164-165.

计算机辅助翻译[Computer-aided translation].(2020). 全球百科[Global Encyclopedia] https://vibaike.com/.

Qiu Cui,Chen Xue. 仇萃, 陈雪. (2012) 浅析中国的闭关锁国政策[On China's closed door policy] 现代物业[Modern property Management],8.

Wu Sheng. 吴晟.(2016) 湖南省省属普通高校财政拨款体制研究[Research on the Financial Allocation System of Provincial Colleges and Universities in Hunan Province] 湖南师范大学[Hunnu Normal University] 14-16.

Xu Yuanchong. 许渊冲. (2000) 唐诗三百首[Translation of Three Hundred Tang Poems].

Yaoli. 姚莉.(2020) 机器翻译时代,译者应该坚持技能与技术的融合[Translators Should Keep the Compatibility Between Skills and Technique in the Era of Machine Translation]. 科技经济导刊[Technology and Economic Guide] 201-202.

Zhu Chaowei. 祝朝伟.（2018）机器翻译要取代作为人的译者了吗？—兼谈翻译人才培养中科技与人文的关系[Is Machine Translation Going to Replace Human Translators? -On the relationship between science and technology and Humanities in the cultivation of translation talents]. 外国语文[Foreign Literature] 102-108.

==A Brief Analysis of the Chinese-English Public Sign Translation 袁天翼 Yuan Tianyi MTI 英语笔译==

'''浅析汉语公示语的英译'''

英语笔译袁天翼

摘要：在这个经济全球化、政治多极化、文化全球化、科技现代化、信息共享化的时代，全球经济纵深发展，人类命运共同体日趋形成，人与人、国家与国家间的联系日益密切，这时，汉语公示语的英译问题便被提上了议程。尽管中国汉语公示语的英译翻译员越来越多，但是汉语公示语的英译问题层出不穷。本文简析了汉语公示语定义，例举了生活中常见的一些汉语公示语的英译典型问题，并针对此给出了一些翻译方法与策略，并进行了未来展望。

关键词：汉英翻译；公示语；翻译策略

'''A Brief Analysis of the Chinese-English Public Sign Translation'''

'''Abstract''': In this economic globalization, political polarization, cultural globalization, technological modernization and informative sharing age, the global economy is deeply developing, and the human community with a shared future is coming into shape day by day. The relations among people and among countries are increasing day by day. At this time, the problems of Chinese-English public sign translation become the topic of us. Though the number of Chinese-English public sign translators in China grows daily, the problems of Chinese-English public sign translation emerge endlessly. This passage offers a brief analysis of the definition of Chinese-English public sign, points out some typical problems in Chinese-English public sign translation we see in daily life, analyzes some methods and strategies of Chinese-English public sign translation, and gives some outlooks on the future of Chinese-English public sign translation.

'''Key Words''': Chinese-English translation; public sign; translation strategies

'''A Brief Analysis of the Chinese-English Public Sign Translation'''

'''I. Introduction'''

"The public sign is a specially applied literary form that was formed in modern times, which has a long history. It is used in public places and seen by the masses thus realizing unique communicative purposes. The public sign has become a crucial link in the communication between China and other countries in the international community. In the meantime, there are increasingly more experts and scholars paying attention to the translation of Chinese public signs into English." (Reiss 2004,12).

"As an important tool for international communication, Chinese-English public sign translation plays an extremely important role in foreign friends’ understanding of Chinese culture".（Wang Huili 2019,31） Its applied range is so wide that nearly covers every aspect of our daily life, including: Introductions of tourism trips, propaganda languages, warning languages, road signs, shop signs and advertising boards. It is mostly used on public infrastructure: Subway, airport, taxi, pier, tourist spot, park, street, community, shop, supermarket, restaurant, bank, hotel, cinema, hospital and etc. It uses simple words or sentences, or pictures only, or combines words and pictures to pass useful information to the masses, which not only serves Chinese people, but also is shown to the foreigners, which can help foreigners in China study, work and live.

'''II. The Current Situation of Chinese-English Public Sign'''

Public signs are an art of convincing others through effective verbal means, which are also components of language activities. They, in essence, belong to a special kind of communication. The object is for all the people with social behaviors in the place, regardless of gender, age, class or education level. Public signs belong to “one-way communication”, and its binding force or influence will not be as big as direct communication, but it is also used to act with words and deeds, and affects the behavior of the audience with a clear purpose. "Public signs have become a natural window for Chinese and other languages in various economic, trade and cultural activities."（Yang Yang 2020, 34）

Public signs are everywhere, so what are their functions? "Their functions can be divided into showing, warning, profiting, encouraging and eulogizing such five functions. (Zhou Shuxia 2017,239)

Firstly, the public sign that has showing function offers all-round information about service, order, or informing service. Such as “Car Rental” and “Children and Senior Citizens Free”.

Secondly, the public sign that has warning function comes up with restrictive or obligatory demands to typical people, which is often used through order, ban, information or persuasion tones. Such as: “Stand in Line” , and “Thieves Beware”.

Thirdly, the public sign that has profiting function promotes consumption, thus realizing enterprises’ economic profits. Such as: “Daily Special”, “Daily Service”.

Fourthly, the public sign that has encouraging function calls for or encourages people to take actions for certain goals or tasks. Such as: “One Family, One Child”, and “Working together, we can make a world of difference”.

Fifthly, the public sign that has eulogizing function gives wishes and chants to certain events or people to reach the goals of propaganda or education. Such as: “One World, One Dream”. "

Eugene Nida (Eugene Nida 2004, 15) said, "Chinese-English translation of public signs embraces the conversion of two different languages and two different cultures, which is not only to achieve the language equivalence, cultural equivalence, but also to enhance the possibility of understanding and the reading of Chinese-English translation of public signs."

However, there are many problems in Chinese-English public sign translation.

"In 2003, Clive W. J. Granger, a Nobel Economics Prize Winner talked of the settings and problems of public signs in Beijing when he was interviewed by a program of Beijing TV Station. He said: “Foreigners will feel a little bit nervous when they come to China, because they can not understand public signs in China. ” Clive’s comment extremely shows current problems in Chinese-English public sign translation ."(Lv Hefa 2005,38)

“The language and character industry of China is expanding from ‘striving to promote and normally use the national common language, scientifically protecting every nation’s language and character’ to ‘managing social foreign language use and improving foreign language service quality’. ” The national standard of the Standard for English Translation and Writing in the Field of Public Service is the standard of English translation and writing quality in public service fields, which stipulates the English translation principles, methods and requirements in thirteen service fields. "Nowadays, public signs are often bilingual to meet the needs of international communication."(Wang Xunian 2020,69)

To sum up, there are still many major problems in China’s public sign translation, common and ubiquitous, which make foreign experts comment like that and the government use national force to normalize translation standards. "Whether the translation of public signs in scenic spots into English is harmonious and unified has a great influence on cross-cultural communication ".(Pinkham John 2000, 156)

'''III. The Causes of Chinese-English Public Sign Translation Mistakes'''

'''3. 1 The Basic Linguistic Mistakes'''

To be a proficient Chinese-English public sign translator, one must, fundamentally, grasp basic linguistic rules of English and Chinese, otherwise he or she must make stupid mistakes, and some even primary learners will not make. "There are many problems in the translation of public signs from English to Chinese, which should not be limited to the translation of the original text, but should pay attention to the context of public signs."(Chen Daobin 2020, 9)

[[File:No.1.jpg|250px|thumb|left|No.1
[https://ss1.baidu.com/6ON1bjeh1BF3odCf/it/u=3684466622,1422277554&fm=27&gp=0.jpg] for original source.]]

No.1 is a public sign put on a glass wall in a mall, the Chinese reads“全年无休(QUAN NIAN WU XIU)”, and it tries to use English to express that “This business runs the whole year”, so the precise translation should be “NO REST DAY ALL YEAR”. But there, we can see it was translated as“365DAY SA TEAR”, which does not belong to the grammatical law of English. So this is a big mistake.

Only one who understands Chinese can understand. But for ordinary foreigners, they can not. So, when translating Chinese-English public sign, the translator must be clear about the target language, and know the basic grammatical venation, then begin to translate, instead of randomly putting some letters together and finishing. Otherwise, the translator will make a big mistake like this picture.

A public sign in the Haichang Ocean Park of Chengdu City, Sichuan Province reads "Jellyfish Museum, the 2th floor". More specifically, it is a floor direction sign. Here, the correct English for the second floor should be “2nd”, not “2th”. Apparently that the translator has poor knowledge of English vocabulary, which led he or she to make such a ridiculous mistake.

Actually, in English language, if there is a number contains “11”, “12”or “13”, its ordinal numeral should be written as “11th”, “12th” or “13th” respectively; And if there is a number contains“1”, “2”or “3”, its ordinal numeral should be written as “1st”, “2nd” or “3rd” respectively. For example, “101st”, “111th”, “201st”, “211th” and etc.

No.3 is a warning sign of a tourist spot, reads "The rockery danger, pleases no climb", whose Chinese meaning is “There stands a rockery, it is dangerous to climb, every one is forbidden from climbing it. ” The Chinese meaning is alright. But, when it was translated into English, a big mistake occurred: “The rockery danger Pleases no climb.”

First, there should be “climbing” after “no”, not “climb”, and this is just English grammar knowledge that can be learned in primary school; And the “Please” is followed by a “s”, why does the translator use third person singular at the top of a imperative sentence? Second, if the translator wants to tell the tourists that the rockery is dangerous and mustn’t be climbed, he or she should write: “The rockery is dangerous. Please don’t climb” or “Dangerous rockery. No climbing” or just “No climbing”. Unless the foreigners who see this sign have supreme understanding ability, they will not easily make sense of it.

3. 2 The Tendency Towards Chinglish and Mechanical Translation

Knowing a little about English, and beginning to translate public sign. This is ridiculous, which is definitely going to cause obvious mistakes. Especially when translating, there is a high probability that the translator will make Chinglish errors, or tend to seek for mechanical translation, which are the most common public sign translation problems in mainland China. With regard to the tendency towards Chinglish, it only proves that the translator’s basic skills of English are not so proficient, and he or she does not fit for translation work. For the tendency towards mechanical translation, on the one hand, it demonstrates that the translator is lazy, who is not willing to think about how to translate."Some common mistakes in public signs translation in daily life have brought a very bad impact on the image of the city; What's more, it will affect China's international image."(Zheng Yuguo 2020,138)

On the other hand, it reveals his or her lack of basic English language knowledge. In fact, these two both can be easily avoided, only if the translator pays a little more attention to it or is earnest and dedicated to their work. All those mistakes should not have been made. "To understand the language style of Public signs in English, it is imperative to carry out idiomatic and standardized translation of public signs in Chinese."(Pang Yan 2020, 34)

No.4, this is a sign hung in an Internet celebrity milk tea shop: Sexytea of Changsha City, Hunan Province. It reads "out of the cup area". It originally means that the customers should queue here to get their milk tea after finishing paying. The translator should have easily translated “出杯区（CHU BEI QU）”into “FETCH AREA”, but it was translated as “OUT OF THE CUP AREA”, what a joke! Purely it was translated word-for-word. The translator did not understand its true meaning. Probably it was translated by a machine.

As an Internet celebrity milk tea shop runner, when dealing with such kind of cultural issues, he or she should be extremely careful, earnest and cautious, instead of casually simply copying the contents given by a machine or hiring a third-rate translator and asking him or her to randomly translate.

Large scale milk tea shops must shoulder their required obligations, and undertake necessary responsibilities and duties on public sign translation. Imagine that, a foreigner, who can not understand it, stand there and think: What? Standing here is standing outside the cup? Maybe something interesting would happen. Let me try!All those will bring big and standing jokes.

No.5 is a public sign in Mount Emei of Emei City, Sichuan Province. It reads" tourists get off area". Its Chinese meaning is: This is the place that tourists get off from a bus. But, it was translated as “Tourists get off area”, which fully shows the ignorance and lack of English language knowledge of the translators. People may can not help doubting whether it is copied from the translation given by a machine. Famous tourist spots like this, especially this kind of 5A tourist spot, can not even shoulder the cultural obligations, let alone developing in the long run.

Similarly, No.6 is a public sign in Mount Emei of Emei City, Sichuan Province, and it reads "up the mountain". The Chinese meaning is “This is the passage that leads tourists to climb the mountain”. The translation should have been a very easy and fun job, but when the sign is showed to tourists, a big big joke was born: “Up the mountain”. We can say “uphill way” or “uphill passage”, but, the translator obviously did not realize it. What’s more, when “up” is used as a verb, it is completely another meaning. It is also the symbol of such irresponsible spot management.

No.7, it is a napkin given by an Internet celebrity milk tea shop (Sexytea of Changsha City, Hunan Province ) for free after buying its milk tea. It reads "more China, more fashion". At first glance, everything seems okay. But more carefully, we can find the mistake. The Chinese meaning is “If there are more elements with Chinese characteristics, it will be more fashionable.” But when translating, maybe with the aid of machine, or lack of a solid English knowledge foundation, it becomes “More China, more fashion”.

Once foreigners see, they will be pretty shocked by the sight: What the hell is this? They will think that this shop lacks money to hire a good translator, and the managers are stupid. Furthermore, the Chinese national image will be badly affected. In fact, this sentence can be translated as “The more sinicization there is, the more fashion there will be” or “With greater Chinese characteristics come more fashion”. Easier? It can be “More sinicization breeds more fashion”. Translated like these, won’t it be much more correct and intelligible?

'''3. 3 The Misunderstanding of the Public Sign Translators'''

It is just the little knowledge of English of the translators that makes them can not even spell a basic word correctly; Or due to carelessness, they make mistakes on public sign translation, thus causing mistakes on the meaning of the sign. All these are significant reasons why there are so many mistakes in Chinese-English public signs. "Errors and ambiguities in public signs are not allowed, as they can lead to disorientation, confusion, and lessening of the force of the warning."(Pan Xutong 2020, 251)

[[File:No.8.jpg|250px|thumb|left|No.8
[https://www.sinaimg.cn/edu/cr/2015/0316/3124267229.jpg] for original source.]]

No.8. The Chinese meaning of it is “The door or passage that leads you to the outside”, in short, “EXIT”. But the public sign was translated as“EXPORT”, so, what is “EXPORT”? In a word, it means trade among different countries. The commercial goods pass through the customs, being transported from one country to another country. Distinctly, the maker was careless, who has mixed the meaning of “出口（Chu Kou）”in Chinese, thus resulting in an obvious translation error.

[[File:No.9.jpg|250px|thumb|left|No.9
[https://ss1.baidu.com/6ON1bjeh1BF3odCf/it/u=4069547043,45136776&fm=15&gp=0.jpg] for original source.]]

No.9 is from a hospital department. Its Chinese meaning is: Here is neurology emergency department. It uses a special logogram in Chinese. But, the maker was misled, so, he or she translated it as “God Medical”. If a person has a little common sense, he or she will be made to laugh wildly. It is completely the “Understanding of a sentence simply by a word”! That should be translated as “ Department of Emergency Neurology”.

[[File:No.10.jpg|250px|thumb|left|No.10
[https://ss0.baidu.com/6ON1bjeh1BF3odCf/it/u=4055489075,1169617432&fm=15&gp=0.jpg] for original source.]]

No.10 is photographed in a company building. Here, the Chinese means: this is the place where you can get boiled water. However, the translator of this public
sign made a huge mistake, because he or she disintegrated the three Chinese words one by one, and thus translating them one by one, which can not be understood as a whole, let alone enable foreigners to understand the meaning of this public sign, and as a result, foreigners may not receive the service that they deserve.

As a matter of fact, this public sign can be translated as “Boiled Water Room”. “开水”means “boiled water” in English. Certainly, the translator treated the “开”as a verb “open”, which is absolutely wrong.

Further, this is a single room, not two or more, so we must use “room”, which is the plural form, instead of the singular form “rooms”.

3. 4 The Falsification and Loss of Information

Originally, the managers want to use signs to warn people, but due to mistranslation, the information is tampered and missed, resulting in an opposite consequence, and producing big jokes."Standardized translation of public signs can improve the international language environment of cities, on the other hand, it is responsible for improving the level of urban opening to the outside world."(Liu Peiyu 2020, 67)

No.11 is a public warning sign in Liuxiang Barbecue Restaurant. It reads " carefully hot". Is it a true warning? In the foreigners’ opinion, it is not. People who speak Chinese can realize that this sign was designed to warn customers not to be burned by the hot oven. However, the English translation is far from what it originally means. The correct translation can be “Careful! Hot!” or “Be Careful of the Hot Oven!” But according to the translation on the sign, it means “Carefully burn yourself”. Luckily, this is a small scale restaurant, if it were a large one, its reputation would be badly affected.

[[File:No.12.jpg|250px|thumb|left|No.12
[https://ss1.baidu.com/6ON1bjeh1BF3odCf/it/u=3765137851,1011242048&fm=27&gp=0.jpg] for original source.]]

No.12 is a public sign in a large shopping center. As we all know, modern shopping centers now always use smooth and shiny tile floor as the ground, which makes the shopping centers look beautiful and attractive. However, smooth though it is, one big safety problem then comes into shape: The ground is too smooth to make shoppers slide and fall. Later, the managers made public signs like No.12 to warn people not to fall. The Chinese warning is okay, Chinese shoppers can understand, but when foreigners see this, he or she will burst out laughing: What? You order me to slide on the floor with care? What on earth do you mean?

I have even seen an Internet celebrity girl posting an video clip that tells us a story that satirizes this mistranslation: The girl and her father slide joyfully on the ground in a shopping center while murmuring “Carefully slide! Carefully slide!” As a matter of fact, The correct Chinese-English translation should be “Caution! Slippery!” or “Beware of Wet Floor” or “Caution! Wet Floor”. Each one of the three is okay.

[[File:No.13.jpg|250px|thumb|left|No.13
[https://ss2.baidu.com/6ON1bjeh1BF3odCf/it/u=461657809,3986868053&fm=15&gp=0.jpg] for original source.]]

No.13 is a public sign that is put on the ceiling of a restaurant’s stair. Here, the translator wanted to pass such information by Chinese and English: Watch
your head, do not hit the low ceiling of the stair. Be careful. Though the Chinese information is okay, the English, however, can not by understood by others, especially foreigners.

Here, the makers wanted to warn the danger of the low ceiling, not to ask people to purposely hit the ceiling. So we can correct it as: “Watch Your Head”, or “Be Careful”. Both are okay.

Here, the translator made a mistranslation, which reversed the original meaning when translating, thus producing a huge laughingstock. First, “碰”is not “meet”, but “hit”, according to this specific environment. It does not mean “meet someone”. Second, “小心碰头” means not to hit the ceiling, not to “meet carefully”.

From so many examples, every one can see that the mistakes of public sign translation are ubiquitous and common in daily life, which you can even randomly pick up one from any store you meet. Pervasive errors like these in public signs will negatively affect China’s reform and opening-up and the integration into international community, which will not only make foreigners misunderstand the meaning, but also seriously damage China’s national image. Therefore, the study of the public sign translation is extremely urgent and imperative. "As an important part of the translation industry, the translation of public signs has high academic value and research value."(Qian Zheng 2020, 191)

At present, translators must start from basic demand of Chinese-English public sign translation, endeavor to learn English well, cultivate a good sense of utilizing English and a great mindset of English utilization, proactively take part in English translation practice, and be highly alert and form a sense of “Using English language in a proper, correct, suitable and decent way”. Only then will the situation of Chinese-English public sign translation turn better. "Due to the specific role of public signs, their translation is different from literary translation and has powerful functional characteristics."(Liu Hui 2020, 43)

IV. Public Sign Translation Methods

There is a saying goes: “Nothing can be accomplished without norms or standards. ” So is the Chinese-English public sign translation. Zhang Yan (Zhang Yan 2015,44) maintains in her paper that, "the public sign translation methods can be summarized as four kinds.

'''4. 1 Amplification'''

Many new words that are with Chinese characteristics, especially combined with numbers, need using amplification to introduce to foreign readers. "Public signs, as an important window for the external publicity of the city image, are increasingly valued in their English translation status"(Fu Li 2020, 123)

For example, in the past, “五讲四美三热爱(Wu Jiang Si Mei San Re Ai）”was translated as “Five Stresses, Four Beauties and Three Loves”. Many foreigners said that they could not understand it. Later, it was revised as “Five Stresses, Four Beauties and Three Loves” with the notation “ stress on decorum, manners, hygiene, discipline and morals; beauty of the mind, language, behavior and the environment; love of the motherland, socialism and the Communist Party”. "Public signs are information-type and calling-type texts, which should focus on the information transmission of the original text in translation. Therefore, communicative translation can be regarded as a good theoretical basis."(Shen Jianwen 2020, 69)

'''4. 2 Ellipsis'''

To make sure that the translation is concise and intelligible, when doing Chinese-English translation, translators must properly delete unnecessary words according to English expressing habits to achieve overall generalization. Such as: “Food Paradise”.

'''4. 3 Re-translation'''

Due to cultural differences, many folk adages with Chinese characteristics will not be understood by readers once simply read literally. So translators can moderately reorganize those sentences that can not be translated or understood. Such as: “Drinking and Driving Costs Your Life”.

'''4. 4 Backward Translation'''

Here are two cases: Translating the cultural expressions that are borrowed from translation back into their original forms in the target language; Translating the expressions with obvious cultural characteristics into the idiomatic expressions in the target language. Such as: “Venus Florist”.
The English public sign has its own cultural and pragmatic meanings. When doing the Chinese-English public sign translation, translators should consider about the cultural differences and avoid any form of ambiguity, misunderstanding or mistranslation, and offer high quality information service, thus making public sign translation advance with the times. "

'''V. Public Sign Translation Strategies'''

"Theoretically, semantic translation and communicative translation differ much. Semantic translation strives to keep the language specialty and unique express method of the original work, in order to express the original work’s thinking process; However, communicative translation’s key point lies in spreading information and enabling people to think, feel and act, giving play to the function of information that language conveys and the consequences it causes. "(He Xueyun 2006,57)

When doing Chinese-English public sign translation, we also need guiding ideology to direct us. Here, I will show you four Chinese-English public sign translation strategies, which act as guiding ideology, which are definitely going to be a powerful weapon for you. Just remember them and practice them, you will gain a lot. "To strengthen the research on the Translation of public signs into English, improve the translation quality of bilingual public signs and improve the translation of bilingual public signs are the urgent tasks to promote the cross-cultural communication of city image."(Niu Haihua 2020, 118)

'''5.1 No Grammatical, Semantic and Logical Error'''

The most basic prerequisite of public sign translation is that there is no language error: No grammatical error, no vocabulary spelling error, no language context error, no Chinglish or machine-aided translation error.

“This is office area, tourists mustn’t enter” can be translated as “Staff Only”, not “OFFICE AREA PLEASE DON’T COMING”, or you will make a grammatical and redundant error. “Be careful, don’t slip into water” can be translated as “Caution! Deep Water!” instead of “TAKE CARE! FALL INTO WATER CAREFULLY!” Otherwise, people will can not help laughing.

One translator was not able to translate “The grass is so beautiful, are you sure you wan to walk on it?” into English public sign, so here comes
“Fangcaoqiqi riding the Heren”. What a laughingstock! This is a combination between Chinese and English, without any grammar structure. Not to translate it will be a much better choice. We can concisely translate it as “Don’t Walk on the Beautiful Grass!”

'''5. 2 Concise and Intelligible Translation'''

One prominent character of public sign is conciseness. It asks people to ensure the translation is crystal clear and precise, without any compound or obscure sentence. Only by achieving this can the signs become popularized, instead of making people think over and over and over again to discover their cryptic meaning.

The public sign translation must be concise and intelligible, which means that you not only need to precisely convey what the maker means to people, but also must be concise. People can understand it immediately without comprehension deviation or ambiguity.

'''5. 3 Understanding of Cultural Background Differences'''

When translating, every translator must thoroughly understand the culture of the targeted language. Translators must comprehensively understand each specific use of the targeted language under different cultural backgrounds. If not doing so, it may cause severe disputes, and even cause irresistible outcomes. Here are several examples.

“Dragon” is a legendary animal in traditional Chinese culture. Chinese people often view themselves as “dragon”, and even say that they are “Descendants of the Dragon”. Thus, “Dragon” means holy and sacred thing in Chinese culture. But in English speaking countries, the meaning of “dragon” is not so. In these countries, “dragon” means something evil like Satan, sometimes it is even used to describe thugs, scoundrels or other bad behaviorists. Therefore, invariably coping the icon of “dragon” and using it in other cultures is a definite mistake.

'''5. 4 Obedience to Certain Norms and Standards'''

As long as someone is translating, he or she must obey certain rules, norms and standards. He mustn’t translate according to his will. This is a truth.
For example, according to China’s first set of standards on how to regulate the use of foreign languages in China, which was jointly issued by the State Standards Commission and the General Administration of Quality Supervision, Inspection and Quarantine on November 20, 2017 and officially implemented on December 1, 2017, some of the standards have been specified in detail.

Names of tourist spots: Names of mountains, rivers and lakes should be written in Chinese pinyin. Translations of names of temples should vary according to different situations, so are the towers’ names. In line with external service needs, English explanations can be added.

'''VI. The Future of Chinese-English Public Sign Translation'''

China is a major powerful country, and is the country with the second highest Gross Domestic Product in the world, which is why China should keep close economic and cultural relationships with other countries. "In order to integrate China with international community in a better way, there must be high quality public sign translation. To optimize the translation quality of public signs, the most important way is to realize the standardization of the translation of public signs."(Ding Ying 2020,78)

High quality public sign translation must improve the China’s influence power in international community. High quality public sign translation represents that China is rich in translators and intellects, and shows that China can fulfill obligations and shoulder responsibilities as a major country. Achieving this means China not only takes responsibilities for Chinese people, but also for all human beings. Good quality public sign translation is definitely going to significantly synergize the course of reform and opening-up. "Public signs are the most common practical language in people's lives."(Gu Zhe 2020, 102)

At present, the economy of China has been changing from developing at a high speed to develop at high quality, and is at the stage of changing economic development mode, transforming driving forces of economic development and optimizing the economic structure, so high quality public sign translation is badly needed. "Public signs have a strong linguistic function and social value. Pragmatic or social pragmatic failures caused by cultural differences often occur in the translation of public signs. Therefore, it is necessary to fully understand the cultural connotation of the original text in translation."(Li Jing 2020, 229)

High quality public sign translation has the duty to embody a city’s humanism spirit, cultural speciality and charm, which is the inevitable requirement of core socialist values and system. It also promotes the spreading of Chinese culture, and improves the influence power of Chinese culture. High quality public sign translation also levels up Chinese people and overseas Chinese’s sense of identity and belonging. What’s more, it can narrow the gap between Chinese and foreigners, and acquire more recognition from them towards China."The translation error of public signs is mainly due to the translator's lack of adequate understanding of the linguistic and cultural framework of English."(Guan Chen 2020, 79)

Internally, high quality public sign translation can strengthen national cohesion; Externally, it will strengthen China’s soft power, and increase China’s international speaking right while creating national radiation power. "It is an important measure to improve China’s public service and governance capability by establishing an evaluation mechanism and promoting the standardization of English translation. It is of great benefit to further improve China’s service level of opening to the outside world, demonstrate its cultural soft power and enhance its international image" .(Guo Jinghong 2019, 154)

In short, looking forward to the future of Chinese-English public sign translation from a strategic perspective, translators must remain true to their original aspiration and keep their mission firmly in mind, which is: To be devoted to the future of socialism with Chinese characteristics, to be dedicated to the landscape of translation of socialism with Chinese characteristics, and to be committed to the sustainable development of Chinese-English public sign translation of socialism with Chinese characteristics. "The translation of public signs from Chinese to English needs to consider the actual situation of English speakers and abide by international uniform rules, so that foreign friends can directly understand the contents of public signs."(Song Yanbei 2020,64)

"The English translation of public signs of tourist attractions belongs to the category of cross-cultural communication, and the translator should have certain cross-cultural knowledge and awareness, so that the English translation can be more understood and accepted by the audience and truly achieve the purpose of cross-cultural communication". (Yang Hongyu, 2019) Since reform and opening-up, China has been integrating into the international community day by day. To fully achieve this, as regards of Chinese-English public sign translation, we still have a long way to go.

There is no time for us to delay the work of strengthening, proceeding, and improving public sign translation. The rising level of quality of Chinese-English public sign translation will improve both city image and urbanization level. He Xueyun contends in her article that, many people take it for granted that if one knows a foreign language, he then can translate. As a matter of fact, basic skills of public sign translation not only includes foreign language level, but also the knowledge of foreign cultures. "Only when the relevant departments attach great importance to public signs and the people cooperate closely, the translation of public signs can be solved and improved."(Li Huiwen 2020, 23)

'''VII. Conclusion'''

So, how to facilitate the overall development of Chinese-English public sign translation？Firstly, we need to keep pace with the times. Language is constantly changing, so are many words and idioms, and so are public signs. In order to accurately convey information to the audience, it is essential to integrate the latest, most reliable and most accepted language into public signs. Secondly, it is necessary to fully understand the idiomatic usage of public signs, because public signs are mainly aimed at English speakers, so it is necessary to strengthen the accumulation of words, phrases and idioms, which is also the basis of translation. Thirdly, the translators of Chinese-English public signs should use accurate words and phrases in combination with specific environment and objects, and should not fail to convey the meaning or deviate from the original meaning, which otherwise will result in misunderstanding. "Whether there are standards and norms for translating public signs into English in public places has a direct impact on foreign friends' impression of a city, which directly reflects the degree of internationalization of the city."(Song Yanbei 2020 ,61)

Of course, only achieving the above is not enough. In order to do a good job in the translation of Chinese-English public signs, we need to keep improving our translation attitude and spirit of study, and constantly improve and summarize and innovate on the basis of the original, so as to make the translation of Chinese-English public signs more perfect and recognized by the international audience. "It is very important for the academic community and people from all walks of life to analyze the problems in the application of public signs and put forward corresponding improvement countermeasures". (Liu Xiaoping, 2019)

A Chinese-English public sign translator must fully realize and shoulder the responsibilities that translators must carry, form a sense of community of a shared future, fully acknowledge the current situation of Chinese-English public sign translation, completely learn lessons from the predecessors who have made mistakes in Chinese-English public sign translation, totally implement the four public sign translation strategies I mentioned before, to make Chinese-English public sign translation serve the construction of a moderately prosperous society in all respect, the construction of modern powerful socialist country, the construction of building China into a great modern socialist country that is prosperous, strong, democratic, culturally advanced, harmonious, and beautiful, and the realization of the great Chinese dream.

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History of Translation Studies 7

2020-12-21T15:37:32Z

Zhu Suyao: /* Analysis of Said’s Post-Cononial Criticism and Orientalism 姜好 Jiang Hao Student No.202020080606 */

这里是《翻译学史》的书稿第七部分(Part 7)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。

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%。

*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].
='''Translation Studies'''=

==A Review and Reflection of Holmes and Toury’s Descriptive Translation Studies ==
<center> 曾雁湖 Zeng Yanhu 202020080590</center>
===Abstract===
Descriptive translation studies transcends the traditional view of translation and enables people to have a more comprehensive and objective understanding of translation, so that translation theory can serve translation practice more effectively. Description is a theoretical supplement to the norm, and the unity of opposites constitutes the overall framework of translation theory. Scholars represented by James Holmes introduced the concept of "independent discipline" into the field of translation studies, and the birth and development of the school of translation studies promoted the establishment of the discipline of translation studies and the development of translation theory studies. This paper mainly introduces the representatives of the school of translation culture and the main points of their theoretical views in order to understand and explore the development and trend of western translation theories.
===Key Words===
Descriptive Translation Studies; Holmes; Toury
===题目===
霍尔姆斯和图里的描述性翻译研究的回顾与反思
===摘要===
描述性翻译研究超越了传统的翻译观，使人们对翻译有了更全面和客观的理解，从而翻译理论可以更有效地为翻译实践服务。描述是对规范的理论补充，对立统一构成了翻译理论的整体框架。以詹姆斯•霍尔姆斯（James Holmes）为代表的学者将“独立学科”的概念引入了翻译研究领域，翻译学派的诞生和发展促进了翻译学学科的建立和翻译理论学的发展。本文主要介绍翻译文化流派的代表及其理论观点的要点，以理解和探索西方翻译理论的发展和趋势。
===关键词===
描述性翻译研究；霍尔姆斯；图里
===1. Introduction ===
DTS is also known as the polysystem approach, the manipulation school, the Leuven axis of Tel Aviv, the descriptive, empirical or systematic school, or the low country group, which corresponds to the descriptive, empirical, interdisciplinary, goal-oriented Translation research methods, with special attention to its role in cultural history. This method was first developed in the early 1970s, gained momentum in the 1980s, and flourished in the 1990s, still inspiring some researchers to seek "in-depth research as a translation of cultural and historical phenomena," Explore its context and constraints, and look for reasons that explain why there is something" (Hermans 1999: 5).

Although usually equivalent to the study of literary translation, especially in its early stages, translation studies have been extended to several directions, including technical translation, audiovisual translation, or interpretation.DTS is said to have emerged in the 1980s due to the contribution of a group of scholars of Manipulation School.

The idea of describing translation studies originated in the 1950s. John McFarlane(1953) and James Holmes(1972) proposed a translation research map that shocked the translation research community in his thesis of "The Name and Reality of Translation Studies", and established the role of "descriptive" research in translation research. Central position. After Gideon Toury published the book "Descriptive Translation Studies and Others", which systematically outlines the methodology and research focus and framework of translation research, descriptive translation research has gradually begun to regulate the position of translation research for a long time. The "scramble for power" and "description" of sex studies have become a new trend in translation studies.

===2. Descriptive translation definition===
According to existing definitions, descriptive translation is “the use of descriptions to translate terms or phrases in the source, rather than direct translation” (Darwish 2010, p.142). However, there are other ways to look at descriptive translation; for example, some sources define the term from the perspective of social function (Darwish, 2010). As Bao Bao explained, descriptive translation can be considered as a tool "used to faithfully present the values, hegemonic views or ideological positions of the target text participants" (Baby, 2009, p. 201).

Therefore, it can be assumed that Descriptive Translation can be seen from both the linguistic and the sociological aspects (Bazzi 2009). It is remarkable that in the course of the search for the definition of Descriptive Translation, some scholars even doubted that the given study can actually be related to the discipline of translation in general (Bazzi 2009). For example, Gutt often criticized the idea of relating the Descriptive Translation to Translation Studies, arguing that the given branch of translation should, in fact, be named as interpretive (Bazzi 2009, p. 199).

Pym (2010) broadly defines the aim of Descriptive Translation Studies (henceforth DTS): ‘to describe what translations actually are, rather than simply prescribing how they should be’. Less prescriptive than its predecessors, DTS sought to establish probable expectations of translation behaviour by handling the practice as 'an empirical discipline with a hierarchical organisation and a structured research program’ (Cheung 2013). The concept was propounded by Gideon Toury from the 1970s onwards (Naudé 2012), and it was characteristic of the mood of that time, where ideas that challenged established conventions of translation came to prominence.

There was a sense that previous theories lacked a certain sensitivity to, and awareness of, the socio-cultural conditions under which the process of translation occurs (Bassnett McGuire 1991; Bassett 2012) and that greater significance should be attached to these issues.

Descriptive translation studies are mainly proposed for traditional translation studies that emphasize the equivalence relationship between the original text and the target text, while ignoring the relationship between the target text and the target language reader and the target language culture (He Yuanjian, Wei Zhiqiang, 1998: 17-28 ) The theoretical research of descriptive translation studies is to establish a reference system of principles for explaining and predicting the translation process and the structure and function of the translated text (quoted from Zhang Xiaobo 2001).

The descriptive translation studies framework proposed by Holmes provided the correct development direction for translation studies, made translation studies pay more attention to descriptiveness, and laid the ideological foundation for the later descriptive translation school.

===2.1 The Prospects of Translation Theory===
<The Future of Transla- tion Theory: A Handful of Theses> is not an ordinary paper. Holmes lists the urgent problems in future translation research, such as: creating a synthesis One of the main obstacles to sexual translation theory is the lack of effective communication between scholars in different fields, especially linguistics and literary schools; some researchers are accustomed to regard personal or national or a certain stage of norms as the general rules of translation; 5. Linguistic translation theory seems to have entered a dead end since the decade.

Researchers are stuck at the word, phrase or sentence level without considering the context at all. To establish a comprehensive translation theory, it is necessary to break through the linguistic research method with sentences as the upper limit. Holmes believes that to create a truly scientific and comprehensive translation theory requires the coordination of textual research, linguistics (especially psycholinguistics and sociolinguistics), literary research, psychology, and sociology. It is necessary to eliminate barriers between countries and languages and promote international academic exchanges. As a translator, Holmes also emphasizes the importance of translators with practical experience participating in the creation of translation theories.

===2.2 Benefits of descriptive translation for translation studies discipline===
An obvious advantage of describing the contribution of translation to the development of translation research is that describing translation almost obliterates the concept of norms (Medros 1985, p.142). Although the given feature of descriptive translation can also be seen as a major shortcoming, which will be demonstrated later, it is also a huge advancement in the development of translation studies as a discipline (De La Bascia, 2008, p. 245 ).

As Kruger explained, descriptive translation provides a prerequisite for shaping the "decision-making process in translation and operational norms in translation" (Kruger 2012, p. 103). Distorting existing translation norms means that translation studies are developing, and the phenomenon of descriptive translation has promoted the progress of the discipline (Koster 2011, p. 21). The fact that descriptive translation is a tool to shape specific translation behavior should also be considered (Flynn and Gambier, 2011, p. 88).

In fact, it is wrong to assume that descriptive translation technology is only used for the purpose of conveying specific information to the recipient; as Ravisa explained, descriptive translation research is also a means for trainees to memorize specific translation patterns in translation. To develop the required skills: However, at the same time, translation teachers are independently borrowing insights from corpus-based descriptive translation studies, and in the long run, it seems that they aim to formulate cohesive rules, assuming that if translation trainees insist on descriptiveness What should be done in the translation behavior model revealed by scholars.

The given method reflects the fact that descriptive translation allows the study of translation from an empirical perspective. In other words, descriptive translation practice allows translation research to be regarded as a social activity, rather than a process of presenting certain information by using specific means of expression. Therefore, descriptive translation as a discipline can be regarded as a social activity that has a significant impact on the community, and therefore should be encouraged as an additional tool to improve communication among community members (Esfeld 2001, p. 99). At this point, the linguistic meaning of translation is transferred to the background, and its social importance is reflected (Weissbrodt 2008, p. 50).

===2.3 Limitations of descriptive translation for translation studies discipline===
Needless to say, the descriptive nature of the above translation practice tools can be described as completely unprescriptive elements (Milan & Patna, 2013). There is actually no problem-solving process in the practice of descriptive translation; instead, the situational translation method is used (Kaplan 2010, p. 478). One might say that the given method of handling the translation process allows to avoid so-called “prescriptive intervention” or purism in language (Toury 2013, p. 87).

Although descriptive translation does help to eliminate examples of purism, it still lacks norms completely, which has caused confusion about the definition of descriptive translation methods (Tu Li, 2013, p. 88). Another obvious issue of perspective and scope is that supporters of descriptive translation, which is the key to translation studies, must generally acknowledge the boundaries of descriptive translation; a series of studies have pointed out the vagueness of the subject and the impossibility of descriptive translation.

Despite the fact that it seems to allow more choices in translating a particular idea into the target language, once it tries to define its position in the field of translation studies, it can also lead to a series of confusion (Toury 2013, No. 49 page). In other words, descriptive translation is characterized by the lack of specific norms and rules, which is typical for other types of translation (Tu Li, 2013, p. 50). Descriptive translation does not allow the creation of tangible norms. This is a compromise between the rules and characteristics of a language and an absolute necessary condition for any type of translation research.

Of course, one might say that “the boundaries between various types of constraints are therefore scattered” (Turi, 2013, p. 54). Therefore, in translation studies, the concept of norms is rather vague. The lack of obvious norms in the field of descriptive translation, which in turn limits the effectiveness of descriptive translation as a translation tool (Tu Li, 2013). Before further discussion, it is necessary to explain that the concepts of "problems" and corresponding "solutions" in the field of translation research are quite loose (Tu Li, 2013).

As Tuli explained, the terminology status of the word "problem" is still very unclear when discussing problem-solving models in the field of translation research, especially descriptive translation (Tuli, 2013). Seeing how descriptive translation reduces the vague concept of translation norms into situational translation practice, the problem-solving model becomes more unclear (Christa Fuli, 2003, p. 13). Descriptive translation actually erased the concept of problem-solving and replaced it with the concept of "conditions of existence" (Tu Li, 2013, p. 37).

Although this phenomenon can be regarded as another stage of the development of translation research, it still creates a series of obstacles in the definition of norms and standards and the methods to solve specific translation problems (Darwish, 2008, p. 35). Finally, the fact that descriptive translation should be put forward creates a premise for translators to link the text with their own cognitive mechanism. Although it is wrong to deny the fact that the translator’s background knowledge is actively used in the translation process, the details of the translator’s vision must not hinder the provision of correct translation.

However, by applying the principle of descriptive translation, it is impossible to have a "correct" translation variant; therefore, the translator may face a very tempting idea, which is to project his own vision into the translation process, thereby making the recipient of the information Observe the information through the translator's visual lens. A series of authoritative sources mentioned the need for translators to avoid filtering information in the source language, emphasized the limitations of cognitive mechanisms, and especially emphasized the limitations of culture (Darwish, 2010, p. 35).

===3. James Holmes===
James Holmes (1924-1986) is an American Dutch scholar and an outstanding translator of English-Dutch poetry. He has long worked at the University of Amsterdam. His main essays are collected in the collection "Literary Translation and Translation Studies Essays" (1988) compiled for him after his death. His work "The Name and Reality of Translation Studies" (1972) is regarded as the declaration of the establishment of the Translation Studies School and the foundational work of the Translation Studies School.

It mainly put forward creative opinions on the name, nature, research field, problem setting and subject scope of translation studies as an independent subject. He also proposed the scope and structure of the new field of translation research, and believed that the research method is a practice based on experience, and the object of research is the translation that appears in a particular culture.He finally thought that "Translation studies" was the most suitable name in the terminology.Theoretical assumptions can start research in the other two fields.

===3.1 Holmes’s point of Descritive Translation Studies===
Holmes emphasizes the description of the translation process. A significant change in his descriptive translation theory is the change in the nature of the works. Holmes believes that the target of translation is not a specific thing in the objective world referred to by the original text, but the language composition of the original text. Translation language is different from the language in literary works.

He borrowed from Roland Barthes's literary classification: 1) Poems, novels, and dramas reflect specific things and phenomena; 2)The literature category describes not the objective world, but the language composition proposed by others, which is a re-evaluation of evaluation (Barthes, 1964: 126) He also borrowed the term "meta-language" and expanded its meaning from referring exclusively to literary criticism to a variety of meta-literary forms, and poetry translation is only one of them. Holmes pointed out that poetry translation has intensified comments and metalanguage in other forms.

On the one hand, it is the evaluation and interpretation of a meta-literary to another work, and on the other hand, it forms a new meta-literary collection with its own literary nature. Therefore, this special literary form not only reflects the original text but is also a self-made creation, which has the dual nature of meta-literature and literature. Some-based translation studies focus no longer on issues such as equivalence and referent, but analyze the relationship between the translation as a second work and the original work in the literary standard symbol system of the original text, and only focus on the translation as a new work and the translation.

The relationship between cultural standard symbol systems. Compared with traditional translation theory, Holmes's method of describing the translation process shows another change. That is, he strives to seek a better understanding of a certain type of symbol translation by describing various translation methods and their historical use. He divided translation into four categories:

1) Similar forms, although the exact same form is impossible, similar forms are possible;

2) Similar functions, find similar functions in the translation language standards, and create open forms that can produce similar effects;

3) The content is derived, and the original meaning and specific expression form are maintained in the target language;

4) The form is abnormal, and for some special reasons, only the same as the original text is kept as little as possible.

Holmes believes that the four types are equally important. Translation is a process in which the translator makes a decision. The translator can make a choice in translation according to the different nature of the four translation methods. Once the initial decision is made, the translation forms its own rules, which can provide the translator with some possible translation methods, while also excluding other translation methods, so the initial decision will determine the next choice. He also believes that translation has no distinction between right and wrong, only differences.

These differences derive from the translator’s poetic level on the one hand, and on the other hand, the translator’s initial choice and the relationship between the two languages. The same source text has as many translations as there are translators.

===4. Gideon Toury===
Gideon Toury is a professor at Tel Aviv University in Israel and a world-renowned translation theorist. He developed the polysystem theory proposed by Evan Zohar, a famous scholar of the Tel Aviv school. In the book "Descriptive Translation Studies and Others", Tury systematically explained the theoretical framework and methodological basis of Descriptive Translation Studies. Tury believes that the descriptive translation theory focuses on examining the degree of absorption of the target language text in the target language culture, and uses inductive and statistical methods to compare and analyze case texts, and summarize the empirical variables or empirical norms governing translation behavior, and then formulate interpretations.

The law of the internal relationship of these variables. (2001: 15-16) Gideon Toury is considered a pioneer of Descriptive Translation Studies, and the theories exposed in his 3 major books on the theme (Translational Norms and Literary Translation into Hebrew, In Search of a Theory of Translation and Descriptive Translation Studies and Beyond) show his innovative perspective on translation studies.

He established a groundbreaking approach based on the analysis of tendencies in the translation process that doesn’t involve strict rules. Translation science has the role of describing and highlighting tendencies, in order to provide practical guidelines for translators. Gideon Toury has given a significant contribution to translation studies. He formulated groundbreaking theories and succeeded in providing practical guidelines to language professionals, without imposing rigid rules on the translation process. He elaborated the concepts of source-oriented and target-oriented, defined two different strategies to apply when translating a text into a new language. Having worked as a translator himself, he was fully aware of the difficulties experienced by translators and enriched translation studies with his perspective.

Tury’s descriptive translation studies are based on norms and guided by rules. Its purpose is to analyze the general rules governing translation behavior by comparing the source and target texts. This is fundamentally different from the past process-based and application-oriented translation studies. Traditional translation is based on the abstract identity of the effect of "equal", while Turry's theory is based on the difference. "Each language system and textual tradition, whether in structure or usage guidelines, is different from others.

Different types". If it is said that being fully accepted by the target culture is one pole, and being completely consistent with the original text is the other pole, then Tury believes that translation should always be between the two poles. No translation can be fully accepted by the target culture, because the translation always brings new information and unfamiliar forms to the system; no translation always brings new forms to the system; no translation is completely the same as the original Consistent, because cultural norms always shift the structure of the original text.

It is never possible for any specific translation to take into account the two extremes and achieve two abstract ideal criteria. Tury believes that the translation itself does not have "inherent" identity. The translation is always affected by various social and literary factors, and thus has multiple identities. The translation is always affected by various social and literary factors. Influence, thus having multiple identities, depends on the factors affecting translation in a particular period. Turi successfully made translation theory break through the framework of "faithful original text" and the theoretical model of a purely unified relationship between the original text and the target text, making translation a relative concept.

Correspondingly, the role of translation theory has also changed. Instead of seeking a theoretical system for evaluating translations, it has instead focused on establishing a model that interprets and determines the process of translation. Tury's theory introduces cultural-historical factors and calls them "translation criteria". Translation criterion is the center of Tury's theory, which affects every stage of the translation process and plays a coordinating role between two equal potentials.

Therefore, it is not enough to study a single text. It is necessary to study the translations of different historical periods to discern general trends. Turui distinguishes the following three translation criteria: Elementary criteria: factors that determine the choice of translation and translation strategies in the entire multi-system Starting criterion: the translator’s personal preference, whether it is the original version or the retranslated text, or an attitude of choosing to be in the middle Operation criterion: Refers to the criterion that influences the translation decision in the actual translation process. Tury pointed out that "translation" is any expression in the target language that is manifested as translation or considered to be translation.

Describe the discovery process of Translation Studies (DTS). He believes that this process follows the following sequence:

1) Select those target language texts that the target language culture considers to be "translation", but do not involve their corresponding original texts, and only study their acceptance as target language texts in the "destination" system.

2) Describe these texts, study these texts and their counterparts in the source language system or original text through the translation phenomenon constituted by the constituent elements of these texts, and find solutions to translation problems.

3) Identify and describe the relationship between each pair of research objects, focusing on discovering the changes and transformations that occur.

4) Finally, by thinking about the function of translation equivalence-the concept of relations, we set out to apply these relations to the overall concept of translation.

It is the last two that constitute the ultimate goal after DTS's systematic research and interpretation. Tury believes that only after the essential concept of translation is determined, can it be possible to reconstruct the consideration and decision process involved in the translation process, as well as the constraints actually accepted by the translator.

Contributions and achievements of descriptive translation to translation studies: As a representative of descriptive translation studies, the theory and methodological framework of descriptive translation studies proposed by Turi has an immeasurable impact on translation studies.

Gentzler believes that Tury's theory has the following contributions to translation studies: First, abandon the "one-to-one" correspondence between the source target text in the normative translation study, and eliminate the possibility of the source target text being literary/language equivalence; Second, introduce the literary tendencies existing in the target language cultural system into the research on the production of translation works; Third, it breaks the concept that people have a fixed understanding of the source language information and translation expression; Fourth, place the source text and the target text in the symbolic network interwoven between the source and target cultures. (Gentzler, 2004: 131)

However, descriptive translation studies, as the mainstay of current international translation studies, have contributed far more to translation studies than those listed above. Insufficiency of Toury's theory: Some scholars have pointed out the inadequacies of Toury's theory. Munday pointed out that the meaning of "norms" used by Turui is vague, and these norms have the tendency to act and the function of regulation, which is contrary to the original intention of descriptive analysis.

Tury’s view ignores factors such as ideology and politics. In addition, the "rules" that Turui wants to summarize from the case analysis seem to be some habitual beliefs or even beliefs that do not need to be proven in translation behavior, and to what extent these abstract and quasi-scientific rules can be applied to translation practice.

Not without controversy. (2002: 113-117) Venuti believes that Tury’s "scientific" descriptive translation studies model aims to extract "value free" norms and rules for translation behavior, and the field of translation studies must involve the social and cultural system Value orientation. In Venuti's view, although norms are initially only in the linguistic/literary sense, they also involve values and beliefs that serve specific social groups and are therefore ideologically binding.

===4.1 Source-oriented and target-oriented===
In his 1980 essay In Search of a Theory of Translation, Toury gives a remarkable contribution to translation studies identifying two translation strategies: ‘source-oriented’ and ‘target-oriented’. A source-oriented translation involves a formal approach aimed at reproducing forms and structures of the source language. According to Toury, this strategy is difficult to apply because of the differences between language structures.

While a target-oriented translation aims at adapting the text to the structures and cultural context of the target language. Hence, Toury formulated two principles that define two approaches to translation: acceptability and adequacy. An ‘acceptable’ translation has to comply with the rules and structures of the target language. The primary goal is to convey the meaning of the source text, increasing readability and adapting texts to the language structures of the receiving culture.

On the other hand, an ‘adequate’ translation stays true to the source language and complies with the structures of the original text. This means that the result doesn’t conceal its nature of translation. A translation aiming at full adequacy is unacceptable due to the fact that it doesn't take into account the demands of the target reader. Choosing between the two approaches is not an easy task. Everything depends on the kind of translation required and its purpose. But, regardless of a target-oriented or source-oriented approach, the purpose of a translation is to convey the meaning of the original.

===4.2 Translation and postulates===
In Descriptive Translation Studies and Beyond (1995), another masterpiece in the field of translation studies, Toury exposes a normative theory for translation critics. A theory that is not meant as a set of rigid rules for translators and critics but as a series of tendencies that could be observed in the translation process. According to Toury, critics should research those tendencies in order to describe the translation process, which means offering practical guidelines to translators.

A normative approach with rigid rules wouldn’t provide translators with a single clue on how to translate texts. Toury acknowledges a set of necessary requirements or postulates that a text has to comply with so that it could be called ‘translation’: The source text postulate: there has to be a source text; The transfer postulate: the translated text has to be generated from a “transfer” process; The relationship postulate: there has to be a relationship or similarity between the original text and translated text.

===4.3 The value of Toury’s contribution===
Toury has succeeded in giving practical advice to translators, identifying two possible strategies and approaches, providing professionals with a starting point to reflect upon when translating a text. Thinking of the purpose of translation and its potential readers can help with the choice of the best strategy. By the way, one should always keep in mind that the primary goal of a translated text is to convey the message of the original.

An example of acceptability as an adaptation to the target culture is represented by transcreation. The word transcreation is a blend of ‘translation’ and ‘creation’, suggesting the use of a creative approach in translation. In fact, it seeks to perform all the necessary adjustments to make a campaign work in all target markets while staying legal to the original creative intent of the campaign.

Transcreation is the creative adaptation of marketing sales and advertising copy in the target language. It involves changing both the words and meaning of the source text while keeping its attitude and the desired persuasive effect. Transcreation focuses on transferring brands and messages from one culture to another and represents a striking example of how changing the language and structure of the source text helps in delivering a message.

Toury’s theories gave a new impulse to translation studies. New principles have been elaborated since then. For instance, Venuti distinguished between two strategies: domesticating and foreignizing. Nida elaborated the concepts of formal equivalence and dynamic equivalence. Toury’s perspective established an alternative approach to translation studies, starting from merely theoretical concepts and leading to a direct observation of the translation process to finally provide professionals with practical guidelines to follow.

===5. Conclusion===
Translation description promotes the study of translator's subjectivity. Any translation is a process of understanding, selection and re-creation. The translator will inevitably show his artistic creativity and individual characteristics in this process. Therefore, the exertion of the translator's subjectivity is an unavoidable problem in translation activities. However, the core of traditional translation theory is the issue of translation standards, and this attention to standards determines the normative characteristics of traditional translation theories.

Norms are to use ideals to restrain practice, and to use principles and standards to guide practice. It focuses on issues such as "how the translation should be carried out" and "what principles should be followed in the translation", rather than "how the translator translates". This normative feature is fundamentally excluded from the study of translator's subjectivity. Translation studies have been unable to get rid of the defects of one-sidedness and subjectivity for a long time, and thus cannot see the full picture of translation activities, and cannot conduct in-depth and systematic research on translation studies.

In 1990, Susan Bassnett and André Lefebvre co-authored "Translation, History and Culture", which raised the issue of the "cultural turn" in translation studies, which made cultural factors affect translation And the relationship between the two has been extensively studied. From the perspective of the nature of research, the "cultural turn" is actually the descriptive turn of translation studies, and constitutes an important part of the latter.

In the process of descriptive research on translation, people discovered the distance between translation practice and the various translation standards proposed by normative research, and realized that “absolute equivalence” in translation cannot be achieved because of the translator’s Work is always uninterrupted by the purpose of translation, aesthetic preferences and cultural factors.

Therefore, translation activities are affected and restricted by the subjectivity of the translator. To describe the translation and describe the translation, it is necessary to discuss this long-neglected Translation phenomenon. After decades of development, descriptive translation studies prove their own values and become a new starting point and a new pillar of translation research, leading to a deeper and wider level of translation research.

It is noteworthy that the descriptive translation study is a deviation and rebel from some degree of normative translation research, but it is not in the state that one mountain cannot accommodate two tigers. We should recognize the great contribution of descriptive translation studies to the translational research objectively, while we should also recognize the great results of the translation research agency under the guidance of normative translation research. There is no contradiction between the descriptive translation study and the normative translation study, as Lin Kennan pointed out. We need to combine two so that translation studies can reveal the entire translation.

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Haiying Wang.Some Reflections on Translation Criticism and Descriptive Translation Studies[J].Studies in Literature and Language,2015.

Ai-ling Wang.A New Perspective of Translation Criticism: Descriptive Translation Studies[J].Cross-Cultural Communication,2007.

刘星.STUDY OF TOURY'S THREE NORMS OF TRANSLATION[J].读与写(教育教学刊),2008.

顿官刚.图里的翻译描写模式述评[J].外国语言与文化,2018.

张美芳.后霍姆斯时期翻译研究的发展:范畴与途径[J].中国翻译,2017.

张冬梅.翻译学的实证性学科定位再思——霍姆斯、图里翻译学架构图问题思考之一[J].北京第二外国语学院学报,2015.

马士奎.詹姆斯·霍尔姆斯和他的翻译理论[J].上海科技翻译,2004

--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:03, 20 December 2020 (UTC)

==Foreignizing Tanslation and National Culture Development 邓锦霞 Deng Jinxia 英语语言文学==
<center> Deng Jinxia 邓锦霞， 202020080599</center>

===Abstract===
In the context of economic globalization and social development, human civilization in the 20th century is developing towards diversification. In the process of multicultural exchanges, the impact of translation on national culture has become a topic of discussion. Foreignizing translation takes the source language as its destination and can retain its cultural characteristics to a great extent, which has gradually attracted the attention of contemporary translators. This chapter introduces the evolution of foreignizing translation in China and the West, then discusses the relationship between foreignizing translation and national culture development from three perspectives: the necessity of foreignizing translation, the restrictions on foreignizing translation, and the influence of foreignizing translation on national culture development.

===Key words===
foreignizing translation; national culture

===题目===
异化翻译与民族文化发展

===摘要===
在经济与社会全球化发展的背景下，20世纪的人类文明正在向多元化发展。在多元文化交流的过程中，翻译作品对本土民族文化的影响成为讨论话题。异化翻译以源语言为归宿，能够最大限度地保留源语言文化特色，逐渐受到当代翻译家的重视。本章介绍了异化翻译在中西方的演变历程，从异化翻译的必要性，异化翻译的限制条件以及异化翻译对民族文化的影响三个角度出发，讨论了异化翻译与民族文化发展的关系。

===关键词===
异化翻译；民族文化

===1. Introduction===
The debate between domesticating translation and foreignizing translation has a long history. When contemporary translators choose translation strategies, domesticating translation is the dominant one, for it will be more easily accepted by the readers of the target language. In the translation process of "domestication", it allows the source culture to adapt to the target culture, and even replaces the source culture with the target one. Such translations cannot truly achieve the purpose of cross-cultural communication and dissemination. As far as the quality and transformation of cultural production are concerned, it is likely to cause the development of the cultural homogenization of various ethnic groups, which does not conform to the general trend of cultural globalization. （Li Zheng & Zhang Chunbo 2015)

A typical domesticating translation in C-E translation is David Hawkes's translation of the word "red" in ''The Story of the Stone''. Considering the different understanding of “red” in Chinese and Western cultures, he translated "怡红公子" as "green boy". This translation is conducive to the understanding of Western readers, for the connotation of “green” in the West is close to that of “red” in China. At the sane time, it will make Western readers know nothing about the real connotations of “Chinese red”. In the context of Chinese culture, "red" mostly symbolizes auspiciousness and joy. With domesticating translation, Western readers may never have chance to know it. (Liao Chunlan 2018, 137)

It can be seen that in the process of cultural input and output, as an part of indirect cultural communication, translation actually plays an significant role. Therefore, it is very essential to choose a suitable translation strategy. Compared with domesticating translation, source-oriented foreignizing translation has better retention of the original text in terms of language and culture.

Due to political, economic, international and domestic reasons, domesticating translation once had the upper hand in the translation circle. However, with the changes of the times, the choice of translation strategies should also keep pace with the times. As a translation oriented to the source language and culture, foreignizing translation, which plays a vital role in the development of national culture, deserves our attention.

===2. The Evolution of Foreignizing Translation===
Any translation thought, no matter how modern and novel, has a gradual process of formation. Before discussing foreignizing translation and national culture, it is necessary to know the connotations of foreignizing translation. The concept of foreignizing translation is the extension and expansion of literal translation in traditional translation theories. Compared with literal translation, foreignizing translation pays more attention to cultural meanings behind the text. Foreignizing translation was first proposed and developed in the West. After absorbing the essence of Western foreignizing translation theories, Chinese translators have also added their own understanding toward foreignizing translation.

====2.1. The Evolution of Foreignizing Translation in the West====
The "word-for-word" translation discussed by Cicero, Horace and St. Jerome in ancient Rome may be considered as one kind of foreignizing translation. And then the concept of "literal translation" appeared. It has also influenced the formation of foreignizing translation. (Tan Zaixi 2004, 32)

In the early Middle Ages, Manlius Boethius had a rich view of literal translation. Tan Zaixi concluded it as : (1) Content and style are hostile to each other, either paying attention to style or preserving content. It is impossible to have both. (2) Translation is centered on objective things, and translators should give up subjective judgments.” (Tan Zaixi 2004, 43)

During the Renaissance period, the German poet and translator Sebastian Brant substituted the concept of literal translation into the poetry translation and proposed a verbatim translation strategy. (Tan Zaixi 2004, 73)

In modern times, the dispute between literal translation and free translation has evolved into a dispute between the Old School and the New School. Bachet de Meziriae puts forward three principles that translators must follow: (1) Do not stuff the original text with private goods. (2) Do not add or delete the original text (3) Do not make changes that are detrimental to the original intent. (Tan Zaixi 2004, 114-115)

Translation critic Daniel Huet believes that the best translation strategy for the translators is to follow the original author's meaning: If possible, the translators should follow the words closely, and finally reproduce the original character as much as possible. (Tan Zaixi 2004, 116) And Charles Batteux believes that the primary translation rule is to preserve the original word order as much as possible. (Tan Zaixi 2004, 124)

From a diachronic point of view, the concept of literal translation has become deeper and more specific, and its connotation has become more and more abundant. However, the concept of literal translation in this period still remained in the meaning, content and formal style of the language. The connotations in culture, poetics, society, ethics and ideology have gradually extended and developed, on which Western foreignizing translation is based.

Friedrich Schleiermacher puts forward two different translation strategies in his speech ''On Different Translation Strategies'': The translator should either keep the original author as still as possible and make the reader close to the original author; or let the reader stay still as much as possible and make the original author approach the reader. He advocates that the first translation strategy is foreignizing translation , which allows readers to appreciate foreign customs and respect language and cultural differences. (Robinson & Douglas 2006, 226-228)

Walter Benjamin's thought of foreignization is reflected in his view of language. He believes that all languages convey themselves, so the language itself is a translation. Benjamin emphasizes the directness of language and intends to subvert the bourgeois view of instrumental language. The translation goal of pure language makes Benjamin tend to use the foreignizing translation strategy and retain the language form of the original text, that is, different ways of conveying meaning. In other words, Benjamin's foreignizing translation idea is not to translate the meaning of the original text, but to convey the language expression of the original text to the target language. (Benjamin 1999, 272)

Antoine Berman puts forward the concept of "translation ethics" in the book ''The Test of Difference'' in response to the traditional translation thought centering on "the transmission of meaning" that has dominated the Western translation world for a long time. “Translation ethics” advocated by Berman is to respect the original works and the language and cultural differences in the original works. In order to achieve his goal, he advocates implementing foreignizing translation through the translation strategy of translated text, which enriches language itself by introducing "others". (Berman 1984, 23)

Although the idea of foreignizing translation has existed for a long time, it was not until 1995 that the terminology of "foreignizing translation" was put on the agenda of translation studies in Lawrence Venuti's book ''The Invisibility of the Translator-A History of Translation''. Venuti’s concept of foreignizing translation puts traditional literal translation on the local cultural and political agenda, and links translation with culture, political ethics, and ideology.（Zhang Jinhua, 2009)

The rich connotations of foreignizing translation can be summarized as follows: foreignization in the selection of material, language, culture, readers and translation ethics. The core of Venuti's foreignizing translation is to practice differentiated ethical propositions to resist the mainstream values of the culture of the target language, thereby highlighting the language and cultural differences of foreign languages. In other words, Venuti's translation ethics emphasizes accepting“the other”as “the other”. It respects the language and cultural differences of the other, and also challenges the mainstream values of the target language.(Venuti 1995, 20)

====2.2. The Evolution of Foreignizing Translation in China====
In the history of Chinese translation, there are two different translation strategies of Buddhist scripture, text-oriented school(文派) and meaning-oriented school(质派). In modern times, the ideas of foreignization and domestication are embodied in the dispute between literal translation and free translation. The concept of domestication and foreignization were not widely used by Chinese translators until Venuti proposed the translation strategies of “domesticating translation” and “foreignizing translation”. (Chen Fukang 1992)

Text-oriented translators of Buddhist scripture pay attention to the text of the translation and do not strictly follow the original meaning, such as Zhi Qian, a Buddhist scripture translator in the Han Dynasty, whose translation focuses on the fluency of the translated text.(Chen Fukang 1992, 16) On the contrary, Dao An, a representative of the meaning-oriented translators, puts forward the "Five Losses of Originals" (五失本) and "Three Difficulties of Translation"(三不易), emphasizing faithfulness to the original meaning and content, which is the embryonic form of modern Chinese literal translation. (Chen Fukang 1992, 20)

In modern times, with the deepening of translation understanding and the influence of Western translation theories, there has been a debate between literal translation and free translation. Scholars headed by Liang Shiqiu and Zhao Jingshen advocate free translation, while scholars headed by Lu Xun and Qu Qiubai advocate literal translation. Among them, the consciousness and concept of foreignization translation have appeared in Lu Xun's view of literal translation. When talking about translation, Lu Xun pointed out that translation needs to be exotic, which is the so-called “foreignness” (洋气).(Lu Xun 2005, 365)

The term “foreignizing translation”was first introduced to China by Guo Jianzhong, which arosed fierce debate about foreignization and domestication in China. In fact, as early as 1987, Liu Yingkai put forward that “domestication is the wrong way of translation”. In response to the phenomenon of excessive domestication in translation practice, Liu Yingkai proposed the "transplantation strategy" to maximize the original "foreignness". (Liu Yingkai 1986, 59)

With the introduction of Western foreignizing translation theory, literary translation practitioner and theorist Sun Zhili clearly proposed that literature translation should follow the principle of foreignizing translation: foreignization as the mainstay, and domestication as the supplement. He pointed out that domestication is mainly manifested at the linguistic level, while at the cultural level, foreignization should be stressed. (Sun Zhili 2001, 35)

===3.Discussion===
Different translators have different definitions for foreignizing translation, but they generally believe that foreignizing translation is a translation strategy that can preserve the characteristics of the source language and help readers get closer to the author. Although the background and purpose of different theorists’perspectives on foreignizing translation are different, we should uphold the attitude of foreignizing translation as a translation strategy, and treat the role of foreignizing translation in the development of national culture objectively.(Zhang Jinhua, 2009)

====3.1. The Necessity of Foreignizing Translation====
The necessity of foreignizing translation comes from the diversity of national culture. If the world culture is homogenized, the concept of foreignizing translation will no longer exist. It can be said that foreignizing translation is proposed based on the development needs of national culture. Basically, there are two kinds of needs, one is the need of language development, the other is the need of cultural exchange. (Liu Miqing 2005, 43)

=====3.1.1. The Need of Language Development=====
As the carrier of culture, language has never been self-sufficient and isolated from external factors. On the contrary, it is an open system with strong tolerance and attractiveness. With the deepening of exchanges between countries and ethnic groups, various languages are now enriched in varying degrees. The foreignizing translation plays a role in this process.(Liu Miqing 2005, 22)

The change of language is firstly reflected on the lexical level. Some words do not originally exist in the target language, but come from the foreignizing translation works. A large number of words with foreign cultural customs are gradually accepted by people in this way. And it can be widely disseminated and used in the target culture. (Fu Weifeng 2007, 372)

For example: The word "honeymoon" has no corresponding expression in Chinese, and its meaning could not be understood by Chinese before, for at that time the Chinese couple did not have the custom of being together during the first month of the wedding. However, Lin Shu boldly uses foreignizing translation and translated it as "蜜月". The two parts of the compound word are translated and arranged together according to their literal meanings (honey "蜜", moon "月") to form the word "蜜月", which undoubtedly injected fresh blood into Chinese at that time and developed modern Chinese language. (Fu Weifeng 2007, 372)

There are also many other words, such as "咖啡 (coffee)", "丁克 (DINK)", and "可乐 (cola)", which have been understood and accepted by Chinese readers. Words such as "Jiaozi (饺子)", "tofu (豆腐)", and "Kungfu (功夫)" originated from Chinese have also entered the English thesaurus and have become part of the English family. The inclusiveness of language is evident. (Fu Weifeng 2007, 373)

Once accepted by the society, these foreign words are established by convention and become new members when they are added to the traditional language and culture. As a result, they will inevitably enrich the way of language expression, promote language proximity and communication, and enhance the vitality of language. In a sense, the process of language development is also a process of language foreignization. The foreignization of language is the general trend and cannot be blocked by manpower. The translator's use of foreignizing strategy actually follows the universal law of language development. (Fu Weifeng 2007, 373)

The necessity of foreignizing translation is not only limited to the lexical level, but also to the syntactic level. When Liang Qichao investigated the translation of Buddhist scriptures, he found a dozen of foreignizing translation of syntaxes. And these foreignizing syntaxes of these Buddhist translations took root in Chinese with the widespread spread of Buddhism and became the origin of the vernacular Chinese. (Wang Kefei 1997, 29)

The grammar of modern Chinese is also enriched by Western languages, for example,the frequency and scope of passive voice have expanded in Chinese. Passive form was first used in ancient Chinese, but it is rare and generally used to express unfortune or unpleasant experiences. Affected by the foreignizing translation of Western languages, the passive form in modern Chinese can also express pleasant feelings. It means that the syntax of the source language in foreignizing translation can be accepted as a part of the target language. (Zhang Jinlan 2003, 65)

It can be seen that the use of foreignizing translation can enrich and expand the vocabulary and syntax of the target language, which is beneficial to the maturity and perfection of the target language. Around the 19th century, when German romantic writers and translators were translating foreign works, they paid great attention to absorbing some words and special expressions from foreign literary works to enrich the German language. In their view, the development of German is not yet perfect, and it is necessary to enrich and expand the German language through translation. Under the guidance of this idea, they gave great importance to the language form of the original text. (Zhang Jinlan 2003, 65)

=====3.1.2. The Need of Cultural Exchanges=====
Each country and nation has its own unique culture, which has contributed to the development of world civilization. The prosperity and development of world culture depend more on the further development of these cultures in their own fields rather than on their extinction. The existence of translation problems actually defaults to the existence of cultural diversity. If there is only one language and one culture in the world, there will naturally be no translation problems. The characteristics of foreignizing translation actually tolerate the diversity of national culture to a great extent, which is also the need of the cultural exchanges.(Li Miqing 2005, 43)

Lu Xun advocated foreignizing translation, believing that it can import new content and expressions. He once said: "Why can't (translation) completely be sinicized so that readers can save some effort? How can it be called a translation with inexplicability? My answer is: such a translation must not only import new content, but also import the new expression." (Lu Xun 1894, 225) Through translation, we can have a deeper and more accurate understanding of the differences between cultures and the specific expressions of various ethnic languages.In the process of cultural input, foreignizing translation is essential if we want to understand the most authentic and essential culture of the source language.

Correct cultural cognition is a prerequisite for cultural exchange. For example, most Westerners believe in Christianity, and they believe that God is the only savior of the world. Westerners' ideology, value system, religious beliefs, ethics, and even behaviors are all derived from Christian culture. As the carrier of culture, language is also influenced by religious culture. As for proverbs, some translators may adopt the domesticating translation strategy. For example, some translators may translate "God helps those who help themselves" as "自助者天助", and translate "The mills of God grind slowly but surely" as "天网恢恢,疏而不漏". It is easier to understand the sentence meaning, but it is unfair for most Chinese readers to lose the chance of knowing the true religious culture of the West. (Zhang Caixia 2019, 246)

"Goethe pointed out that everything has a beginning, and readers will eventually become accustomed to it. In short, readers' approval should be viewed from the perspective of development, not confined to temporary choices, which is the only way to multiculturalism." (Liu Miqing 2005, 75) When the phrase "Praise is not pudding" is translated into "赞美不能当饭吃", it is certainly conducive to readers' understanding. However, the cultural connotation of "pudding" for Westerners is completely concealed. The translation of "赞美不能当布丁吃" highlights the importance of "pudding" in the translation.

Another example is the proverb "unkissed, unkind". If it is translated as "不作揖, 不友善" by using domesticating translation strategy, although such a translation fully conforms to the thinking and habits of the Chinese people, it also causes a lack of the source culture. Therefore, by using the foreignizing translation strategy, "不亲吻, 不友善" can make readers know the difference between Western and Chinese etiquette, and will reduce obstacles in cultural exchanges. (Zhang Caixia 2019, 246)

====3.2. Restrictions on Foreignizing Translation====
Foreignizing translation follows the trend of cultural globalization, but not all foreignizing translation works have a positive influence. This is mainly due to the low qualitiy of the translated text and the wrong estimation of readers' expectations. Foreignizing translation is not mistranslation and it also requires the correctness of the translated text. At the same time, though foreignizing translation is not reader-oriented, it also needs to consider the readers' expectations in reality.

=====3.2.1. Accuracy of Translation=====
Lu Xun’s pursuit of literal translation was ridiculed by Liang Shiqiu and others at that time. Liang Shiqiu said that "reading some of Lu Xun’s translations is just like looking at a map,and you have to stretch your fingers to find clues in the syntax." He called the translation "hard translation". (Liang Shiqiu 1929) This view is actually biased. “Hard translation” of Lu Xun does not mean mistranslation. Lu Xun said: "Any translation must take both sides into consideration, one of which, of course, strives to be easy to understand, while the other preserves the beauty of the original." (Lu Xun 2005, 364-365) It can be seen that he insists on the translation strategy of faithfulness and smoothness under the premise of emphasizing faith.

This also brings us some enlightenment for using foreignizing translation strategies. As translation strategies, foreignizing translation and domesticating translation are not alternatives. We emphasize the importance of foreignizing translation, but we do not completely deny the meaning of domestication. In the case of mainly foreignizing translation, domesticating translation is also necessary in some cases.

In the translation of some brand names, domesticating translation has become the main translation strategy due to the type of audience and the occasion. For example, “Revlon” translates to “露华浓” and “Lamer” translates to”海蓝之谜”. The former translation “露华浓” is born from an ancient Chinese poem “云想衣裳花想容, 春风拂槛露华浓”. For”海蓝之谜”, “海” symbolizes the mystery and “蓝” create a beautiful visual impression. These translations meet the aesthetic expectations of Chinese women and are conducive to the sale of goods.

Mastering foreignizing translation can make the translation play its due role, otherwise it will make the translated text obscure and difficult to understand and worthless to read in some translations. For example, the English proverb “New brooms sweep clean” is difficult for readers of the target language to directly think of its social meaning. In fact, this proverb means that a person will often do a better job just after taking office. Using foreignizing translation there may influence the readability of the text. In this case, domesticating translation, “新官上任三把火”, is also a good choice. (Zhang Caixia 2019, 246)

=====3.2.2. Readers' Aesthetic Expectations=====
For foreignizing translation to be accepted, in addition to the correctness of the translated text itself, some social and cultural conditions need to be considered. Schleiermacher proposed two social and cultural conditions for the acceptance and recognition of foreignizing translation: "First, foreign works are highly recognized and popular with the public in the target country; Second, the target language has certain tolerance and adaptability (for foreign language)." (Rainer Schulte ＆ John Biguenet 1992, 48)

For readers in the target country, foreignizing translation of popular works form the source language country is more likely to be accepted. Take China as an example. The closure of the Qing Dynasty has made many foreigners have a stereotype of Chinese culture.Therefore, when Hawkes translated ''The Story of the Stone'', he mainly used domesticating translation. (Liao Chunlan 2018, 138)

With the deepening of globalization and the rise of China, Chinese culture begun to occupy an position in the world. Foreigners are becoming more and more enthusiastic about Chinese culture, and they are more willing to read and understand Chinese literary works. Under this background, Yang Xianyi, a Chinese translator’s foreignizing translation of ''A Dream of Red Mansions'' has also been accepted by more and more foreigners. From this perspective, when using foreignizing strategies, the influence of the source language country's culture in the target country should be considered. (Liao Chunlan 2018, 138)

When choosing a work of the source language, the translators should consider the readers’s cognitive and aesthetic expectations. "Different readers have different aesthetic tastes, and their emphasis on each function of translation is different" (Gu Zhengkun 1994, 66). The choice of translation strategy for the translated version also depends on different expectations of different readers.

However, unlike domesticating translation, foreignizing translation should not be too accommodating to readers. Instead, it should bring new things to readers and make innovations on the basis of fully considering the expectations of the readers of the target language. Jiang Chunfang pointed out: "The purpose of translation is to translate all foreign things, plots, and unique sentence structures that we do not have. This is innovative for our readers." (Jiang Chunfang 1989,3)

====3.3. The Influence of Foreignizing Translation on National Culture====
The influence of foreignizing translation of national culture should be viewed form two perspectives: For the source culture, foreignizing translation is beneficial to cultivate the self-confidence of national culture, and enhance the influence of national culture in the world. But it may also cause difficulties in spreading the source language culture; for the target culture, foreignizing translation helps to avoid national cultural centralism and promotes the development of the local national culture.But foreignizing translation may also cause a lack of national self-confidence.

=====3.3.1. The Influence of Foreignizing Translation on the Source Culture=====
For the source culture, foreignizing translation is a manifestation of cultural self-confidence and helps to promote the spread of national culture to the world. For example, in the 1830s, in order to realize the cultural rejuvenation of the Czech Republic, the Czech translator John Bowring used the strategy of foreignizing translation to translate European documents and introduce Western culture to his own people. At the same time, he brought the Czech culture to the world of Western civilization through foreignizing translation. His efforts have contributed to the cultural development and the revival of Czech culture (Wang Dalai & Zhang Jinhua. 2002, 105).

When the East is learning from the West, there are also traces of the West being influenced by the East. But it is far inferior to the former. Some scholars think it is mainly due to the influence of "Western Centrism" or "Western Superiority". Today, the situation is changing for China’s international influence is gradually increasing. (Wang Dalai & Zhang Jinhua. 2002, 105).

In fact, China, with its long history, has had an influence that cannot be ignored by the world. There are ''The Travels of Marco Polo'' written by the 13th-century Italian traveler Marco Polo, ''the History of Chinese Culture'' written by Matteo Ricci, a Catholic Jesuit in the 17th century ", the "China fever" that prevailed in the UK in the 17th and 18th centuries, and the "Sinology fever" that once swept France, they all confirm that Chinese culture has influenced the development of civilization in the world. (Wang Dalai & Zhang Jinhua. 2002, 106).

In order to make the broad Chinese culture known by the world, when translating Chinese literary works into foreign languages, foreignizing translation should be adopted. For example, "when Pound translated ancient Chinese poems, he followed the linguistic habit of the original language by copying Chinese syntax." (Zhao Yiheng 1985, 256-257).

The cultural impact of these translations far exceeds the accuracy of their own translations. "These translated poems brought Chinese poems to the West. Before Pound, China had no literatury works that can match the names popular in English-speaking countries. Pound is the inventor of Chinese poetry, and his translation enables the world to understand the true spirit of Chinese poetry." (Xie Qian 2001, 74-79)

The influence of foreignizing translation on the source culture needs to be viewed dialectically. For some "weaker cultures", foreignizing translation may also make translation obscure and difficult to be accepted by the target culture, which loses the basic function of translation. For cultural output, foreignizing translation should be used while ensuring the basic function of translation. (Wang Dalai & Zhang Jinhua. 2002, 107)

=====3.3.2. The Influence of Foreignizing Translation on the Target Culture=====
Foreignizing translation can promote the development of national culture in the target country, and avoid the stalemate caused by cultural centralism. All kinds of culture need to absorb the essence of a heterogeneous culture to enrich and perfect itself. For example, at the end of the 19th century and the beginning of the 20th century. In the New Culture Movement, Chinese completed their own "literary revolution" and created their own new literary system by imitating that of the Western culture. (Zhang Jinlan 2003, 65)

When people talk about the prosperous times in Chinese history, they are often referred to the Han and Tang dynasties. In fact, in the aspect of literary works, the Han Dynasty is much more inclusive. The cultural policy of the Han Dynasty was to reject a hundred schools of thought but respect Confucianism only. However, it was different in the Tang Dynasty. The Tang Dynasty was more open in literary. It formed a broad mind capable of accommodating cultural forms of different ideological backgrounds. "Therefore, the cultural and artistic life of the society of the Tang Dynasty, in terms of content and genre, are full of colors." (Du Daoming 2000, 9).

During the Renaissance, humanist writers and scholars express their cultural opinions by reviving ancient Greek and Roman culture. It is the reference and absorption of different cultures that made the Renaissance culture fruitful. And foreignization translation is just a translation strategy that can make cultural reference work better.(Zhang Jinlan 2003, 65)

Both Chinese and foreign history prove that culture can develop if it can recognize and respect culural differences. "Just as Liang Qichao said:'The richer the culture of a nation is, the stronger its ability to grow, this theorem is also true.'" (Wang Kefei 1997, 27) In short, a culture accept the foreignization of other cultures can dvelop better. On the contrary, a self-proclaimed culture will stubbornly restrain foreignization.

However, foreignizing translation will also have a negative impact on the target countries. When colonialism prevailed, the cultural output of imperialist countries mainly adopted foreignizing translation strategy, which invisibly formed cultural colonization towards the "weaker culture". In Modern China, Chinese once had the idea of admiring and fawning on foreign culture, and lost confidence in the local culture. To make foreignizing translation a boost to the development of national culture, it is necessary to enhance cultural self-confidence on the local culture of the target country. (Wang Kefei 1997, 45)

===4. Conclusion===
Foreignizing translation makes readers closer to the author, retains the linguistic characteristics of the source language, and conforms to the diversity of national culture. The development of national languages on the levels of vocabulary and sentence patterns, requires foreignizing translation to inject fresh blood to achieve self-enrichment. In addition to direct communication, indirect communication facilitated by translation is also indispensable for the cultural exchanges between various ethnic cultures. Foreignizing translation helps the local culture recognize foreign culture and reduces cultural obstacles in direct communication.

In order to play its role, although the foreignizing translation strategy is necessary, it must follow some restrictions when used. There are two main points. First, the foreignizing translation must be carried out on the basis of ensuring the correctness of the translation. Second, foreignizing translation should cater to readers’ aesthetic expectations. And readers’ cultural background should be considered when selecting materials and translating. However, foreignization translation does not yield to readers, but innovates for readers on the basis of fully considering the expectations of target language readers.

In the course of practice, foreignizing translation has different influences on the source culture and the target culture. For the source culture, foreignizing translation helps to make the local culture known in foreign countries, which is a manifestation of cultural confidence. However, for "weaker cultures", foreignizing translation may also hinder the spread of culture. For the target culture, foreignizing translation helps the local culture absorb the essence of foreign culture and promote the innovation and development of the local culture. However, in the process of absorbing foreign cultures, foreignizing translation may also cause excessive worship of foreign cultures, resulting in a lack of self-confidence in local culture.

In conclusion, compared with domesticating translation, foreignizing translation embraces the diversity of national culture to a greater extent. At the same time, some restrictions need to be followed in the application of foreignizing translation. The influence of foreignizing translation on national culture should also be viewed dialectically from different perspectives.

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== Analysis of Said’s Post-Cononial Criticism and Orientalism 姜好 Jiang Hao Student No.202020080606==

===Abstract===

This paper is on the analysis of Edward Said’s post-colonial criticism and orientalism. In 1978, Edward Said's Orientalism was published, initiating the study of "post-colonialism" and making it another wave of criticism following structuralism.The post-colonial theory was formed in the 1980s and matured in the mid-1990s, affecting all fields of humanities and social sciences in the West. Its rich theoretical content and strong critical consciousness have made it a symbol of academic change and a relatively new critical method in Europe and America. In his classic work of post-colonial criticism, "Orientalism", American literary and cultural critic Edward Said challenged the traditional Western orientalism, revealing the power discourse implicit in orientalism and the mechanisms by which it operates. Said's post-colonial critique of Orientalism reveals to us the emergence, formation and authority of political and ideological factors, cultural forces and their resulting "inherent modes of domination" in Orientalism, and the generative and inherited nature of these factors, making people rethink and interpret comprehensively the authoritative forms of knowledge and social identity created by colonialism and Western domination.

===Key Words===
Post-colonial;Orientalism;Criticism

===题目===

赛义德后殖民批评与东方主义探析

===摘要===

本文主要是关于赛义德后殖民批评与东方主义的探析。1978年爱德华萨义德的《东方主义》问世，开创了“后殖民”研究，使之成为继后结构主义又一波批评浪潮。后殖民理论形成于20世纪80年代，90年代中后期趋于成熟，影响波及西方人文社会科学研究各领域。其理论蕴合丰富，批判意识强烈，这使得它成为欧美学术变革标志和比较时新的批评方法。美国文学家与文化批评家爱德华·赛义德在其后殖民批评经典著作《东方学》中，对西方传统的“东方学”发起挑战，揭示隐含在东方学中的权力话语及其运作机制。赛义德后殖民批评视野下的东方学批判，为我们揭示了存在于“东方学”中的政治和意识形态因素的产生、形成和权威、文化力量及其由此形成的“固有支配模式”的生成性、传承性,使人们重新全面地思考和阐释由殖民主义和西方统治所创造并且权威化的知识形式与社会认同。

===关键词===
后殖民；东方主义；批评

====Introduction====
Edward Said, a Palestinian-American scholar. In 1978, he published his representative work of post-colonial criticism, Orientalism, in which “Orientalism” is not a study of the East itself, but refers to a kind of Orientalism existing in the minds of Westerners as an idea. By criticizing the Orientalists and deconstructing the cultural hegemony, it strives to transcend the basic stance of confrontation between the East and the West and emphasizes cultural pluralism, so as to form a new relationship of dialogue, mutual infiltration and symbiosis between the East and the West.
Edward said, a scholar from Bamei. In 1978, he published Orientalism, his masterpiece of postcolonial criticism. Orientalism is not a study of the East itself, but an Orientalism thought existing in the minds of the West. By criticizing Orientalists and deconstructing cultural hegemony, it tries to transcend the basic stand of confrontation between the East and the West and emphasizes cultural diversity, thus forming a new relationship of dialogue, mutual penetration and symbiosis between the East and the West.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

====Said's Post-colonial Criticism====
As a theoretical critical discourse and academic trend, post-colonial criticism is based on the interdisciplinary study of history, literature, anthropology, philosophy, and other disciplines, dealing extensively with cultural imperialism, colonial discourse, and the West's cultural representation of the East, reflecting on the historical fact of European colonialism and its serious consequences. It focuses on issues of colonial discourse, Orientalism, cultural imperialism, national culture, cultural power identity, and the relationship between race, class, and gender. The core idea of Said's postcolonial criticism is to analyze the mechanisms of power discourse implicit in Orientalism, reveal the essence of Orientalism and cultural hegemony, explore strategies to dismantle cultural hegemony, and critique the colonial discourse and cultural colonization in Orientalism, cultural imperialism, cultural hegemony, the postcolonial era, and the colonial discourse in Western cultural thought since colonialism.
As a theoretical critical discourse and academic trend of thought, postcolonial criticism is based on the interdisciplinary study of history, literature, anthropology and philosophy. It is widely involved in cultural imperialism, colonial discourse and Western representation of eastern culture, reflecting on the historical facts of European colonialism and its serious consequences. It focuses on colonial discourse, Orientalism, cultural imperialism, national culture, cultural power identity and the relationship among race, class and gender. The core idea of said's postcolonial criticism is to analyze the power discourse mechanism implied in Orientalism, to reveal the essence of Orientalism and cultural hegemony, to explore the strategies for disintegrating cultural hegemony, to criticize the colonial discourse and cultural colonialism in Orientalism, cultural imperialism and cultural hegemonism, and the colonial discourse in Western cultural thoughts since colonialism in the post colonial era 。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

The main contents of the criticism focus on the following aspects: criticism of Orientalism and cultural imperialism, representation of the repressed historical memory in the colonies, study of cultural identity, discourse analysis of the colonized, discussion of the unique identity and circumstances of women in the Third World, and the attitude and reference structure of literary criticism. The most important feature of Said's postcolonial criticism is that he regards European literature and culture as a kind of ideological production and the collusion of colonial power. Said's cultural view, critical consciousness and textual theory, as well as his practice of postcolonial literary and cultural criticism, have formed his unique postcolonial critical methodology system.
The main contents of the criticism focus on the following aspects: Criticism of Orientalism and cultural imperialism, reappearance of the oppressed historical memory of the colony, study of cultural identity, discourse analysis of the colony, discussion of the unique identity and situation of women in the third world, attitude and reference structure of literary criticism. The most important feature of said's postcolonial criticism is that he regards European literature and culture as a kind of collusion between ideological products and colonial power. Said's cultural view, critical consciousness and text theory, as well as his practice of post colonial literary and cultural criticism, have formed his unique postcolonial criticism methodology system.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

====Orientalism====
In Orientalism, a classic work of post-colonial criticism, Said based his academic views, critical consciousness and theoretical interpretation on a wide range of text interpretation. He not only interprets Orientalism as a kind of academic research, but also as a way of thinking and a way of power discourse, revealing the power discourse and its operation mechanism implied in traditional Orientalism. Said takes colonial discourse as the object of study, that is, from the perspective of how the West sees the East, to criticize the Orientalist aesthetics embodied in Western literary works, including the prejudice that the West is superior, civilized and progressive, while the East is ignorant, barbaric and backward.
In Orientalism, a classic work of postcolonial criticism, said established his academic views, critical consciousness and theoretical interpretation on the basis of extensive text interpretation. Orientalism is not only a way of power operation, but also a way of power operation. Said takes the colonial discourse as the research object, that is, from the perspective of how the West views the East, criticizes the Orientalism aesthetics embodied in the western literary works, including the Western superiority, civilization and progress, while the Oriental ignorance, barbarism and backwardness.--User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

According to Said, Orientalism exists in three discursive fields: academia, ontological understanding of the binary opposition between East and West, and the process of colonization. Said used Lacan's psychoanalytic method to study western culture, pointing out that Orientalism is the embodiment of the psychological experience of self and other in western culture —the composition of any person's self image is based on the coexistence of recognition and other. Because of this religious bias, much Orientalist scholarship, when one strips away the apparatus of footnotes and sources, is simply speculation, assertion, and baseless judgement with little concrete evidence.
According to said, Orientalism exists in three areas of discussion: academia, the ontological understanding of the binary opposition between the East and the west, and the colonial process. Said uses Lacan's psychoanalysis method to study western culture and points out that Orientalism is the embodiment of psychological experience of self and other in western culture. The composition of any person's self-image is based on the coexistence of identity and other. Because of this religious bias, many Oriental Scholars, when one strips away the machine of footnotes and sources, are merely guessing, asserting and groundless judgments, without concrete evidence. --[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

Despite these misgivings, Said's thesis has been broadly adopted and refined by anthropologists such as Christopher Miller, Robert Inden and Johannes Fabian, while others such as Nicholas Thomas have used their critiques of Orientalist discourse as a launching pad to develop new areas, theories and methods of anthropological investigation. Since the 1990s, this latter pattern of engagement with Orientalism through critique, refinement, historical contextualisation and reinterpretation has become the norm for scholarship in the humanities.（Teo, Hsu-Ming. Australian Humanities Review; Bundoora Iss. 54, (May 2013): N_A.）
Despite these misgivings, Said's thesis has been broadly adopted and refined by anthropologists such as Christopher Miller, Robert Inden and Johannes Fabian, while others such as Nicholas Thomas have used their critiques of Orientalist discourse as a launching pad to develop new areas, theories and methods of anthropological investigation. Since the 1990s, this latter pattern of engagement with Orientalism through critique, refinement, historical contextualisation and reinterpretation has become the norm for scholarship in the humanities.（Teo, Hsu-Ming. Australian Humanities Review; Bundoora Iss. 54, (May 2013): N_A.）--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

Said examines the concept and representation of the East in the West since the mid-eighteenth century, gives a basic description of the history of the development and evolution of Orientalism as a disciplinary system, and uses the term Orientalism to generalize the post-colonial relationship between the Western world and the Eastern world. It also reveals the power discourse and its operation mechanism implied in the traditional Orientalism. According to Said, Orientalism refers to three interrelated meanings: first, it refers to the discipline of academic research, a system of knowledge, that is, Orientalism. Most acceptable is what it means to be a discipline of academic study, and indeed the term is still used in many academic institutions.
Said examines the concept and representation of the East in the West since the mid-eighteenth century, gives a basic description of the history of the development and evolution of Orientalism as a disciplinary system, and uses the term Orientalism to generalize the post-colonial relationship between the Western world and the Eastern world. It also reveals the power discourse and its operation mechanism implied in the traditional Orientalism. According to Said, Orientalism refers to three interrelated meanings: first, it refers to the discipline of academic research, a system of knowledge, that is, Orientalism. Most acceptable is what it means to be a discipline of academic study, and indeed the term is still used in many academic institutions.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

What is most readily accepted is what it means to be a discipline of academic study, and indeed the term is still used in many academic institutions. Anyone who teaches, writes about, or studies the Orient—whether an anthropologist, a sociologist, a historian, or a linguist — is an Orientalist, whether he or she faces specific or general problems. Orientalists are paranoid that the difference between Orientalists and Orientals is that the former writes the latter, while the latter is written by the former.. For the latter, the assumed role is passive acceptance; For the former, it is the power of observation, research and so on. In short, it is an author and an object to be written. Therefore, in the Oriental Studies of Orientalists, the East is expressed as a kind of image symbol which is rigid, stagnant and unchangeable, and needs others to examine it, and even needs others to provide knowledge about themselves.
The most easily accepted meaning is as an academic research discipline. In fact, the term is still used in many academic institutions. Anyone who teaches, writes or studies the East, whether anthropologist, sociologist, historian or linguist, is an Orientalist, whether he or she is facing specific or general problems. Orientalists are paranoid that the difference between Orientalists and Orientalists is that the former writes about the latter, while the latter is written by the former.. For the latter, the role is passive acceptance; for the former, it is the power of observation and research. In short, it is the author and the object of writing. Therefore, in the Orientalist's Orientalism Research, the East is shown as a rigid, stagnant and unchanging image symbol, which needs others to examine and even need others to provide their own knowledge. --[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

The Orientalist insists that the world of the Orient can be understood and characterized by the West not because of its own efforts, but because of a set of effective Western operational mechanisms. It is through these mechanisms that the East is recognized by the West. In the eyes of orientalists, the East is unable to express itself, is an absent and silent "other", controlled and expressed only by "certain dominant frameworks" of the West, and the image of the East remains unchanged, that is, it has never been able to define itself. In fact, "Orientalism is an artificially created system of theory and practice". In Said's view, the Orient, as presented in various Western writings, is not an authentic reproduction of the Orient as a historical existence, but rather a cultural conception and discursive practice of Westerners. Therefore, the "East" is not the east, but the east has been "Orientalized".
Orientalists insist that the west can understand and describe the eastern world not because of its own efforts, but because the West has an effective operating mechanism. It is through these mechanisms that the East is recognized by the West. In the eyes of Orientalists, the East is unable to express itself. It is an absent and silent "other". It is only controlled and expressed by the "certain dominant framework" of the West. The image of the East has never changed, that is, it can never define itself. In fact, "Orientalism is a man-made system of theory and practice". Said believes that the East presented in various Western works is not the true representation of the East as a historical existence, but a cultural concept and discourse practice of Westerners. Therefore, the East is not the East, but the East is "orientalized".--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

Secondly, it refers to a way of thinking, namely "Orientalism. It is an essentialist, dualistic, narrow way of thinking similar to the "if you are not of our race, you are different" approach, based on the ontological and epistemological distinction between East and West. "A large number of writers, including poets, novelists, philosophers, political theorists, economists, and imperial administrators, accepted this East or West distinction and used it as a means of constructing the East, its people, customs, "mind", and destiny, among other things. A starting point for theory, poetry, fiction, social analysis, and political discourse." This way of thinking is based on an ontological and epistemological difference between "the Orient" and what has mostly been called "the Occident.
Secondly, it refers to a way of thinking, namely "Orientalism. It is an essentialist, dualistic, narrow way of thinking similar to the "if you are not of our race, you are different" approach, based on the ontological and epistemological distinction between East and West. "A large number of writers, including poets, novelists, philosophers, political theorists, economists, and imperial administrators, accepted this East or West distinction and used it as a means of constructing the East, its people, customs, "mind", and destiny, among other things. A starting point for theory, poetry, fiction, social analysis, and political discourse." This way of thinking is based on an ontological and epistemological difference between "the Orient" and what has mostly been called "the Occident.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

Many poets, novelists, philosophers, and political theorists have used this difference between the Orient and the Occident as a starting point for constructing their own writings and theories about the East and Orientals and Oriental consciousness. In their writings, "the Orient is described as something to be judged (as in a courtroom), something to be studied and portrayed (as in a syllabus), something to be disciplined (as in a school or prison), something to be iconoclastic (as in a zoology textbook)". This East is the product projected from the West as the center under the opposite thinking mode between the East and the West. Not only has Oriental been essentialized and stereotyped, but also Oriental has been dehumanized as an abstract concept without personality. It is this essentialist way of thinking that limits the horizons of Orientalists and reinforces their arrogance and prejudice: the East is not only a geographical concept, but also a concept of nature. All periods of the cultural, political, and social history of the East are considered merely passive responses to the West, which is an witness and judge of all the actions of the Orient.
Many poets, novelists, philosophers, and political theorists have used this difference between the Orient and the Occident as a starting point for constructing their own writings and theories about the East and Orientals and Oriental consciousness. In their writings, "the Orient is described as something to be judged (as in a courtroom), something to be studied and portrayed (as in a syllabus), something to be disciplined (as in a school or prison), something to be iconoclastic (as in a zoology textbook)". This East is the product projected from the West as the center under the opposite thinking mode between the East and the West. Not only has Oriental been essentialized and stereotyped, but also Oriental has been dehumanized as an abstract concept without personality. It is this essentialist way of thinking that limits the horizons of Orientalists and reinforces their arrogance and prejudice: the East is not only a geographical concept, but also a concept of nature. All periods of the cultural, political, and social history of the East are considered merely passive responses to the West, which is an witness and judge of all the actions of the Orient. --[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

Again orientalism refers to a mode of discourse of power that is shaped by the exchange of power with political, cultural, moral, and intellectual power. Said states, "We can describe orientalism as a mechanism for dealing with the Orient by making statements about it, authoritatively adjudicating ideas about it, describing it, teaching it, colonizing it, ruling over it: in short, see it as a way for the West to control, reconstitute, and monopolize it." Because the period of great progress in the structure and content of "Oriental Studies" coincided with a period of dramatic expansion of European colonialism.
Again orientalism refers to a mode of discourse of power that is shaped by the exchange of power with political, cultural, moral, and intellectual power. Said states, "We can describe orientalism as a mechanism for dealing with the Orient by making statements about it, authoritatively adjudicating ideas about it, describing it, teaching it, colonizing it, ruling over it: in short, see it as a way for the West to control, reconstitute, and monopolize it." Because the period of great progress in the structure and content of "Oriental Studies" coincided with a period of dramatic expansion of European colonialism.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

It coincided with Western imperialism and the slightest element of the Orient. Orientalists see themselves as completing the union between East and West, but mainly by further confirming the technological, political, and cultural superiority of the West. Because of the imperialist colonial expansion, Orientalists deliberately portrayed the East as silent, obscene, weak, authoritarian, backward, irrational and abnormal. This "knowledge" of the Orient not only created a false sense of cultural superiority in the West, but also legitimized the "power" of the colonialists. Orientalism is a political doctrine imposed on the East and is an integral part of imperialism and colonialism. By focusing so much attention on imperialist agents and policymakers rather than professional researchers, Said seeks to emphasize the significant shift from an academic to an instrumental attitude toward Orientalism, knowledge about the East, and communication with the East.
It coincided with Western imperialism and the slightest element of the Orient. Orientalists see themselves as completing the union between East and West, but mainly by further confirming the technological, political, and cultural superiority of the West. Because of the imperialist colonial expansion, Orientalists deliberately portrayed the East as silent, obscene, weak, authoritarian, backward, irrational and abnormal. This "knowledge" of the Orient not only created a false sense of cultural superiority in the West, but also legitimized the "power" of the colonialists. Orientalism is a political doctrine imposed on the East and is an integral part of imperialism and colonialism. By focusing so much attention on imperialist agents and policymakers rather than professional researchers, Said seeks to emphasize the significant shift from an academic to an instrumental attitude toward Orientalism, knowledge about the East, and communication with the East.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

The orientalist has now become a spokesman for the Western culture to which he belongs, and he compresses into his work an apparent duality, of which his work (in whatever concrete form) is the symbolic expression: Western consciousness, knowledge, science control the most distant eastern territories and "orientalism itself is the expression of certain political forces and activities". For Said, a continuous arc of knowledge and power connects the European or Western statesman with the Western orientalist; this arc constitutes the outer edge of the Eastern stage. Orientalism does not describe or study the real Orient, but rather the fictional and manufactured Orient that Western cultural hegemony has created for its own benefit. It is a kind of distribution of regional political consciousness to the texts of aesthetics, economics, sociology, history and philosophy; It is not only a basic geographical division, but also a careful design of the whole interest system, which is created and maintained through academic discovery, linguistic reconstruction, psychological analysis, natural description or social description.
The orientalist has now become a spokesman for the Western culture to which he belongs, and he compresses into his work an apparent duality, of which his work (in whatever concrete form) is the symbolic expression: Western consciousness, knowledge, science control the most distant eastern territories and "orientalism itself is the expression of certain political forces and activities". For Said, a continuous arc of knowledge and power connects the European or Western statesman with the Western orientalist; this arc constitutes the outer edge of the Eastern stage. Orientalism does not describe or study the real Orient, but rather the fictional and manufactured Orient that Western cultural hegemony has created for its own benefit. It is a kind of distribution of regional political consciousness to the texts of aesthetics, economics, sociology, history and philosophy; It is not only a basic geographical division, but also a careful design of the whole interest system, which is created and maintained through academic discovery, linguistic reconstruction, psychological analysis, natural description or social description.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

In essence, Orientalism is a kind of cognitive system of the Western world to know the East, a discourse form of the West about the East closely linked with Western colonialism and imperialism, and a way in which the West in a strong position dominates, reconstructs and oppresses the East in a weak position for a long time. The East is not only adjacent to Europe; it is also the most powerful, richest, and oldest colony in Europe, the source of European civilization and language, a competitor of European cultures, and one of the most profound and recurrent images of the Other in Europe. In addition, the Orient helps Europe (or the West) to define itself in terms of images, ideas, humanity, and experience in contrast to the Orient. However, these images of the Orient are not all imaginary. The Orient is an intrinsic part of the material civilization and culture of Europe.
In essence, Orientalism is a kind of cognitive system of the Western world to know the East, a discourse form of the West about the East closely linked with Western colonialism and imperialism, and a way in which the West in a strong position dominates, reconstructs and oppresses the East in a weak position for a long time. The East is not only adjacent to Europe; it is also the most powerful, richest, and oldest colony in Europe, the source of European civilization and language, a competitor of European cultures, and one of the most profound and recurrent images of the Other in Europe. In addition, the Orient helps Europe (or the West) to define itself in terms of images, ideas, humanity, and experience in contrast to the Orient. However, these images of the Orient are not all imaginary. The Orient is an intrinsic part of the material civilization and culture of Europe.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

Orientalism, as a way of discourse that expresses this component on a cultural and even ideological level, is deeply grounded in academic mechanisms, vocabulary, imagery, orthodox beliefs, and even colonial institutions and styles. Said gives various meanings to the term "Orientalism", which is a political doctrine that is imposed on the East. Orientalism expresses a relationship of power, dominance, and hegemony of the Western world over the Eastern world. Said emphasizes that the "East" depicted in various Western writings and presented by Orientalists is not a true reproduction of the East as a historical being, but rather a cultural conception and discursive practice of Westerners under the opposing modes of thinking of East and West, and a product of the West-centered projection. Said analyzed, "
Orientalism, as a way of discourse that expresses this component on a cultural and even ideological level, is deeply grounded in academic mechanisms, vocabulary, imagery, orthodox beliefs, and even colonial institutions and styles. Said gives various meanings to the term "Orientalism", which is a political doctrine that is imposed on the East. Orientalism expresses a relationship of power, dominance, and hegemony of the Western world over the Eastern world. Said emphasizes that the "East" depicted in various Western writings and presented by Orientalists is not a true reproduction of the East as a historical being, but rather a cultural conception and discursive practice of Westerners under the opposing modes of thinking of East and West, and a product of the West-centered projection. Said analyzed, "--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

At the turn of the 17th and 18th centuries, the Orient had already definitively demonstrated the long history of its languages-earlier than the genealogy of the languages of the Hebrew Bible. This discovery was first made by a group of Europeans, then passed on to other scholars, and has been preserved in the new discipline of Indo-European linguistics. With the birth of this discipline, as Foucault shows in The Order of Things, a whole relevant network of scientific research was established. Beckford, Byron, Goethe, and Hugo reconstructed the Orient in the same way in their works, giving expression to its color, light, and people through the imagery, rhythms, and themes of their works.
At the turn of the 17th and 18th centuries, the Orient had already definitively demonstrated the long history of its languages-earlier than the genealogy of the languages of the Hebrew Bible. This discovery was first made by a group of Europeans, then passed on to other scholars, and has been preserved in the new discipline of Indo-European linguistics. With the birth of this discipline, as Foucault shows in The Order of Things, a whole relevant network of scientific research was established. Beckford, Byron, Goethe, and Hugo reconstructed the Orient in the same way in their works, giving expression to its color, light, and people through the imagery, rhythms, and themes of their works.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

The true Orient at best inspires the writer's imagination, but rarely controls it. Said noted that Orientalism is itself a desire or an intention——to control, manipulate, even annex, so that it has more to do with"our"world than with the "Orient". Based on the standpoint of post-colonial critical theory, Said criticized the so-called Orientalism or Oriental Studies which came into being in the 18th century, including not only the academic tendency of the West to the East, but also the deep-rooted prejudice of the West to the East in the objective world, political and social life and literary works. To challenge the traditional Orientalism of the West.
The true Orient at best inspires the writer's imagination, but rarely controls it. Said noted that Orientalism is itself a desire or an intention——to control, manipulate, even annex, so that it has more to do with"our"world than with the "Orient". Based on the standpoint of post-colonial critical theory, Said criticized the so-called Orientalism or Oriental Studies which came into being in the 18th century, including not only the academic tendency of the West to the East, but also the deep-rooted prejudice of the West to the East in the objective world, political and social life and literary works. To challenge the traditional Orientalism of the West.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

====The Value and Limitation of Orientalism====

In Orientalism, Said examines the historical evolution of the construction and expression of oriental concepts in the West, from the early Orientalism shackled in the framework of the Christian Bible to the modern Orientalism with the evolution of religious secularization and colonial expansion, and to the current Orientalism with the development of mass media, all of which contain a kind of power. Such power divides East and West, and labels the East as the "other" with essentialist characteristics. Orientalism is a kind of domination, a helper for the West to reconstruct the East and invade the East, and Orientalism lurks the prejudice and hostility of Westerners towards Eastern culture.
In Orientalism, Said examines the historical evolution of the construction and expression of oriental concepts in the West, from the early Orientalism shackled in the framework of the Christian Bible to the modern Orientalism with the evolution of religious secularization and colonial expansion, and to the current Orientalism with the development of mass media, all of which contain a kind of power. Such power divides East and West, and labels the East as the "other" with essentialist characteristics. Orientalism is a kind of domination, a helper for the West to reconstruct the East and invade the East, and Orientalism lurks the prejudice and hostility of Westerners towards Eastern culture. --[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

In fact, the term "Orientalism" existed before Said, but it was Said who made the concept truly global and provided a unique perspective and theoretical basis for related research. Through this perspective, people began to question and reflect on the meaning of Orientalism as a discipline, and to gain a deeper understanding of the cultural conflicts between developed capitalist countries and Third World countries. Said criticizes the thinking of binary opposition, criticizes the thought of Eurocentrism that the mind of non-US is different, holds that cultural differences should be respected, different cultures should respect and learn from each other, and advocates multiculturalism to eliminate the center, which is of great practical significance. Globalization has narrowed the distance between different countries, in this process, how to treat different cultures, how to protect their own culture, has become a problem that most countries must face and urgent thinking, in this regard, Said advocated the idea of multicultural exchange is worth learning.
In fact, the term "Orientalism" existed before Said, but it was Said who made the concept truly global and provided a unique perspective and theoretical basis for related research. Through this perspective, people began to question and reflect on the meaning of Orientalism as a discipline, and to gain a deeper understanding of the cultural conflicts between developed capitalist countries and Third World countries. Said criticizes the thinking of binary opposition, criticizes the thought of Eurocentrism that the mind of non-US is different, holds that cultural differences should be respected, different cultures should respect and learn from each other, and advocates multiculturalism to eliminate the center, which is of great practical significance. Globalization has narrowed the distance between different countries, in this process, how to treat different cultures, how to protect their own culture, has become a problem that most countries must face and urgent thinking, in this regard, Said advocated the idea of multicultural exchange is worth learning.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

After Orientalism, Said himself and postcolonial theorists have explored and developed the issues of cultural colonization and discursive power in the context of globalization, which has greatly enriched and developed postcolonialism. More commendable is that, in Orientalism, Said not only exposes the Western colonization of the East, but also profoundly exposes the participation of modern Orientals in the process of Orientalization. He pointed out that the recent contemporary culture is dominated by the European and American models, and the universities in the Arab world are operating on the basis of former colonies, and the Arab world is at a cultural, intellectual, and technological disadvantage.
After Orientalism, Said himself and postcolonial theorists have explored and developed the issues of cultural colonization and discursive power in the context of globalization, which has greatly enriched and developed postcolonialism. More commendable is that, in Orientalism, Said not only exposes the Western colonization of the East, but also profoundly exposes the participation of modern Orientals in the process of Orientalization. He pointed out that the recent contemporary culture is dominated by the European and American models, and the universities in the Arab world are operating on the basis of former colonies, and the Arab world is at a cultural, intellectual, and technological disadvantage.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

Arab scholars do not dare to despise any American academic publications, and Arab students are proud to study in the United States, and they aspire to learn precisely what is taught under American orientalist dogma. Said finds this situation worrisome. The Eastern consumption model is similarly bound to the American market system, where the United States selectively consumes Arab oil and cheap labor, while Arabs unthinkingly and eagerly consume all American goods, whether material or ideological. After World War II, Western capitalist countries, represented by the United States, have been expanding their culture through aid programs, educational and cultural exchanges, and mass cultural industries, and the American cultural values of freedom and democracy have been spreading around the world, while the national cultures of some developing countries and regions are in danger.
Arab scholars do not dare to despise any American academic publications, and Arab students are proud to study in the United States, and they aspire to learn precisely what is taught under American orientalist dogma. Said finds this situation worrisome. The Eastern consumption model is similarly bound to the American market system, where the United States selectively consumes Arab oil and cheap labor, while Arabs unthinkingly and eagerly consume all American goods, whether material or ideological. After World War II, Western capitalist countries, represented by the United States, have been expanding their culture through aid programs, educational and cultural exchanges, and mass cultural industries, and the American cultural values of freedom and democracy have been spreading around the world, while the national cultures of some developing countries and regions are in danger.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

In 1977, the Western cultural communication scholar Baoibari proposed "media imperialism", which refers to the fact that the media in some less developed countries are subject to other countries' media in all aspects and do not have the same influence as them.
In 1977, the Western cultural communication scholar Baoibari proposed "media imperialism", which refers to the fact that the media in some less developed countries are subject to other countries' media in all aspects and do not have the same influence as them. --[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

While we see Said's success in exposing and critiquing the hegemonic and colonial nature of Orientalism, we are forced to reflect on the question: How did Orientalism achieve such a strong position in the West and globally? Said's theory is based on an abstract cultural view, which is clearly biased and unconvincing. His theory is based on an abstract cultural view, with obvious biases and limitations. It is true that the prosperity of Orientalism is closely related to the economic, political and military strength of the West, but it is more closely related to the progress of Western science and technology.
While we see Said's success in exposing and critiquing the hegemonic and colonial nature of Orientalism, we are forced to reflect on the question: How did Orientalism achieve such a strong position in the West and globally? Said's theory is based on an abstract cultural view, which is clearly biased and unconvincing. His theory is based on an abstract cultural view, with obvious biases and limitations. It is true that the prosperity of Orientalism is closely related to the economic, political and military strength of the West, but it is more closely related to the progress of Western science and technology.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

It is precisely because of the progress of Western science and technology that the economic, political and military development of Western countries has been promoted in an all-round way. Although Orientalism is constructed according to Western cultural thinking, we should clearly understand two problems: First, Westerners did not construct Orientalism according to Western traditional cultural thinking once and for all, and in the process they also constantly transcended and criticized their own traditional culture.
It is precisely because of the progress of Western science and technology that the economic, political and military development of Western countries has been promoted in an all-round way. Although Orientalism is constructed according to Western cultural thinking, we should clearly understand two problems: First, Westerners did not construct Orientalism according to Western traditional cultural thinking once and for all, and in the process they also constantly transcended and criticized their own traditional culture. --[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

If criticism means a kind of degradation and destruction of the object of criticism, then, according to this way of thinking, Westerners have also degraded and destroyed their own traditional culture (even including the degradation and denigration of their traditional society) many times in different periods. Because, it is in the process of constantly criticizing itself that Western culture progresses and develops. Second, Western culture, especially modern Western science, has unparalleled superiority over other cultures. Although we can not deny the spiritual value of Eastern culture, but from the perspective of historical development, we have to admit that Western culture is more conducive to the development of modern science and the construction of civilized society.
If criticism means a kind of degradation and destruction of the object of criticism, then, according to this way of thinking, Westerners have also degraded and destroyed their own traditional culture (even including the degradation and denigration of their traditional society) many times in different periods. Because, it is in the process of constantly criticizing itself that Western culture progresses and develops. Second, Western culture, especially modern Western science, has unparalleled superiority over other cultures. Although we can not deny the spiritual value of Eastern culture, but from the perspective of historical development, we have to admit that Western culture is more conducive to the development of modern science and the construction of civilized society. --[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

Although modern Western scientific thinking has revealed certain limitations, it still has a strong scientific nature, both from the historical and practical point of view. In order to develop, the backward countries must take the initiative to learn Western culture and combine it with their own reality. If we insist on holding on to our cultural self, we will only end up being colonized.
Although modern Western scientific thinking has revealed certain limitations, it still has a strong scientific nature, both from the historical and practical point of view. In order to develop, the backward countries must take the initiative to learn Western culture and combine it with their own reality. If we insist on holding on to our cultural self, we will only end up being colonized.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

Western civilization and Western hegemony are somewhat related, but there is also a clear difference. Without Western civilization, it would be difficult for the West to establish lasting world hegemony; but Western hegemony, which gradually departs from the path of human civilization, will sooner or later be negated by Western civilization. The emergence of Marxism is a clear example of this. Faced with Western hegemony, the weak East cannot simply stay or be satisfied with the revelation of hegemony, but must see through the hidden essence of this hegemony, and through the stripping of hegemony and civilization and the learning and use of civilization to strengthen itself, in order to fundamentally get rid of Western hegemony and build a strong country.
Western civilization and Western hegemony are somewhat related, but there is also a clear difference. Without Western civilization, it would be difficult for the West to establish lasting world hegemony; but Western hegemony, which gradually departs from the path of human civilization, will sooner or later be negated by Western civilization. The emergence of Marxism is a clear example of this. Faced with Western hegemony, the weak East cannot simply stay or be satisfied with the revelation of hegemony, but must see through the hidden essence of this hegemony, and through the stripping of hegemony and civilization and the learning and use of civilization to strengthen itself, in order to fundamentally get rid of Western hegemony and build a strong country.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

In the study of Western civilization, it is not enough to master technology and civilization, but also to master and build social civilization. In social civilization, institutional civilization is crucial. Only the establishment of advanced institutions is a lasting guarantee for the development of the state and society. In this regard, Marx's theory of social development is of immense importance. Although Orientalism also deals with Marx's theory of social development and gives him a possible positive assessment, unfortunately Said has always recognized and evaluated Marx's theory of social development in the framework of his Orientalism.
In the study of Western civilization, it is not enough to master technology and civilization, but also to master and build social civilization. In social civilization, institutional civilization is crucial. Only the establishment of advanced institutions is a lasting guarantee for the development of the state and society. In this regard, Marx's theory of social development is of immense importance. Although Orientalism also deals with Marx's theory of social development and gives him a possible positive assessment, unfortunately Said has always recognized and evaluated Marx's theory of social development in the framework of his Orientalism.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

Said is well aware that in order to resist Orientalism, Orientals themselves must build their own discourse system and seize the right to speak. He is also well aware that Orientals cannot construct their own discourse system with the traditional cultural self, and that the cultural self needs to be pluralistic and mixed. But in the face of the multiple separations of the self in contemporary social development (i.e., the fragmentation of the subject emphasized by postmodernists), how can people build a unified and effective cultural self? What should be the value coordinates for the construction of the cultural self? In this regard, the comments of British scholar George Laren are instructive.
Said is well aware that in order to resist Orientalism, Orientals themselves must build their own discourse system and seize the right to speak. He is also well aware that Orientals cannot construct their own discourse system with the traditional cultural self, and that the cultural self needs to be pluralistic and mixed. But in the face of the multiple separations of the self in contemporary social development (i.e., the fragmentation of the subject emphasized by postmodernists), how can people build a unified and effective cultural self? What should be the value coordinates for the construction of the cultural self? In this regard, the comments of British scholar George Laren are instructive. --[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

He says: "All of these important changes occurred in the late twentieth century, and their rapid pace and global impact are thought to have had a marked effect on the dissolution of individual identity. While I acknowledge the importance of all these changes, I question whether they should be held fully responsible for a subject whose center has been completely dissolved. I acknowledge that the faster the pace of change in relationships, the more difficult it is for the subject to understand what is happening, to see the connections between the past and the present, and therefore to form a unified view of himself and determine how to act.
He says: "All of these important changes occurred in the late twentieth century, and their rapid pace and global impact are thought to have had a marked effect on the dissolution of individual identity. While I acknowledge the importance of all these changes, I question whether they should be held fully responsible for a subject whose center has been completely dissolved. I acknowledge that the faster the pace of change in relationships, the more difficult it is for the subject to understand what is happening, to see the connections between the past and the present, and therefore to form a unified view of himself and determine how to act. --[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

Yet there is still a great distance to jump from this point to the complete fragmentation of the subject. The so-called dissolution of the center of the subject corresponds to the triumph of the presumed objecthood, to the triumph of the presumed power of the unconscious structure, which completely destroys the individual's sense of wholeness", "Third World countries should also recognize these problems of identity from a different perspective, because in a world increasingly divided into three power blocs, they are excluded, for whom the road ahead is not only fraught with hardship and uncertainty, but also with the temptations of neo-historicism and essentialism." Effective resistance to Orientalism requires not only cultural awareness and effort, but also precise social discernment and strong national power. The latter is what Said's theory lacks.(杨生平.后殖民主义话语下中国问题研究评析[J]中国特艳社会主义研究, 2013, (2))
Yet there is still a great distance to jump from this point to the complete fragmentation of the subject. The so-called dissolution of the center of the subject corresponds to the triumph of the presumed objecthood, to the triumph of the presumed power of the unconscious structure, which completely destroys the individual's sense of wholeness", "Third World countries should also recognize these problems of identity from a different perspective, because in a world increasingly divided into three power blocs, they are excluded, for whom the road ahead is not only fraught with hardship and uncertainty, but also with the temptations of neo-historicism and essentialism." Effective resistance to Orientalism requires not only cultural awareness and effort, but also precise social discernment and strong national power. The latter is what Said's theory lacks.(杨生平.后殖民主义话语下中国问题研究评析[J]中国特艳社会主义研究, 2013, (2))--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

====The Influence of Postcolonial Theory on Translation====
Out of Tradition, Toward Diversity. Although the postcolonial theory proposed by Said was directed at literature and literary texts, its theoretical formulation did contribute to the later development of translation. The theory of colonial criticism can be mapped to translation as well, dealing a fatal blow to traditional translation and shedding new light on translation studies.
Out of Tradition, Toward Diversity. Although the postcolonial theory proposed by Said was directed at literature and literary texts, its theoretical formulation did contribute to the later development of translation. The theory of colonial criticism can be mapped to translation as well, dealing a fatal blow to traditional translation and shedding new light on translation studies.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

First, "Orientalism" and "cultural empire" point out the essence of the dichotomy between Chinese and Western, and the dichotomy between subject and object. In the traditional translation theory, the original work and the translation are dichotomous, the original work is supreme, and the translation must depend on the original work and strive for fidelity. This concept of "original work and copy" has been implicitly transformed into people's unconsciousness, that is, the colonizer and its language and culture are the "original work" in the dominant position, while the colonized and its language and culture are the "copy" in the subordinate position.
First, "Orientalism" and "cultural empire" point out the essence of the dichotomy between Chinese and Western, and the dichotomy between subject and object. In the traditional translation theory, the original work and the translation are dichotomous, the original work is supreme, and the translation must depend on the original work and strive for fidelity. This concept of "original work and copy" has been implicitly transformed into people's unconsciousness, that is, the colonizer and its language and culture are the "original work" in the dominant position, while the colonized and its language and culture are the "copy" in the subordinate position. --[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

The colonized and their language and culture are 'copies' and subordinate. The "original" image of the colonizer is personified as Eurocentrism and Orientalism, while the "copy" image of the colonized is personified as marginality and otherness. Said's post-colonial theory paves the way for people to move beyond the traditional faithful reciprocity and dissolve the dichotomy.
The colonized and their language and culture are 'copies' and subordinate. The "original" image of the colonizer is personified as Eurocentrism and Orientalism, while the "copy" image of the colonized is personified as marginality and otherness. Said's post-colonial theory paves the way for people to move beyond the traditional faithful reciprocity and dissolve the dichotomy.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

Secondly, the inequality of rights hidden under the impurity of language and text, and the non-self-sufficiency of the text point to the great role of factors outside the text and the non-essential nature of the text, which require people to go beyond the traditional language level of translation to include the external factors of translation, such as social, economic, political, and consciousness, into the study of translation. Translation is no longer a neutral act, far away from political and ideological struggles and conflicts of interest.
Secondly, the inequality of rights hidden under the impurity of language and text, and the non-self-sufficiency of the text point to the great role of factors outside the text and the non-essential nature of the text, which require people to go beyond the traditional language level of translation to include the external factors of translation, such as social, economic, political, and consciousness, into the study of translation. Translation is no longer a neutral act, far away from political and ideological struggles and conflicts of interest. --[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

Instead, it becomes a place of such conflict, where the target language has to meet the target language face-to-face, fighting it out over the irreducible differences between them, where authority is invoked and challenged, ambiguity is dispelled or ambiguity is created, until new words or meanings appear in the target language. (Liu He, 36) Translation is actually the result of two cultures colliding, clashing and negotiating with each other, behind which lies the inequality of rights and the confrontation between mainstream and non-mainstream consciousness. Undoubtedly, this is another breakthrough to the traditional theory of fidelity.
Instead, it becomes a place of such conflict, where the target language has to meet the target language face-to-face, fighting it out over the irreducible differences between them, where authority is invoked and challenged, ambiguity is dispelled or ambiguity is created, until new words or meanings appear in the target language. (Liu He, 36) Translation is actually the result of two cultures colliding, clashing and negotiating with each other, behind which lies the inequality of rights and the confrontation between mainstream and non-mainstream consciousness. Undoubtedly, this is another breakthrough to the traditional theory of fidelity.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

Thirdly, Said's emphasis on textual reading and textual criticism, highlighting the importance of the critic, also sheds light on the subjectivity of the translator in translation. In the traditional view of faithfulness and equivalence, the translator is always invisible, the success of the translation is due to the original author, and the failure of the translation is the translator's dereliction of duty, because faithfulness and equivalence is the translator's bounden duty, and the correspondence between the original and the translation seems to be a matter of course, as if the translator had never existed. The introduction of postcolonial theory has given the translator a legitimate status as well, and the subjectivity of the translator is no longer obscured.
Thirdly, Said's emphasis on textual reading and textual criticism, highlighting the importance of the critic, also sheds light on the subjectivity of the translator in translation. In the traditional view of faithfulness and equivalence, the translator is always invisible, the success of the translation is due to the original author, and the failure of the translation is the translator's dereliction of duty, because faithfulness and equivalence is the translator's bounden duty, and the correspondence between the original and the translation seems to be a matter of course, as if the translator had never existed. The introduction of postcolonial theory has given the translator a legitimate status as well, and the subjectivity of the translator is no longer obscured.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

====Conclusion====
Postcolonial theory subverts the traditional theory of faithful equivalence in translation, breaks the rigid binary opposition pattern formed for a long time, and requires translation not only to focus on linguistic equivalence, but also to examine the roles played by society, economy, politic s and consciousness in translation, to examine the subjectivity of translators, and to pay attention to ideology and power in translation. So as to move towards pluralism. Translation is no longer transparent and no longer pure and innocent, I believe that taking this into account, translation studies will have a new perspective. In fact, postcolonial translation theory, feminist translation studies, and deconstructive translation studies have seen this point will be flourishing.
Postcolonial theory subverts the traditional theory of faithful equivalence in translation, breaks the rigid binary opposition pattern formed for a long time, and requires translation not only to focus on linguistic equivalence, but also to examine the roles played by society, economy, politic s and consciousness in translation, to examine the subjectivity of translators, and to pay attention to ideology and power in translation. So as to move towards pluralism. Translation is no longer transparent and no longer pure and innocent, I believe that taking this into account, translation studies will have a new perspective. In fact, postcolonial translation theory, feminist translation studies, and deconstructive translation studies have seen this point will be flourishing.--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 15:25, 21 December 2020 (UTC)

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== A Comparative Study of Chinese Versions of ''Uncle Tom’s Cabin'': From the Perspective of Hermeneutics 管钦清 Guan Qinqing MTI 英语笔译==

<center>管钦清，202070080586.</center>

===Abstract===

Hermeneutics is a discipline that studies understanding and interpretation, and its development is inseparable from translation. Both literary translation and non-literary translation are inseparable from the understanding and interpretation of the original text. The nature of translation determines that the relationship between hermeneutic theory and translation studies is extremely close. This article is guided by Gadamer's hermeneutics. Based on the core concepts of historical understanding, prejudice, and fusion of horizons, this article will discuss how these related factors, such as historical ideology, translator's attitude, language fusion, cultural filtering, and translator's subjectivity, work and embody in the Chinese versions of Uncle Tom's cabin. This article first explains Gadamer's hermeneutics.

Then the author and translator of ''Uncle Tom’s Cabin'' are introduced. Under the guidance of the above theory, the different translation strategies adopted by different Chinese versions and their reasons are analyzed from different perspectives. Through the above analysis, I draw some inspiration from it: the existence of multiple translation versions and the retranslation of literary works are reasonable. Translation works from different historical contexts can reflect the spirit of a particular era. And hermeneutics can provide reasonable explanations for some translation phenomena that are influenced and determined by the context of social culture and history, and it is very suitable for studying translation works that appeared in different periods.

===Key words===

Hermeneutics; ''Uncle Tom’s Cabin''; historicity of understanding; fusion of horizons; effective history

===题目===

解释学视角下 ''Uncle Tom’s Cabin'' 译本的对比研究

===摘要===

解释学是一门研究理解和解释的学科，其发展与翻译密不可分。无论是文学翻译还是非文学翻译，都离不开原文的理解和解释，翻译的这种性质决定了解释学理论与翻译研究之间的关系是极其密切的。本文主要是从伽达默尔的解释学角度出发，根据理解的历史性、偏见和视域融合这几个核心概念，论述历史意识形态、译者态度、语言融合、文化过滤以及译者主体性等相关因素在斯托夫人的''Uncle Tom’s Cabin''中译本中的体现及作用。本文首先对伽达默尔的解释学进行了阐述。

笔者随后介绍了''Uncle Tom’s Cabin''的原文作者以及译者，并在以上理论基础的指导下，从不同的角度对译本所采取的不同的翻译策略及其原因进行了分析。笔者从中得出启示：多个译本同时存在以及文学名著重译现象的存在是合理的。产生于不同历史环境的译作，能够反映特定的时代精神。而解释学能为一些由社会文化历史语境影响和决定的翻译现象提供合理的解释，并且十分适用于研究不同时期出现的译作。

===关键词===

解释学；''Uncle Tom’s Cabin''；理解的历史性；视域融合；效果历史

===Introduction===

''Uncle Tom’s Cabin'' is a novel against slavery published by American writer Harriet Beecher Stowe in 1852. The novel's views on African-Americans and American slavery have had far-reaching influences, and to some extent intensified local conflicts that led to the American Civil War. The novel was the best-selling novel of the 19th century (and the second best-selling book, second only to the best-selling book, the Bible), and was considered a major reason for the rise of abolitionism in the 1850s.(Zhu Jianping 2006, 71)

In the first year of its publication, it sold 300,000 copies in the United States. The impact of ''Uncle Tom’s Cabin'' on American society was so great that during the early days of the Civil War, when Lincoln met Mrs. Stowe, he said, "You are the little woman who caused a great war."（Zhang Qiqun 2002, 77）

The influence of ''Uncle Tom’s Cabin'' on the Chinese translation industry is self-evident. As the first American novel was translated into Chinese, this novel first appeared in China in the form of classical Chinese in 1901. Its name was 《黑奴吁天录》 and translated by translators Lin Shu and Wei Yi. After the publication of《黑奴吁天录》, it caused a strong response from readers and caused a certain impact on the consciousness of Chinese readers.(Zhu Jianping 2006, 72)

The second version of Uncle Tom’s Cabin in China was translated by Mr. Huang Jizhong, entitled 《汤姆大伯的小屋》 and published in 1982. A major feature of Huang Jizhong's ''Uncle Tom's Cabin'' was its fidelity to the original text. The translation was very popular once it was launched. 59,000 copies were printed in the first edition, and another 30,000 copies were soon printed, all sold out. (Zhu Jianping 2006, 72)

These two translation works had different production time and different translation methods, but they both enduring have many readers. Why can a foreign novel be retranslated many times in China, and all kinds of completely different translation works can enjoy their respective reputations, and have been sought after by readers of different times? Why these two very different translation methods so successful? The above issues aroused my attention.(Zhu Jianping 2006, 70)

Hermeneutics is a philosophical theory that explains and understands text. For the first time in the 20th century, translation theorist George Steiner put translation into hermeneutics and pointed out that language is constantly changing. With the continuous development of hermeneutics, the German philosopher Gadamer established a systematic philosophical hermeneutics and put forward the three principles of "history of understanding", "fusion of horizons", and "history of effects" in his works.(Zhu Jianping 2006, 73)

These three principles can be used to explain many translation phenomena and translation theories in the history of Chinese and foreign translation, and have high reference value. In view of this, the author decided to use Gadamer's hermeneutics as a theoretical guide. Focusing on the analysis of the two versions of ''Uncle Tom's Cabin'', I will research and discuss the issues raised above, and draw inspiration from them to provide a way for literary translation.(Hong Handing 2010, 59)

===1.Literature Review===

This chapter will give a brief introduction to hermeneutics from three aspects: the development of hermeneutics, Gadamer's Philosophical Hermeneutics, and Hermeneutics'
Guide to Translation Studies.（Zheng Liping & Yi Xinqi 2015, 101）

====1.1. Development of Hermeneutics====

Hermeneutics has a profound historical origin and is an ancient and well-established science. Traditional hermeneutics is not a specific philosophical school, but a
philosophical theory of meaning, understanding, and interpretation. Its history can be traced back to ancient Greece. The term Hemeneutics is the name of Hemes, a
messenger of the Greek gods. He accepted the will of Zeus and explained it to human beings, and also passed on the human claims to Zeus and the gods. The core of
hermeneutics is the "interpretation" of problem. The academic community generally believes that hermeneutics can be divided into three stages: classical hermeneutics,
modern hermeneutics and philosophical hermeneutics.（Zheng Liping & Yi Xinqi 2015, 104）

The core of classical hermeneutics is theological hermeneutics, which mainly involves the translation and understanding of the Bible. As a translator, the interpreter must explain the ambiguous and vague words that appear in the Bible. Therefore, classical hermeneutics is mainly a technique to convert hidden divinity into a language understandable to ordinary people, which mainly serves the spread of religion and promotes the promotion of the Bible and its teachings. (Zhu Jianping 2006, 80)

With the continuous secularization of religious classics, hermeneutics has evolved from a single interpretation of the Bible into an interpretation of classic literary works. After the introduction of literary research, it gradually became a research method that pursued objectivity and tried to get rid of subjective will. Both F. Schleier-macher and W. Dilthey were deeply influenced by this methodological consciousness, and continuously promoted the development of hermeneutics, making hermeneutics a subject of interpretive methods.（Liu Xiaohui 2010, 126)

Modern hermeneutics began at the end of the 19th century, and its representative was Dilthey. Dilthey put forward the hermeneutics of "historical rational critique", concerned about how the hermeneutics in a specific historical context can objectively understand other historical performances. Hermeneutics is no longer considered as an inquiry into the author's psychological intentions, but rather as an interpretation of the world of existence shown in the text.（Zhang Qiqun 2002, 77）

Philosophical hermeneutics, represented by German philosophers Heidegger and Gadamer, is a fundamental change in hermeneutics. They changed the ontology of philosophical hermeneutics, so they were called philosophical hermeneutics. “Unlike previous practical philosophy, this type of hermeneutics, with a dual task of theory and practice, lies in restoring Aristotle's concept of practical wisdom”.And this article uses Gadamer's philosophical hermeneutics as a theoretical guide to analyze the translation.(Hong Handing 2010, 59)

====1.2. Gadamer's Philosophical Hermeneutics====

Gadamer always believed that the term "Hermeneutics" came from Hermes "Hermes", one of the twelve main gods of ancient Greece, so he thought that the interpretation must include the acceptance and performance of the recipient, that is, understanding and explaining. On the basis of inheriting Heidegger's thought, Gadamer deepened his thought of understanding. He further developed hermeneutics into philosophical hermeneutics, and pushed hermeneutics to prosperity. Gadamer opposed the hermeneutics that appeared before him in an objective position. He believed that understanding is not an act of reproduction, but be an act of creation. He believed that the author's "intent" does not exist, and the search for the author's "intent" is also futile.（Chen Hongwei 2004, 25）

As mentioned earlier, Gadamer's hermeneutics has three main principles: historicity of understanding, fusion of horizons, and history of effects. From the "historicity of understanding", Gadamer believed that understanding is historical, and the history of understanding constitutes the bias of understanding, which determines the creativity and generation of understanding. （Liu Xiaohui 2010, 127)

Gadamer believed that the historicity of understanding will inevitably lead to prejudice, but the existence of such prejudice is reasonable. The second is the principle of horizon fusion. Gadamer believed that understanding is the way of existence of history, so both the subject and the object of understanding are the existence of history, and both have their own horizons. In the process of understanding, the translator should be as close as possible to the original horizon of the original author to achieve a fusion of horizons.（Liu Xiaohui 2010, 127)

The last principle is effect history. The effect history principle emphasizes understanding the work from the effect history of the work, which closely links history with the present and fully affirms the significance of ancient texts to contemporary society. Understanding Gadamer's history of effects helps us understand the need to retranslate a classic. These three principles of Gadamer provided an important theoretical basis for us to understand and explain some long-running issues in translation theory and translation practice.（Li Lei 2008, 122）

====1.3. Hermeneutics' Guide to Translation Studies====

As mentioned earlier, literary translation and hermeneutical theory are inseparable. Essentially, literary translation is an art of understanding and expressing meaning. It is a process of re-creation through interpretation. At present, hermeneutics is recognized as a valid theory for translation studies. Translation studies based on hermeneutics have broken the traditional inherent understanding of traditional translation theory on some issues, and raised questions and challenges to traditional translation theory. Among them, the guidance of hermeneutics on translation studies is mainly reflected in the following aspects.(Zou Guangsheng 2001，2)

First: the historical nature of understanding explained the misreading phenomenon. The historical nature of understanding means that the specific historical environment, historical status, and historical conditions of the translator are different from the object of understanding. Readers always have historical prejudice in the process of understanding the original text, because they cannot transcend historical space and time to objectively understand the original text. （Liu Xiaohui 2010, 125)

Hermeneutics' re-understanding and definition of this prejudice also provides a philosophical basis for the translator's subjectivity and the rationality of creative treason in the field of translation studies. Gadamer believed that there is no so-called normative interpretation of a text. And this prejudice is a positive factor formed in history and tradition. Scholars should treat this existence correctly and should not regard it as a part that should be eliminated.（Zhang Qiqun 2002, 77）

Second: The principle of fusion of horizons explains the phenomenon of cultural filtering. The principle of horizon fusion theoretically confirms the historical root of cultural filtering phenomenon in translation and the inevitable existence of cultural filtering phenomenon. Although the translator should strive to approach the original vision of the original author and understand the author's original intention, in fact, the translator always inevitably brings the world he is familiar with into the strange world of the original text.（Chen Hongwei 2004, 26）

Third：The principle of effective history explains the multiple translation versions of famous works. Gadamer believed that the text is open and its meaning is never endless. The text goes beyond the historical era in which it was created. This provides the possibility for people of different ages to understand the same text differently. Human beings are constantly developing. In the process of development, they constantly surpass themselves, renew their history, and rethink themselves and their culture. This provides a reasonable explanation for the phenomenon of retranslation of famous works.（Li Lei 2008, 122）

===2.A Brief Introduction of the Original Author and Two Translators===

This chapter will give a brief introduction to the original author and two translators to strengthen your understanding of the background of the original text and the two translation versions.(Liu Xiaohui 2010, 121)

====2.1. Harriet Beecher Stowe====

Harriet Beecher Stowe is an American writer. She was born on June 14, 1811 in a well-known pastor family in North America, and died in 1896. The American Civil War was fought in the 1860s. But since the 1920s, the issue of abolition of slaves has become a central issue in American progressive opinion. At that time, many famous American writers were on the side of abolishing slaves, calling for the liberation of slaves. Mrs. Stowe was one of the most outstanding among these slave writers.(Liu Xiaohui 2010, 124)

Mrs. Stowe has been influenced by theology since she was a child, and she has spent her entire life in a religious atmosphere. When Mrs. Stowe was fourteen, their entire family has moved to Boston and has moved to Cincinnati a few years later. At the time, the outskirts of Cincinnati were dotted with large serf farms. It was one of the centers of the abolitionist movement in North America then, and heated speeches against slavery were often heard in urban areas. （Chen Hongwei 2004, 30）

Mrs. Stowe had fugitive slaves in her home, which gave her the opportunity to hear the tragic experience of fugitive slaves. After that, Mrs. Stowe got another chance to visit several plantations in Maysville, Kentucky with her friends, and witnessed the tragic situation of slaves. Those plantations were the prototype of the Shelby plantation in ''Uncle Tom's Cabin''. This novel extensively describes the brutal oppression and exploitation of slaves by slave owners throughout the southern United States, and portrays the cruelty of slaves in various forms. （Chen Hongwei 2004, 28）

The novel also describes different types of slave images. Once Uncle Tom's cabin came out, it attracted great attention and response at home and abroad. When the former President of the United States Lincoln met Mrs. Stowe, he jokingly called her “a little woman who brought a war". This joke also fully reflects the huge influence of Uncle Tom's cabin.(Zou Guangsheng 2001，2)

====2.2. Lin Shu====

Lin Shu, a famous writer and translator in modern China, has made outstanding contributions to the translation of Chinese literature. Lin Shu had a profound and solid knowledge of ancient writing. But he did not understand foreign languages, and his translations were all done in cooperation with others. In cooperation with others, Lin Shu has translated 246 works involving 107 writers in 11 countries, and made indelible contributions to the introduction of Western literature. ''Uncle Tom's Cabin'' was Lin Shu's second translation work, and it was also a popular work translated at the peak of his translation career. This translation work can reflect Lin Shu's translation technique and his characteristics.（Zheng Liping & Yi Xinqi 2015, 102）

At that time, China was facing aggression by the Allied Forces of the Eight Kingdoms, and the Qing government signed the Peace Protocol of 1901. In this context, Lin Shu's enthusiasm for anti-imperialist and national salvation was stirred. He wanted to translate some works that can open up people's wisdom and inspire them. So Lin Shu and Wei Yi co-translated Mrs. Stowe's ''Uncle Tom's Cabin''. Both of them had a strong sense of political mission when they translated this work. After the publication of 《黑奴吁天录》, it caused a great response among the readers at that time. （Chen Hongwei 2004, 33）

Translator Lin Shu’s anti-imperialist thoughts in his translation work resonate emotionally with readers, directly stimulating readers’ anti-imperialist consciousness. In the treatment of the original works, Lin Shu made conscious cuts. Most of the unfaithful parts of his translations have adopted translation strategies of amplification and omission. From the perspective of traditional linguistic translation theories, Lin Shu may not be a successful translator. （Zheng Liping & Yi Xinqi 2015, 99）

But from the perspective of hermeneutics and culture, the existence of Lin Shu's translation method is reasonable.《黑奴吁天录》was Lin Shu's representative translation, which can fully reflect Lin Shu's translation style. Far from Lin Shu's translation style was Huang Jizhong's Unc《汤姆大伯的小屋》，and I will elaborate on the translator Huang Jizhong below.(Liu Xiaohui 2010, 122)

====2.3. Huang Jizhong====

Huang Jizhong was born on September 28, 1923 in a literary family in Ji'an, Jiangxi. He lost his father in his early years, and he followed his grandfather studying in Shanghai since childhood. He is good at Chinese and English and loves literary translation. In addition to teaching related courses, he has devoted himself to the translation of famous books for many years. As early as 1956, Huang Jizhong accepted the invitation of Shanghai Literature and Art Publishing House to translate ''Uncle Tom's Cabin''. （Zheng Liping & Yi Xinqi 2015, 86）

His original plan was to complete the translation work in two years, but due to external shocks, it could not be published as scheduled. Later, this novel was retranslated in 1982 and published by Shanghai Translation Publishing House. Once this edition of Uncle Tom's Cabin was published, it was warmly welcomed by readers. A major feature of Huang Jizhong's《汤姆大伯的小屋》 was its faithfulness to the original text, and another feature was the use of translation method of foreignization. The translation style of ''Uncle Tom's Cabin'' in Huang Jizhong's version was very different from Lin Shu's version, which was of great research value. Therefore, I chose the translated versions of Huang Jizhong and Lin Shu for comparative research.(Zhu Jianping 2006, 71)

===3. A Comparison of Two Chinese Versions from Gadamer's Hermeneutics===

The professor of Poetics and Comparative Literature Gideon Toury once said that translation is inevitably involved at least two languages and two cultural traditions (Toury, 2001:56). Professor Chen Hongwei of China also said that translation involves not only language conversion, but also cultural translation. Therefore, in the following chapters, the two translation works will be analyzed from a cultural and linguistic perspective.（Chen Hongwei 2004, 24）

====3.1. Comparative Analysis from A Linguistic Perspective====

The two translators use different languages because they are in different eras. Lin Shu used classical Chinese, while Huang Jizhong used vernacular Chinese, so they must have many differences in translation. Next, under the guidance of hermeneutics, we will analyze the differences between the two translation works from a linguistic perspective in three aspects.(Zhu Jianping 2006, 74)

=====3.1.1. Contrastive Discourse Analysis=====

Since the two translators come from different historical times, the translation methods adopted by the two translators are also different. In terms of translation methods, Lin Shu adopted intercompilation while Huang Jizhong adopted complete translation. Examples are as follows:（Zheng Liping & Yi Xinqi 2015, 103）

1.“Here the door opened, and a small quadroon boy, between four and five years of age, entered the room. There was something in his appearance remarkably beautiful and engaging. His black hair, fine as floss silk, hung in glossy curls about his round, dimpled face, while a pair of large dark eyes, full of fire and softness, looked out from beneath the rich, long lashes, as he peered curiously into the apartment. A gay robe of scarlet and yellow plaid, carefully made and neatly fitted, set off to advantage the dark and rich style of his beauty; and a certain comic air of assurance, blended with bashfulness, showed that he had been not unused to being petted and noticed by his master.”(Stowe 2011, 3)

林译：语至此，门辟，陡入一稚子，约四五岁，貌绝慧黠，雏发未燥，笑处辄动微涡，两目精光耿然。见海留，意殊骇。海留见其服饰之善，心知此奴必为主人主妇所厚昵者。(Lin Shu & Wei Yi 1981, 4)

黄译：正在这当儿，房门开了。一个四、五岁左右的第二代混血男孩走了进来。这孩子相貌长得分外清秀，特别逗人喜爱。圆圆的脸蛋上有一对酒窝，头上覆盖着一圈圈光滑、鬈曲、细如绢丝的黑头发；一双又大又黑、柔和而炯炯有光的眼睛，从两道浓浓的长睫毛下面好奇地向屋内张望着。（Huang Jizhong 1993, 3）

他身穿一件黄格子花呢的罩衫；手工精制，剪裁合身，越发衬托出这孩子黝黑、浓郁的俊秀劲儿；那种悠然自得、滑稽有趣而又略带羞涩的神态，表明他惯常得到东家的青睐和宠爱。（Huang Jizhong 1993, 3）

This paragraph comes from the first chapter of ''Uncle Tom’s Cabin'', where the original book vividly describes the cute image of the son of the slave Eliza who owned by Shelby. Comparing the two translations, Lin Shu's translation is in classical Chinese, and in his character description, Lin Shu used a compilation method，omitting many details. However, Huang Jizhong's translation is in vernacular form, and every detail of the original text has been translated in detail by Huang Jizhong.（Zheng Liping & Yi Xinqi 2015, 75）

The original text of this paragraph consists of 122 words. Lin Shu's translation is only 62 words, while Huang Jizhong's translation is as many as 183 words. Before the New Culture Movement in the late Qing Dynasty, vernacular Chinese were not welcomed by literati and intellectuals, let alone let them write or translate in vernacular Chinese. The specific society in which Lin Shu lived formed his inherent horizon, which also determined his choice to translate in classical Chinese. In the era of Huang Jizhong, vernacular Chinese have been popular throughout the country, and have become popular in all classes. Therefore, Huang Jizhong must also translate in vernacular texts. (Xie Tianzhen 2000, 82)

According to hermeneutics, translating a work is a process in which the translator brings his own specific horizon into the historical horizon of the text. It is not a process of letting the interpreter abandon his own horizon, nor is it a horizon replacement. In this example, two translators both are in their own specific field of horizon and try to merge with the field of horizon of the original author, resulting in different translated texts. (Xie Tianzhen 2000, 64)

Gadamer's view of the fusion of the two horizons, to a certain extent, shows the essence of translation, especially literary translation. "Fusion of Horizons " overcomes the time gap and historical gap between the text and the interpreter, and the infinite process of understanding and discovery of text meaning is also achieved through " Fusion of Horizons ". (Xie Tianzhen 2000, 204)

=====3.1.2. Contrastive Study of Lexicon=====

Literary translation is an aesthetic re-creation process that is completed through interpretation, that is, the process of including the translator's acceptance and release of information. Lin Shu was proficient in Chinese, and he regarded translation as a creative process. Therefore, in the process of releasing the information, he incorporated his own opinions and adopted the translation strategies of amplification and revision. However, Huang Jizhong's horizon is different from Lin Shu's, so his method of receiving and releasing information was also different. For examples:(Zhu Jianping 2006, 72)

2.“I’m sorry to say that I am,” said Mr. Shelby. “I’ve agreed to sell Tom.” (Stowe 2011, 44)

林译：解而培忸怩久之，曰：“吾已署券卖汤姆矣！” (Lin Shu & Wei Yi 1981, 14)

黄译：“很抱歉，”谢尔贝先生答道，“我已经答应把汤姆卖给他了。”（Huang Jizhong 1993, 30）

This example is from Chapter 5 of the original text. In this case, Lin Shu added the word "忸怩久之", showing Shelby's entangled heart and the fear of her wife's blame. Looking back at the original text, there is no word in the original text that can express the meaning of "忸怩". However, Huang Jizhong was faithful to the original text here, and didn’t add or subtract words from the original text. In Gadamer's hermeneutic theory, there is the concept of "pre-understanding". (Zhu Jianping 2006, 81)

Pre-understanding refers to the fact that people are influenced by the specific historical environment, historical conditions, historical status, etc. they are in when they understand texts or recognize things. People always carry certain subjective consciousness elements such as emotion, knowledge, and will when they observe and recognize external things. The word "忸怩" added by Lin Shu here embodies the concept of "pre-understanding"，and shows that Lin Shu brought his emotions into his translation work.It's“Rather, we stand always within tradition, and this is no objectifying process, ie we do not conceive of what tradition says as something other, something alien. (Xie Tianzhen 2000, 53)

It is always part of us, a model or exemplar, a recognition of ourselves which our later historical judgment would hardly see as a kind of knowledge, but as the simplest preservation of tradition.” Gadamer believes that every interpretation is based on a pre-existing basis. In order to understand something, we must first have it. We cannot understand something that is not part of our overall world. Our understanding of things is based on our own existing knowledge system. That is, we rely on our existing knowledge and experience to understand and explain phenomena and things. Therefore, translators must have their own "pre-understanding" in the process of understanding and translating the source text.(Gadamer H 1999, 250)

3. But real gentlemen, such as I hopes you’ll be, never let fall no words that isn’t respectful to their parents. (Stowe 2011, 132)

林译:盖极望吾小主为一代伟人,万勿肆口出言,以逢二亲之怒。(Lin Shu & Wei Yi 1981, 45)

黄译:我希望你将来做个正人君子,而一个正人君子是决不会说一句不尊敬父母的话的。（Huang Jizhong 1993, 94）

When Uncle Tom said goodbye to his little master George, he expressed his expectations for the little master ---- be a real gentleman. Lin Shu translated this as "一代伟人", thereby expressing his strong desire to change the status quo. Huang Jizhong translated it as "正人君子". "正人君子" used to refer to people with good conduct. It was the ultimate goal of ancient China and had a profound influence in Chinese history. (Lin Yupeng 2001, 34)

Lin Yupeng, a translator born after the two translators, translated this as "真正的绅士". It can be seen from this that translators in different eras are very different in the translation of the same word due to the influence of the era at that time. In addition, there are some examples in the text, such as "married" and "my wife" were translated by two translators as "出阁", "结婚" and "吾妻", "内人" respectively. (Lin Yupeng 2001, 35)

These are the two concepts of hermeneutics---"effective history" and "pre-understanding". The so-called effect history means that history produces effects by restricting our historical understanding. Here, the translation of the same text by the two translators is consistent with their own social and historical environment. The social environment and social development of the era in which the two translators lived both affected and restricted the two translators' understanding of the original text.(Hebding & Glick 1992, 36)

During the translation process, the translator will let his pre-understanding and experience come into play, thus forming different understanding and expression of the same text. Because of this, there will be different versions of the same literary works in the same era, and different versions of the same literary works will appear in different times. Therefore, the co-existence of the two versions of Uncle Tom's cabin in completely different styles is reasonable from the point of view of Gadamer's hermeneutics. Similarly, the retranslation of other literary texts and the existence of multiple versions of translation works are also reasonable.(Zhu Jianping 2006, 70)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:01, 18 December 2020 (UTC)Li Lili

=====3.1.3. Contrastive Study of Syntax=====

4.“But why, of all others, choose these?” said Mrs. Shelby. “Why sell them, of all on the place, if you must sell at all.” (Stowe 2011, 44)

林译：爱密柳曰：“君既欲卖，胡不再谋，而必卖此二人？尔知汤姆为极忠挚义之人,小海雷又意里赛独子，尔何忍心鬻此二人？纵为势所迫，亦何必属之此伧？” (Lin Shu &Wei Yi 1981, 14)

黄译：“可是为什么偏偏要挑这两个呢？”谢尔贝太太问道：“即使非买不可，在园上这么些黑人，为什么一定要卖他们呢？” （Huang Jizhong 1993, 30）

In this example, Lin Shu added “尔知汤姆为极忠挚义之人，小海雷又意里赛独子，尔何忍心鬻此二人？纵为势所迫，亦何必属之此伧？” to express the anger of Shelby's wife and her extreme disapproval of Shelby's behavior. On the whole, Lin Shu adopted the strategy of free translation here, while Huang Jizhong's translation was quite consistent with the original text, using the strategy of literal translation.(Zhu Jianping 2006, 73)

According to Gadamer's hermeneutics, as special readers, translators selectively accept textual information due to historical factors of their own understanding ，and incorporate their own aesthetic concepts into their translation works. Therefore, their translation methods will also be different. The interpretation of artistic works is closely related to the translator's understanding and expression of the source text in the translation process. “Translation is a dynamic process from understanding to expression, and the master of this process is the translator.”Translators cross the barriers of different languages and cultures and build a bridge between the source language and the target text.(Hebding & Glick 1992, 40)

However, as Gadamer emphasizes, the text is open to all ages and enters into the field of meaning of the understander, so the translator's interpretation will inevitably conflict with the objective existence. To this end, translators must play an active and subjective role and adopt different strategies for selection and adaptation. Here, Lin Shu integrated his own aesthetic concepts into his translation work and exerted his own subjectivity, thus forming a different translation version from Huang Jizhong. This also further reveals that the interpretation of text in the translation process from the perspective of hermeneutics can reveal the process and mechanism of translator's understanding of text in translation activities. ( Liu Xiaohui 2010, 125 )

5. …and the arrangements of the house, and the general air of the housekeeping, indicated easy, and even opulent circumstances. (Stowe 2011, 2)

林纾：其一人文秀，家亦少康，名解而培。(Lin Shu & Wei Yi 1981, 3)

黄继忠：跟他一起谈话的那位谢尔贝先生倒是个绅士模样的人；屋子里的陈设和气派都说明此人家道小康，甚至可以说得上颇为富裕。（Huang Jizhong 1993, 1）

This example comes from the first chapter of the novel. At the beginning of the article, the author introduces the characters of the novel. Comparing the translations of the two translators, we can see that Lin Shu's translation should be more concise and refined. The original author's description of the environment has been deleted in Lin Shu's translation. It may be that the translator believed that this was not important for the development of the novel.(Hebding & Glick 1992, 33)

This long sentence of the original text was simplified by Lin Shu to four words "家亦少康", while the translation version of Huang Jizhong almost matched the original content. In the translation of this sentence, the translation methods adopted by the two translators are also completely different.(Liu Xiaohui 2010, 125)

In the field of translation, people often liken translators to shackled dancers. This metaphor vividly describes that while the translator is restricted by the original author and the original text during the translation process, he must use his subjective initiative to reshape the work. Traditional translation theory values the author and the original text, treats the original as authority, and treats "faithfulness" as the highest standard of translation. Hermeneutics redefines the "prejudice" caused by the historicity of understanding, and provides an effective basis for the translator's subjectivity and the rationality of creative treason in the field of translation studies.(Hebding & Glick 1992, 32)

In the above two examples, the two translators, while being influenced by the historical society in which they are located, also gave full play to their subjectivity, especially Lin Shu. This also tells us that the translator's subjectivity plays an important role in literary translation.(Zhu Jianping 2006, 69)

====3.2. Comparative Analysis from A Cultural Perspective====

British anthropologist Taylor believes that culture is "a complex whole including knowledge, beliefs, arts, morals, laws, customs, and other abilities and habits learned by people as members of society". Language is the carrier of culture. A text is generated from a specific cultural context, and it must also include the characteristics of the culture. When translators translate one text into another language，they must bring the characteristics of their own culture when reading and interpreting the source text because the translators' language and culture are different from the original author's culture.(Hebding & Glick 1992, 37)

=====3.2.1. Analysis from A Religious Perspective=====

A major feature of Uncle Tom’s Cabin is that it contains a lot of religious elements. In translating these religious contents, the two translators took radically different approaches. That is, Lin Shu's selective translation of religious content, most of which is carried over or not translated directly. However, Huang Jizhong conveyed the Western religious intentions to his readers at that time. For example:(Zou Guangsheng 2001，1)

6. “…, but I didn’t think any Christian legislature would pass it！” (Stowe 2011, 95)

林纾：吾思文明之国，法当不如此。 (Lin Shu & Wei Yi 1981, 34)

黄继忠：但是我相信任何一个基督教国家的立法机关都不会通过这种法令的。（Huang Jizhong 1993, 72）

In the above example, "Christian" is an exact word for Christ. In the translations of the two translators, Lin Shu chose to omit it, while Huang Jizhong chose the method of literal translation. This was not only related to the era in which the two lived, but the play of the two translators ’subjectivity also played a great role. In the era which Lin Shu was, although Christianity had begun to spread on the land of China, the public acceptance rate was still low. (Zou Guangsheng 2001，4)

Therefore, Lin Shu omitted the relevant words or used some words with Chinese culture to replace them. By the time Huang Jizhong was in, people's acceptance of these words had greatly increased. Therefore, it is appropriate to choose the method of literal translation.(Zou Guangsheng 2001，4)

This difference stems from the historical environment and historical status of the two translators being different from the object of understanding, which is the historicity of understanding. Translators and readers will always incorporate what belongs to their time in the process of understanding the original text, and that is what we called historicity. The purpose of translation is not limited to conveying the original intention of the original author, which reasonably explains the "misreading" phenomenon in translation. Lin Shu's downplay of religious content in the original work is an interesting phenomenon of "misreading". This "misreading" also gives us a good explanation of why the same religious content can be understood and interpreted in two different ways.(Zou Guangsheng 2001，6)

Gadamer believes that "the horizon is the area of view, and this area encompasses everything that can be seen from a certain standpoint." Understanding is to place yourself in the traditional process, to make the past and the present continually merge. The so-called translation is that in a cross-cultural historical context, a historic translator blends his horizon with the horizon of the original text to form a new horizon, and the process of re-fixing the new horizon to form a new text with language symbols infiltrating the target language culture.(Zhu Jianping 2006, 84)

The main body of understanding (translator or reader) and the author of the original text have their own unique horizons. When the original works cross different nationalities, languages, and eras, and enter a completely strange social and cultural context, translators can only play creatively to make his own views closing to the horizon and historical environment of the original author. However, no matter how hard the translator tries to enter the thoughts and feelings of the original author or imagine himself as the original author, he cannot completely get rid of the original vision, nor can he really enter the author's vision. (Zou Guangsheng 2001，3)

Therefore, the translator has to form a new horizon between the horizon of the strange original author and the horizon of his own. Creative treason is a necessity in understanding. The generation of meaning requires creative thinking and moderate treason under normative constraints.(Zhu Jianping 2006, 73)

=====3.2.2. Analysis from Cultural Image=====

Gadamer pointed out in Truth and Method that understanding is not a process of reproduction, but a process of creation. It can also be said that as long as people are thinking, different understandings will arise. For some cultural images in the original work, the translations of the two translators are also different. For example：

7. As a fire in her bones, the thought of the pursuer urged her on.（Stowe 2011, 73）

林译：而意里赛此时，心绪兔起鹘。（Lin Shu & Wei Yi 1981, 25）

黄译：一想起后面的追兵，她就五内如焚。急着想向前逃命。（Huang Jizhong 1993, 49）

The word "fire" was used to describe Eliza's internal fear and anxiety while she was trying to save her son when the disaster came. Here, Lin Shu replaced “fire” with two animals, rabbit and falcon. In traditional Chinese culture, rabbits are docile and fragile, just like Eliza; and falcons are agile and fierce birds, just like black slave traders. Huang Jizhong translated “fire” into “五内如焚”, which vividly reproduced Eliza's anxious heart at the time. Lin Shu used domestication here, while Huang Jizhong used alienation.(Zou Guangsheng 2001，5)

The word "fire" was used to describe Eliza's internal fear and anxiety while she was trying to save her son when the disaster came. Here, Lin Shu replaced “fire” with two animals, rabbit and falcon. In traditional Chinese culture, rabbits are docile and fragile, just like Eliza; and falcons are agile and fierce birds, just like black slave traders. Huang Jizhong translated “fire” into “五内如焚”, which vividly reproduced Eliza's anxiety at the time. Lin Shu used domestication here, while Huang Jizhong used alienation.(Zou Guangsheng 2001，5)--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:37, 18 December 2020 (UTC)Li Lili

In the above example, the horizon of the two translators and the original author merged in different forms, thus forming two different translation versions. While the translator strives to get closer to the original author's horizon, the two translators also strive to integrate with the horizon of the readers of their time, so they adopted a more acceptable expression for the target reader of the time. The language used in China in Lin Shu ’s time was classical Chinese, and the expression was more obscure, so Lin Shu replaced “fire” with two animals to reflect the characters in the text. (Zou Guangsheng 2001，2)

In the era of Huang Jizhong, literature has further developed, and the official language used in China has also become vernacular, so he used the four-word "五内如焚" to translate. The reason why two different translation methods can be accepted by the target readers of the era is that the translator tried hard to integrate with the reader's horizon.(Zou Guangsheng 2001，7)

From the perspective of hermeneutics, the text is only a semi-finished product, which is in the process of being understood. The meaning of the text and the translator's understanding are in a constantly changing process, and they are constantly evolving. Understanding is not a one-time act, but an endless process of integration between the "Horizon" of original text and the translator’s "Horizon". Each understanding is a process of generating textual meaning. The possibilities of textual meaning are endless, and textual meaning is a source of endless meaning.（Chen Hongwei 2004, 28）

8. The married couple were enjoying their honeymoon.（Stowe 2011, 215）

林译：彼夫妇在蜜月期内，……（蜜月者，西人娶妇时，即挟其妇游历，经月而归）。(Lin Shu & Wei Yi 1981, 75)

黄译：正值新婚夫妇在……欢度蜜月，……（Huang Jizhong 1993, 143）

A text is generated from a specific cultural context, and it must also include the characteristics of the culture.In the above example, Lin Shu used the method of literal translation and annotation when translating the word "honeymoon", so that the readers at the time could understand it. At that time, there was little cultural exchange between China and the West, so if Lin Shu used the literal translation method, it may cause readers to be unable to understand the word. Here Lin Shu adopted the method of annotation to translate the word, which is also a reflection of his efforts to integrate with the reader's horizon. (Zou Guangsheng 2001，4)

Huang Jizhong directly adopted the literal translation method to convey the original imagery. Both the original text and the translated text exist in their respective historical conditions and horizons. Even if the translator tries his best to enter the world of the meaning of the original text and try to understand the intention of the original author, it will inevitably impose her own ideas and purposes. Coupled with the different historical environments of the two translators, the translation strategies used by them are certainly different.（Li Lei 2008, 122）

Literary translation is actually a process of interaction between text and readers. Because readers of different times are constrained by their own experience, intelligence, and aesthetic tastes, they have different expectations and evaluations of the translated text. The Reception Aesthetic theory pays much attention to the reader and emphasis on the uncertainty of the text, which have brought about a diversity of values and an open way of thinking.Understanding of the text is inseparable from the initiative of the reader. The translated text must also exist in the creativity and participation of readers. Readers of different ages have different understandings of the same cultural image.(Zou Guangsheng 2001，1)

Therefore, in the process of translation, the translator should not only merge with the horizon of the original text, but also the horizon of the readers that the translation work is aimed at. Only in this way, the works translated by the translator can be understood by the readers of the time, and can be admired by the readers. The majority of our translators can draw enlightenment: when translating, while observing the principles of "faithfulness, elegance, and elegance", we must also take into account the reader's understanding.(Zou Guangsheng 2001，2)

===Conclusion===

In the above, under the guidance of hermeneutics, we have conducted a comparative analysis of the two Chinese versions. Through the above analysis, the three major concepts contained in hermeneutics—historicity of understanding, fusion of horizons, and effective history have brought us some inspirations: 1.The existence of multiple translations is reasonable. Translation is a special interpretative act, which is based on the translator's own understanding, so it will inevitably carry the personal trace of the translator. Based on their different experiences and views, translators make different interpretations of the same text in the process of translating, resulting in different translation works.(Liu Xiaohui 2010, 123)

2. Creative treason is inevitable. A correct understanding of "creative treason" will help translators to bravely accept the challenges and find the correct solutions when facing translation difficulties caused by cultural differences between China and the West. 3. The changes of translation works can reflect social change. On the whole, hermeneutics can effectively explain some translation phenomena and provide a new perspective for translation studies.(Liu Xiaohui 2010, 123)

===References===

*Gadamer, Hans-Georg. (1999). [Truth and Method]. Beijing: Peking University Press.

*Hebding, Daniel E. & Glick, Leonard. (1992). [Introduction to Sociology:a Text with Reading]. New York: McGraw-Hill, Inc.

*Stowe, Harriet Beecher. (2011). [Uncle Tom’s Cabin]. Jilin: Jilin Publishing Group Co., Ltd.

*Toury, Gideon. (2001). [Descriptive Translation Studies and Beyond]. Shanghai: Shanghai Foreign Language Education Press.

*Chen Hongwei 陈宏薇. (2004). ''新编汉英翻译教程'' [A New Coursebook on Chinese-English Translation]. Shanghai: Shanghai Foreign Language Education Publishing House 上海外语教育出版社.

*Hong Handing 洪汉鼎. (2010). ''诠释学：真理与方法''[Hermeneutics:Truth and Method]. Beijing: Commercial Press 商务印书馆.

*Huang Jizhong 黄继忠. (1993). ''汤姆大伯的小屋'' [Uncle Tom's Cabin]. Shanghai: Shanghai Translation Publishing House 上海译文出版社.

*Lin Shu & Wei Yi 林纾,魏易. (1981) ''黑奴吁天录''[Uncle Tom's Cabin]. Beijing: Commercial Press 商务印书馆.

*Liu Xiaohui 柳晓辉. (2010). 译者主体性的语言哲学反思 [A Reflection of the Language Philosophy of Translator's Subjectivity]. ''外语学刊'' Foreign Language Research （1）122-125.

*Xie Tianzhen 谢天振. (2000). ''翻译的理论建构与文化透视''[ Theoretical Construction of Transaltion from a Cultural Perspective]. Shanghai: Shanghai Foreign Language Education Publishing House 上海外语教育出版社.

*Zou Guangsheng 邹广胜. (2001). 读者的主体性与文本的主体性 [ The Subjectivity of the Reader and the Text]. ''外国文学研究'' Foreign Literature Studies （4）1-7.

*Zhu Jianping 朱健平. (2006). 翻译即解释:对翻译的重新界定----哲学诠释学的翻译观 [Translating Is Interpreting:Redefining ''Translating'' from Perspective of Philosophical Hermeneutics]. ''解放军外国语学院报'' PLA University of Foreign Languages （2）69-84.

*Zheng Liping & Yi Xinqi 郑立平,易新奇. (2015). 翻译过程中文本理解的解释学阐释 [Interpretation of Textual Understanding in Translation Process from the Perspective of Hermeneutics]. ''外语学刊'' Foreign Language Research （04）101-104.

*Zhang Qinqun 章启群. (2002). ''意义的本体论----哲学阐释学''[The Ontology of Meaning----Philosophical Hermeneutics]. Shanghai: Shanghai Translation Publishing House 上海译文出版社.
--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 09:14, 21 December 2020 (UTC)

==On Translation Strategies of ''Why Women Kill'' from the Perspective of Functional Equivalence Theory 唐铭 Tang Ming==

<center> Tang Ming唐铭, 202020080643. </center>

===Abstract===
In process of subtitle translation, it is worth our attention that how to make information successfully conveyed in limited time and space, and to make the response of target audience as close as possible to that of original audience. Eugene Nida’s functional equivalence theory puts emphasis on the closest response of the target audience, which enables them to understand and appreciate the original texts in the way that the source audience do. This paper mainly discusses the application of Eugene Nida’s functional equivalence theory in the American TV series ''Why Women Kill'' from the levels of lexical, syntactic, textual and stylistic, and summarizes some specific strategies of subtitle translation according to its characteristics, among which are reduction, addition, interpretation, substitution, punctuation, word order adjustment and so on.

===Key words===
Functional equivalence theory, subtitle translation, subtitle characteristics, translation strategies

===题目===
功能对等理论下的《致命女人》字幕翻译策略研究

===摘要===
如何使观众不仅能及时地了解字幕传达出的信息，并且获得与原文观众尽可能相近的感受，是字幕翻译过程中应当集中关注的问题。尤金•奈达的功能对等理论强调译本读者的反应，使其应能够以源语读者对原文的理解和欣赏方式，理解译本的要点。本文分别从词汇、句法、篇章、文体层面上探讨了功能对等理论在美剧《致命女人》英译汉中的应用，并就字幕特点总结了缩减法、增译法、解释法、替代法、标点符号法、语序调整法等具体策略。

===关键词===
功能对等理论；字幕翻译；字幕特点；翻译策略

===Chapter1 Introduction===

Being a kind of language conversion restricted by many factors such as time, space, culture, and scene change, subtitle translation has the characteristics of being instantaneous, informative, comprehensive, situational, popular and colloquial(Qian Shaochang 2000, 61), etc. Throughout the domestic translation industry, however, the investment in literary translation is far greater than that of subtitle translation. And yet there is no systematic and specialized translation theory applied to it, for which most of researches are still at the empirical stage. The social role of subtitle translation wants urgent attention.

That using ''the most close and natural equivalents'' in translation practice is the core of Eugene Nida’s (1969, 71) functional equivalence theory, which has been recognized and valued by many translators at home and abroad. From the perspective of the audience, we should choose popular expressions that are easy for audience to understand, maximizing service for audience and helping them to get the source information accurately. This is exactly the guiding significance of the functional equivalence theory for subtitle translation.

This paper is going to analyze subtitle translation from the perspective of functional equivalence theory by introducing the theory and main characteristics of subtitles, and comparing one subtitled version against the other (one is Renren subtitle group version and the other is Wanwan subtitle group version) of the American TV series ''Why Women Kill'' released in 2019, and discussing in detail the application of functional equivalence theory in ''Why Women Kill''. In the end, we will come to a natural and succinct conclusion of all the research findings.

===Chapter2 Subtitle Translation Analysis===

====2.1 Introduction of Subtitle Translation====

In the field of subtitle translation, the European Association for Studies in Screen Translations (ESIST) was established in 1955, and gradually became an influential academic organization, whose formation has promoted exchanges and cooperation between researchers in the field, and advanced the development of subtitle translation in Europe. At home, however, we haven’t established a systematic and specialized translation theory applied to subtitle translation yet. Professor Qian Shaochang (2000, 61-65), who has many years of experience in subtitle translation, called for more attention to it in ''Film Translation--The Increasingly Important Fields in Translation Parks'' published in ''Chinese Translation''.

When it comes to the definition of subtitle translation, we may have heard about several versions, among which Nedergaard-larson’s (1993) definition for it will be introduced first. ''He defines subtitle translation as a special language conversion, in which the film subtitle condensed the essence of the original spoken language. It enables the audience to better understand the plot of the film while listening to the information of the source language, and to experience the atmosphere and environment beyond the film subtitles.'' (Nedergaard-larson 1993, 116)

In addition, Du Zhifeng, Li Yao, and Chen Gang jointly compiled the book Basic Film Translation and Research, in which the film subtitle is explained as: ''Subtitles often present the dialogue or monologue in written form, to help the audience understand the dialogue and other information, sound language including background music, the phone rings and other sound in the audio tracks, and non-sound language information such as words, street signs and so on''(Du Zhifeng, Li Yao, and Chen Gang 2013, 8). Therefore, subtitle translation does not only pay attention to the translation of characters’ dialogues, but also the translation of some key information.

====2.2 Characteristics of Subtitle Translation====

In his article ''The Increasingly Important Fields in Translation Parks'', Qian Shaochang (2000, 61-65) analyzes the differences of film and television language and literary language. He also sums up five features of subtitle translation, which are the feature of hearing, comprehensiveness, instantaneity, popularity and no note.

Firstly, by the feature of hearing, we mean that literary works are read with the eye, while the language of film and television works is heard with the ear. (Qian Shaochang 2000, 61)

Secondly, subtitle translation is comprehensive in that a film or television work is a kind of comprehensive art, in which actor’s speech and act performance, various changes of scenes and sounds are presented simultaneously. Therefore when doing subtitle translation, we need pay attention to details such as a gesture or a nod as well. (Qian Shaochang 2000, 62)

Thirdly, for factors of time and space, subtitles put on the bottom of the screen can change in a moment. Such characteristic of subtitles demands that subtitle translation be evident and smooth since limited time doesn’t allow audience to think deeply. Audience need to give up the words if they don’t hear or understand clearly, or they may even miss the following words. (Qian Shaochang 2000, 62)

Fourthly, popularity means that subtitle language is informal, even vulgar sometimes, for that it mainly consists of daily dialogues of common people. Moreover, reading literary works must have a certain level of literacy, but even illiterate people can understand film and television. The audience for film and television works is so wide that the language of film and television ought to be suitable for all classes and ages.(Qian Shaochang 2000, 62)

Lastly, subtitles have no additional note. It is another trait different from literary works. Literary translation where readers find it difficult to understand can be noted on the page, however, subtitle translators do not enjoy such treatment.(Qian Shaochang 2000, 62)

Zhang Chunbai (1998) proposed immediacy and popularity, features of subtitle translation, in his article Preliminary Study on Film Translation. He also mentions an extraordinarily important feature of subtitle language - personalization of language. In film and television works, character traits are often expressed through language. In such case, free translation is usually required for presence of personalization of language, which is exactly the application of Eugene Nida’s theory of functional equivalence.

===Chapter3 Theoretical Framework===

====3.1 Overview of Functional Equivalence Theory====

The theory of functional equivalence, was first proposed by Eugene Nida, a famous American translator. ''Translators should strive for equivalence instead of identity. In a sense, it’s just another way of reproducing the information in the source language.'' (Nida 1969, 35) It makes it clear that it is impossible to achieve absolute equivalence, and it also emphasizes the most natural and closest equivalence. This is the core of Nida’s theory of functional equivalence.

Nida (1993, 117) also puts emphasis on the requirement that the translator should achieve in translation: that is, ''the audience should be able to grasp the key points of the translation, based on the way in which audience of the source language understand and appreciate the original text.'' From the perspective of audience’s reception, the target audience should have as much as similar reactions to the source audience when reading the translation. Therefore, the translator should make full use of the closest and the most natural equivalents.

In the process of translation, people often make mistakes not in language, but in the wrong understanding of cultural construction. There are similarities and differences between language and culture, but there is a close relationship between them. (Nida 2001, 89) Obviously, translation practice is not only a simple literal translation of language itself. The impact of cultural differences also needs to be considered. ''In order to achieve “functional equivalence”, cultural adjustment can be carried out.'' (Ma Huijuan 2003, 63)

Regarding the contents of functional equivalence theory, “equivalence” includes four aspects: (1)Lexical equivalence: the value of a word lies in its use in the language so that translators should find the corresponding meaning in the target language; (2)Syntactic equivalence: translators should not only know whether the target language has such a structure, but also how often it is used; (3)Textual equivalence: in discourse analysis, besides on language itself, translators should focus more on how the language embodies the meaning and function in the specific context; (4)Stylistic equivalence: translation works of different styles have their own unique linguistic characteristics.(Tan Zaixi 2005, 122)

====3.2 The Guiding Significance of Functional Equivalence Theory to Subtitle Translation====

Different from general text translation, Subtitle translation is influenced and restricted by more factors, among which cultural factors are the most critical. Cultural factors, obviously, form a gap between the target audience and the source language. This is something that no good translator can eliminate.In order to make up for this deficiency, the missing parts should be compensated, so that the audience response of the two texts can be the same. Narrowing the gap as far as possible and building a bridge connecting the two ends of the gap is the goal of subtitle translators.

To convert subtitle language properly needs to cater to the taste of audience and characteristics of culture. This is a process of dynamic compromise, in which the theory of functional equivalence is an important guiding principle for generating closest audience experience. It is also noted that absolute equivalence does not exist. Taking subtitle translation for instance, audiences of the two texts are influenced by various factors such as historical and cultural background, social ideology, lexicon, grammar, etc., so that there is rare possibility that subtitle translators can achieve completely equivalent translation.

In general, the functional equivalence theory pursues the closest response of the two groups of audience, so as to guide the translators to highlight more the cultural connotation and charm of the source text rather than its form. Under the guidance of functional equivalence theory, strategies of subtitle translation should adopt more liberal translation techniques, integrating the unique characteristics of the subtitles and the prominent characters and relationships in the plays. Functional equivalence theory as the principle, there are varied strategies available for subtitle translation, such as substitution, interpretation, addition, reduction, punctuation, word order adjustment and so on.

===Chapter4 Text Analysis===

This part makes a comparative analysis of the translation of Renren subtitle group and Wanwan subtitle group at lexical level, syntactic level, textual level and stylistic level respectively, points out the existing problems and puts forward some opinions on them.

====4.1 Lexical Equivalence====

(1)-Beth Ann: Oh, Rob, it’s lovely.（''Why Women Kill'' 2019）

-Robert: Damn straight!...Well, it’s a mention, is what it is. Yeah, you’re married to a guy who can afford a goddamn mansion.（''Why Women Kill'' 2019）

-Neighbors: Hello! Sheila Mosconi. This is my husband, Leo. I guess you’re our new neighbors.（''Why Women Kill'' 2019）

-Beth Ann: I must apologize for my husband’s language…He doesn’t usually swear.（''Why Women Kill'' 2019）

-罗伯特：那是当然！…这可是豪宅，你嫁给了一个买得起该死的豪宅的人。(Renren subtitle group 2019)

-贝丝安：抱歉我的丈夫出口成脏。…他平时很少说脏话的。(Renren subtitle group 2019)

-罗伯特：你说得太对了！…嗯，这是个豪宅，一个豪宅。没错，你嫁给了一个买得起该死的豪宅的人。(Wanwan subtitle group 2019)

-贝丝安：我必须为我丈夫的言语道歉。…他通常不说脏话的。(Wanwan subtitle group 2019)

Here Beth Ann and her husband had just arrived at the mansion. Beth Ann said the house is beautiful, and Rob said “straight” to show his approval. Since his feeling of proud, Rob added a “damn” to strengthen the tone, similar to “真他妈的” in Chinese. Similarly, “goddamn” is a word used to show that you are angry, annoyed, or surprise. Beth Ann was afraid that the neighbors would think less of them because of her husband’s previous rude remarks, so she explained to the neighbors for her husband.

Both groups didn’t rightly translate Rob’s remarks. Because for the former words of Rob, their translations are respectively “那是当然” “你说得太对了”, not demonstrating Rob’s rudeness at all, so that the audience may be confused when they see Beth Ann’s words for apologize. The translation of “真他妈的太对了” will be better.

In Beth Ann’s words, “language” means words that most people think are offensive, and swear to use rude and offensive language. Renren subtitle group translates “language” as “出口成脏”, ordinarily intending to be homophonic with “出口成章”. The intention is faultless, but such translation apparently doesn’t agree with Beth Ann’s following words “He doesn’t usually swear”. Wanwan subtitle group’s translation of it is simply “言语”, it is not clear enough, while subtitle translation is ought to be as much as easy to understand. Thus “粗言粗语” for “language” here will be a better choice.

(2)Leo：Well, we have four little rug rats. At some point, they are gonna break something that you own.（''Why Women Kill'' 2019）

里奥：我们有四个小家伙。早晚有一天，他们会弄坏你们的东西。(Renren subtitle group 2019)

里奥：好吧，我们有四只小耗子。指不定哪天，他们可能会弄坏你们家什么东西。(Wanwan subtitle group 2019)

While Sheila and Leo were visiting Beth Ann’s house, they asked Robert and Beth Ann if they had any children, and introduced that they had four. Leo used “rug rats”, which means annoying children, to describe his children. Because he thought the children are naughty, which was indicated by his following words “they are gonna break something that you own”.

In such background, both groups didn’t translate the word phrase properly. Renren subtitle group translate it as “小家伙”, failing to embodying the children’s feature of naughty, while Wanwan subtitle group translate it as “小耗子”, employing literal translation strategy, but can cause puzzlement of audience since we are not used to using “小耗子” to describe children in Chinese. Considering Chinese culture, the translation can be revised as “熊孩子”.

(3)Eli: I married a kick-ass lawyer.（''Why Women Kill'' 2019）

伊莱：我嫁给了一个成功的律师。(Renren subtitle group 2019)

伊莱：我娶了一个超厉害的律师。(Wanwan subtitle group 2019)

As we introduced above, Taylor’s husband Eli was unemployed and Taylor had been the one who provided the family. She was an extremely independent, capable woman, taking care of Eli like his mother.

So there is a breakthrough in Renren subtitle group’s translation, it uses the word “嫁” to present Eli’s feature of reliance. The important feature of subtitle language - personalization of language gets embodied. In addition, Taylor was a feminist. The series’ three female protagonists, their social identity lifting from a housewife, a socialite to a lawyer, constitute a history of female growth. The translation at here is exactly to the point and is a bravo example of functional equivalence at lexical level.

(4)Simone: Tommy, that kiss we shared was sweet, but it was not a down payment.（''Why Women Kill'' 2019）

西蒙妮：汤米，我们那一吻是很甜蜜，但它不是笔首付。(Renren subtitle group 2019)

西蒙妮：汤米，我们的那个吻很甜蜜，但它并不代表我们之间有可能。(Wanwan subtitle group 2019)

Tom was constantly on the pursuit of Simone. Because of Tom’s age and identity, her best friend’s 18-year-old son, Simone thought there is no possibility between them.
The word phrase “down payment” is a metaphor here, and “首付” is literal translation. In principle, the translation of literary works should try to keep the rhetorical devices of the original. In subtitle translation, however, in order to reduce the time for the audience to think, semantics of language must be as clear as possible, so as to better convey the information. It’s also a kind of fidelity to the original. So I think to specify it as “并不代表我们之间有可能” is better.

====4.2 Syntactic Equivalence====

(5)Naomi: Misery loves company.（''Why Women Kill'' 2019）

娜奥米：一起比惨，痛苦减半。(Renren subtitle group 2019)

娜奥米：同病方能相怜。(Wanwan subtitle group 2019)

“Misery loves company” is an English proverb, generally translated as “同病相怜”. The translation is proper since Chinese idiom was employed, functional equal to English proverb. The translation of “一起比惨，痛苦减半” here is also acceptable. Because it contains end rhyme, “惨” and “半”, and has a slang feel. Moreover, it perfectly restores the original symmetrical sentence structure.

(6)①Simone: I’m 20 minutes late, again.（''Why Women Kill'' 2019）

西蒙妮：我迟到了20分钟，又一次。(Renren subtitle group 2019)

西蒙妮：我迟到了20分钟，我已经迟到了很多次了。(Wanwan subtitle group 2019)

②Simone: You think you’re gonna get out of this by dying?（''Why Women Kill'' 2019）

西蒙妮：你以为你能以死解脱吗？(Renren subtitle group 2019)

西蒙妮：你觉得，你这样死掉就可以摆脱这一切吗？(Wanwan subtitle group 2019)

As we mentioned above, for factors of time and space, subtitles put on the bottom of the screen can change in a moment. Therefore subtitle translations are required to be not only precise, but also concise. In these two sets of sentences, Renren subtitle group’s translations are better, both contains 10 words of Chinese, while Wanwan’s both contains 17 words. If the sentence is too long, the space at the bottom of the screen may not hold, and the subtitles have to switch more quickly to keep up with the dialogue of the characters. In addition, the duration of the subtitle is very short, only about two or three seconds. In such a short time, to let the audience understand the message conveyed by the subtitle, the subtitle translation must be concise and easy to read.

(7)①Taylor: You’ve been insecure lately because of your career.（''Why Women Kill'' 2019）

泰勒：你最近没有安全感，因为你事业不顺。(Renren subtitle group 2019)

泰勒：因为你的工作，你最近一直没有安全感。(Wanwan subtitle group 2019)

②Tom: You’re wearing sunglasses in doors, at night.（''Why Women Kill'' 2019）

汤姆：你在室内而且是在晚上戴着墨镜。(Renren subtitle group 2019)

汤姆：那是因为你大晚上的还在屋子里戴墨镜。(Wanwan subtitle group 2019)

There are big differences between English and Chinese in the center of gravity. In these two sets of sentences, we will discuss two kinds of centroid ordering problems, one is the ordering of causes and results, the other is the ordering of time and space. The center of gravity of English sentences and Chinese sentences is generally presented in hypotheses, conclusions, results, etc. English sentences generally focus on the front and put the main part at the beginning of the sentence, while Chinese sentences generally vice versa, like “因为你的工作，你最近一直没有安全感”, rather than “你最近没有安全感，因为你事业不顺”.

When stating the time and place of the event, English sentences usually start with the place and end with the time, so we seldom hear statement like “I tonight stay at home”, but “I stay at home tonight”. But in Chinese, the situation is different, the time usually comes first, behind which follows the place. For this factor, Wanwan subtitle group’s translation of “大晚上的还在屋子里” is better than Renren’s “在室内而且是在晚上”.

(8)①Simone: You know what they say: It’s not a party until someone breaks something.（''Why Women Kill'' 2019）

西蒙妮：俗话说，没有打碎过东西的派对就不算是派对。(Renren subtitle group 2019)

西蒙妮：你知道的，大家都说派对是从有人打碎了什么贵重的东西开始的。(Wanwan subtitle group 2019)

②Taylor: This is the part where you walk away to avoid going to prison.（''Why Women Kill'' 2019）

泰勒：你现在该为避免蹲大牢走开了。(Renren subtitle group 2019)

泰勒：但如果你现在转头离开，就不用再进监狱。(Wanwan subtitle group 2019)

By syntactic equivalence, it emphasizes that translators should not only know whether the target language has such a structure, but also how often it is used. It means that translators must take idiomatic expressions of the target language into consideration, to make target texts expressive and smooth. Regarding the three translation principles of “faithfulness, expressiveness and elegance” put forward by Yan Fu, Qian Shaochang believes that “expressiveness” should be the first. In these two sets of sentences, translations of “没有打碎过东西的派对就不算是派对” and “但如果你现在转头离开，就不用再进监狱”are much more idiomatic.

====4.3 Textual Equivalence====

(9)-Robert: I saw you talking to the neighbors. What are they like?（''Why Women Kill'' 2019）

-Beth Ann: Italian.（''Why Women Kill'' 2019）

-罗伯特：我看到你和邻居聊天了，他们什么样？(Renren subtitle group 2019)

-贝丝安：意大利人。(Renren subtitle group 2019)

-罗伯特：我看到你在和邻居讲话，他们怎么样啊？(Wanwan subtitle group 2019)

-贝丝安：意大利人。(Wanwan subtitle group 2019)

After talking with her new neighbors for the first time, Beth Ann described her new neighbors as Italian, with a little bit of a label, which shows that she is not very fond of them.

Evidently, there contains a culture-bound situation in the dialogue. But two groups did not illuminate the conventional meaning, thus making audience completely confused. They only cared about language itself, but did not pay attention on how the language embodies the meaning and function in the specific context, failing to realize functional equivalence at textual level.

In fact, once during World War II, Americans suffered unfair treatment for a long time, then President Franklin D. Roosevelt, issued a statement, announcing citizens of Japan, Germany and Italy as “America’s foreign enemies”. Although on October 12, 1942, the U.S. attorney general Francis Biddle announced that Italian was no longer the nation’s enemies, but Americans in the 1960s still cannot get rid of their inherent prejudice for Italians. In such historical background, the implication concerning cultural factors requires illuminating. Translators can add a brief annotation behind the words, or add words like “你懂的”, “你说呢” to indicate deliberate implication but evident prejudice.

(10)–Jade: Do you like bacon?（''Why Women Kill'' 2019）

-Eli: Well, I’m Jewish, so, yeah.（''Why Women Kill'' 2019）

伊莱：这个嘛，我是犹太人，所以，我喜欢。(Renren subtitle group 2019)

伊莱：我是犹太人，但…行吧。(Wanwan subtitle group 2019)

When Jade stayed at Taylor’s, she would get up early every day to make breakfast for the couple. The couple, on the other hand, enjoyed it because they usually ordered takeout and few people took care of their lives. So when Jade brought breakfast bacon to Eli and asked if he liked it, Eli replied politely.

However, as Eli implied, he was a Jewish. If we know something about Jewish culture, we know that they don’t eat pork. And bacon is salted or smoked pork. For this case, Wanwan subtitle group handled it better than Renren did. It translate “so, yeah” as “但…行吧。”, adding an ellipsis and expressing the turning meaning, so that manifested Eli’s polite intention of not letting Jade down and conveyed the function of the original dialogue. Renren subtitle group’s translation just adopted literal translation, failing to present Eli’s inner rejection, thus making audience neglect the culture fact. Translation practice is not only a simple literal translation of language. The impact of cultural differences also needs to be considered.

(11)–Tom: It’s called a Swatch. And, it’s waterproof.（''Why Women Kill'' 2019）

-Simone: Oh, so it’s safe from my tears of joy.（''Why Women Kill'' 2019）

-汤姆：这是斯沃琪手表。而且，这是块防水手表哦。(Renren subtitle group 2019)

-西蒙妮：那它不会被我喜悦的泪水弄坏了。(Renren subtitle group 2019)

-汤姆：是斯沃琪手表。还有，防水。(Wanwan subtitle group 2019)

-西蒙妮：那我就不用怕我的喜悦之泪把它泡坏了。(Wanwan subtitle group 2019)

Simone and Tom were on their first date. Tom carefully prepared a gift - a watch called Swatch- and cheerfully told Simone that it was waterproof. Before opening the present, Simone assumed it was something like jewelry. After seeing the waterproof watch, she expressed her distaste for the gift humorously.

Reading the two translations, we will feel two completely different tone of Tom. One is earnest and full of expectation, the other is brief and coldish. As we know, Tom is a boy in his early eighteen, the calm and concise language style does not fit him. And when he presented the watch to Simone, he was delightful and thought Simone would like it. Therefore Renren subtitle group’s translation of “这是斯沃琪手表。而且，这是块防水手表哦” is better. The adding modal particle “哦” is to the point, too.

Apparently, Simone did not like the gift, and she thought her little boyfriend and his gift of a waterproof watch were childish. As harsh as she was, so sharp were her words. The two group’s translation both failed to transmit the illocutionary meaning of Simone’s words, thus failing to fulfill the pragmatic function of language. In order to convey Simon’s implication and retain the humorous style of the source language, this sentence can be translated as “那它真是能防住我喜悦的泪水”, which means that she was very happy and expected to receive gift from Tom, but the gift itself made her joy disappear.

(12)-Simone: You wouldn’t want to ruin her special day with a divorce.（''Why Women Kill'' 2019）

-Karl: No.（''Why Women Kill'' 2019）

-西蒙妮：你不会想用离婚来毁了她的大好日子吧。(Renren subtitle group 2019)

-卡尔：对。(Renren subtitle group 2019)

-西蒙妮：你不想因为离婚，就毁掉她最特别的一天吧。(Wanwan subtitle group 2019)

-卡尔：不会。(Wanwan subtitle group 2019)

Simone put forward that she won’t divorce with Karl until her daughter’s wedding. Karl also did not want to ruin her daughter’s wedding so he agreed, shaking his head.
Karl was shaking his head when he answered “no”. Therefore it is not agree with his act if we translate “no” into “对”, although it is right in English when we translate the answer of general questions. When translating film and television works, due to the role of pictures, sounds, characters, the translation should fully consider all of the factors.

====4.4 Stylistic Equivalence====

(13)Beth Ann: You want to see the same old Beth? Fine, here she is in all her glory.（''Why Women Kill'' 2019）

贝丝安：你不是想从前那个贝丝吗？好啊，老娘在此，胴光闪耀。(Renren subtitle group 2019)

贝丝安：你想看那个始终如一的贝丝？她就在这儿呢，毫无保留。(Wanwan subtitle group 2019)

When Beth Ann found out that her husband was cheating on her, she still thought it was her fault, so she changed her image, got a haircut and bought a new dress. However, Robert did not notice her change at all, and said he did not need Beth Ann to change but to make dinner for him. Beth Ann got a little angry and made a surprising move: she sat down at the table, naked.

There contains a word “胴” in Renren subtitle group’s translation. It means the body after the removal of the head, limbs and internal organs. But in real life, people use it very infrequently and few people know what it means. This is likely to prevent the target audience from resonating with the source audience. So Renren subtitle group’s translation is improper here. The choice of word, if too written or obscure, will affect the target audience’s understanding of the meaning of the source sentence.

(14)-Taylor: Honey, that is a stupid plan.（''Why Women Kill'' 2019）

-Eli: That’s a bit harsh, but, okay, fine, you go.（''Why Women Kill'' 2019）

-伊莱：扎心了，好吧，你说。(Renren subtitle group 2019)

-伊莱：这么说可有点伤人，那行吧，你来。(Wanwan subtitle group 2019)

There contains a network vocabulary “扎心” in Renren subtitle group’s translation. As we emphasized, in films and TV works, the words of the translation should be popular. When the translator can find several similar equivalents, he must choose them carefully. At present, the majority of Chinese people who like to watch American TV series are young people, so the appropriate use of Internet vocabulary can enhance the resonance with the target audience.

(15)①-Robert: Well, I should get going.（''Why Women Kill'' 2019）

-Beth Ann: Going?（''Why Women Kill'', 2019）

- Robert: To my dinner meeting.（''Why Women Kill'' 2019）

-罗伯特：去我的晚餐会议。(Renren subtitle group 2019)

-罗伯特：去应酬。(Wanwan subtitle group 2019)

②–Amy: Who got to you?（''Why Women Kill'' 2019）

-艾米：谁给你吹耳边风了？(Renren subtitle group 2019)

-艾米：谁影响了你？(Wanwan subtitle group 2019)

In these two sets of sentences, “应酬” and “吹耳边风” are better translations, while “晚餐会议” and “影响” are too formal. In films and TV series, especially in the dialogue between characters, colloquialism should be emphasized. Take “Who got to you?” for instance, Amy was Simone’s daughter and was angry about her boyfriend’s affair. Simone had been on Amy’s side at first, but began to speak good words for Amy’s boyfriend after she knew that Amy intended to use Tom to revenge. So the idiom “吹耳边风” is rather appropriate here. The use of idiom exactly accords with the principle of colloquialism.

===Chapter5 Subtitle Translation Strategies===

Based on the analysis above, we can achieve some conclusions in terms of lime lights on subtitle translation under the guidance of functional equivalence theory. In this part we will discuss on some specific strategies to deal with the re-combed unique characteristics of subtitle translation.

====5.1 Instantaneity: reduction/word order adjustment====

In subtitle translation, we are obliged to provide information instantaneously and to ensure that the subtitle and the picture are highly synchronized. Due to the restriction of time and space, the strategies of reduction and word order adjustment are worth our attention.

====5.2 The property of being informative: colloquialism====

Subtitle translation came into being in order to facilitate the audience to get a better viewing experience. Therefore it is ought to provide authentic, useful and easily understandable information, which requires the language of subtitle translation be concise, clear, informal and easy to understand. In addition, in films and television works, the dialogue of characters occupies a so important position that sometimes the colloquialism of language must be considered.

i.e. she is in all her glory: 毫无保留（''Why Women Kill'', 2019）

====5.3 The property of being situational: addition/interpretation====

The situation discussed here includes many aspects, such as the character in the film, historical and cultural background, plot hints and so on. In this case, it is necessary to find out the profound meaning behind the literal meaning, and give the audience more clear prompts, solving the comprehension gap.

i.e. language: 粗言粗语; it was not a down payment: 不代表我们之间有可能; Italian: 意大利人，你懂的/你说呢（''Why Women Kill'', 2019）

====5.4 Comprehensiveness: punctuation====

It is to be noted that, in subtitle translation, language should include not only the spoken language, but also the action, gesture, emotion and other information implied in the picture. Only by realizing the comprehensiveness of subtitle translation, can the film information be conveyed to the audience completely.

i.e. Well, I’m Jewish, so, yeah: 我是犹太人，但…行吧（''Why Women Kill'', 2019）

====5.5 Popularity: substitution/colloquialism====

A film or television work faces the broad masses, its language should be popular correspondingly. This feature puts forward two main requirements for subtitle translators: the first is the popularity, which is similar to colloquialism we have mentioned; the second is the timeliness. The appropriate use of buzzwords can enhance the audience’s resonance.

i.e. little rug rats: 熊孩子; That’s a bit harsh: 扎心了; dinner meeting: 应酬; Who got to you: 谁给你吹耳边风了（''Why Women Kill'', 2019）

===Chapter6 Conclusion===

Being an explanatory thesis, this paper has tried to shed light upon the topic of subtitle translation from the perspective of functional equivalence theory. The work has followed the typical procedure of a scientific study: firstly, it introduces the main characteristics of subtitle translation summarized by previous researches and then it presents the functional equivalence theory. Then, respectively from lexical, syntactic, textual and stylistic level, this paper selected some typical examples of subtitles in Why Women Kill as analysis objects, pointing out the advantages and disadvantages of the translation versions. Lastly, the author explores the subtitle translating strategies under the guidance of this theory.

It is to be noted that functional equivalence is not absolute, but approximate. In the process of subtitle translation, the translator is obliged to employ various kinds of strategies and methods, from different angles and levels for effective treatment, to make the effect of the target text as much as possible close to that of the original, and make cultural characteristics of the original can be reserved.

In particular, subtitle translation guided by functional equivalence theory should attach importance not only to the equivalence of words and sentences, which are small translation units, but also to the equivalence of texts and styles. Translators often focus on how to translate a single sentence or word well, but ignore the cohesion of the context or the consistency of the speaker’s dialogue, resulting in the dialogue between the characters becoming self-talk. Several typical examples are given to illustrate the importance of contextual equivalence.

This paper holds that translators must have a thorough understanding of the unique characteristics of subtitles, such as being instantaneous, informative, situational, comprehensive, and popular etc., flexibly apply various translation strategies, and constantly improve their quality in translation practice. The evaluative criterion of subtitle translation should be whether it can provide the audience with the closet and the most natural information combined with the picture and sound in the limited space and time.

===References===

*Gottlieb, Henrik. (1994). ''“Subtitling – A New University Discipline,” in Dollerup, Cay and Anne Loddegaard'' [M] Teaching Translation and Interpretation: Training, Talent and Experience, Amsterdam, Philadelphia, John Benjamin.

*Nedetgaard-Larson, Birgit. (1993). ''Culture-Bound Problems in Subtitling'' [M]. Perspectives: Studies in Translatology.

*Nida, Eugene A. (1993). ''Language, Culture, and Translation'' [M]. Shanghai: Shanghai Foreign Language Education Press.

*Nida, Eugene A. (2001). ''Language and Culture: Contexts in Translating'' [M]. Shanghai: Shanghai Foreign Language Education Press.

*Nida, Eugene A., C. R. Taber. (1969). ''The Theory and Practice of Translation'' [M]. Leiden: Brill.

*Du Zhifeng, Li Yao, Chen Gang杜志峰,李瑶,陈刚. (2013). 基础影视翻译与研究[M].[Basic Film translation and Research]. 浙江:浙江大学出版社Zhejiang: Zhejiang University Press.

*Hong Li洪莉. (2007). 功能译论在字幕翻译中的运用[J].[Application of Functional Translation Theory in Subtitle Translation]. 科技信息:学术研究Science and Technology Information: Academic Research (21): 460-461.

*Li Yunxing李运兴. (2001). 字幕翻译的策略[J].[Subtitle Translation Strategy]. 中国翻译Chinese Translation (04): 38-40.

*Liang Shuang梁爽. (2012). 功能对等理论在电影字幕中的应用研究[J].[Research on the Application of Functional Equivalence Theory in Film Subtitle Translation]. 对外经贸Foreign Trade and Economic Cooperation (09):140-142.

*Ma Huijuan马会娟. (2003). 奈达翻译理论研究（英文本）[M].[Research on Nida’s Translation Theory (English Version)]. 北京:外语教学与研究出版社Beijing: Foreign Language Teaching and Research Press.

*Qian Shaochang钱绍昌. (2000). 影视翻译——翻译园地中愈来愈重要的领域[J].[Film Translation--The Increasingly Important Fields in Translation Parks]. 中国翻译Chinese Translation (01): 61-65.

*Tan Zaixi谭载喜. (2005). 翻译学[M].[Translatology]. 武汉:湖北教育出版社Wuhan: Hubei Education Press.

*Zhang Chenxiang张沉香. (2007). 功能目的理论与应用翻译研究[M].[Functional Purpose Theory and Applied Translation Studies]. 湖南:湖南师范大学出版社Hunan: Hunan Normal University Press.

*Zhang Chunbai张春柏. (1998). 德国的功能翻译理论[J].[German Functional Translation Theory]. 中国翻译Chinese Translation (03): 45-50.

*Zhang Yan张燕. (2009). 浅析英文电影翻译中的文化碰撞[J].[An Analysis of Cultural Clash in English Film Translation]. 电影文学Film Literature (14): 147-148.

*Renren subtitle group (2019.7.26).Translation of Subtitles in ''Why Women Kill''.“Why Women Kill” .http://www.rrys2020.com/, 2019-7-26/2020-12-2.

*Wanwan subtitle group (2019.7.30).Translation of Subtitles in ''Why Women Kill''“Why Women Kill” .http://wanwansub.com/, 2019-7-30/2020-12-2.

--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 01:57, 21 December 2020 (UTC)Tang Ming

==The Breakthrough and Innovation of Dong Qiusi’s Translation Thoughts 娄灿灿 Lou Cancan MTI 英语笔译==

===The Breakthrough and Innovation of Dong Qiusi’s Translation Thoughts===

<center> Lou Cancan 202070080599. </center>

===Abstract===
Dong Qiusi is a famous Chinese practitioner and thinker in translation. From the second half of the 1940s to the early 1950s, he deeply reflected on many issues in the field of Chinese traditional translation studies and made important contribution to the innovation and development of translation in the middle of the 20th century. During this period, Dong Qiusi put forward some innovative viewpoints of breakthrough sense. For example, he believed that translation criteria should be followed based on different styles and that translation is "re-creation". When it comes to idea that the nature of translation is art, Dong Qiusi argued that translation is theoretical and emphasized the objective regularity of translation, which marked the shift of traditional Chinese translation thoughts from traditional to modern ones. Dong Qiusi initiated the establishment of Chinese translation studies as a discipline. He took the lead in separating translation criticism from traditional translation theories and focused on the two for deep study. He also included the history of translation into the research of translation as a discipline, thus building up a frame of translation studies consisting of translation criticism, translation theory and translation history.
===Key words===
translation criteria; Dong Qiusi; recreation; translation studies as a discipline; translation criticism; translation theory; translation history

===题目===
董秋斯翻译思想的突破与创新

===摘要===
董秋斯是我国著名的翻译实践者和思想家。从20世纪40年代下半叶到50年代初，他对中国传统翻译研究领域的许多问题进行了深刻思考，为20世纪中期翻译的创新和发展做出了重要贡献。这一时期，董秋斯提出了一些具有突破性意义的创新观点。例如，他认为不同的风格应该遵循不同的翻译标准且翻译是“再创造”。在谈到翻译的艺术性质时，董秋斯认为翻译是理论性的，强调翻译的客观规律性，这标志着中国传统翻译思想由传统向现代的转变。董秋斯开创了中国翻译研究这门学科的创立，他率先将翻译批评理论与传统翻译理论分离开来，并对两者进行了深入研究。他还把翻译史作为一门学科纳入到翻译研究中，从而形成了由翻译批评、翻译理论和翻译史组成的翻译研究框架。

===关键词===
翻译标准；董秋思；再创造；翻译学；翻译批评；翻译理论；翻译历史

===1.Brief Introdction of Dong Qiusi===

Dong Qiusi, originally named Zhan Shaoming, was born in Jinghai County (today's Tianjin City) in 1899. He graduated from Yanjing University (the predecessor of Beijing University) in 1926 and in the same year he participated in the Northern Expedition （北伐战争)， editing the monthly ''Bloody Road''. In 1930, he joined in the launching of the League of Left-Wing Writers and the Council, editing the monthly'' International''. He worked as a secret agent in China for the Communist International during the 1930s. He participated in orginazing the China Association for Promoting Democracy in 1945 and joined the Communist Party of China in 1946. Persecuted during the Great Cultural Revolution in 1969, he died with unjust. (Zhuang Zhixiang 2017, 901)

Dong Qiusi is a famous and outstanding Chinese literary translator. He had translated more than 50 foreign literary masterpieces in his lifetime. After the founding of the New China, he bacame chairman of the Shanghai Translators'Association, Editor-in-Chief of Translation, copy-editotr of the China Writers Association and Deputy Chief Editor of World Literature. His major translations include ''David Copperfield'', which is now still in print, ''A Home for the Highland Cattle'' by Doris Lessing, ''Cement'' by Fyodor Gladkov, ''War and Peace'' by Leo Tolstoy and so on. (Tian Chuanmao 2013，242)

Not only did Dong work hard as a translator, but he also devoted himself to theoretical research on translation. During his long years of translation practice and work, he kept thinking about translation theories and made great contribution to the development of translation in New China. Early before the founding of the People's Republic of China, he had expressed his views on translation in such papers as ''On Translation Principles'' (1946), ''About Indirect Transalation'' (1946), and ''On the Value of Translation'' (1948). After 1949, he published three papers in ''Translation Tongbao Magazine'', including ''On the Construction of Criticism'' and ''Self-criticism in Translation Circles'' (1950), ''The Criteria and Priorities of Translation Criticism'' (1950) and ''On the Construction of Translation Theory'' (1951). (Zhuang Zhixiang 2017, 901)

The three papers are of great significance for the development of translation theory in China. Dong's translation thought is profound and extensive, covering construction of translation theory, translation criticism, selection of source texts, strategies of foreignization and domestication, recreation in literary translation, relationship between and the value of translation, etc. His views on translation, especially on the construction of Chinese translation theory and translation criticism, are of great importance in the translation history of our country. (Zhuang Zhixiang 2017, 901-902)

===2.Dong Qiusi’s Breakthroughs in Translation Thoughts===

'''2.1 Breakthrough in the Traditional Translation Criteria'''

In terms of translation standards, Dong Qiusi made up for the deficiency of traditional Chinese translation criteria from the perspective of text type. From Buddhist scriptures translation to the middle of 20th century, one-way and simplistic mindset had been throughout the discussion on the issue of translation criteria. people always consciously or unconsciously sought a unique and right translation criterion as their ultimate pursuit and most people were prone to deem the translation for literary texts as the reference. (Wang Qinghuha 2016, 18)

There is no doubt that we all hope that translation standards are as simple as possible, and that one standard can function as solution to all problems in translation. However, practice has proved that it is not feasible for the complex work of translation. With the increasing various text types, unified translation standard can barely guide all types of translation practice. When discussing translation standards, most people only consider the relatively single text types they are exposed to, namely Buddhist scripture, social science or literature. Few take it into account that translation standards should vary depending on the type of text. Dong Qiusi was aware of this matter as early as 1946, and it is probably not enough to judge that he had a keen academic vision. (Wang Qinhua 2016, 32-33)

To study Dong Qiusi's translation criterion, we can not bypass Yan Fu. Yan Fu's three-character criteria "faithfulness, expressiveness and elegance" had exerted far-reaching influence and had been the only guide for translators for decades since it was put forward. Especially in the first half of the 20th century, most of the Chinese translation experts embraced the criterion of Yan Fu. (Sun Yifeng 2012, 2)

Contrary to Yan Fu, Dong Qiusi believed that translation criteria for theoretical texts and literature ones are distinctive. For literary text, translators could adopt such standards as to be faithful to the original in "thought, style, inclination and fluency," which could be condensed into a single word, "faithfulness." Dong Qiusi held flexible and dialectical attitude towards the order of "thought, style, inclination and fluency". (Wang Qinghua 2016, 18-19)

In terms of theoretical texts, Dong Qiusi thought that yan Fu's "faithfulness" and "expressiveness" should be adopted. That is to say, we should be faithful to the ideological content of the original work and ensure the fluency of the translation. As for "elegance", Dong Qiusi thought it could be justified by the times where Yan Fu lived in. "Elegance" was not only unsuitable for the standard of "theoretical texts" in the era of "vernacular Chinese", but also unsuitable for the standard of "literature texts". As is known to all, in the 1940s, the discussion on translation criteria in China and abroad basically stayed within the language level of content, form, style and so on. The fact that Dong Qiusi thought about this issue from the perspective of text type was leading the world at that time. (Wang Qinhua 2016, 20-21)

'''2.2 Literature Translation is Recreation'''

Translation means to transfer the meaning of one language into another, while creation refers to the production of literary and artistic works. Translation is constrained by source text, while creation is free. It has been undcr discussion for a long time whether translation is a kind of creation or not. Many scholars, such as Guo Moruo, Zhu Guangqian , Luo Xinzhang , agreed that translation is a kind of creation. For example, Bassnett said it is therefore quite foolish to argue that the task of the translator is to translate but not to interpret, as if the two were separate exercises. (Newmark 1988, 33)

The interlingual translation is hound to reflect the translator’s own creative interpretation of the SL text. Dong also thought of translation as a recreation. He said, "a translator should not only get well acquainted with the meaning and style of the source text, but also with the author’s personality, his intention and other factors concerned. Having arrived at this stage, the translator is not only faced with words any more, but with the images behind the words. Therefore, what he needs to do is to express those concrete images out in his native language rather than just transfer the lexical meaning of one language into another. What I said might be a little exaggeration, but the translator should feel as if he were the author of the source text who was writing in another language that he was good at." (Bassnett 2004, 83)

Since the images are organized by the author, their expression modes should also belong to the author. In this case, as British translator Alexander Fraser Tytler has stated, what the translator can do is nothing but recreate, although he has already obtained the soul of the original author.” (Ling Shan 2004, 86)

As we can see, initially, Dong viewed that literature translation is creation, which could be seen as his recognition of the idea by Guo Moruo. Dong Qiusi considered that translation is not merely a simple, technical work, and the translation process requires the translator to exert his/her personal understanding, imagination and expression. A translator, like a writer, faces exactly the same things, but produces very different products. There is no doubt that both of them show the characteristics of creation. (Ling Shan 2004, 86-88)

Dong Qiusi also said that just because of the existence of creativity, translators are able to produce different versions, making it possible that readers get close to and learn the true charm of the original work. Meanwhile, it should be alert that the translation being elevated to the status of creation will typically cause the translators to move from one extreme to another. In the history of translation, there are many cases in which the original texts have been freed from the shackles and the creativity has been overplayed. (Wang Qinghua 2016, 41)

For example, Lin Shu, a translator who did not master any foreign language, gave free play to his subjective creativity in the process of translation and ended up deviating from the original texts. Considering the limitation of creativity, Dong Qiusi modified his previously agreed view that "translation is creation" and added a "re" in front of the word "creation". Obviously, Dong Qiusi still believed that the translation of literature work were by no means a mechanical and technical labor and could not be completed by mere imitation. In his view, the creativity of literature translation is essential. The translator can only constantly get close to the original, but can not do a complete match with the original. (Wang Qinhua 2016, 41-43)

In this process, the translators will inevitably give full play to his creativity. However, writers are free to write as they please. In contrast, the specific images that the translators wants to express are created by the original authors, meaning that translators are not as liberal as the original authors. Therefore, he was convinced that the creation of the translator is relative and absolute 100% creation is impossible; The translator's creation should be based on the original creation, which is a kind of "re-creation". (Wang Qinhua 2016, 45)

It is self-evident that the modification of "translation is creation" to "translation is re-creation" is intended to emphasize the unity and opposition relations between the creativity and faithfulness of literary translation. "Re-creation" not only affirms the status and value of the translator's creativity in translation, the translator's positive role in the translation, but also demonstrates that the translator's creativity is limited, which means they can not break away from the original texts, give play to the imagination of the individual and create as much as they desire. In a word, Dong Qiusi deems it that the creation of literary translation should be definitely based on the original work and it is a kind of "re-creation" in nature. (Ling Shan 2004, 87)

'''2.3 Translation is Science'''

In 1951, Dong Qiusi clearly proposed that translation is science in his article ''On the Construction of Translation Theory''. According to him, the translation process is regulated by objective rules. These rules can be used for generating adequate translations. In order to discover and understand these rules,translation scholars should study all factors involved, and then use their findings to contribute to a complete theory, which is scientific owing to its objective basis. He explained that translation is science, meaning that there are laws that can be followed in the process of translation between Chinese and Western languages, and that it is not correct to say that translation can be done simply by talents and inspiration. (Luo Xuanmin 2004, 26)

Since these translation laws are objective, not discovered simply by imagination, to master these laws, we need to do thorough and detailed study. To be specific, we need to explore three main aspects: first, the structure, characteristics of various languages; Second, the contents and ways of expression of various disciplines; Third, translation experience in different times and countries. (Luo Xuanmin 2004, 26)

In Dong’s opinion, if many objective laws in translation could be summarized through investigation and research for people to learn and refer to, the novice translators would avoid wasting much time and energy to explore methods and techniques, and would not repeat the previous failures. Thus, it would be helpful to promote the translation work to achieve greater progress. This not only shows Dong Qiusi's profound understanding of the significance of studying the objective laws of translation in guiding practice, but also can be interpreted as his regret for the loss caused by Chinese translators' long-term neglect of the scientific nature of translation. (Chan Tak-hung 2004, 226)

Dong Qiusi, inheriting the traditional Chinese concept that translation is art and enlightened by the newly emerging foreign view that translation science, clearly realized that translation, as art, would become random activities if it did not observe the objective scientific laws and accept the guidance of the objective laws. Therefore, in 1951, he became the first person in China who claimed that " translation is a kind of science " in the most authoritative journal Bulletin on Translation. (Chan Tak-hung 2004, 226)

Dong Qiusi is the earliest translators in China who was aware of the unity and opposition relations between scientific and artistic translation. His view that translation is science is an important breakthrough in the development of traditional Chinese translation studies in the middle of the 20th century, which marks the beginning of Chinese translation studies turning to linguistic science and plays an important role in the historical transition of Chinese translation studies from ancient to modern times. (Chan Tak-hung 2004, 227)

===3. Dong Qiusi’s Innovation: to Establish Translation Studies As a Discipline===

Back in the 1950s, it became obvious that translation Studies in China required theoretical breakthroughs. Speaking of translation studies, the name of Dong Qiusi was worth special mentioning. Dong Qiusi, in an article entitled On the construction of translation theory in Translation Newsletter, made the proposal to establish translation studies as a discipline, claiming that "China has a long history of translation and, in spite of the lack of systematic theorization, has acquired an abundance of scattered and unconsolidated experiences and ideas". (Dong Qiusi 1951, 608)

In his view, "translation is not something unknowable; rather, it is an existential phenomenon governed by laws unique to itself, and therefore has all the qualities needed to become a theoretical". Dong projected a sanguine prognosis largely based on this perception of China’s long history of translation. With the wisdom that hindsight affords, Tan Zaixi ruefully notes:“In the 1950s China was behind no other country in terms of the construction of Translation Studies. Had Dong Qiusi’s idea caught everyone’s attention, our translation research might have been ahead of the West all along.” (Tan Zaixi 1995, 15)

What Dong seemed to be doing in that paper was what Nida had earlier on in 1947 tried to do, i.e. applying a ‘scientific’, modern linguistics approach to the study of translation. Given the fact that there was virtually no academic contact with the West in the early years after the Chinese socialist revolution of 1949, Dong or his fellow Chinese scholars would not have access to, or be able to even hear of, Nida’s work, and that the Russian scholar Andrei Fedorov’s work was not to be published till 1953, a full two years after Dong had published his paper, we may say that at the time Dong’s proposition on applying a ‘scientific’ translation studies approach to the theoretical development of translation was quite original, and seemed in large measure to be modernizing Chinese translation discourse, in spite of the fact that Dong’s paper did read more like a ‘policy speech’ than in-depth academic research, or in some ways it was not as substantiated research as were Nida’s or Fedorov’s work. (Chan Tak-hung 2004, 225)

However, this optimism is retrospectively ungrounded because China was soon afterwards plunged into great social and political upheaval and its embryonic intercultural connectivity would be severed. Translation Studies could not develop until the early 1980s when translation activity was in full swing once again, fuelling an interest in analyzing translation problems as well, since large scale translation practice created renewed impetus for promoting Translation Studies. (Sun Yifeng 2012, 2)

Nevertheless, it was not difficult to judge from the contents of several articles by Dong published successively from 1950 to 1951, such as How to Establish Translation Criticism and Self-Criticism, Criteria and Key points of Translation Criticism, and On the Construction of Translation Theory that he had formed a preliminary framework at that time. This framework consists of three parts: translation criticism, translation theory and translation history. Dong envisaged two steps towards this. (Wang Qinghua 2016, 77)

First, that a “common programme” be drafted on the study of major issues such as methods of translating, systems of revision and proofreading, criteria of translation, etc. for adoption by a national conference on translation. Second, that the government sanctioned agency organize experts to do six things: (1) write a history of translation in China; (2) introduce Western books on translation theory to Chinese readers; (3) use scientific linguistic methods to compare Chinese and foreign languages; (4) conduct translation criticism; (5) sum up experiences of translating; and (6) publish a translators’ journal. The end products of this national drive would be two books, one on the history of translation in China, and the other on the translatology of China. (Fan S.1999, 42)

'''3.1 Translation Criticism'''

"Translation criticism is a major link between translation theory and translation practice." Not only can translation criticism be used to guide translation practice, but it can also enrich translation theory. It plays most direct role in the application of translation theory into translation practice. It can be seen that Dong has a very clear understanding of the positive function of translation criticism, in order to make translation criticism serve translation practice constructively, he put forward practical opinions and suggestions on the criteria, priorities, and approaches of translation criticism, etc. (Newmark 1988, 184)

Exactly as he said, this kind of translation criticism could play a very good supporting role even though it could not substitute for the whole work of constructing theoretical system of translation, because it could enrich translation theory, and defined each definition clearly and specifically, which was very important for the construction of any theory. (Zhang Qian 2012, 5)

Translation development is inseparable from translation criticism, but translation criticism has been in a non-rational state for a long period, and translators always turn a blind eye to some serious problems, such as the impetuous translation climate, blind introduction of copyright, decreased translation quality. etc. The fundamental reason for this situation lies in that we do not establish a positive and effective criticism theory as Dong said. The establishment of such a theory depends largely on the establishment of scientific translation criticism system. (Zhang Qian 2012, 5)

Although translation criticism can be traced back to ancient times in China, such as the argument about literal translation and free translation, the research on translation criticism itself did not start until after 1949. In the early period after the founding of New China, the tasks that Chinese translators faced with were pretty arduous. There were two main problems: translation work was poorly planned and organized, and low-quality translations were published in large quantity. Therefore, how to solve the problems became one of the major tasks for the relevant department of the government. On March 26, 1950, ''China Daily'' published three papers on translation criticism with the title of “Taking Serious Attitude to Translating” by the Divisions of People’s literature and People’s Field for Arts. That is to say, the first new chapter of translation criticism began in early 1950’s in China. (Sun Zhili 1996，193)

In Dong's opinion, translation criticism is of great importance in that it is conducive to solving many practical problems and makes great contribution to cultivating translation talents, improving translation quality and developing translation criticism research itself. Dong Qiusi also put forward seven valuable Suggestions on how to carry out translation criticism: Firstly, distinguish established translators from novice ones. If a famous translator is irresponsible, he should be seriously criticized. For new translators, try to point out their mistakes. What is more important is to tell them how to correct mistake. Secondly, pin down the key points. The number of translation work is too large to criticize each of them. Thirdly, master principles and solve the issue of principles in translation through some typical cases. Fourthly, recommend successful experience and avoid simply criticizing mistakes. Fifthly, correct bad attitudes towards work. Translators and publishers should be responsible and meticulous respectively and avoid being perfunctory. Sixthly, establish correct theory. Translation theory is the foundation of translation criticism. Without the guidance of translation theory, translation criticism will become unclear about what is right or wrong. Seventhly, conduct critical attitude. Critics should seek truth from facts, be kind to others and try to be unbiased and objective. What’s more, Dong put forward the proposal of “constructive translation criticism.” (Dong Qiusi 1951, 608-610)

He illustrated that the constructive translation criticism was “to deal with fundamental problems, which have not been handled properly for long, with the aid of some typical examples.” He further explained “It is only by means of intensively reading one book and extensively reading many books that we can focus on criticism priorities, obtain a practical criticism criterion, so that we can criticize or appraise fairly and appropriately, the people to be criticized can be convinced, and readers can benefit. This kind of translation criticism can be called truly constructive.” (Dong Qiusi 1951, 609)

Reviewing the history of translation criticism 50 years ago, constructive translation criticism was quite rare. Apparently, translation criticism lacked theoretical self-consciousness. Due to the lack of supervision and guidance on practice, it was difficult to make thorough and reasonable explanations for many phenomena in the history of translation. Given that Translation criticism tended to be mixed with translation theory. Dong Qiusi separated translation criticism from translation theory and focuses his research on the construction of translation criticism. At that time, it was of extreme historical significance to emphasize the importance of the construction of translation criticism. (Wang Qinghua 2016, 81)

'''3.2 Translation Theory'''

Although the study of stage translation theory had been making progress and had made some achievements, there were still many problems, which were mainly manifested in the lack of system, scientific research methods, pure theory explorations and communication with the West. In his article ''The Cultivation of Translators'', Dong Qiusi expressed his regret that China had not established a complete theoretical system of translation until the People’s Republic of China was founded in 1949. (Zhang Qian 2012, 38)

Dong Qiusi held that the construction of translation theory was a long and arduous mission, the finishing of which required a lot of people to spend a long time, adopt scientific linguistic methods, and carry out in-depth investigation and research. In order to accomplish the task smoothly, he proposed a two-step strategy. The first step was to solve some important issues in the translation field in a short time. Second, long-term planning should be implemented simultaneously with short-term planning, including compiling ''Chinese Translation history'', sorting out and explaining China's local translation experience, absorbing and drawing on the essence of foreign theories and so on. After a long period of construction and the full development of the theoretical system of translation, some translation problems involved in the first step of the scheme would be finally solved. (Zhang Qian 2012, 38-39)

Dong Qiusi's main views on the guidelines for the construction of translation theory can be summarized as follows: adopting scientific linguistic methods, focusing on traditional Chinese translation theories, learning from foreign translation theories and closely connecting with practice. Dong suggested that like all other scientific theories, Chinese translation theory has its own general and specific features. On one hand, it should correspond with the general laws of science; and, on the other hand, it should possess its own distinctive features of its own time and place. It should draw on the theories and experiences of foreign countries, but it is absolutely not a blind copy. (Wang Qinghua 2016, 88)

In other words, there is no shortcut. What is required is the investment of human and material resources of our country. He put forward that we could not simply expect foreign countries to establish translation theories for our use. Theories stem from experience. We already had a preliminary theoretical foundation and over-one-thousand-year translation experiences, including the experiences of translating Buddhist Scriptures in the early period of Tang Dynasty, and those of many translators like Lu Xun, Qu Qiubai since the May Fourth Movement. Therefore, it would not be difficult to establish a complete theoretical system if we could collect, analyze, refine and develop the experiences of our own country. After the founding of New China, Dong Qiusi took the lead in openly criticizing the traditional translation theories in China. Not only did he point out the crux of the slow development of Chinese traditional translation theories, but also, more importantly, he clarified the study objects of Chinese translation theories and the guidelines for the construction of translation theories. (Wang Qinghua 2016, 88-89)

'''3.3 Translation History'''

Dong Qiusi are also a pioneer in the study of translation history. As we know, the study of translation history had been neglected for quite a long time. Although there had been relevant researches before Dong Qiusi, for example, in 1940, Huang Jiade(黄嘉德) edited a collection of Translation Studies entitled ''The History of Translation'', which excerpted the pertinent articles of Hu Shi and other translators in this field, we could not find anyone who formally came up with the history of translation as a specialized field of translation studies prior to Dong Qiusi. The study of the history of translation is a basic step which plays a decisive role in the construction and development of translation as a discipline. (Wang Qinghua 2016, 90)

Dong Qiusi also attached great importance to the study in the construction of his translation system. In "On the Construction of Translation Theory", he wrote We should compile the ''History of Chinese translation'', sum up the translation experience since the Eastern Han Dynasty from a correct historical point of view, and grasp the right direction and principles in the process of development. Dong Qiusi stated that any research field inevitably had its own clear direction and principles if it wante to develop into an independent discipline. As far as the field of translation studies is concerned, the study of translation history undertakes this task. (Wang Qinghua 2016, 91)

The history of translation provides necessary documents for the construction of translation as a discipline. The study of the history of translation is favorable to understand the natural characteristics of translation and to provide reference for the construction of translation study. In the past, translators and researchers were bound to come across problems similar to those we encounter today, and have struggled to solve them. The ideologies, the development level of language and cultural in the times they lived in would also have influenced them, so that they made choices on many issues such as translation standards, translation methods and translation functions. By sorting out the relevant experience and theories of translators throughout the history and mastering the development history of Translation in China, we can draw lessons from them, which are of enlightening significance to the confirming of status of the translation as a discipline. (Wang Qinghua 2016, 91-93)

===4. conclusion===

From the second half of the 1940s to the beginning of the 1950s, Dong Qiusi had a comprehensive and in-depth reflection on many important issues in traditional Chinese translation studies, such as translation standards, the nature of translation, the creativity of translation etc., among which there were multiple original perspectives, such as: the translation criteria are adhered to based on text styles; Literary translation is "re-creation"; The essence of translation is "science", etc. In the early 1950s, Dong Qiusi established a translation framework consisting of translation criticism, translation theory and translation history. This viewpoint is not only leading in China, but also in the history of translation studies around the world. Chinese translation experts and scholars generally agree that Dong Qiusi is the founder of the establishment of the translation discipline. In terms of the historical contribution to the construction of the translation discipline, Dong Qiusi can be regarded as a worthy pioneer.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:50, 21 December 2020 (UTC)

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='''Translation Criticism'''=

==On Translation Criticism-based on back-translation 丁代凤 Ding Daifeng MTI英语笔译 202070080583==

===Abstract===

Translation practice has a rather long history both at home and abroad. Once there is translation practice, there is translation criticism. Due to the change of time and space, translation criticism needs to be carried out from different perspectives. Based on previous studies and personal translation practice, the author finds two common problems in translation criticism: 1) lack of translation criticism in translation practice; 2) lack of awareness of time and space change during the process of translation criticism. Based on the analysis of the relationship between back translation and translation criticism, the author analyzes the application of back translation in words, expressions and texts, and illustrates the roles of back translation in translation criticism. The author analyzes a large number of examples in this thesis and tries to be reasonable and well-founded, hoping that this thesis can give some inspiration to other scholars who study translation criticism.

===Key words===

translation criticism; back translation; translation testing; cultural communication

===题目===

论翻译批评—基于回译

===摘要===

无论在国内还是国外，翻译实践的历史可谓悠久。只要有翻译实践，就会有翻译批评。由于时间与空间的变化，翻译批评也需从不同的角度进行。基于前人的研究以及自身的翻译实践，作者发现目前普遍存在于翻译批评中的两个问题：1）在翻译实践过程中缺乏翻译批评意识；2）在翻译批评过程中，缺乏对空间和时间变化的意识。基于对回译与翻译批评二者关系的分析，作者对回译法在词汇以及文本当中的应用分别进行了分析，阐述了回译法在翻译批评中作用。作者在论文中分析了大量的实例，尽量做到有理有据，希望本论文能够给其他研究翻译批评的学者些许启发。

===关键词===

翻译批评；回译；翻译检测；文化交际

===1. Introduction of translation criticism===

Translation practice has a rather long history both at home and abroad. Once there is translation practice, there is translation criticism(Wang Kefei 1994,33). As for translation criticism, it refers to the evaluation of a translation under certain social conditions, following certain translation principles and using certain methods. It is one of the three major components of translation studies, and it also serves as an internal driving force for the disciplinary construction of translation. As the characteristic of one language is different from the other, it is difficult for us to judge whether a translation is appropriate or not. In the process of translation, we have to take both language and culture into consideration.(Wang Jianguo 2005,78)

That is to say, we also have to lay equal emphasis on language and culture when we judge a translation. As a complete paragraph or passage is composed of many words and sentences, we are prone to analyze each word and sentence to assess the quality of a translation. If we analyze a passage under the reader-oriented translation criticism principle, then the translation should be easy to read and be accepted by its readers. If we analyze a passage based on the translator-oriented translation criticism principle, the translated version should be in line with the original text in terms of meaning as much as possible. However, this is far from enough.(Wang Jianguo 2005,78)

Given the translation practice takes place at different times and in different cultural backgrounds, we should adopt different perspectives to examine a translation accordingly(Xu Jun 2016,439). When it comes to the translation of Buddhist scripture in the Han Dynasty, its main purpose is to spread its doctrine, so what the translator needs to do is to grab its main idea. But when it comes to the sci-tech translation during the Westernization Movement in modern times, its main goal is to learn advanced technologies from developed western countries, so the translator have to make sure that the translation of each sentence in the original text should be totally correct and their translations should be operational and practical.

According to Professor Xu Jun, translation activities have always existed in human history, and their forms and connotations are constantly enriched because of the social, economic and cultural development.(Xu Jun 2014,288) Therefore, translation practice is a dynamic process, and that means translation criticism should be conducted under a certain historical and cultural context.

Taking the factors mentioned above into consideration, the author found that there are still two problems existing in translation criticism, they are: 1) lack of translation criticism in translation practice; 2) lack of awareness of time and space change during the process of translation criticism.(Wang Jianguo 2005,78) Generally speaking, the author tries to solve these two problems of translation criticism by using the back translation method and analyzing the texts relating to back translation, thus improving the current situation of translation criticism.

===2. Relationship between translation criticism and back translation===

There are a large number of translation methods available for us to choose when we do some translation, such as free translation, literal translation, transliteration, amplification, omission, back translation and so on. Among these translation methods, no translation method can have the same effects on testing the original text as back translation. Literally, back translation is the process of translating a text that has already been translated into a foreign language back to the original language(He Xianbin 2002,45).

In A Dictionary of Translation Studies in China, Fang Mengzhi had divided back translation into three categories. They are back translation for testing, back translation for research and mechanical translation.(Fang Mengzhi 2011,97) Here, the author will mainly talk about back translation for testing. According to Fang Mengzhi, back translation for testing works as a kind of question type, aiming to test and find out the problems existing in the translation process(Fang Mengzhi 2011,97). As such, back translation for testing has the same purpose as translation criticism. This just proves that it is the right choice to apply back-translation method to translation criticism.

Back translation plays a irreplaceable role in comparing the similarities and differences between the structures of the original text and the translated version.(He Xianbin 2002,46) During this process, we can have a better understanding of the characteristics of the two languages involved. When we translate text A into text B, an appropriate way to examine the quality of text B is to translate it back into text C which is almost similar to text A in terms of its meaning and structure. Unlike other ways used in translation criticism, back translation offers us three different texts. Text A, the original text, will be the best material for us to examine the quality of our translation. Although text A serves as a criteria for us to conduct translation criticism, we can not decide whether the translation is good or not simply by judging the degree of similarity between text A and text C.

We all know that every coin has two sides. On the one hand, there is no doubt that text A and text C can not be exactly the same. This is mainly because different languages have different language structures and different ways of expressing ideas. Even the one who do the back translation is exactly the writer himself or herself, the vocabularies and sentence patterns he or she uses will change over time. On the other hand, if the structures of text A and text C are very similar, it may means that text B only apply literal translation and its translation may not very elegant to some extent.(He Xianbin 2002,46)

What we should we do is not only just to focus the correctness of each word and sentence, but to ensure similar or even same effects on cultural communication. That is to say, there is no need to pursue syntactic and lexical consistency in text A and text C. Otherwise, anyone who holds the text A will criticize your translation and say that there are still some differences between text A and text C, and your translation is still not good enough(Si Guo 2000,119). Therefore, back translation will not make any sense in the process of translation criticism.

===3. Analysis of texts relating to back translation===

As our country continues to deepen the reform and opening-up policy, we have began to come into contact with more and more foreign words. Meanwhile, quiet a few foreign literary works relating to Chinese culture and history have merged(Tan Zaixi 2018,3). For translators, it is a rather trick task to deal with such words, expressions and texts. In this part, the author will mainly analyze two situations of the use of back translation, namely, back translation in words and expressions and back translation in different texts.

====3.1 Back translation in words and expressions====

Actually, back translation usually takes place at the word level. We can find that many Chinese words in our daily life come from western countries, such as 莎士比亚(Shakespeare), 华伦天奴(Valentino), 猎头(head hunter), 唐老鸭(Donald Duck), 雅思考试(International English Language Testing System, also known as IELTS), 阿司匹林(aspirin) and so on. At the same time, some foreign literati and scholars in China usually change their names or take a Chinese one. Here are some typical examples: 赛珍珠(Pearl S. Buck), 利玛窦(Matteo Ricci), 费正清(John King Fairbank), 马悦然(Goran Malmqvist) and葛浩文(Howard Goldblatt).(He Xianbin 2002,45)

Likewise, there are also many English words and expressions coming from China, such as Confucius(孔子), Long March(长征), tofu(豆腐), litchi(荔枝), chow mein(炒面), brainwash(洗脑), long time no see(好久不见) and so on. When we translate these two kinds of words, we have to make sure that our translation is completely the same as the original word. Because the translations of these words are fixed in the target language, we should not take it for granted that we can translate them by virtue of our own experience or in a normal way.(He Xianbin 2002,45)

====3.2 Back translation in texts====

Generally speaking, translation criticism usually take place in literary text. There are a large number of famous works relating to back translation, such as Moment in Peking written by Lin Yutang, Joy Luck Club written by Amy Tan, The Good Earth written by Pearl S. Buck, My Country and My People written by Lin Yutang, Naked Earth written by Eileen Chang and so on. All these works are written in English, but the contents in them are all related to China. Some of them are written by overseas Chinese writers, and some of them are written by those foreign writers who have lived in China for a rather long time, so the authors of these works all have a great understanding of China’s society and its national conditions(Li Changbao 2019,133).

If we translate these kinds of works back into Chinese, this process is called rootless back translation. In this process, we have to pay particular attention to the cultural communication effect of its Chinese translation. Next, the author will analyze some literary texts by using the back translation method so as to compare the different structures of English and Chinese and illustrate how back translation functions in the process of translation criticism. Here are some examples and their analyses:

(1) Original Text: Now this magistrate was a poor man and had not seen so much money in his life time before, being only newly risen to his position through the bounty of his father, who had put all the money he had and could borrow to buy this place for his son, so that from it the family might acquire some wealth. (Buck 2016,272)

Target Text: 这县官原是个穷汉，一辈子不会见过这么多的款子，他靠了他父亲的鑽营，才谋到这位置，他父亲用了自己所有的以及能够借到的钱给儿子买到这官缺，目的是那家从此可以发财了。(Hu Zhongchi 1933,270)

This paragraph is excerpted from The Good Earth written by Pearl S. Buck. As the most famous novel of Pearl S. Buck, The Good Earth describes the situations of the farmers in China in the early 20th century, aiming to show a real China to the western world.(Buck 2016,272) In order to compare the structures of the original text and the target text, the author tries to translate the target text back into the original text by means of some popular translation websites. Here is the translated version offered by Sougou online translation:

The county magistrate was a poor man, and he never saw so much money in his life. He got this position by his father’s gaining, and his father used all his money and the money he could borrow to buy this official vacancy for his son, with the aim that the family can get rich from now on.(trans by Sougou online translation)

Here, "他靠了他父亲的鑽营，才谋到这位置" is translated into "He got this position by his father's gaining". But in the original text, it is "being only newly risen to his position through the bounty of his father". In Chinese, we usually use many short sentences to express one thing, while a long sentence with many clauses is commonly used in English. Besides, "官缺" in the target text is "place", while it becomes "official vacancy" when using the back translation method. The word "place" here refers to a position that is available for or being used by somebody. That exactly proves that English usually uses a simple word to express a rather complicated meaning. Hu Zhongchi extended the meaning of "place" and translated it into "官缺", which ensures the translation is in line with the the expression habits of Chinese and the background in The Good Earth.(Hu Zhongchi 1933,270)

(2) Original Text: "It was accompanied by 'dragon-and-phonex cakes', silks, tea leaves, fruits, a pair of living geese, and four jars of wine."(Lin Yutang 1998, 78)

Target Text: "......送有龙凤饼、绸缎、茶叶、水果、一对鹤、四坛子酒。"(Zhang Zhenyu 2005,46)

This sentence is excerpted from Moment in Peking. It describes some gifts that the bridegroom should present to the bride when they get married. Here is the translated version offered by Sougou online translation:

There are dragon and phoenix cakes, silks and satins, tea leaves, fruits, a pile of cranes and four jars of wine.(trans by Sougou online translation)

Based on the translation given by Sougou, we can easily find that there are some differences between it and the original text. Firstly, "绸缎" is translated into "silks and satins" by Sougou. Actually, "绸缎" in Chinese refers to silk products in general. Therefore, the target text translated by Zhang Zhenyu is more idiomatic. According to Qian Zhongshu, translation is like painting, so what we should pursue is the similarity in spirit rather than the similarity in form. As such, there is no need for us to translate every word in the original text in order to pursue royalty. Secondly, "一对鹤" is translated into "a pair of cranes" by Sougou. The meanings of living geese and crane are totally different. In China, cranes represent longevity. Obviously, it is not customary for men to give cranes to women when they get married. Therefore, it is better to translate "a pair of living geese" into "一对活鹅" rather than "一对鹤".(Wu Yangbo 2010,133)

(3) Original Text:余幼聘金沙于氏，八龄而天。娶陈氏。陈名芸，字淑珍，舅氏心余先生女也，生而颖慧，学语时，口授《琵琶行》，即能成诵。四龄失怙，母金氏，弟克昌，家徒壁立。芸既长，娴女红，三口仰其十指供给，克昌从师，修脯无缺。一日，于书簏中得《琵琶行》，挨字而认，始识字。刺绣之暇，渐通吟咏，有“秋侵人影瘦，霜染菊花肥”之句。(Shen Fu 1878,8)

Target Text: I was engaged in my childhood to one Miss Yu, of Chinsha, who died in her eighth year, and eventually I married a girl of the Ch'en clan. Her name was Yun and her literary name Suchen. She was my cousin, being the daughter of my maternal uncle, Hsinyu. Even in her childhood, she was a very clever girl, for while she was learning to speak, she was taught Po Chuyi's poem, The P'iP'a Player, and could at once repeat it. Her father died when she was four years old, and in the family there were only her mother(of the Chin clan) and her younger brother K'ehch'ang and herself, being then practically destitute. When Yun grew up and had learnt needlework, she was providing for the family of three, and contrived always to pay K'ehch'ang's tuition fees punctually. One day, she picked up a copy of the poem The P'iP'a Player from a wastebasket, and from that, with the help of her memory of the lines, she learnt to read word by word. Between her needlework, she gradually learnt to write poetry. One of her poems contained the two lines:"Touched by autumn, one's figure grows slender, Soaked in frost, the chrysanthemum blooms full."(Lin Yutang 1936,10)

This passage is excerpted form Six Chapters of a Floating Life written by Shen Fu in the Qing Dynasty. Later on, it was translated into English by Lin Yutang. Based on the translation of Lin Yutang, Li Hui translated it back into Chinese. Here is the translation of Li Hui:

我年幼时与金沙于氏小姐定亲，于氏八岁而亡，最后我娶了亲族陈家的姑娘。陈氏名芸，字淑珍，是我的表姐，我舅舅心馀先生的女儿。芸自小聪慧伶俐，在她学说话时，教她白居易的长诗《琵琶行》，她很快就能背诵。四岁时她父亲去世，家中只有她母亲（金氏）、弟弟克昌和她自己，家境几乎一贫如洗。芸年岁稍长即学做女红，供养一家三口用度，并始终设法按期付克昌的学费。一天，她自废纸篓中捡得《琵琶行》一诗，凭着对此诗的记忆，便从上面逐字逐句学认起来。刺绣的闲暇，她渐渐学会学诗，其中一首里有如下两句：“秋侵人影瘦，霜染菊花肥。”

By comparing the original text and the translated version of Li Hui, we can easily find that the translation of Li Hui is obviously shorter than the original text. What is more, the translation of Li Hui is more like an explanation of the original text rather than a new text using the back translation method. The difference of these two texts lies only in the usage of some Chinese words because of the change of the times. For example, "失怙", which means somebody lose his or her father, was changed into "父亲去世". "修脯", which means a gift or reward for the teachers in the Qing Dynasty, was changed into "学费". Likewise, "书簏" was also changed into "废纸篓".(Lin Yutang 1936,10)

In order to ensure readability, Li Hui used the words popular in the present, which means that the era in which a translator lives will influence the words he or she adopts. This also proves that Mr Lin Yutang has totally understood the meaning of the original text and used the free translation method so that the translation of Li Hui can be in line with the original text in terms of meaning. At the same time, all the words in the translation of Li Hui are rather easy for readers to accept, which means that Mr Lin Yutang has attached much importance to the the cultural communication in order to promote foreigners’ understanding of China and spread China’s culture.(Lin Yutang 1936,10)

As the economy in China is booming and the cultural exchanges between China and the rest of the world are increasing, translation plays an more and more important role in promoting the cultural soft power of China. Although most translation criticism activities take place in the field of literary text, we should put equal emphasis on the development of translation criticism in both literary text and non-literary text, thus improving our translation quality as a whole. Here is an example of the back translation method used in the non-literary text:

(4)Original Text: Coal is the most abundant energy source in the world, but opponents to its use are more vocal than ever.(excerpted from the Financial Times)

Target Text: 煤炭是是全球储量最大的资源，但反对使用煤炭的声浪逐渐增长。

This paragraph is excerpted from the Financial Times, which mainly describes the decreasing demand of coal. The author tries to translate the target language back into the original on her own, and uses online translation website to translate it respectively, here are the two translated versions:

1. Coal, the most abundant energy resource on the globe, is now facing increasing backlash. (trans by the author)

2. Coal is the resource with the largest reserves in the world, but the voice against the use of coal is increasing gradually.(trans by Sougou online translation)

By comparing these two translated versions offered by the author and Sougou respectively and the original text, we can easily find that there is still a big gap among them. For the same expression "声浪逐渐增长", the translation of the author only expresses its superficial meaning, which is only faithful but not elegant. Similarly, the translated version offered by Sougou only uses free translation without paying much attention to idiomatic expressions in English. However, the expression "are more vocal than ever" exactly corresponds to "声浪逐渐增长". The word "vocal" is a word related to voice, so does the word "声浪". The target text has maintained the same effects of cultural communication and made the passage more vivid and attractive.(Wu Yangbo 2010,133)

===4. Application of back translation===

Based on the examples being analyzed in the previous part, the author will mainly introduce when back translation should be applied to translation criticism and the roles of back translation.

At first, back translation help us improve China’s external image(Tan Zaixi 2018,2). Just as example 3 mentioned in the chapter three, this example is excerpted from a very famous work written by a Chinese, then another Chinese person who masters English has translated into English. If we want to understand how foreigners perceive the history of China and make sure that the English version can produce an impact on the spread of Chinese culture, we have to assess the quality of the English version. Of course, the most important thing is to ensure that all the contents are correctly translated.

Except that, we should also ensure that the values are correctly conveyed. It is commonly known that the original text can not be totally the same as the target text because of language differences. By translating the target text back into the original language, we can have a strong sense of the inner meaning of the target text, and we can also know how foreigners feel when they read the target text.(Tan Zaixi 2018,2)

Secondly, back translation plays a key in improving our translation quality.(He Xianbin 2002,46) For example 1 and 2 in the chapter three, their main purpose is to show the image of China in a specific time or context. Therefore, we have to make sure that every word is correctly translated. However, we should not only pursue faithfulness and expressiveness, but pursue elegance as well. Just like the example 4 mentioned above, no matter how our translation correct is, we still can not make our translation as idiomatic as the original text. Only when we know that there is still a much room for us to improve, can we try our best to improve our translation abilities.

Finally, back translation greatly helps us assess the whole structure and general meaning of the translation for we have to do the translation twice.(He Xianbin 2002,47) Usually, back translation takes place in a certain context or a relatively complete text so that we can avoid only analyzing the target text word by word or sentence by sentence. What is more, the usage of words and expressions may change with the times. As far as the author concerned, back translation is another way to rewrite the original text and make it more acceptable for the readers now.

===5. Conclusion===

As China’s comprehensive national strength continues to increase, more and more researchers and scholars in the field of translation studies and translation practice have attached more importance to the cultural communication so as to promote the development of Chinese literature and culture. However, the translation market is still a mixed bag because of lack of awareness of translation criticism.(Fan Dongsheng 2000,33) When scholars began to pay attention to translation criticism, many problems still lie in this field. For example, translation criticism is usually conducted in literary texts, and there is lack of general principles to conduct translation criticism. Among various methods that can be applied to the improvement of the translation quality, the author particularly chooses the back translation method.

There is no doubt that translation criticism can have a great influence on the improvement of the general translation quality in our country. Based on previous studies and personal translation practice, the author analyzes the application of back translation in words, expressions and texts, and respectively illustrates three roles of back translation in translation criticism. Firstly, back translation help us improve China’s external image. Secondly, back translation plays a key in improving our translation quality. And thirdly, back translation greatly helps us assess the whole structure and general meaning of the translation.(Fan Dongsheng 2000,33)

The author analyzes a large number of examples in this thesis and tries to be reasonable and well-founded, hoping that this thesis can give some inspiration to other scholars who study translation criticism. However, there are still some limitations in this thesis. At first, the selected examples are limited in genre and can not fully explain all the problems. Secondly, back translation can only be applied to a certain situations because of the complexity of the translation activity. Learning is a lifelong process, the author will continue to study in this field in her later study life, hoping that the translation quality in China will gradually improve in days to come.(Fan Dongsheng 2000,33)

===6. References===

Buck, S. Pearl. The Good Earth [M]. New York: Simon&Schuster, Inc., 2005.

Lin Yutang. Moment in Peking [M]. Beijing: Foreign Language Teaching and Research Press, 1998.

Buck, S. Pearl赛珍珠.(1935).大地 [The Good Earth]. trans by Hu Zhongchi胡仲持. Shanghai: Kaiming Bookstore开明书店.

Fan Dongsheng范东生.(2000).翻译的本质与翻译批评的根本性任务 [The essence of translation and the fundamental task of translation criticism]. 中国翻译Chinese Translators Journal(04): 32-36.

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

He Xianbin贺显斌.(2002).回译的类型、特点与运用方法 [Types，features and methods of application of back translation].中国科技翻译Chinese Science&Technology Translators Journal(04):45-47+54.

Li Changbao黎昌抱, Tu Qingyin屠清音.(2019). 无本回译研究纵览 [An overview of research of rootless translation]. 中国翻译Chinese Translators Journal 40(03): 130-140.

Lin Yutang林语堂.(2005).京华烟云 [Moment in Peking]. trans by Zhang Zhenyu张振玉. Xi’an: Shaanxi Normal University Press陕西师范大学出版社.

Si Guo思果.(2000).翻译研究[Translation Studies].Beijing:China Translation and Publishing Corporation中国对外翻译出版公司.

Tan Zaixi谭载喜.(2018)翻译与国家形象重构——以中国叙事的回译为例 [Translation and National Image Reconstruction: The Case of China Narratives and Cultural Back-Translation]. 外国语文Foreign Language and Literature 34(01): 1-10.

Wang Jianguo王建国.(2005).回译与翻译研究、英汉对比研究之间的关系 [The relationship between back translation and translation studies and contrastive studies of English and Chinese]. 外语学刊Foreign Language Research(04):78-83+112.

Wang Kefei王克非.(1994).关于翻译批评的思考—兼谈《文学翻译批评研究》[Reflections on Translation Criticism—A Study on Literary Translation Criticism].外语教学与研究Foreign Language Teaching and Research( 3) : 33-36．

Wu Yangbo吴央波(2010).华裔英语文学翻译中的文化还原问题—以《京华烟云》为例[Cultural Restoration in the Translation of Chinese English Literature—A Case study of Moment in Peking].重庆科技学院学报(社会科学版)Journal of Chongqing University of Science and Technology(Social Sciences Edition)(07):132-134.

Xu Jun许钧. (2016).论翻译批评的介入性与导向性——兼评《翻译批评研究》 [On the Interventionism and Orientation of Translation Criticism—A Review of Research on Translation Criticism]. 外语教学与研究Foreign Language Teaching and Research 48(03): 432-441+480.

Xu Jun许钧.(2014).翻译论[On Translation].Nanjing:Yilin Press译林出版社.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 16:05, 20 December 2020 (UTC)

==Analysis of Liang Shiqiu's domestication and Foreignization translation strategies on the Shakespeare's plays. 苏琳 Su Lin 202020080640 比较文学和跨文化研究==

=== Abstract ===
Translation is an "art of choice". Translators are always faced with the choice of domestication or foreignization in the process of translation. The basic task and requirement of translation lies in that the translator can transcend the differences between languages and cultures and achieve the harmony and unity of the two cultures. Therefore, the principle of "appropriateness" is very important. The famous Chinese literary translator Liang Shiqiu translated independently ''The Complete Works of Shakespeare''by using the translation strategies of "the doctrine of the mean", that is, foreignization is the main translation strategy, and domestication is the supplementary translation strategy, which embodies the principle of "appropriateness ". His translation strategy is based on the openness and inclusiveness of the language and culture itself, which not only fully conveys the meaning of the original text, but also has the translator's careful intervention, which is conducive to the mutual communication and penetration of different cultures.
===Keywords ===
Liang Shiqiu; Foreignization; Domestication; ''The Complete Works of Shakespeare''
===摘要===
翻译是一门“选择的艺术”，译者在翻译过程中，始终面临着应该采用归化还是异化的问题。而翻译的基本任务和基本要求在于译者能跨越语言文化间的差异，求得两种文化的协调统一，因此“适度”原则很重要。我国著名的文学翻译家梁实秋独立完成的汉译《莎士比亚全集》就采用了“中庸”的翻译策略，即以异化为主，归化为辅，体现了“适度”的原则。他的此种翻译策略立足于语言文化本身的开放性、包容性，既充分传递了原文意义，又有译者的谨慎介入，有利于不同文化的相互交流与渗透。

===关键词===
梁实秋；异化；归化；《莎士比亚全集》
===I.Introduction===
When it comes to translation strategies, it is worth mentioning the American translation theorist Lawrence venuti, who borrowed his ideas directly from the German theologian and philosopher Friedrich schleiermacher and defined two translation strategies, domestication and foreign inaction, respectively. The former, as venuti suggests, refers to drawing the foreign culture closer to the readers in the target culture so that the text is recognizable and familiar, while the latter refers to bringing the readers into the foreign culture so that they see the cultural and linguistic differences. (Lawrence Venuti, 1995:19-20) And in the field of translation, the choice of domestication and externalization is very important.

Liang Shiqiu used the two strategies accordingly and paid more attention to function-plus-loyalty model. He made a target text work in the intended way in the target situation, meanwhile he gave consideration to the interpersonal relationship between social environment, target receivers and original authors. If there is any conflict between them, he always mediated and sought the understanding of all sides. Just as he said in his article ''Talking about Translation'',“There is no certain method in translation. It is up to the translator who, with his mastery of language, weighs his words and reproduces the source text in another language in the way he thinks to be the best." (Yang Xunwen,2002: 437)

From these words, we can see Liang Shiqiu did not hold that the translator must use one certain strategy or method in translation and thereby the adopting of domestication or foreignization in translation all depends on the actual needs. According to the “cultural turn”theory, it could be possible for us to think that it is the embodiment of Liang Shiqiu's idea of the mean in his translation.

“The problem of domestication and foreignization is not only a question of language choice on the technical level of translation, but also a moral and ethical attitude of translators towards foreign cultures.Foreignization does not take the original text and the culture of the original text as the final destination, because it always involves the process of the target language and cultural transformation, in which the translator mainly pays attention to and follows the cultural and moral factors of the original text.Therefore, domestication and foreignization are a pair of general concepts rather than a strict binary opposition. The definition and choice of the two depends on the specific cultural context and effect of the translation, which may change at any time and on the occasion.”（Liu Junping,2009:445)

Through the study of Liang Shiqiu's translation, the author finds that there are both foreignization strategies and domestication strategies in liang Shiqiu's translation, but generally speaking, foreignization is the main translation strategy and domestication is the secondary translation strategy.

It should be noted here that Liang Shiqiu, as a representative of early Chinese translators, has translated more than ten Western masterpieces, and due to the limited space of this paper, it is difficult for the author to list each and every one of Liang's translations. As the saying goes, a leaf falls, and the Complete Works of Shakespeare is his most successful and possessive masterpiece, therefore, the author mainly endeavors to analyze some typical examples from his Complete Works of Shakespeare in order to provide readers with an overall picture of Liang's translation strategy.

===II.The application of foreignization and domestication===
The problem of foreignization and domestication is a pair of very important categories in the study of literary translation. It can be traced back to the interpretation of translation approaches by German translation theorist Schleiermacher in 1813. “There are only two ways for translation: one is to let the author remain there and lead readers to approach the author, and the other is to make the author approach readers while readers remain there."(Schleiermacher,1992:149)

These two concepts were later adopted by the American translator Venuti in 1995 and were titled "foreignization " and "domestication " in his book "The Invisibility of the Translator". Foreignization and domestication are essentially a kind of thinking and value orientation of the translator that is, when facing heterogeneous factors, whether the translator tends to the original author's thinking or reader's thinking. Liang adopted foreignization strategy in translating the culture-loaded words so as to retain exotic flavor.
====2.1Foreignization-dominated strategy====
Liang Shiqiu's foreignization strategy in translating Shakespeare's plays mainly includes two levels of connotation, one is cultural content, and the other is language structure . At the level of cultural content, translators mainly try to present the original foreign culture as much as possible, without any deletion. On the level of language structure , translators focus on introducing fresh expressions, and strive to expand and enrich certain norms in the target language culture.The author analyzed his foreignization strategy from the following three perspectives.

=====2.1.1Transliteration=====
“when it comes to translating the names of characters,Liang always transliterates them.transliteration can be understood as a method to practice foreignization,since it brings readers no familiar feeling of these names.Liang once pointed out that foreigners often had some strange and long-winded names and there was no need for a translator to offer them names with Chinese characteristics”(Kefei,1988:49).

Let’s look at the following examples:Antonio 安图尼欧,bassanio 巴珊尼欧,Lorenzo 洛兰邹,Shylock 夏洛克,Tubal 条巴尔,Launcelot Gobbo 朗西洛特高波,Leonardo 李昂那多,Portia 波西亚,Nerissa 拿利萨,Jessica 杰西卡,etc.
All the names in this play are transliterated into Chinese. They sound strange in Chinese. They bear no local imagination to our readers. This way of foreignizing names of the original into the target language will bring readers a fresh breath of air and avoid imposing false connection with Chinese.

Western literature owes its development to the ancient Greek and Roman culture which is supposed to be the cradle of western civilization. Many writers from western countries would quote myths from the ancient Greece and Rome in one way or another to enrich the content of their works. The Bible is another source of quotation. Bible, together with the ancient Greek and Roman myths, makes western works difficult for us Chinese to appreciate. Since Chinese literature lives on a totally different cultural background, a translator could often find it hard to offer readers proper Chinese counterparts in his translations. The Merchant of Venice is full of allusions characteristic of western culture. Let's look at how Liang deals with the names of these allusions.

Thus when I shun Scylla,your father,I fall into Charybdis,your mother:(Act 3,Scene 5)

好像是我躲开了西拉，你的父亲，又触上了卡利伯底斯，你的母亲：（2001:36-37）

Peace,ho!The moon sleeps with Endymion,and would not be awak’d!(Act 5,Scene I)

别响了，喂！月亮伴着恩地米昂睡了，不愿被惊醒。（2001:182）

If Hercules and Lichas play at dice which is the better man,the greater throw may turn by fortune from the weaker hand:(Act 2, Scene 2)

赫鸠里斯若是和赖卡斯掷骰子，赌谁的幸运大，就许是弱手反倒占胜：（2001:180）

By Jacob’s staff I swear I have no mind of feasting forth to-night;(Act 2,Scene 6)

我凭着雅各的杖发誓，我真不想今晚去赴宴；（2001:174）

For if they could,Cupid himself would blush to see me thus transformed to a boy.(Act 2,Scene 6)

因为假如情人能看得见，鸠比得见了我这样女扮男装也要脸红吧。（2001:178）

All these allusions are transliterated into Chinese and sound foreign to us Chinese readers. From the Chinese translations, readers can not make sense of what they really mean. Liang persists in transliterating these allusions rather than explaining their meanings directly so that readers can easily notice their existence. In order to help readers realize and appreciate allusions, Liang still provides readers with notes to explain their implied meanings. This way of translating allusions catches readers ' eyes to the existence of allusions and betters their understanding of them.
Liang's transliterating those names avoids false local connection and his notes explain clearly those allusions and promote readers better understanding, which also further prove the fact that Liang is a meticulous translator always pursuing faithfulness.

=====2.1.2 Literal translation=====

Literal translation can be understood as a way of foreignization. It refers to maintaining with smooth language such linguistic forms of the original as wording, sentence structure, figure of speech, etc. in a translation (Zhu Anbo, 2009: 11).

Compared with other Shakespeare's translators, Liang's translations retain more foreign flavor of the original. This is what Liang intends to realize in his translations. To be close and faithful to the original, Liang mainly adopts literal translation method.
Let's look at the following examples.

Portia:The crow doth sing as sweetly as the lark
When neither is attended.(Act 5,Scene 1)

Liang’s version:

波西亚：乌鸦和百灵鸟唱的一样的好听，假如二者都没有环境的陪衬。（2001:158）

Zhu’s version:

鲍西亚：如果没有人欣赏，乌鸦的歌声也就和云雀一样。（2001:187）

Jessica:I would out-night you,did no body come;(Act 5,Scene 1)

Liang’s version:

杰西卡：这样背夜晚的典故，我可以战胜你，若是没有人来；（2001:174）

Zhu’s version:

杰西卡：倘不是有人来了，我可以搬弄出比你所知道的更多的夜的典故来。（2001:181）

Both domestication and foreignization include two aspects: culture content and language structure. In the above examples, Liang keeps purposefully the original linguistic structures with adverbial clauses of condition after the main sentences,which do not sound like idiomatic Chinese. Zhu, however, domesticates language structures by changing sentences sequences. Liang wants to be faithful to the original. Therefore, he often literally translates the original sentence structures without altering the original sentence sequences. Liang's way of literal translation can be called foreignization on a linguistic level. Sometimes, Liang' version may not like idiomatic Chinese, but he indeed does great contribution to the development of modern Chinese by adopting the literal translation method. Nowadays, foreignized Chinese sentence structures like Liang 's can often be found in some literary woks.

Gratiano:They lose it that do buy it with much care(Act 1,Scene 1)

Liang’s version:

格拉蒂亚诺：用过多的烦恼去购买人生，是反倒要丧失人生的。（2001:18）

Zhu’s version:

葛莱西安诺：一个人思虑太多，就会失却做人的乐趣。（2001:9）

In the original version, the word “buy” is used metaphorically. This “buy" is not followed by things but by life. How can one's life be bought by something? Here the word “buy" implies the preciousness of life. In Liang’s version, he literally translates “buy” into “购买”so as to keep the original metaphor. Zhu, on the other hand,liberally translates “buy it with much care" into “思虑太多”, which simply presents the meaning without maintaining Shakespeare's metaphor. A master piece is a good combination of content and language. We can not appreciate a piece without taking its language features into consideration. In this case, however, Zhu gives us no chance to appreciate the beauty of the metaphor. Liang's literal translation of the original brings readers a true Shakespeare. The above example of Liang's literally translating original metaphors is not an exception. In fact, it is his common practice.

Shylock:If I can catch him once upon the hip,
I will feed fat the ancient grudge I bear him.(Act 1,Scene 3)

Liang’s version:

夏洛克：如其我能一旦抓到他的后腰，我要痛痛快快的报这一段旧仇。（2001:36）

Zhu’s version:

夏洛克：要是我有一天抓住他的把柄，一定要痛痛快快地向他报复我的深仇宿怨。（2001:29）

In this example, Liang still adopts literal translation method. Hе translates "catch him once upon the hip literally into “我能一旦抓到他的后腰”while Zhu liberally translates it into “我有一天抓住他的把柄”.Liang's translation is vivid while Zhu's natural. When overused, a metaphor may lose its freshness. Liang's version “抓到他的后腰”may sound too literal, but it is faithful and also provides readers a thread of freshness.

=====2.1.3 Literal translation with notes added=====

“Due to the complicated background involved in some cultural connotations, translators can take corresponding compensation methods, such as literal annotation, to make readers understand 'The Shakespeare’s plays' better.”（Yan Xiaojiang,2019:40）

A large number of annotations are an important feature of Liang Shiqiu’s translation of The Complete Works of Shakespeare.These annotations not only facilitate readers’interpretation,but also provide important research references for scholars.
In fact, Liang tends to adopt liberal translation to translate different figures of speech. In so doing, Liang wants to be faithful to the original as much as he can. Literal translation, however, may sometimes result in understanding difficulties. As a meticulous translator, Liang is aware of these problems and sometimes he would resort to added notes to make a compensation for literal translation method.Here the paper takes Liang Shiqiu’s translation of Othello as an example:

You’ll have your daughter conversed with a Barbary horse.(Act 1,Scene 1)

那么你的女儿可就要被一匹巴巴里的马给奸了。Liang ’s note:Barbary 即Moorish 摩尔人的.(2001:96)

Here Liang Shiqiu transliterated the place name Barbary, and used a note to point out that it alluded to the dark-skinned Moor Othello. It was clear and concise, allowing readers to have a rich imagination of the image of Othello who was not on stage, and at the same time pointed out the subtlety of the characters relationship in the script. If it is not for meticulous research work, this kind of skillful application is difficult to achieve.

Literal translation with notes added The Merchant of Venice abounds with puns and allusions. Liang often adopts literal translation method with notes added to reader those puns and allusions. In
many puns and various allusions in the original version and when they could not be transferred into the target language, he would literally translate them with notes added.

Portia:let me give light,but let me not be light;
For a light wife doth make a heavy husband,
And never be Bassnio so for me:(Act 5,Scene 1)

波西亚：让我给你们一点光，可是别像光似的轻浮；
因为轻浮的妻子要使得丈夫负着重担，我决不愿巴珊尼欧为我担心：（2001:182）

Liang’s note:原文light是“光”，亦可解做“轻浮”，是双关语。

Portia:You should in all sense be much bound to him,
For,as I hear,he was much bound for you.(Act 5,Scene 1)

波西亚：你对他是应该感激不尽，因为我听说他为了你也受祸不浅哩。（2001:183）

Liang’s note:原文bound双关语，可解为“感恩”，“立券”，“入狱”等等。

Pun is a place where a writer can show his ability to control and employ words. As a language master, Shakespeare is very good at devising puns. As a translator of Shakespeare's plays, you will find how annoying these puns are. In general, a translator will find it extremely difficult to figure out an exact corresponding pun in the target language, and what he often does is to translate one meaning but ignores the other meaning of a pun. However, this kind of translating would lead to no perception the original pun.

What Liang does in handling these puns is to try to maintain both meanings of a pun in his translations and provide each pun with a note explaining it. The word“light”in the original refers to“a kind of natural radiation that makes things visible”, and“frivolous" as well while the word “bound”means“grateful as well as“obstructed”. In Liang's version, both meanings of “light” are literally translated into“像光似的轻浮”and both meanings of“bound”into“感恩”and“受祸”with two notes added respectively. This way of translating puns will help readers recognize their existence and appreciate them. If readers could not fully enjoy a pun,they could still seek notes for reference. As I understand, this way of translating puns is by far the most effective way to translate a pun before we could find an idea counterpart in the target language.

Liang's way of translating allusions is very stable: literally translating them with notes added to explain their cultural meanings. Zhu Shenghao,another famous translator of Shakespeare’s plays,however, either transliterates the names of allusions or liberally translates their meanings. And neither way attaches notes to illustrate their underlying meanings.

Portia:If I live to be as old as Sibylla,I will die as chaste as Diana,unless I be obtained by the manner of my fther’s will.(Act 1,Scene 2)

Liang’s version:

波西亚：如果我活到西逼拉那样老，我也愿意是贞洁如戴安娜而死，除非是按照父亲医嘱的方法出嫁。（2001:32）

Liang’s note:西逼拉（Sibylla），老态龙钟的女预言家。
Zhu’s version:

鲍西亚：要是没有人愿意照我父亲的遗命把我娶去，那么即使我活到一千岁，也只好终身不嫁。（2001:25）

Shylock:I have a daughter;
Would any of the stock of Barbbas
Had been her husband rather than a Christan!(Act 4,Scene 1)

Liang’s version:

夏洛克：我有一个女儿；我愿她嫁给巴拉巴的后裔中任何男子，也比嫁给基督徒好些！（2001:158）

Liang’s note:巴拉巴（Barabbas）即让出十字架给耶稣的那个强盗。

Zhu’s version:

夏洛克：我有一个女儿，我宁愿她嫁给强盗的子孙，不愿她嫁给一个基督徒。（2001:163）

Portia:Lie not a night from home;watch me like Argus:(Act 5,Scene 1)

Liang’s version:

波西亚：你可别有一夜在家睡觉：像阿尔格斯似的看守着我。（2001:188）

Liang’s note:阿尔格斯（Argus）神话中之“百眼儿”。
Zhu’s version:

鲍西亚：您还是一夜也不要离开家里，像个百眼怪物那样看守着我吧。（2001:197）

From the three examples quoted above, we can find in Liang's version that three allusions “Sibylla” , “Barabbas”, and “Argus” are literally translated into Chinese words“西逼拉” ,“巴拉巴”and “阿尔格斯”respectively, each attached with a note correspondingly. While in Zhu's version, we could hardly perceive the existence of these allusions, for he liberally translates these allusions into“一千岁”，“强盗”, and “百眼怪物”without added notes to explain them.

In this sense, Zhu's version is not faithful to the original. Liang adopts literal translation to catch readers' attention to notice the existence of these allusions and, with notes added, helps readers appreciate them. In so doing, Liang has to do much extra work to provide notes for readers reference. Liang is indeed a man of meticulous scholarship. In his eyes,translating is a serious enterprise, and a translator should try to be faithful to the original in every aspect, even though it means extra labor. Liang' 's spirit of respecting the original is worth our further studying. Let's look at two more examples.

Salarino:And other of such vinegar aspect
That they’ll not show their teeth in way of smile,
Though Nestor swear the jest be laughable.(Act 1,Scene 1)

Liang’s version:

撒拉利诺：又有一些人天生的酸相，笑的时候也不露牙齿，虽然奈斯特赌咒说这笑话是可笑的。（2001:17）

Liang’s note:奈斯特（Nestor）老成持重之王，轻易不笑，如认某一笑话为可笑，必甚可笑无疑。

Zhu’s version:

萨拉•里诺：有的人终日皱着眉头，即使涅斯托发誓说那笑话很可笑，他听了也不肯露一露他的牙齿，装出一个笑容来。（2001:9）

Shylock:A Daniel come to judgment!(Act 4,Scene 1)

Liang’s version:

夏洛克：一位丹尼尔来裁判了！（2001:152）

Liang’s note:Daniel圣经中之以色列的清明的法官。善决疑狱。

Zhu’s version:

夏洛克：一位但尼尔来做法官了！（2001:157）

In these two examples, the original allusions "Nestor" and Daniel" are transliterated into“涅斯托”and“但尼尔”respectively in Zhu's version. When reading Zhu's version, readers, I believe, do detect the existence of these allusions,but maybe wonder why allusions are used here and what exactly these allusions mean.Zhu's transliterating the names of these allusions without attaching notes to explain them still can not be considered as a successful way or an idea way of translating allusions. Liang, on the other hand, follows his old practice to handle these allusions,i.e. literal translation with notes added. Nestor" and Daniel" are literally translated into“奈斯特”and “丹尼尔”respectively and each is combined with a note to explain its cultural meaning. Comparatively speaking, in translating allusions, Liang presents us а truer Shakespeare.

====2.2Domestication-supplemented strategy====
By examing Liang’s version,we could find both domestication and foreign inaction strategies are employed.in a sense,domestication is inevitable in every translation.translations often assume some local color no matter how hard a translator tries to be faithful to the original.Liang tends to adopt the Strategy of foreignization in his version.however,he still leaves us many particular examples of domestication.

When Jacob graz d his uncle Laban's sheep. (Act 1, Scene 3)

当初雅各给他的舅父拉班放羊的时候。（2001:38）

Or shall I bend low, and in a bondman's key, (Act 1, Scene 3)

或是我应该深深的鞠躬，打着奴才的腔调。（2001:40）

Yourself, renowned prince, then stood as fair as any comer I have look' d on yet for my affection. (Act 2, Scene 1)

那么，王爷你和我见过的几位有同样的可以赢得我的机会。（2001:48）

Master young man, you; I pray you, which is the way to Master Jew's? (Act 2, Scene 2)

少爷，你来;请问到犹太人家向哪边走?（2001:50）

I am half afeard thou wilt say anon he is some kin to thee, (Act 2, Scene 9)

我恐怕你接着要说他是你的本家了。（2001:92）

Which appears most strongly in bearing thus the absence of your lord. (Act 3, Scene 4)

如此安然的忍受着新婚的郎君的远离。（2001:126）

I have heard your Grace hath ta'en great pains to qualify his rigorous course; (Act 4, Scene 1)

我已听说大人很为我费力设法减轻他的凶恶的威胁;（2001:138）

A form of address is an embodiment of national culture. The Chinese people attach great importance to family and family relations. Thus more forms of addressing members and relatives of a family can be found in Chinese than in English. The two examples“舅父”，“本家”are particular cases in Chinese.“舅父”shows clearly that this uncle is a relative from one's mother 's clan, while “本家”refers to a member of the same clan. During the feudal society, there was a strict classification among different social status which was also reflected in addressing terms. “大人”signify people who occupy higher class in a society while “奴才”refers to people with low social status. The above translations bear more or less some Chinese color, thus betraying the original to some extent. These typical examples of domestication bring Chinese readers a familiarfeeling.

He lends out money gratis, and brings down the rate of usance here with us in Venice.
(Act 1, Scene 3)

他把钱出借而不取利息，于是把我们在威尼斯放的印子钱的利率都给拉低了。（2001:36）

For when did friendship take a breed for barren metal of his friend? (Act 1, Scene3)

因为哪里有朋友为臭铜钱而向朋友取利息的?（2001:42）

Supply your present wants, and take no doit of usance for my moneys, and you'll not hear me: (Act 1, Scene 3)

借给你急需的钱，一文利息也不要，而你不肯听我说完了:（2001:43）

And then the boy, his clerk, that took some pains in writing, he begg' 'd mine; (Act 5, Scene 1)

随后那个年青人，他的书记，笔墨上出过力所以他就要我的; （2001:24）

The above examples “印子钱”，“铜钱”“一文”，“笔墨”are typical products of Chinese culture. In the feudal society, “铜钱”, i.e. copper, was used as money for people to do business and Y"as a monetary unit referred to one copper. And “印子钱”was a kind of usury in the Qing Dynasty of China. Because every time a borrower repaid a certain amount of money to a moneylender, he had to stamp the book with a mark. This was the reason why this kind of usury was called“印子钱”at that time. China is a country with excellent history of calligraphy. For quite a long time in the history of China, scholars and men of letters usually used brushes and prepared Chinese ink to do their writings. So the translation “笔墨”does lead to some local imagination. All these four translations are typical examples of domestication, for the Chinese culture are heavily loaded in the version.

In Belmont is a lady richly left, and she is fair, fairer than that word, of wondrous virtues;
(Act 1, Scene 1)

在贝尔蒙有一位拥有巨产的姑娘，很美貌，更美的是出奇的贤慧;（2001:28）

Your father was ever virtuous, and holy men at their death have good inspirations; (Act 1, Scene 2)

你的父亲一向是贤明的，并且善人临终时必有灵感; （2001:38）

This was a way to thrive, and he was blest: and thrift is blessing, if men steal it not. (Act 1, Scene 3)

这是他获利的方法，他是有福气的;获利是福气，只消不是偷来的。（2001:46）

I swear the best regarded virgins of our clime have lov'd it too;(Act 2, Scene 1)

我们国土里最著名的闺秀也都爱我的容貌;（2001:66）

If e' er the Jew her father come to heaven, it will be for his gentle daughter's sake; (Act 2, Scene 5)

如其她父亲那犹太人还有升天之一日，那必是托他女儿的福；（2001:150）

The original text is based on western culture, closely related to the Bible culture. The original English holy", blessing", and bless' d are obviously biblical words. Unlike westerners, however, we Chinese do not believe in God, but, instead, many of us more or less identify ourselves with Confucian and Buddhist ideas. Therefore, when it comes to translating such kind of culture-loaded words, it is very likely that a translator could not find such counterparts in the target language but have to domesticate them. Look at the words “贤明”,“善人”,and “闺秀”. They are good words that Confucius often teaches us Chinese to follow. And“福气”，“福”and “福佑”are obviously Buddhist words. Liang's translations indeed bring our Chinese readers a familiar feeling.

As we know, translating is a process of intercultural communication. Cultural differences or gaps always exist. Sometimes, it is difficult for a translator to find proper counterparts in the target language and what a translator can do is to replace the original with seemingly-matched but actually culturally-different translations.

In the era of Liang Shiqiu’s life,translation activities could hardly be deemed as mature as they are today. Many things were new to China, and many translations of foreign words were not finalized. A translator could not find in China some cultural phenomena peculiar to foreign countries, let alone find corresponding Chinese to describe them. In this case, domestication occurs. Of course, chances are that some translators adopt domestication on purpose so as to bridge cultural gaps and help readers to appreciate works. Both reasons could explain Liang 's adopting domestication in his translations.And the next part of this paper will further explore the reasons why Liang Shiqiu chose foreignization as the main translation strategy and domestication as the auxiliary translation strategy.

====2.3The reasons of Liang’s translation strategies====

“the translator who is the reader of the original text and the creator of the translated text as well plays an important role in translation. Translating is not simply a kind of transition between different language systems but a kind of creative activity. In the process of translating, the translator is the bridge communicating the culture of source language and the culture of target language, and his subjective dynamics influence the success of this kind of communication to some extent. He would unconsciously put his own life experience, acquirements, personality, aesthetic views and habits into his reading, understanding and expressing of the source text.”(Yang Xi,2009:23) Just based on this idea, Liang Shiqiu's translation strategies are closely related to his life experience and background.

Firstly, Liang Shiqiu was nurtured by Confucianism since he was a child, and the essence of Confucianism is similar to the core idea of the Doctrine of the Mean. The Doctrine of the Mean refers to compromise and harmony, requiring people to follow the state of harmony and goodness among all things. This became the foundation of his philosophy of life.From his domestication strategy,we can see his strong accumulation of Chinese traditional culture,he opposed to europeanize completely, which resulted in disputation among some famous writers like Lu Xun. This will be further discussed in detail in the next chapter.

Secondly, Liang Shiqiu went to the United States to study in order to broaden his horizons. During this period, he was deeply influenced by his mentor Irving Babbitt. He also recognized the new humanistic ideas and gave it time significance. Professor Irving Babbit is proficient in Confucianism, and to a large extent his theory has many similarities with Confucianism. He admires Western culture very much and advocates that Chinese could learn Western culture. Therefore, he chosed many classic works with Western cultural connotation for translation，He kept the original text as much as possible in the translation process. Sometimes when he encounters obscure and difficult sentences,He often used the method of literal translation with annotation to bring readers many fresh cultural experiences.

Thirdly, In that time,China was in a special historical period when modern society and modern society were handed over. The cultural exchanges between China and the West influenced his way of thinking and translation concepts. Although Liang Shiqiu affirmed the mentor's new humanistic viewpoint, he did not separate romanticism from classicism, but found a balance between romance and classicism. He integrated Chinese and Western cultural concepts, based on Confucian spirit, added Babbitt’s theory, And it is the combination of these two ideas that made his translation strategy.

====2.4 The evaluation to Liang’s translation strategies====

During the New Culture Movement and the May 4th Movement, a number of outstanding patriotic scholars emerged, and the translated literature was also full of vitality. These scholars were not only influenced by traditional culture, but also influenced by foreign culture. However, it is worth noting that there was a group of scholars appeared who opposed Liang Shiqiu's translation strategy, among whom Lu Xun was the most representative one.

Lu Xun's standpoint has to do with an important function of translation, that is, the enrichment of the Chinese language and culture, which can be better fulfilled by literal translation. Here he obviously thought it natural and necessary for the readers to try their best to understand those new expressions and structures, but with gradual acceptance of such expressions and structures the Chinese language would be enriched. He insisted on complete literal translation and criticized Liang Shiqiu's domestication strategy as old and decadent.But Liang thought faithful but not fluent translation" is as bad as fluent but not faithful translation. To him a desirable translation is one that is faithful to the content as well as other original features of the source language text. However, the translator cannot create obscure expressions for the so-called keeping the source text's mood (Yang Yulin, 2006:89 ).

Besides, the translator should not confuse translation with the improvement o Chinese. In a word, Liang insisted that the translator should be responsible for both the source language writer and target language readers. On the other hand, Lu insisted that word-for-word translation" is more faithful to the source text and he would rather have faithful but not fluent translation" than fluent but not faithful translation.

Taking into account the social background at that time, our nation was still in a weak position and its development was lagging behind that of Western countries, so Lu Xun also hoped to use translation to "input new content and new expressions" to Chinese to improve Chinese and promote Chinese language development so that Chinese as a language medium can better integrate domestic talents with international standards. Liang Shiqiu believed that translation is mainly to convey the original author’s thoughts and content to those who do not understand the original content.

Therefore, loyalty to the original text and expression in conformity with the target language habits are the focus of Liang Shiqiu’s translation, and Liang Shiqiu advocated “reading first-rate Books, translating first-class books” , He believed that only in masterpieces people can get profound ideological content. The author believes that looking at the dispute between the two dialectically, it can be said that both sides have their own merits, which is conducive to academic discussions in the translation industry and promotes the development of translation studies.

===III.Conclusion===

Liang Shiqiu devoted his whole life to bringing many western classics to Chinese readers, and his translations of ''The complete works of Shakespeare's plays'' have exerted a great influence on Chinese translation. Liang Shiqiu adopted the strategy of combining domestication and foreignization in translating Shakespeare's plays.

On the one hand, from the perspective of language and culture, he adopted the strategy of foreignization. For example, when translating proper nouns such as names and places, he disapproved of misleading Local Chinese translations and advocated transliteration. He transliterated "Julius Caesar" as"朱利阿斯西撒" instead of "凯撒大帝". If a person's name reflects certain characteristics of the person, he would naturalize appropriately to convey this information in the translated name, so that readers can understand the personal characteristics. And there are so many puns, slang and colloquialisms in ''The Shakespeare’s Plays'' that they are almost impossible to be translated., then he adopted foreignization strategies, supplemented by annotations, to enrich the Chinese language with heterogeneous cultures. Culturally, he recreated exoticism. There are many vulgar and obscene words in ''The Shakespeare's plays'', which he reserved for the sake of their truth. He advocated the true reflection of Shakespeare's times, the translation of elegant and vulgar should be faithful to the original.

On the other hand, human emotions are common and there are similarities between eastern and western cultures. Therefore, Liang Shiqiu supplemented his translation with domestication strategies. Although he stressed the "existence of truth", he did not "dead translation". He objected to the "Europeanization" of the target language, that is, using translation to reconstruct Chinese syntax directly from western grammar structure. Liang Shiqiu gave full consideration to readers, for texts with similar cultural connotations, he advocates "nationalization", or domestication, of the target language. This makes the translation more fluent and in line with the expression habits of domestic readers, and greatly improves the readability and appreciation of the translation.

===IV.References===

[1] Venuti, Lawrence. The Translator 's Invisibility: A History of Translation[M]. London & New York: Routledge, 1995.

[2] Schleiermacher, F. On the different methods of translating(1813) [ C] 11 Andre Lefevere. Translation/History/cul-ture. London & New York: Routledge, 1992: 141 - 166.

[3]Zhu Anbo朱安博.(2009).”归化与异化:中国文学翻译研究的百年流变” [Domestication and Foreignization: The centennial Evolution of Chinese Translation Studies] “北京科学出版社”[Beijing Science Press].

[4]Ke Fei柯飞.(1988).“梁实秋谈翻译莎士比亚”. [Liang Shiqiu's recollection of translating Shakespeare].”外语教学与研究”[Foreign Language Teaching and Research Press ](01),46-51.

[5]Liang Shiqiu梁实秋.(2001).”莎士比亚全集”.[The complete works of Shakespeare][A][M].”北京中国广播电视出版社”.[Beijing China Radio and Television Press].

[6]Zhu Shenghao朱生豪.(1978). “莎士比亚全集”.[The complete works of Shakespeare].”北京人民文学出版社”.[Beijing:People's Literature Publishing House].

[7]Yang xunwen杨迅文.(2002c).”梁实秋文集(5)”.[ liang Shiqiu’s anthology,05].”厦门:鹭江出版社”.[Xiamen: Lujiang Press].

[8]Liu Junping刘军平. (2009)”西方翻译理论通史[M]”.[A general history of Western translation theory,M].”武汉：武汉大学出版社”.[Wuhan: Wuhan University Press],445.

[9]Yan Xiaojiang严晓江.(2010).”论梁实秋的译莎策略[J]”.[On Liang Shiqiu's Translation strategies].”长春大学学报”.[Journal of Changchun University],20(03):39-42.

[10]Xiao Yixin肖忆鑫.(2013).”梁实秋之中庸翻译观研究”.[Liang Shiqiu's View of the doctrine of the mean in Translation].”赣南师范学院”.[Gannan Normal University],MA thesis.

[11]Yang Xi杨曦.(2010).”梁实秋翻译思想研究”.[Studies of Liang Shiqiu’s Translation Thoughts].”浙江财经学院”.[Zhejiang University of Finance and Economics],MA thesis.

[12]Xu Ling许玲.(2007).”梁实秋的新人文主义思想与莎剧翻译”.[Liang Shiqiu's New Humanism thought and Translation of Shakespeare's plays].”安徽师范大学”.[Anhui Normal University],MA thesis.

==A Brief Introduction to Deconstruction and Venuti's Translation Strategy of Foreignization 徐佳 Xu Jia==

==Contrast between literal translation and free translation - Liu Yi 刘艺 202070080640 MTI==

===Abstract===
The discussion of literal paraphrase has been present throughout the development of translation theory. However, the ongoing debate between literal and paraphrase is not always at the same level and about the same translation issues. Literal translation and paraphrase can be regarded as both translation methods and translation strategies, and the discussion of literal translation and paraphrase first requires a conceptual analysis of the two terms and a clarification of the scope of the discussion. The theories of literal and free translation in Chinese and Western translation studies can be examined from the meta-theoretical level, which not only enables a rational understanding of the debate between literal and free translation, but also enables a better understanding of the relationship between translation theory, practice and their historical contexts. In this paper, we first analyze the concepts of literal translation and free translation, and then Throughout the thesis, we have introduced the application of literal translation and free translation and used some examples to show their application in proverb and idiom. At last, we will analyze the relation between literal translation and free translation.

===Keywords===
free translation, literal translation, application.

===摘要===
在翻译理论的发展过程中，关于字面转述的讨论一直存在。然而，直译与意译的持续争论并不总是在同一层面上，关于同一翻译问题。直译和意译都可以看作是翻译方法和翻译策略，讨论直译和意译，首先要对这两个术语进行概念分析，明确讨论范围。中西方翻译研究中的直译和意译理论可以从元理论层面进行考察，这不仅可以理性地认识直译和意译的争论，而且可以更好地理解翻译理论、实践及其历史背景之间的关系。本文首先分析了直译和意译的概念，然后在论文中通篇介绍了直译和意译的应用，并用一些例子来说明它们在谚语和成语中的应用。最后，我们将分析两者之间的关系。

===关键词===
直译，意译，应用。

===I. Introduction===
In intercultural communication, translation plays a very important role. Translation is the process of replacing chapters of material in one language (source language) with chapters of material in another language (target language), How to effectively translate between English and Chinese? The two languages have both commonalities and differences, as they belong to different language families: English is an Indo-European language, while Chinese belongs to the Sino-Tibetan language family. However, there are some common points between the two languages, such as the same subject-predicate word order and the same verb-object word order. In order to realize the interchangeability of the two languages, we have to make use of some translation methods, such as literal translation and paraphrase translation.

The essence of translation is the conversion of information from one language to another or to several languages. In the translation process, translation is influenced by many factors, including contextual and cultural factors. Among translation strategies, literal and paraphrase are the most popular. Both literal and paraphrased translations have their own applications and cannot be generalized. Translators need to make good use of both literal and paraphrase translations in order to produce good translations. Literal translation and paraphrase are important translation strategies, and they are related, complementary and inseparable.

===II. Sources of Literal and free Translation===
In the West, during the Roman era, literal translation was used to translate Greek into Latin. Later, Cicero advocated paraphrasing to preserve the overall style and power of the language (Tan Zaixi, 2009:19). After that, people used these two translation methods to translate, literal translation and paraphrase translation. In China, as early as the end of the Eastern Han Dynasty, the famous Buddhist scripture translator Zhi Qian put forward the idea of "not emphasizing the wording, but keeping the original meaning" as a method of literal translation.

"In his disciple Zhi Qian, he opposed such a literal translation from a stylistic point of view, and advocated a free translation. His disciple Zhi Qian, on the other hand, opposed such literal translation from a stylistic point of view and advocated free translation. During the Eastern Jin Dynasty, the commentator of Buddhist scriptures translation, Dao An, advocated literal translation of every word of the scriptures, without any addition or deletion to the original text. Kumarajiva, as the representative of the School of Free Translation of Buddhist Scriptures, proposed the method of free translation as "faith-based," "Tao practicing and compounding," and "making quality rather than wild". In his evaluation of his translation, Liang Qichao said: "All translations by Xuanzang, for the original, either add or subtract, in order to achieve the purpose." In the 1930s, both Lu Xun and Qu Qiu Bai advocated literal translation, Zhao Jing Shen favored free translation, and Lin Yutang advocated the integration of literal and free translation.

===III. Definition of Two Translation===
'''3.1 Definition of Literal Translation'''

Literal translation refers to a method to render of text from one language to another by following closely the form of the source language. Definitely different from mechanical translation (word for word translation), literal translation shall provide fluent and accurate translation that is easily comprehended by the readers of the target language. "The so-called literal translation is a translation method or translated text that keeps the content and form of the original text" (Feng Qinghua, 2002:37). There are a lot of differences between English and Chinese, but there are some commonalities between the two, which is the basis and reason for the existence of literal translation.[1](Fang Yili.2012, 000(003):16-20.)

Mr. Mao Dun once explained and emphasized that literal translation is not a dead translation of "word for word, not one more, not one less" [2].(Wei Lu;Hong Fang,2012,2(4):741-746.) The real intention of literal translation is not to distort the creative purpose of the original work, but to express the spirit of the original work.

You can also say that it refers to translate a sentence originally, keeping the original forms, including construction of sentences, meaning of the original words, and metaphor of the original and so on. It can not only reproduce the meaning and frame of language, but also keep its vivid image figure of speech and novel and unique expressive ways so that readers can comprehend the origin’s literal grace.

For example: The winter morning was clear as crystal. The sunrise burned red in a pure sky, the shadow on the rim of the woodland were darkly blue, and beyond the white and scintillating fields patches of far off for forest hung like smoke.
Literal translation: 冬天的早晨水晶般明澈。纯净的东边天上朝日烧的通红，林子边上的影子时暗蓝色，隔着那耀眼的白茫茫的天野远处的森林像挂在半空中的烟云。
This translation keeps the original form and meaning totally. It comes out the author’s writing style and transfer the source language to target language perfectly.

'''3.2 Definition of Free Translation'''

Free translation is a method to deliver the intended meaning of the source text without paying attention to details such as syntax, style and so on of the original text. Free translation is suitable in case the translation is difficult to be understood or accepted by the readers or the translation seems not as attractive or powerful as the original text by approach of literal translation. It can also means a method of making the target text smooth and perfect .On the basis of them, places of word and constructions of sentence have to be almost changed to suit real meanings of original text.[3](Zhu Liyun,Xu Jingxian.2019(14):107-108)

In general, a paraphrase is a translation that is consistent with the original text in terms of content, but changes in form. In short, the translation should be faithful to the basic content of the original text, while the form of expression should be original. In the history of Chinese translation, the definition of free translation is also divided. For example, Fu Lei believed that a paraphrase should, to the maximum extent possible, maintain the syntax of the original sentence, not that the grammar of the original sentence can be completely thrown away. It is not that the grammar of the original sentence can be left out completely. Eskridge once said that a translator cannot arbitrarily add or delete sentences from the original in order to achieve the standard of "up" translation, but that the original should be taken into consideration. According to Qian Gechuan, although the translations use paraphrase and change form, they should still be faithful to the original.

For example: It’s an ill wind that blows nobody good.
Free translation: 对于某些人有害的事可能对于另外一些人有好处。
In this translation, we can see that there is no word in Chinese that equivalence to the word “wind” in English. So we use free translation which not only keeps the original meaning but also makes source language to target language comprehensively.
However, free translation does not mean to neglect or add the original. When to use free translation, translator must know both source language and target language very well, including the cultural background, the equivalence words and make the translation fluent and comprehensible. Free translation is a flexible translation skill. Once literal translation can not express the original well, it’s time to use free translation.

===IV. The different applications of literal and free translation===
'''4.1 The application of literal translation'''

Firstly, if it is possible to translate literally, translate it word-for-word. The advantage of literal translation is to keep the liveliness of the text which has rhetoric in it. Let’s take two sentences below as examples:

(1) For my father know and I know that if you only dig enough, a pasture can be made free.
Literal translation: 因为我父亲知道，我也知道，只要挖到一定程度，早晚可以在这里劈出个牧场的。
Free translation: 因为我父亲知道，我也知道，功到自然成。

(2) But I hated Sakamoto, and I had a feeling he’d surely lead us both to our ancestors.
Literal translation: 但是我恨坂本，并预感到他肯定领着咱们去见祖先。
Free translation: 但是我恨坂本，并预感到他肯定会领着咱们去送死。

For the first one, we can see the free translation expressed the general meaning of the original sentences with the metaphors. It’s better and comprehensive. But for the second one, though free translations make sentences more fluent, literal translations are closer to the original and express author’s emotion much lively. Because the differences of two languages, sometimes it is difficult to retain the intrinsical thoughts and style of the source language.
Secondly, some sentences are hard to translate literally in some circumstances, especially the different expression of metaphors, proverbs and idioms. To people in English speaking countries, they are hard to understand some old sayings in Chinese and literal translation is unacceptable in this situation. They can’t get the original meaning accurately.
For example:

(1) Our son must go to school. He must break out of the pot that holds us in.
Literal translation: 我们的儿子一定得进学校，他一定得打破这个把我们关在里面的罐子。
Free translation: 我们的儿子一定要上学，一定要出人头地。

(2) Their legs moved a little jerkily, like well-made wooden dolls, and they carried pillars of blank fear about them.
Literal translation: 他们的腿轻轻痉挛地移动着，像做得很好的木偶一样，他们随身携带者黑色的恐怖柱子。
Free translation: 他们每向前迈进一步，腿就抖动一下，好似精致的木偶一样，他们身上带着一股阴沉的杀气。

In these sentences, literal translation is improper. We cannot use literal translation if the presentation of the version does not conform to that of the source language. “Break out the pot that holds us in” is an English idiom. When we translate it to Chinese, we have an idiom “出人头地” that has the similar meaning.
Generally speaking, literal translation is the basic technique in translation practice. It can keep the original form, including sentences’ structure and the original expression. But sometimes it needs some necessary changes to make the ways of expression be consistent between source language and target language.

'''4.2 The application of free translation'''

First of all, we use free translation when it’s difficult to translate them literally; especially there are differences on the ways of expression between the two languages. Moreover, in some sentences, though literal translation can make it understandable, it cannot express the profound meaning smoothly. Under this circumstance, free translation can help us get a better result.
For example:

(1) It is an ill bird that fouls its own nest.
Literal translation: 弄脏自己巢的鸟的确是一只坏鸟。
Free translation: 家丑不可外扬。

(2) Cast pearls before swine.
Literal translation: 把珍珠扔到猪前面。
Free translation: 对牛弹琴。

Free translation should be fluent and natural. It can express the general idea without paying much attention to the details; especially in the translation in idioms or proverbs.
Secondly, never add our own emotion to the translation. A successful translation must be objective and clearly. Free translation gives the translators more freedom to express source language and readers can get the original meaning comprehensively. Once the translators add their own emotions to it, the two version’s readers would have different feelings on the same task.
Finally, free translation is a flexible and technical skill. The translators must learn abundant knowledge and possess the general knowledge of both the two countries as much as possible. More extensive knowledge translators have, more completely they can comprehend the meaning of the original task.

'''4.3 The comparison of applications of literal and free translation'''

'''4.3.1''' What are the advantages of literal translation? Generally speaking, the use of rhetoric in a text makes it more vivid and lively, and through literal translation, the rhetoric of the original text is preserved and the target language is similar to the original text. In contrast, free translation only reflects the general idea of the original text, and the original rhetoric disappears through the original translator's ingenuity and processing. So, in general, literal translation is a good choice.
For example,

For Maria, this is a great success in her life, just as the brave winning over a great battle against the gigantic man in the black forests.

Literal translation:在玛丽亚看来, 这是她一生中最了不起的成功, 这种成功就好像她英勇无畏地战胜了黑暗森林中的巨人。

Free translation:在玛丽亚看来, 这是她一生中最了不起的成功。
In this sentence, the literal translation only reflects the main idea of the original, which is too simple and bland, and the metaphorical rhetoric and description of the character's psychological state are lost. The literal translation, however, is much clearer and more vivid than the free translation, which is more vivid and natural. Due to language differences, it is sometimes difficult to retain the ideas and style of the original text in the translation process. The advantage of literal translation is precisely this: it can keep the ideas and style of the original text.

'''4.3.2 A literal translation is not the same as a word-for-word translation.'''

What is word-for-word translation? --When translating, every word in the source language is considered, and every word in the target language is translated one by one.Usually, the target reader does not know what the translated text is really saying, and this is also a word-for-word translation. For example,

John had to face the music after his father came back for he had broken his father’s expensive vase.
Literal translation :在他的爸爸回来后, 约翰不得不面对音乐, 因为他打碎了爸爸的昂贵的花瓶。

The translation of these two sentences is clearly not in line with the Chinese way of expressing oneself; it is word-for-word, sentence-for-sentence, and overly rigid. It does not conform to the way the target language is expressed, and the meaning it is intended to convey is ambiguous, making it difficult for the target reader to understand what the translator is trying to say. A word-for-sentence translation is a substandard translation, as it confuses the target audience.
A literal translation retains the style, rhetoric, and structure of the original text, while at the same time making the necessary adjustments to make it smooth, clear, and acceptable to the target language. After reading, the target language reader can have almost the same feeling as the source language reader.
Some people make the mistake of thinking that a translation that keeps the structure and form of the original text exactly the same is a literal translation, confusing the concepts of literal and word-for-word translation. In the end, literal translation is not a word-for-word translation; it is an acceptable and flexible translation.

'''4.3.3''' Some sentences should not be directly translated Some source sentences are difficult to translate. Some sentences do not fit the way the target language is expressed after literal translation. Different countries have different cultures, different customs, different rhetoric and different ways of expressing the same idea, and different idioms. In China, people usually use some idioms to describe an event or a person, and this is also the case in foreign countries. In the eyes of Westerners, Chinese idioms are very difficult to understand. In these cases, the result of a literal translation would be unacceptable. When the target language readers read such a translation, they cannot know the exact meaning of the source language, because the message in the target language is ambiguous. For example, if:

The bastard finally kicked the bucket in an accident.
Literal translation:那个坏蛋最后踢了木桶在一场交通意外中。
Free translation:那个坏蛋最后在一场交通意外中丧命。

'''4.3.4.''' The literal translation of this sentence is nonsensical, even absurd; but with a paraphrase, the translation becomes clearer and more acceptable to the target audience, and is culturally appropriate.
But under what circumstances should a literal translation be done? How to use literal translation correctly? When the expression of the source language is not the same as that of the target language, literal translation should not be done. As a translator, you should pay attention to the following aspects:

Firstly, to understand the culture of the source and target language, to acquire as much extensive knowledge as possible, and to become more familiar with the issues talked about in the source language, otherwise the translation work cannot be carried out. We often have the experience that we do not know or do not understand something, even after it is explained to us, because we do not have the appropriate knowledge. Therefore, a professional translator must have some knowledge of the relevant discipline or specialty. If a translator does not know the material he wants to translate and the content of the knowledge of the relevant discipline involved, his translation will be unqualified.

Secondly, it is very important to understand the information in the source language correctly and thoroughly. The translator should not only know the apparent meaning of the text, but also read through the original text to thoroughly understand the idea and meaning of the original text. If a translator only knows the literal meaning of the original text, and translates literally, then his translation will not be successful. The target language reader will be confused when reading such a translation, and will have a different feeling between the intended message of the original text and the translation, or even a misunderstanding.

Third, translation is not the same as reading. When reading, it doesn't matter how we understand or whether we can understand or misunderstand, because the reader's level is limited. Reading is only a sense of self. But a translation can affect other people. Therefore, translators should have a thorough understanding of the information in the source language and repeat the information correctly.
Fourth, improve the acceptability of the translation. From the above, we know that the translation should be consistent with the expression of the target language, so that it can be easily accepted by the target language readers. In fact, it is not difficult to preserve the style of the source language; the real difficulty is to translate the source language into a language that is consistent with the mode of expression of the target language.

Literal translation is a basic skill necessary for translation work. It preserves the form of the source language, including the sentence structure and diction. Sometimes, it makes necessary changes to the source language to make it closer to the expression of the target language and to make the translation more acceptable. But literal translation is not a panacea. Translators should expand their knowledge and practice extensively. After all, practice is an important aspect of translation work.

'''4.4 The application of literal translation and free translation in idiom'''

Idiom is also a kind of saying. Idiom is an expression, word, or phrase that has a figurative meaning that is comprehended in regard to a common use of that expression that is separate from the literal meaning of definition of the words of which it is made. Idioms are numerous and they occur frequently in all languages.

The formation of idiom accords with the formation of culture. It is to say that the culture give birth to the idiom. Thousands of years ago, people draw lessons and experience from their daily life and then write down to tell their generations what they have gotten. As a result, most of idioms mirror almost everything related to the life. They contain experience and philosophy. We should know the basic structure of the sentences well, rather than the face value of words. Only in that way you would know what shouldn’t be reserved and what can be ignored.

Every country has its own unique culture. We know most idioms are produced by farmers, hunters, and fishermen and came from daily life. So they often use much different imagery in the idioms. England is an island and fishery country so a great number of English idioms relate to fish and sea. On the contrary, China has been an agricultural country with a very large agricultural population. As a result, we have a great many Chinese idioms that contain farming experience, especially we use animals to signify person. When we translate the idioms, in some circumstance we can translate them literally; but under most circumstance, in order to make readers understand, we take free translation.[4](Gao Qiang, Li Cao.2008(14):265-266)

These imageries should be translated freely.
For example:

(1) Teach fish to swim.
Free translation: 班门弄斧。

(2) Beat the dog before the lion.
Free translation: 杀鸡儆猴。

(3) One must howl with the wolves.
Free translation: 入乡随俗。

(4) Love me, love my dog.
Free translation: 爱屋及乌。

(5) Put the cart before the horse.
Free translation: 本末倒置。
5 The relationship of
These imageries can be translated literally.

For example:

(1) The style is the man.
Literal translation: 文如其人。

(2) To be on thin ice.
Literal translation: 如履薄冰。

(3) Hasty makes waste.
Literal translation: 欲速则不达。

(4) Fish in troubled water.
Literal translation: 浑水摸鱼。

(5) Business is business.
Literal translation: 公事公办。

(6) Honey sweet words.
Literal translation: 甜言蜜语。

(7) A gentleman’s agreement.
Literal translation: 君子协定。

'''4.5The application of literal translation and free translation in proverb'''

Proverb is a kind of sayings. It prevails in the community with concise words. Most proverbs reflect the practical experience of working people's life and are generally passed down orally. It is mostly spoken in the colloquial form of phrases or rhymes easy to understand. And proverbs are to some extent similar to idioms, twisters, common sayings, and aphorism.
Readers can enrich themselves with plentiful interesting information of other cultures by familiarizing themselves with proverbs. Thus, the function of proverb translation is not only to absorb and introduce the vivid expressions, but also to enrich the readers with the culture of other nations and learn their basic philosophy of life or world.

In order to understand the features of proverb translation, let’s take some examples:

(1) One boy is a boy, two boys half a boy, three boys no boy.
Literal translation: 一个男孩是男孩，两个男孩抵半个，三个男孩什么都不是。
Free translation: 一个和尚挑水吃，两个和尚抬水吃，三个和尚没水吃。

(2) One picture is worth a thousand words.
Literal translation: 一张图胜过千言万语。
Free translation: 百闻不如一见。

(3) Where there’s a will, there’s a way.
Literal translation: 有一种意愿，就有一种方法。
Free translation: 有志者事竟成。

(4) A new broom sweeps clean.
Literal translation: 新扫帚能打扫干净。
Free translation: 新官上任三把火。

(5) The same knife cuts bread and fingers.
Literal translation: 同一把刀可以切面包也会割到手指。
Free translation: 水能载舟，亦能覆舟。

(6) The pot calls the kettle black.
Literal translation: 锅笑壶黑。
Free translation: 五十步笑百步。
From these examples, when the metaphors are different, free translation could help us understand the source language better. However, in some circumstance, Chinese proverbs have the same meaning, expression ways and metaphors using, taking literal translation is easier and convenient.
For example:

(1) Books are ships that pass though the vast sea of time.
Literal translation: 时光好比汪洋，书籍好比航船。

(2) Hedges have eyes, walls have ears.
Literal translation: 隔篱有眼，隔墙有耳。

(3) Out of sight, out of mind.
Literal translation: 眼不见为净。

(4) Like father, like son.
Literal translation: 有其父必有其子。

(5) Well begun, half done.
Literal translation: 好的开始是成功的一半。

===V. The relation between literal and free translation===
Because of the different metaphors and imageries using between English and Chinese, once we cannot translate literally, we should make some changes. Such as “dog” signifies good things in English but just on the contrary in Chinese. So sometime we choose free translation to make the sentence perfect.
(1). Both literal and literal translations are intended to be accurate, both figurative and spiritual reproductions of the original meaning of the work, and there is no good or bad in either.
"Among wolves one must howl" can be literally translated as "你在狼群中必须得嗥", or it can be translated as "入乡随俗".
Nevertheless, we must note the difference between these two translation strategies. Literal translation has a higher requirement for "faithfulness to the original", and is usually used for scientific, legal, and other texts, because it must be precise and not misleading to the reader. In addition, literal translation can also be used to translate general everyday language. In contrast, free translation is more abstract and is generally used to translate poetry, prose and other literary works, expressing the main connotation of the original work with divergent thinking to increase its beauty and artistry.
(2) Literal translation and free translation are not mutually exclusive, but complementary and inseparable.

===VI. Conclusion===
Throughout the thesis, we have introduced the definition of literal translation and free translation and used some examples to show their application in proverb and idiom. According to the analysis, we know literal translation and free translation are two basic methods in translation practice. Literal translation emphasizes both the form and meaning of the text, while free translation lays stress on the conveying of the spirit of the text. However, literal translation is different from word-to-word translation or dead translation, which converts words out of the text simply. Free translation, on the other hand, translating the text in a flexible way does not means to translate random but reasonable. Both of the two methods have their own beauty.
Literal translation can keep the original expressing style and meaning of the text and achieve formal equivalence between Chinese and English. And it can be more directly in the expression. But not all sentences can be translated literally. In some circumstance, especially the poetry, proverb and idiom, literal translation shows its limitation. So we use free translation.
The beauty of free translation lies in its freedom of the forms. It does not pay so much attention on details of the source language and it demands the translators to handle target language culture and customs and readers of target language could accept the translation easily and clearly. It can be used when literal translation cannot be taken. Translators should remember not to add their own emotion in their translation task, for that will make the readers have the different feeling in two languages versions then the translation is not appropriate. And free translation is not uncontrolled translation, it also require the correctness.
Literal translation and free translation are two main forms of translation. They are not repulsive but complementary. In practice, we should not stick to one of the methods. We can translate the texts neatly and take the right method which is more suitable for the practical situation. Every country has its own history, culture and customs. Those aspects could be reflected by their language expressing. A good translator should have more extensive knowledge and apply these two methods flexibility, experientially and properly. We must accumulate knowledge of different nations in our daily life, read more books and practice as much as possible.

===References===
[1] 方仪力. 直译与意译:翻译方法、策略与元理论向度探讨[J]. 上海翻译, 2012, 000(003):16-20.

[2] Wei Lu;Hong Fang.Reconsidering Peter Newmark‟s Theory on Literal Translation[J].Theory and Practice in Language Studies,2012,2(4):741-746.

[3] 朱丽云;徐静娴.有关直译和意译的讨论.汉字文化.2019年(14):107-108

[4] 高强;李曹.浅谈直译法与意译法在翻译工作中的应用.科技信息(科学教研).2008年(14):265-266

[5] Wensheng Deng.“Cultural Self-confidence” or “Cultural Trust”—A Proposal for Teaching Literal Translation[J].Theory and Practice in Language Studies,2020,10(3):300-305.

[6] Rui Manuel Cruse.The Importance of Literal Translation in the Process of Learning English as a Foreign Language[J].The ESPecialist: Research in Language for Specific Purposes,2011,31(1).--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:02, 9 December 2020 (UTC)

='''Cultural Differences'''=

==The Translation of English and Chinese Idioms from the Perspective of Cultural Differences 李凌月 Li Lingyue 202020080611==
李凌月Li Lingyue202020080611
==='''Abstract'''===
Idioms are unique cultural products of different nationalities, regions and societies. It contains a long historical background and rich cultural connotation. It not only reflects the colorful social life of all ethnic groups, but also carries a unique aesthetic feeling of language. Due to the differences in geographical environment, religious beliefs and customs, English and Chinese idioms have different cultural characteristics and cultural information. Translation is not only an interlingual communication, but also a cross-cultural transfer. Cultural factors are often the focus and difficulty in translating idioms. Mastering the principles and methods of idiom translation is not only conducive to the translator's translation, but also conducive to the further construction of cross-cultural communication.
===Key words===
idiom translation; cultural differences, cross-cultural communication; translation principles; translation methods
===题目===
从文化差异看英汉习语的翻译
===摘要===
习语是各民族、地域和社会特有的文化产物。它蕴含着久远的历史背景和丰富的文化内涵，不但反映了各民族丰采多姿的社会生活，且承载着独特的语言美感。因地理环境、宗教信仰、生活习俗等方面的差异，英汉习语具有不同的民族文化特色和文化信息。翻译是语际交流，更是跨文化的迁移。文化因素往往是翻译习语时的重点和难点。熟练掌握习语翻译的原则和策略，不仅有利于译者的翻译，且有利于跨文化交流的进一步构建。
===关键词===
习语翻译、文化差异、跨文化交流、翻译原则、翻译策略
===1. Introduction===
Idiom is a cultural product of various regions. After the passage of time and the social and cultural changes and development of various regions, idioms have formed a unique cultural system, which is also a reflection of local cultural thoughts. It not only contains a large number of language and local living habits, but also reflects the local history and culture. Idioms have stable structure and distinctive national color, fixed form and profound implication. Idioms are one of the most effective ways of emotional expression, which can achieve the purpose of communication in a proper and implicit way. (Deng Qiufeng, 2020)

Therefore, idioms are widely used in people's daily communication activities, as well as in various language textbooks and classroom teaching contents and practices. Idioms are also the crystallization of the wisdom of the peoples of the world and the gem of the language essence. They are the concentrated expression of national personality and national culture, and contain rich and colorful intension. Stylistically, idioms in a broad sense include proverbs, slang, colloquial, twin words, trinomials, catchphrase, lexical phrase and habitual collocation. (Deng Qiufeng, 2020)

===2. Features of Idioms===

====2. 1 Vividness====
Many idioms use some images to reflect the meaning it expresses, and use a lot of rhetoric, such as metaphor, metaphor, personification, etc., especially the metaphor. These images and rhetoric increase the language effect of idioms, make them more vivid, and the language color more lively. For example, in Chinese, there is the saying of “漏网之鱼”, which literally refers to the fish escaping from the fishing net, which is used to describe the escaped criminals or enemies; another example is “光阴似箭，日月如梭”, which compares time to an arrow and a shuttle, which means that time passes by amazingly fast, just like an arrow out of a bow and a shuttle in operation. In English, for example, armed to the teeth, a snake in the grass. These idioms use rhetorical devices and some images to describe their meanings. In this way, not only can the language be vivid and vigorous, but also the rhythm is beautiful and easy to read. (Liu Mingjuan, 2020)

====2. 2 Historic Background====
Idioms are all developed from people's long-term life and practice. They have certain historical imprints, and different nationalities have different expressions. For example, the idiom “换汤不换药” has a certain historical origin. Literally, it means to change the decoction water, but the prescription has not changed. Although the name and form of metaphor have changed, the content is still the same. As we all know, traditional Chinese medicine has existed since ancient times and is very popular. In this way, this proverb is obviously historic. In English, “at the eleventh hour” comes from the Bible. Even if the employees who enter the vineyard at 11 o'clock only work for one hour, they will be paid the same wages at 12 o'clock as those who enter the vineyard before 11 o'clock. It means that 11 o'clock is the last time, but it is still not too late. (Liu Mingjuan, 2020)

====2. 3 Stability====
The stability here mainly refers to the stability of the structure and semantics of idioms. After a long period of continuous development and evolution, idioms gradually have certain norms, and their structures are no longer inconsistent. Idioms cannot be reduced or changed at will, nor can their structures be changed at will. Chinese idioms often retain the form of ancient classical Chinese, and their grammatical structure is different from that of modern Chinese. Taking “唯命是从” and “何陋之有” as examples, here “是” and “有” are the signs of the advance of the object, that is, to obey orders, there is no rudeness. In English idioms, the singular and plural can't be changed at will, and the part of speech can't be transformed at will. Just like Chinese, it can't increase or decrease components or change sentence structure arbitrarily. For example, we can't change it to “hang by hair” or “hang by a hair of his”. This is the stability of English and Chinese idioms. (Liu Mingjuan, 2020)

====2. 4 Semantic Unity====
The semantic meaning of an idiom is a complete and indivisible entity. Therefore, we can't understand the idiom according to the meaning of the words that make up the idiom. Otherwise, we will make the mistake of taking the literal meaning for granted. “Pull one's socks up” cannot be understood as “lifting one's socks up” according to its four parts. (Deng Qiufeng, 2020)

Of course, the structural stability of idioms is not absolute. Many idioms in both languages have their own variants. The change of idioms must be based on the overall meaning and basic structure of the prototype idioms, and be accepted by convention. (Deng Qiufeng, 2020)

====2. 5 Euphony====
Idioms often use the harmony of pronunciation and structure to achieve the catchy, harmonious and pleasant effect. In terms of pronunciation, alliteration and final rhyme are mainly used to increase the phonetic beauty and rhetorical effect of idioms. For example, “hot and heavy”; “money makes the mare go”; “by hook or by crook”; “fair and square”; “wear and tear”; “A friend in need is a friend indeed”. In terms of structure, it is reflected in the neat antithesis and the use of repetition to form idioms. For example, “like father, like son”; “out of sight, out of mind”; “cool and calm”; “safe and sound”. On this point, Chinese idioms are more incisive, and most of them are four character structure. Such as “匆匆忙忙”，“如火如荼”，“兴致勃勃”. (Ma Guozhi, 2019)

English and Chinese belong to different language families, English belongs to Indo European language family, Chinese belongs to Sino Tibetan language family, English belongs to hypotaxis language, and Chinese belongs to parataxis language. There are many static words in English and dynamic words in Chinese. Chinese idioms are very expressive, especially idioms with stable structure, many overlapping words and harmonious syllables; English idioms often bring beauty of sound in word stress, sentence stress and pitch fluctuation. (Ma Guozhi, 2019)

===3. Cultural Differences in English and Chinese Idioms===

====3. 1 Differences Based on Natural Environment====
People living in different natural environment will form different culture, because each culture will have different characteristics according to its region and climate environment. Idioms, as a unique cultural gene, fully integrate the differences of natural and geographical environment. It can be said that the specific geographical environment is the basis for creating a specific culture, which makes the language in the culture be expressed through different idioms. (Deng Qiufeng, 2020)

Chinese people live in a semi closed continental geographical environment with mild climate, and their self-sufficient small-scale peasant economy can meet people's living needs. Therefore, people believe that a good harvest cannot be separated from the gift of nature. They pay attention to the unity of man and nature, and pay more attention to human relations. Since ancient times, the Han nationality has given priority to agriculture, so many of its idioms are related to farming and planting. For example, “吃饭不忘种田人”；“不耕不种，终身落空。”；“瓜熟带落”；“生米煮成熟饭”；“牛郎织女”；“巧妇难为无米之炊”；“一份耕耘，一份收获。”and so on.

Greece, the birthplace of western culture, is an open marine geographical environment. People need to fight against the harsh nature for a long time. Therefore, it has formed the tradition of exploring and conquering nature. The geographical environment makes the fishery, shipbuilding and shipping industry flourish and develop. Therefore, English idioms naturally have a lot of things about the sea. For example, the English idiom “spend money like water” is used to describe the waste of money and extravagance, while the Chinese idiom uses the idiom “挥金如土” to express this meaning; In English idiom, “between the devil and the deep sea” means “进退维谷” in Chinese idioms; Similar English idioms about ships and water are: “to keep sb's head above water", “miss the boat”, “rock the boat”, “feel at sea”, “in the same boat”, “take the helm”, etc. (Deng Qiufeng, 2020)

In addition, English and Chinese idioms also reflect the differences in weather and climate between China and the West. In addition, due to the differences in geographical environment, the “west wind” in English is equivalent to the east wind in Chinese. Just as Shelley, a famous English poet, praises the west wind in his ode to the west wind, in English, the west wind has warm and pleasant meaning, while in Chinese, the west wind is bleak and desolate. (Deng Qiufeng, 2020)

====3. 2 Differences Based on Religion====
The development of human religion has gone through a process from irrational witchcraft and superstition to mature and non-exclusive rational religious civilization. As different cultures choose different scales in the process, the development direction and track of religion are also different, which reflects different temperament. In the attitude towards religion, Chinese culture reflects the love of real life and has the value scale of humanism, while the western culture shows a yearning for the transcendent other side of the world and praise God. (Liu Mingjuan, 2020)

As early as the Xi Han Dynasty, Buddhism has been introduced into China from ancient India. After a long time of development, it has become China's largest religion and related idioms, such as “平时不烧香临时抱佛脚”；“放下屠刀，立地成佛”；“借花献佛”; While in the western countries, as early as the first century A.D., Judaism, the source of Christianity, was born. In the later period of the Roman Empire, it was established as the state religion, and then developed through the monopoly in the middle ages. Christianity was closely related to the life of Westerners. The idioms such as “Judas kiss”, are used to describe shameful treachery; “as old as Adam”, means very old; “God help those who help themselves” and so on. Nowadays, these two religions have been integrated into the eastern and Western cultures respectively, and become an inseparable part of the daily life. Therefore, it is very important to deepen the understanding of Chinese and Western culture through idioms. (Liu Mingjuan, 2020)

====3. 3 Differences Based on Historical Allusions====
Every nation has its own history and culture, which leads to different customs due to different historical cultures. In fact, many idioms come from history, which mainly come from historical stories or historical documents. These idioms are simple in structure and far-reaching in meaning, so they cannot be understood and translated only from the literal meaning. For example, “周瑜打黄盖，一个愿打一个愿挨”，“姜太公钓鱼，愿者上钩”，“身在曹营心在汉”，“三顾茅庐”,“名落孙山”. Many of these idioms, come from history and have profound significance. In western countries, there are many idioms related to history, such as "an apple of discord", which comes from the Greek story of the war caused by an apple. “Greek Gift” is also derived from Greek mythology. At that time, the Trojans gave the Greek horses as gifts, and there were many soldiers in the horses, which led to the defeat of Greece. There is a certain historical story behind each idiom. Therefore, in order to translate idioms better, we must understand the history and culture of the West. (Chen Jian, 2016)

In China, “dragon" is our spiritual totem, a symbol of auspiciousness and power. Chinese people are also proud of being the descendants of dragon. However, in the eyes of Westerners, there is no such special feeling for “dragon”. Even “dragon" is regarded as a dreadful monster with teeth and claws. (Chen Jian, 2016)

====3. 4 Differences Based on Living Customs====
The difference of life customs is often one of the important reasons for language differences. Due to the differences of national customs and habits in different countries, there are great differences in attitudes and views on many things. Western civilization has the characteristics of searching for the outside world and a strong desire to conquer. This has formed the British and American people's outlook on life that emphasizes innovation, enterprise and boldness, which can be reflected in idioms such as “knowledge is power”. The English idiom “bread is the staff of life” embodies his pragmatic outlook on life, while “money talks" embodies his pursuit of material interests and utilitarianism. (Deng Qiufeng, 2020)

In Chinese idioms, the spirit of “collectivism” and “selfless dedication” is often emphasized, such as “天下兴亡，匹夫有责”. Take the attitude towards animals as an example. In Western English speaking countries, dogs are regarded as the most loyal friends of human beings, and are often loved by people. Therefore, there are many English idioms about “dog", such as: “a lucky dog”, “every dog has his day”, “love me, love my dog”, “rain cats and dogs”, “the dog days of summer”, “work like a dog”, etc. However, in Chinese culture, “dog” is often regarded as a humble animal, it is often given a derogatory meaning in Chinese idioms, such as: “狗咬吕洞宾，不识好人心”、“狗口里吐不出象牙”、“狐朋狗党”、“狗急跳墙”、“狼心狗肺”、“狗腿子”、“丧家之犬”and so on. In Chinese idioms, we often find such examples as “静如处子，动如脱兔” praising rabbit's cleverness and agility. However, in English idioms, rabbit has become a synonym for timidity. Therefore, “as timid as a hare" can be used to express the meaning of “胆小如鼠” in Chinese. Custom is the hotbed of idioms, and the idioms which record the national customs and culture are also shining the glory of national culture in the language. (Deng Qiufeng, 2020)

===4. Translation Principles and Methods of English and Chinese Idioms===
Chinese and foreign theorists have put forward different opinions on translation standards. From Yan Fu's “faithfulness, expressiveness and elegance”, Fu Lei's “spirit like but not form like”, to Zhang Peiji's “faithfulness and smoothness"; from Qu Qiubai's “equivalent concept” to Eugene A. Nida's “functional equivalence” or “dynamic equivalence” We can see that these propositions influence each other, complement each other, and constantly improve. Although the emphasis is different, the central point is that the translation should faithfully and accurately express the meaning of the original text, maintain the style of the original work, and faithfully oppose the appearance of the original work. The so-called faithful expression of the original meaning should refer to the literal meaning, the image meaning and the implied meaning of the original text. However, not every sentence, every idiom and vocabulary in the original text has three meanings at the same time. Some may only have literal meaning, but have no image meaning; some may have both literal meaning and image meaning, but have no implied meaning. In particular, it is impossible for any two languages and cultures to be identical. (Chen Jian, 2016)

====4. 1 Translation Principles====
=====4. 1. 1 Retain the Cultural Characteristics of the Original Language=====
Idioms are unique cultural products of different nationalities, regions and societies. It contains a long historical background and rich cultural connotation. It not only reflects the colorful social life of all ethnic groups, but also carries a unique aesthetic feeling of language. When translating idioms, the translator must flexibly deal with it according to the specific situation of the context and retain the cultural characteristics of the original language. For example, “上天” is the ruler of heaven and earth in ancient Chinese view, which is usually translated as “heaven”. Christianity believes that God created heaven and earth, human beings, animals and plants, and is the master of all things in the universe. When encountering similar concepts in English and Chinese, translators should be careful to keep the cultural characteristics of the source language and not borrow the surface corresponding sentences in the target language. (Wang Xia, 2019)

=====4. 1. 2 Keep the Style of the Original Language=====
Translation is not only the conversion of words and sentences, but also the expression of the original idea in the target language. The ideological connotation is often contained in the style. Therefore, it is very important to show the style of the original text in translation practice. Only by doing the corresponding style can we accurately convey the ideological connotation of the original text and make the target language readers understand the essence of the original text. However, it is extremely difficult to achieve the corresponding style, because people from different cultures have great differences in the way of thinking and cultural concepts, which requires the translator to first understand the ideological connotation of the original text, to figure out the style of the original text, and then to express this style in a flexible way of target pragmatics. This kind of flexibility is indispensable in the translation of literary works. (Wang Xia, 2019)

The art of translation lies in keeping the style of the original text in the translation. To do a good job of translation, we need to have the ability to express the style while recognizing it. The translator should try to preserve the style of the source language in the translation. If the idioms are archaic, they need to be translated more quaint. If the idioms are colloquial, they should be translated lively and colloquial. (Wang Xia, 2019)

=====4. 1. 3 Do Not Take Words Too Literally=====
In the translation of idioms, the translator often only interprets the literal meaning of the text, which cannot correctly express the true meaning of it, so that the translation completely lost credibility. In idiom translation, it is difficult to judge the meaning of an idiom with a certain word from its literal meaning. It is necessary to understand its original meaning, transferred meaning and the relationship between it and other words, and its context, so as to make clear its real meaning.

====4. 2 Translation Methods====
Idioms are not only rigorous in structure, concise in form, incisive in meaning, vivid in image and alive in expression, but also rich in cultural information. Therefore, when translating idioms, it is the most difficult to maintain the flavor of the original language and conform to the habits of the target language. However, not every sentence, every idiom and vocabulary in the original text has the equivalent expression of two languages at the same time. Moreover, the culture carried by any two languages cannot be completely equivalent. (Zhou Suhan, 2017)

The choice of foreignization and domestication has always been one of the core issues in the field of translation. Eugene Nida is the representative of domestication. His translation thoughts are mainly embodied in the theory of "dynamic equivalence" and "functional equivalence". Nida advocates domestication translation from the perspective of readers' acceptance, and believes that the translation should be as fluent as the original without any traces of translation. On the contrary, Vernuti, a translation theorist who first combines domestication and foreignization with translation, is a representative of foreignization. On the basis of deconstruction and from the perspective of cultural colonialism, he put forward “impedance translation”, advocating that when translating a foreign language into English, it should retain the characteristics of the source language rather than follow the norms and patterns of the target language, so as to resist the cultural hegemony. (Zhou Suhan, 2017)

Due to the different characteristics, forms and meanings of idiom culture in Chinese and Western countries, it is necessary to think twice in choosing translation strategies. In the process of translation, we should try our best to keep the characteristics of the original text and meet the requirements of readers. It is not enough to use a single translation strategy. We should analyze the specific situation and take its advantages to achieve the best effect. (Zhou Suhan, 2017)

=====4. 2. 1 Literal Translation=====
Literal translation is a kind of translation method that maintains both the content and the form of the original text, especially the metaphor, association and national and local characteristics implied in the original idioms, without violating the language norms of the target language and causing wrong associations. (Zhang Yanxin, 2017)

Although the cultural background is different, human beings as a whole have many common factors, such as happiness, anger, sadness, joy and life, old age, disease, death and so on. These things determine that in the language and culture, English and Chinese have a lot of the same artistic conception, especially idioms, most of which come from feelings and life experiences. Therefore, when the same image is read in different languages, the same association can be aroused in people's mind. In idiom translation, those images and metaphors that can cause the same feelings and associations can be directly translated by literal translation. For example, Blood is thicker than water (血浓于水); Kill two birds with one stone (一石二鸟) ; A good medicine tastes bitter (良药苦口); To add fuel to the fire (火上浇油); Practice makes perfect (熟能生巧); to fish in the troubled water (浑水摸鱼). The Chinese word “纸老虎" is literally translated into “paper tiger". Foreigners not only seem to understand its meaning, but also feel very vivid, so it has become the official British and American national language. In addition, “丢脸" in spoken Chinese is also translated into “lose face”; and “走狗” is translated into “running dog”. Literal translation helps to maintain the style of the original text, and can also introduce new words, syntax and expressions to enrich the content of the language. (Zhang Yanxin, 2017)

=====4. 2. 2 Borrowing=====
In both Chinese and English, some synonymous idioms are consistent in content, form and color. They not only have the same meaning and rhetorical color, but also have similar forms or metaphors. Borrowing means that when some English idioms and Chinese idioms are consistent or basically consistent in meaning and form, they can be replaced by corresponding idioms in translation.(Hu Gangliang, 2019)

For example, wall have ears (隔墙有耳); lain sail (一帆风顺); Love me, love my dog (爱屋及乌); When shepherds quarrel, the wolf has a winning game (鹬蚌相争，渔翁得利); Set a fox to keep one' s geese (引狼入室). In western culture, cunning foxes are specially designed to steal geese. If the geese are handed over to the foxes, it is like sending sheep into the tiger's mouth, which is almost equivalent to the Chinese saying “引狼入室”, and the translation is very vivid. (Hu Gangliang, 2019)

It can be seen that borrowing can not only maintain the charm and form of the original text, but also be easily accepted by readers or listeners. However, when using borrowing, we should pay attention to the fact that although some English and Chinese idioms have similar literal meanings, their meanings are very different. At this time, we can't pull them together, or we will destroy the image of the original text and appear far-fetched, There are even misunderstandings. For example, “pull one's leg” seems to be the Chinese word for “拉后腿”, but the two idioms have completely different meanings. (Hu Gangliang, 2019)
=====4. 2. 3 Free Translation=====
Each national language has its own vocabulary, grammar, sentence pattern and expression. When the content of the original text conflicts with the language standard of the translation, literal translation is not suitable, and the same idiom cannot be found for borrowing, so the free translation method should be adopted. Free translation cannot be confined to the expression form of the original text, but it must faithfully express the content of the original text. Such as The kettle and the (一丘之貉); Once in the blue moon (千载难逢); Actions speak louder than words (事实胜于雄辩); The apple of one's eye (掌上明珠). (Hu Gangliang, 2019)

In addition, some idioms contain historical allusions or ancient people's names, and some involve place names or religions. If they are translated literally, they will be very difficult for the target readers to understand. At this time, it is better to adopt the free translation method, because on the one hand, it can reflect the simplicity of the original text, on the other hand, it is more acceptable to the readers. For example, “赔了夫人又折兵” comes from the allusions of the Three Kingdoms. We can translate it into “suffer a double loss instead of making a gain”. “A new broom sweeps clean” cannot be translated as “新打帚打扫得干浄”，and it should be“新官上任三把火”。Therefore, free translation should be used as a major method in the translation of English idioms which possess metaphor. Of course, the use of free translation will inevitably damage the image metaphor of English idioms and reduce the expressive power, which requires translators to be more careful in translation and make full use of the advantages of Chinese to make up for it. (Hu Gangliang, 2019)

=====4. 2. 4 Annotation=====
Some idioms have strong national and local characteristics or allusions, and some involve ancient names or place names. We can fully express their significance only after we understand their historical background and the source of ancient books. In the process of translation, if the original text is translated literally, it is difficult for readers to fully understand its implication; if free translation is adopted, the unique image and style of the original text cannot be retained. At this time, the use of annotation to translate can not only make readers understand the original meaning, but also help readers to further understand the potential meaning of the language itself. (Guo Huiqing, 2019)

For example, “The heel of Achille”: the literal translation of such idioms will make Chinese readers feel confused. The ancient Greek hero Achilles was carried upside down by his mother after he was born and soaked in the river Styx, so he was invulnerable. However, his heel was not immersed, which made him his only fatal weakness. In later battles, he did die of heel injuries. When we encounter such idioms, we can translate them with annotation, that is, Achilles' heel (fatal weakness) will be clearer. (Guo Huiqing, 2019)

From the above translation examples, it is not difficult to find that although the annotation method can keep the original flavor of the original language, and can take into account its form and other aspects, some translations are somewhat lengthy and cumbersome, thus losing the characteristics of short, concise and humorous. Therefore, this method has some limitations. (Guo Huiqing, 2019)

===5. Conclusion===
This paper mainly compares English and Chinese culture from four aspects: regional culture, religious culture, historical culture and custom culture, and then analyzes the differences between English and Chinese idioms, and puts forward some translation methods, including literal translation, borrowing, free translation and annotation. Idioms are characterized by rich cultural connotations, and the quality of their translation is closely related to the degree of cultural understanding. The translation of idioms needs to express the implied cultural meaning and communicate with the target audience smoothly to achieve better communication effect. (Chen Jian, 2016)

Therefore, this paper compares English and Chinese Idioms from the perspective of language and culture, analyzes the differences between English and Chinese Idioms from the perspective of culture, and deeply understands idioms, so as to put forward appropriate translation methods and promote communication. However, the comparison of English and Chinese culture and the translation methods are not comprehensive enough and need further study.(Chen Jian, 2016)

===6. References ===
Zhang Yanxin张严心.(2016). "谈文化差异背景下的英汉习语翻译策略" [On the Translation Strategies of English and Chinese Idioms in the Context of Cultural Differences]. "中国教育学刊" [China Education Journal].(S1):1-3

Wu Xiaoli吴晓莉.(2008). "从文化差异的角度看英汉习语的翻译" [On the Translation of English and Chinese Idioms from the Perspective of Cultural Differences]. "鸡西大学学报" [Journal of Jixi University].(05):87-88.

Ma Guozhi马国志. (2019). "文化视域下的英汉习语对比与翻译" [Comparison and Translation of English and Chinese Idioms from the Perspective of Culture]. [Science and Education] "科教文汇". (03):180-183.

Guo Huiqing郭卉青. (2019). "从英汉文化差异看英汉习语翻译" [On Idiom Translation from the Perspective of Cultural Differences between English and Chinese]. "校园英语" [Campus English]. (23):218-219.

Zhou Suhan周苏菡.(2017). "从文化差异的角度看英汉习语的翻译" [Cultural Differences between English and Chinese Idioms and Their Translation]. "湖北函授大学学报" [Journal of Hubei Correspondence University].30(23)167-169

Deng Qiufeng邓秋峰.(2020). "浅谈中英习语的文化差异和翻译" [On the Cultural Differences and Translation of Chinese and English Idioms]. "校园英语" [Campus English]. (04):242-243.

Chen Jian陈坚.(2020). "基于英汉语言文化对比探析习语的翻译方法" [On the Translation of Idioms based on the Comparison between English and Chinese]. "商务英语教学与研究" [Business English Teaching and Research]. (00):92-99.

Zhang Yue张悦.(2013). "试论英汉习语的文化差异及教学思考" [On the Cultural Differences between English and Chinese Idioms and Teaching Thinking]. "中国教育学刊" [China Education Journal].

==Cultural Differences On English Interpretation And The Coping Strategies马娟 Ma Juan 英美文学==
马娟Ma Juan202020080623
===Abstract===
English interpretation as a cross-cultural social activity refers to the cultural differences between English and Chinese. Because of cultural differences in these asapects such as historical background , customs, religion and the way of thinking, English interpretation is necessary to take all of these influences into consideration and the interpreter must have a penetrating mind of the cultural differences.When the interpreter does English interpretation, he must know the coping strategies to grapple with these problems caused by cultural differnences so as to transmit the proper,correct and decent information to the target audiences.
===Key words===
Cultural differences; English interpratation; Coping strategies

===题目===
英语口译中的文化差异及应对策略

===摘要===
英语口译作为一个跨文化交际活动，涉及到英语和汉语的文化不同，因为历史背景、习俗、宗教和思维方式等等这些方面的不同，英语口译必须把这些因素的影响考虑进去，口译员也必须有跨文化交际意识。
===关键词===
文化差异；英语口译；应对策略

===1.Introduction===
===1.1 Research Background===
(给以标上了编号，以下都编上了)
From the ancient time to now, the communication between peoples and nations is achieved through language. Because of the multitude of human languages in the world, translating rises in response to the proper time and conditions. Translating is divided into two kinds; one is translation and the other is interpretation. On the ground that interpretation is characterized by the properties of presence, time limit and live, it plays a prominent part in our daily life.(Hu Kun,2014)

However, as we all know, people are living in a speech community. Hence, they are not immune to the culture of the community. It is precisely because the communication between people in different communities has this sort of characteristic that the interpretation between these communities speaking different languages is the transmission of ideas and cultures. Thus we can see that interpretation as a cross-cultural activity, it can not avoid the effects of cultural differences between the target language and the source language.(Liu Yan,2015,08)

As we all know, Chinese as an oriental language and English as a western language originate form two kinds of completely different community backgrounds, geographical conditions and cultural settings. Thus it is not hard to imagine the colossal differences behind these two languages, a simple but all-round representative of all the differences between these nations. So the interpretation between Chinese and English is obviously a way of culture spreading. Additionally, from the previous practices of cultural communication, a great number of interpreters chorus that the cultural differences affect the interpretation, an information transfer activity a lot. For the sake of the cultural differences, it follows some problems caused by these differences such as misinterpretation and informational loss in the process of English interpretation. Only can these problems be solved, a relatively complete and successful communication can be reached.(Gai Xiaoyu,2016)

===1.2 Research Significance===
As many problems are produced by cultural differences between Chinese and English, there must be some solutions to these problems in order to pursue better communication between people and facilitate the exchange of man’s ideas and minds. Therefore, this chapter is going to introduce some kinds of coping strategies to improve the effects of interpretation despite of the long-existed cultural differences between the west and China. These coping strategies stretch from the ideal aspect to action aspects. Because the cultural differences includes many aspects such as way of thinking, customs and religious culture, it is required that the interpreter is capable of clearly mastering the two languages and also understanding the cultural differences in all aspects.(Ding Yin,2015)

That is to say, the interpreter must have a awareness of cross-culture and a master of all kinds of flexible switching skills between Chinese and English, which are as follows; domestication and foreignization, natural equivalence, literal translation with a annotation or the method to borrow synonyms in English and some flexible handlings. All these coping strategies that will be advocated in this chapter are beneficial for achieving better effect of information transfer and also the culture exchange. To sum up, the research significance of this chapter is to improve the effects of English interpretation to guarantee a higher quality of the integrity on the information transfer and the same reaction of the listeners through the use of these strategies, and thus to promote culture exchanges between China and the west in spite of the influences of cultural differences.(Ding Yin,2015)

===1.3 The Structure of The Chapter===
The chapter is divided into five parts. The first part is to explain the research background and the research significance of this chapter. With the development of globalization, exchange between nations and peoples is more and more frequent. As a witness and an indispensable participant of the international communication, interpretation plays an important role in this process. Nevertheless, for the sake of cultural difference between China and the west, there is always some misinterpretation and informational loss in the process of information exchange. Given this, the chapter also takes a part in the group that aims to find some strategies to improve the effect of interpretation. With the help of these strategies, the English interpretation may be more better in the aspect of informational transfer and emotional expression.(Gai Xiaoyu,2016)

The second part will have an outlook of several cultural differences between China and the west. On account of a long period of discrepancy in the lifestyle, customs, geographical environment, religious belief and history, the difference between China and the west is countless. This chapter just give explanation to some of them.(Ding Yin.2015)

The effects of these differences caused in the English interpretation will be down to the point in the third part. The effects of the influence is so colossal that the interpreter can not ignore them when they are doing the interpretation.(Ding Yin.2015)

The forth part will finally make an account for the antidote to the problems that are evoked by cultural differences. This strategies will do a favor to the integrity of informational transfer and emotional expression.(Zhong Zaiqiang,2004)

The fifth part concludes the whole chapter. As the conclusion, this part will be responsible for the variety if the cultural difference and the effects of the cultural interpretation on the English interpretation and most importantly the strategies to the settlement of these problems led by cultural differences.(Li Jing,2014)

===2.The Several Aspects of Cultural Differences Between Chinese and English===
During a long period of individual development of culture, there are many aspects of cultural difference existing between China and the west.These differences are influenced by plenty of factors such as historical culture, regional culture, custom culture,religious culture, digital culture and social code.

====2.1 Historical Culture====
First and foremost, the definition of historical culture would be introduced. The difference in historical culture here lies in cultural accumulation of the social heritage and the specific historical and cultural development process. These differences generally are reflected in the allusions, proverbs, idioms and so on .For thousands of years, China is an agricultural country and thus has developed an agricultural culture which largely influenced the shape of language. As the Sapire-Whorf hypothesis has demonstrated，the culture of a community can influence people’s way of thinking. The way of thinking straightly decides how people use their language to express a signifier.(Ding Yin,2015)

On the contrary, the western countries have been living next to the ocean and thus form an ocean culture. Under the influence of this kind of lifestyle, western people have developed the respect of the spirit of adventure, which reflects in their language performance and their direct expression of their emotions. Contrast to the ocean culture, Chinese people have worked on the agricultural production generation after generation. So they are more inclined to adopt the euphemistic expressions because they have the modest and reserved character compared with the western people. These two kinds of completely different characters reflect clearly in their language expressions.(Ding Yin,2015)

====2.2 Regional Culture====
China is located in the east of the earth while the western countries set in the other side of the world. The spatial distance is considerable and also the differences in the geography is immense. China is a land of high plateau and has more high mountain ranges, which gives rise to huge temperature difference between territories and vagaries of climate. While the Europe is a land of plains with a law altitude. On the side, because the west is on the edge of the Atlantic Ocean, the weather is moderate oceanic climate where the four seasons is like spring. Considering these regional differences leading to the distinctive climate on the year, they inevitably exert an influence on the culture and people’s way of expression.(Li Jing,2014)

For example, the British people who speak English as their mother tongue are characterized by slight melancholy and are more conservative, partly because of their changeable weather on the whole year, than Americans who also speak English.Generally speaking, the phatic communion between British people whether they are strangers or not is often about the weather. The topic on the weather is the expected and inherent greetings between British people.(Ma Nan,2016)

Similarly, the feature of geographical territory plays an part in Chinese people’s culture and their way of talking. Because China has a vast land for farming and the weather is also naturally suitable for the plant of rice. Chinese people have been dependent on the rice for making a living, which has been generated the agricultural culture after thousands of years. Therefore, the greeting between Chinese people is always about the food. When they make an acquaintance with someone, they will say “Have you eaten？” in a general way. It’s worth noting that when a Chinese people ask you this question, you can not mistaken their intentions. The implied meaning of this sentence is just “hello” rather than the invitation of you to go their home to eat. From these two examples, we can distinctly have a grasp of the difference on their way of expression caused by regional difference.(Ma Nan,2016)
====2.3 Custom Culture====
Every nation has its own inherent customs through thousands of years’ cultural accumulation. These customs originate from people’s way of life and habits formed over thousands of years. They are deep-rooted in their culture to the extent that the later generations even have no awareness of the reason why to use them but have to abide by these customs habitually. By this token, a nation’s customs generated over their generations have so tremendous power over this nation’s way of action and way of expression.(Xia Zengqiang,2016)
2.4.Religious Culture
The element of religion influences and to some degree plays a decisive role in people’s moral value and belief. As we all know, in the history people in the English world have a firm belief in the Christianity while Chinese people tend to believe and receive an influence of Buddhism and Confucianism. A huge gap between these kinds of cultures can be obviously seen in the aspect of the nature of religion. Christianity believes in the God named Jesus who can show people the truth and thus belief in the God is the trust in the truth. However, in the Buddhism, the disciple of the Buddhism believe in the Buddhist thoughts which they deem as divinity. Furthermore, the Buddhism is to teach people some Buddhist thoughts while the Christianity is a real religion. Similarly, the Confucianism is also to moralize and educate people and it can not be taken as a religion in a strict way.(Li Jing,2014)
====2.4 Digital Culture====
As a part of culture, the digital culture as a matter of fact is influenced by other kinds of cultures such as religious culture and custom culture. Digital culture can be seen as a reflective of the other culture mentioned above. However, the difference reflected by digital culture also plays an important part in the huge background. There are many different linguistic usages of digital characters between Chinese and English. For example, many idioms can find the track of digital characters such as “七嘴八舌”“三心二意”“四面八方” and so on. When these idioms are translated into English, we can not use the literal translation, otherwise the target audience will be completely confused. Instead of direct translation of these digital characters in the idioms, the translator or the interpreter normally adopt the free translation to explain the deep meaning contained in these idioms. Additionally, some likes and dislikes for the digital characters between English people and Chinese people are also different(Li Jing,2014).

For example, Chinese people have an affectation of number six and number eight and dislike number four. While for the English people, affected by the religious culture, they dislike number thirteen.In the West, most people believe in Christianity, while in the Bible, Jesus, the most revered figure, was betrayed by his thirteenth disciple. Therefore, in the eyes of westerners, the number 13 represents deceit and betrayal, and is regarded as an unlucky number. Therefore, in western countries, there is usually no 13th floor, or row 13 seats on the plane. People’s preference for the digital characters mirrors their language use. They will be inclined to use the digital characters that represent some bad things and bad luck. Instead, the digital characters they are fond of are mostly to be on behalf of good luck and merry things.Different countries have different religious beliefs and customs, and different cultural differences lead to different concepts of numbers. (Li Jing, 2014)

====2.5 Social Code====
Among all these parts, the social code can be seen as the most direct way to differential the cultural differences between two societies when we step into a new society. Due to the differences in the social norms that Chinese and Western cultures rely on in the process of linguistic and non-linguistic coding, Chinese and Western cultures have fixed patterns that are restricted by their national cultures in such aspects as greetings, apologies and comity, acknowledgements, taboo euphemisms, terms, topic selection, polite culture, etc.(Shi Huiying,2014)

Therefore, there are obvious differences between Chinese and westerners in greeting, saying goodbye, praising, thanking, inviting, apologizing and so on, which leads to cultural conflicts. For example, when people meet in China, they often ask each other some questions about family, income, marriage experience and other aspects of life to show their concerns, but such topics will make westerners very disgusted, they think it is a violation of their personal privacy. Obviously, in contact with the target of the negotiation, if we don’t try to avoid such questions, definitely it can lead to culture clashes. For another example, Chinese people stress vanity and courtesy Li, and their words are often duplicative and contemptuous of others. When people in the west abuse their personality and self-affirmation, they will feel very confused when they hear Chinese people deny others' praise or their own achievements, and think Chinese people are dishonest and hypocritical.(Shihuiying, 2014)

Therefore, in cross-cultural business communication, if we ignore the differences in communication principles and modes caused by the different social norms between China and the West, we will use the communication habits of our own nation and misunderstand both sides due to cultural differences, which will lead to the failure of communication and even bring serious consequences. (Shihuiying, 2014)

===3.The Effects of The Several Aspects of Cultural Differnences On English Interpretation===
As mentioned above, there is so much cultural differences existed between the western culture and Chinese culture. These cultural differences are bound to have an impact on the language use. As we all know, the English interpretation directly has a relation with the language differences. Thus, when it is concerned with English interpretation, it must take the cultural differences into consideration. This part will mainly demonstrates the several aspects that the cultural differences has influenced on the English interpretation.(Zhang Wen,1998)
====3.1.Lexical Representation====
Because every nation has its own unique history and culture, way of life and diet is also have many differences, so in the diet and lifestyle of interpreting, something with untranslatability in translation, this requires two process to further explain the culture of different places. For example, in the north of China, people will light their own stoves and watch them, while there is no kang in the West. Therefore, if the translator only has to suffer directly when translating, the recipient will not know why. In the same way, the Chinese rice cake "zongzi" and so on need to have the awareness of cultural difference in the interpretation, and the information needs to be further processed and exported.(Liu Yang,2019,17)
====3.2.Pragmatic Rules====
The pragmatic rules of appellation are quite different in Chinese and Western cultures. In more formal occasions, the Chinese people in general like the title after the surname plus I, said the respect, for example, director of the "king" Eva airways had scheduled another round-trip charter "teacher zhang, at the same time, China has a good traditional virtue, pays attention to pecking order, such as" big jiu "enforced" elder sister-in-law "sister", while westerners for appellation is simpler, more formal occasions, married with known people before the surname plus Mr Or Ms, for unmarried with MR. or Miss is not a Teacher Zhang, but can be addressed on a first-name basis. In informal situations, westerners will usually address the Teacher by his or her first name.(Liu Yang,2019,17)

For the pragmatic rules of communication, China and the West are also quite different. In China, people like to say "have you eaten yet? Where are you going? This, to westerners, is an invasion of privacy. It simply means that westerners feel that someone is inviting them to eat or that they are likely to be followed. Therefore, this cannot be translated directly into "Have you eaten? Where are you going?" ", but through cultural transformation, translated in a western way into "How do you do? How is everything going?"(Liu Yang,2019,17)
====3.3.Way of Thinking====
Different forms of social development lead to different values for each nation. This also affects the interpreter's translation quality and the accuracy of information transmission. For example, at the end of a group meeting, Chinese people like to end the meeting with a solidarity speech, such as "let's work together to achieve greater success!" As long as we keep our hearts together, we will have a better tomorrow. "In the eyes of westerners, it seems to have little to do with themselves. Therefore, in interpreting activities, information should be processed to express the information presented in the source language based on the thinking mode of westerners.(Zhang Wen,1998)
====3.4.Historical and Cultural Background====
China has a long history, and its long history has created many historical figures and events, such as the Terracotta Warriors, imperial officials and the Great Wall. Similarly, due to its different development history, the West also has its own unique historical figures and events, such as Shakespeare, the poet emerging in the Renaissance. Therefore, in interpreting activities, if the interpreter simply translates the names of historical figures and events, the recipient of the information will be confused and the information transmission will not be able to reach the role of "bridge".(Liu Yang, 2019,17）

===4.The Coping Strategies of The Effects===
As the reality that there is much more cultural differences between the Western culture and Chinese culture is presented in front of the interpreters working on the English interpretation. And furthermore these differences have some effects on the cultural exchange activity——the English interpretation. To improve the efficiency and quality of the English interpretation, some strategies must be employed in the process of English interpretation. These strategies involves many aspects such as domestication and foreignization,natural equivalence and flexible handling.Each of them can be correspondingly to the solution of the problems that caused by cultural differences.(Wang Yaqing,2014,27)
====4.1.Domestication And Foreignization====
Domestication and foreignization are widely used techniques in translation. Domestication means to take the target language or target language reader as the destination, and to adopt the expression way used by the target language reader to convey the content of the original text, so that the translation can be easy to understand. In translation, foreignization ADAPTS the language characteristics of foreign cultures, absorbs the expression ways of foreign languages, and requires the translator to draw closer to the author and adopt the expression ways of the source language used by the author to convey the content of the original text, that is, to turn the target language into a destination. Many scholars believe that naturalization should be the main method to deal with cultural differences in interpretation, which is reasonable and wise to a certain extent. However, if the interpreter finds that the audience does not understand it well enough, he should try to find the closest expression in the target language or be easily understood by the audience.(Ding Yin,2015)
====4.2.Natural Equivalence====
At its core is its principle of functional equivalence. This principle emphasizes that what the translator pursues is not literal correspondence but the reflection of cultural factors in the translation to achieve functional equivalence. In dealing with cultural differences, the search for natural equivalents is always the most desirable strategy because it best represents the source language information of the target language. In general, natural equivalents can be achieved in the following ways.(Ding Yin, 2015)
4.2.1.Transliteration
There are some things or things that cannot be found in other cultures. For example, there are a large number of things that cannot be found in Chinese and English, and the translation of these things is transmitted to other cultures by transliteration.In China, "jiaozi" and "baozi" are different foods, but they are both interpreted as "dumpling", which in English means fruit wrapped in sweet dough. As a result, if "jiaozi" and "baozi" are interpreted as "dumpling", people who have never seen "jiaozi" and "baozi" may misunderstand them and they are transliterated as "icaxi "and "baozi". Similarly, many of the words we use in daily life have transliterations from English, such as "coffee", "gene", "Internet"and so on.(Guo Yanan,2016)
4.2.2.Explanation of The Literal Meaning
Literal interpretation of definitions, also known as direct interpretation. When the cultural connotation of the source language and the target language can be expressed in the same or similar words, it can be interpreted literally.(Ding Yin,2015)
4.2.3.Explanation of The Connotation
When a word or expression cannot find the same meaning and form equivalent to the native-language, its interpretation often abandons the form of the original text and interprets it according to the connotation of the source language. In dealing with these languages, it is necessary to combine the cultural essence of the source language and avoid overly lengthy explanations as much as possible.(Ding Yin,2015)

====4.3.Flexible Handling====
Because Chinese and English are so different in expression, it is not a one-side process to deal with cultural phenomena in interpretation. In addition to the countermeasures mentioned above, to solve specific problems must be combined with the characteristics of interpretation, strive to seek truth from facts. Because the translation has to be done in a very short time. The target language of interpretation cannot be completely separated from the influence of the source language, so in practice, it is necessary to make logical reasoning according to the context, understand its main meaning, and try to use the original meaning of the target language words and phrases to express. It’s better to adopt appropriate domestication or foreignization method to deal with flexibly. The treatment of cultural phenomena in interpretation should focus on naturalization to achieve a better understanding for the audience.(Ding Yin,2015)

For instances, “In the past few days, the election situation in Taiwan has taken a sudden turn for the worst, and all political tricks have been used.” In the past few days, the Taiwan election campaign with dramatic changes, has been fraught with treachery and schemes. However the hidden intention is clear for anyone to see. Some people are trying their best to make the one who is for Taiwan independence win the election.(Zhong Zaiqiang,2004)

These two sentences are composed of three four-character phrases and one idiom in two Chinese sentences. It is difficult to accurately express the four-character phrases and idioms in English in a very limited time. Here translators understand the actual meaning of these phrases and idioms through the context, and combine the words of "changeable" and intrigue with the words of "magic trick and Intrigue", which can be translated appropriately and smoothly. Not only does "dramatic change" reflect the original meaning of Chinese, but it also accurately describes the tense atmosphere in Taiwan's election which caused the situation to go into a dramatic downward spiral due to the hidden exhaustion of political scheming and cunning. The hidden intention of Si Mazhao is clear for anyone to see.(Zhong Zaiqiang,2004)

In this translation, the interpreter makes logical reasoning according to the context of the main text and adopts the domestication method to get rid of the shackles of the Chinese sentence pattern, which not only concisely expresses the meaning, but also makes a net profit.( Zhong Zaiqiang,2004)

Since interpretation, as a form of translation, has the function of cultural communication in a certain sense, foreignization has its own value in dealing with some special cultural phenomena. Take this sentence as an example. “人们说, 到了北京不吃烤鸭是最大的遗憾。在就餐之前, 我向大家简单介绍一下烤鸭和它的来历。”And its translation is “People say that it would be a great pity to visit Beijing without tasting some Beijing Roast Duck .It really makes sense. Now , before we start to eat , I' d like to tell y ou something about this specialty.” Here, the direct alienation of Beijing Roast Duck into "Beijing Roast Duck" will not cause the guests' misunderstanding, because the term "Beijing Roast Duck" is a cultural vacancy in English, and the real object is placed in front of the guests to make it clear at a glance.( Zhong Zaiqiang, 2004)

===5.Conclusion===
In summary, this chapter is all about the cultural differences between Chinese culture and western culture. These differences range from the religious aspect to the consciousness aspect such as the way of thinking. There is no question that these aspects have done a lot of influences in our way of expression during our interpretation. For instances, it will have an impact in our lexical expression, pragmatic rules and way of thinking. To have a pursuit of the efficiency and better informational transfer, this chapter offers some strategies to achieve this goal. These strategies is very beneficial and they include foreignization and domestication, achievement of the natural equivalence, transliteration and some flexible handling in accordance with the specific situation. With the help of these practical strategies, the interpreter can produce a more incredible and proper translating. Ultimately, a bridge can be build .As a result, though the cultural differences is still at present, the people from two different cultural backgrounds can be understandable for each other.(Li Jing,2014)

===References===
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Zhang Wen.张文.(1998). 论口译面对的文化差异问题.On the problem of cultural differences in interpreting.北京第二外国语学院学报, Journal of Beijing Second Foreign Language Institute,(03):3-5.

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--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:09, 21 December 2020 (UTC)

==Polysystem Theory and Cultural Turn-吴琪 Wu Qi，202020080653==
<center>吴琪 Wu Qi </center>
===Abstract===
Even Zohar took the lead in putting forward polysystem theory, which was further developed in the descriptive translation studies put forward by his student Gideon Toury. On this basis, Susan Bassnett and André Lefevere first put forward the concept of cultural turn. Now, the issue of cultural factors in translation studies has received considerable scholarly attention. This paper sorts out several reasons why translation studies turn from linguistic studies to cultural studies bascically in chronological order. By revealing the role of cultural factors in translation, their influence on translation strategies and translation studies are objectively analyzed. Finally, it looks forward to how translators can better spread Chinese culture with the help of the cultural turn that has not disappeared.

===Key words===
Polysystem theory; Cultural turn; Translation studies

===题目===
多元系统理论和文化转向

===摘要===
伊文·佐哈尔率先提出了多元系统理论，并在他的学生吉迪恩·图里提出的描述性翻译研究中得到进一步发展。在此基础上，苏珊·巴斯内特和安德烈·勒弗维尔首次提出了文化转向的概念。目前，翻译研究中的文化因素问题已经引起了学术界的广泛关注。本文基本按时间顺序梳理了翻译研究从语言学研究转向文化研究的几个原因。通过揭示文化因素在翻译中的作用，客观地分析了文化因素对翻译策略和翻译研究的影响。最后，展望了译者如何借助尚未消失的文化转向之风更好地传播中国文化。

===关键词===
多元系统理论；文化转向；翻译研究

===1. Introduction===
The overall structure of the study takes the form of five chapters. Chapter I will systematically contextualize the research by introducing the historical background and ideological resources of polysystem theory；Chapter II will deal with the research carried out mainly by Zohar and Toury to develop polysystem theory and its application in translation practice; Chapter III will review the studies related to cultural turn; Chapter IV will clarify advantages and disadvantages of scholars’views on the role of cultural issues in translation studies；Chapter V will give a brief look forward to future research trends.

===2. Development of polysystem theory===

====2. 1 Research Background====

=====2. 1. 1 Historical Background=====
The representatives of Polysystem theory are Israelite scholars Zohar and Toury. Israel is an emerging country established after World War II, where almost no native cultures and literary works exists. The development of its own culture can only rely on absorbing the excellent cultures of other countries. In this context, Zohar can only focus on translated works(Gillespie & Even-Zohar 1994:1).

=====2. 1. 2 Influence of ideological sources=====
Russian formalism prevailed in the 1920s, and the goal of Russian formalism theory was to improve the status of literature in society. Formalist scholars believed that "literary works should be regarded as a part of the whole literary system instead of being an independent research object", and they also put forward the concepts of "defamiliarization" and "literariness", aiming at establishing a research field for literature and distinguishing it from other disciplines. Zohar studied Russian formalism and Czech structuralism for many years, on the basis of which, in the 1970s, he put forward a new Polysystem theory to guide translation studies. Polysystem theory was proposed by Itamar Even Zohar(Gillespie & Even-Zohar 1994:2).

====2. 2 From Linguistic-centered to Cultural-centered====
Chomsky put forward transformational generative grammar in the mid-late 1950s, which deeply influenced a group of linguists and translators and changed the position of structural linguistics established by Saussure. In the 1960s and 1970s, the Science of Translation, also known as the Linguistic Approach, emerged with Nida, Jacobson, Newmark, and so on as its representatives. They maintained that translation studies were regarded as a subsidiary discipline of linguistics. They also proposed that the task of translation was to achieve functional equivalence, that is, translating should consist in reproducing in the receptor language the closest natural equivalent of the source language message first in terms of meaning and secondly in terms of style(Zhu Huichao 2017,88).

Gradually, translation studies were restricted to the micro-linguistic level, with emphasis on the text, and the subjective initiative of translation was ignored. Translation studies focused on discussing the differences and discovering the laws between languages, then, a set of rigid rules that could guide translation were summarized, translation studies were treated as a "science" with a complete theoretical system. This also formed a mindset, which narrowed the translator's eyes to the information level of the original text, ignoring the influence of wider culture and these factors on the generation and acceptance of the translation(Zhu Huichao 2017,88).

Also, in the 1970s, Zohar put forward Polysystem theory based on Russian formalism, and he thought that the process of studying translation is also the process of studying the target language culture. Polysystem theory studies literature from multiple perspectives, not just in the field of literature, but through the study of other extension factors, it studies literary translation more comprehensively and deeply(Gillespie & Even-Zohar 1994:113).

Toury, a student of Zohar, put forward Descriptive Translation Studies (DTS) and translational norms, which provide a better research idea for cultural studies. The International Association of comparative literature held a seminar about polysystem theory which allowed more scholars to study Polysystem theory and descriptive translation(Zhang Suwen 2019,93).

By the mid-1990s, the cultural turn completely changed the situation that translation studies were confined to micro-linguistics. At that time, translators have shifted their focus from the micro-linguistic level to the macro-cultural level. Scholars, such as Susan Bassnett, Lefevere, and Venuti, began to pay attention to other factors outside the source text such as culture, philosophy, politics, poetics, and so on(Zeng Wenxiong 2006,196).

Owing to the efforts of these scholars, more intellectuals have been influenced by developments in cultural studies. They believed that because the source text is produced placed in the specific context of the cultural environment, the target text should not be regarded as a simple transformation between languages. Of course, in the process of translation studies, translators are most concerned about disciplines across the cultural spectrum. The emergence of cultural studies opened a new door for closed translation studies at that time. This new paradigm broadened the scope of translation studies and played a vital role in the construction of translation studies(Zeng Wenxiong 2006,196).

====2. 3 Representatives of Polysystem Theory====
=====2. 3. 1 Main points of Zohar=====
In order to better explain the theoretical core of the Polysystem system, I would like to roughly explain several basic concepts of the Polysystem system. First, Zohar generalized polysystem theory as follows: The social symbol system is multiple and dynamic，which is composed of several different systems (such as culture, language, literature, society). Because the various systems interact and connect with each other, the status of each system is not equal，some subsystems are at the center, but some are at the edge(Gillespie & Even-Zohar 1994:45).

Second, polysystem theory refers that, in different periods, the culture of a certain society may be superior or inferior to another culture. In different historical contexts, translators will choose different translation strategies. Translators' choice of strategies will change in diverse situations, thus a dynamic translation study comes to being(Gillespie & Even-Zohar 1994:45).

Third, Zohar classifies the levels in the Polysystem system. He locates his translation studies in a Polysystem system of literature and distributes them according to the scale of their scopes. For example, the first layer is distinguished by country, the second layer is classified by literary type, the third layer is distinguished by whether it is translation literature, and the fourth layer is classified according to which country the original text comes from(Gillespie & Even-Zohar 1994:45).

Zohar was the first to uncover the status of translated literature and point out that translation literature can be a major role in the cultural system. For example, the three translation climaxes in Chinese history have functioned as a key element of the formation and development of Chinese culture(Gillespie & Even-Zohar 1994:46).

He stated that, in three cases, the system of translated literature will be at the center.

① When a polysystem has not yet been crystallized, that is to say, when a literature is"young," in the process of being established(Gillespie & Even-Zohar, 1994); Take Israeli literature as an example, Israel was established after the second world war. The original Hebrew cultural tradition is very weak. So it is necessary for this country to introduce advanced literature from western countries and translate classical literature from other countries so that they can provide new thoughts and skills for the local country(Gillespie & Even-Zohar 1994:47).

② When a literature is either“peripheral”(with in a large group of correlated literatures) or “weak,” or both. when a literature is either “peripheral”, it will approach mainstream literature. The best way to approach it is to learn its techniques and skills by translated literature which can provide samples for imitation(Gillespie & Even-Zohar, 1994:47).

③ When there are turning points, crises, or literary vacuums in a literature. For instance, after WWII, the vibrant American literature in the past two decades end abruptly and experienced a period of stagnation, because the existing literary model can no longer arouse the creative enthusiasm of a new generation of writers(Gillespie & Even-Zohar 1994:47).

When it comes to the position of literature, notice that，firstly，the innovation of the “weak” literary system is much lower than that of the center literary system. But we still have to affirm its function to spur it. Second, some literary systems are relatively strong when they are formed, and their own literary systems are often in the central position and are not easily influenced by other systems(Gillespie & Even-Zohar 1994:50).

Therefore, when the translated literature system is at the marginal position, literary translation is required (sometimes even necessary) to use words close to the target language so that the culture of the source language can be integrated into that of the target language. But if all the cultural features of the source language are eliminated in translation, then the translated literature will always be in a marginal state in such a system(Gillespie & Even-Zohar 1994:50).

=====2. 3. 2 Main Points of Toury=====
Based on Zohar's theory, Toury made the following efforts to establish a generalized theory to describe translation. Above all, he proposed that the methodology of translation should be divided into three steps. First, the source text should be evaluated in the target cultural context to analyze its significance and acceptability; Second, the target language should be considered according to the target language environment; Third, a comparative analysis should be made between the source language and the target language, so as to identify the translation transformation. This can be used to explain the factors that influence or determine translation quality(Gao Feng & Zhang Deng 2018,63).

Besides, it is convenient to guide the translation practice of different topics by establishing relevant corpora. With the continuous advancement of translation and the accumulation of a large number of materials, different translation models can be concluded by conclusions, and finally, the universal rules for describing translation can be drawn, which are parts of Toury's description translation theory(Gao Feng & Zhang Deng 2018,63).

Moreover, Toury put forward the concept of translation norms, which he thought were generally accepted in the process of translation. These norms are social and cultural restrictions on specific times, and people need to comprehend them through the necessary process of education and socialization. This is a powerful regulation，which means once they are established and recognized, translators must strictly abide by them, just like social legal documents(Gao Feng & Zhang Deng 2018,63).

It can be seen that Toury's theory is also based on the specific social and cultural context, and especially pays attention to the descriptive research of translation. His translation research method can be generalized as follow: before the research, a pre-set standard should be established, and then verified step by step in the process of translation research. Finally, the target text and the original text are compared, and the governing standards of the translated works are analyzed. Toury further suggested that translators can classify themselves into different standards, including source language standards, target language standards, and so on(Gao Feng & Zhang Deng 2018,63).

Toury's theories also attract more and more scholars to study translation from a cultural perspective. Likewise, Andrew Chesterman established new translational norms based on those of Toury's. He holds that the most important norm is "expectation norm", that is, readers' expectation of the influence and communication power of translated works, and other norms are restricted by this "expectation". It can be said that these two viewpoints provide the initial inspiration and theoretical basis for "cultural turn”(Wu Ji 2018,205).

====2. 4 Polysystem Theory’s Influence on Translation Strategy====
Zohar discusses the translator's choice of different translation strategies for foreignization and domestication when the translation literature system is at the center or marginal state of the polysystem. Foreignization and domestication were put forward by American translation theorist Lawrence Venuti in 1995 in ''The Translator's Invisibility''. Historically, foreignization and domestication can be regarded as extensions of literal translation and free translation, but they are not completely equivalent terms(Song Yue 2018,93).

The core issue of literal translation and free translation is how to deal with form and meaning from the micro-linguistic level. Domestication refers to the translation strategy of adopting a transparent and fluent style in translation to minimize the strangeness of the original text. Foreignization refers to the translation that deviates from the local mainstream values, preserves the linguistic and cultural differences of the original text. It can be seen that literal translation and free translation are mainly limited to the language level, while foreignization and domestication are based on the cultural context(Song Yue 2018,93).

In translation practice, translators often choose the appropriate strategies according to the specific status the target culture places in the multicultural context. If the source text plays a central role in the whole language communication, the translator is more inclined to not be limited by the language model of the target text and can restore the content of the source text to the maximum extent, which can introduce a new language mode from the source text to the target language. If the source text plays a secondary role in the cultural system, usually, the translator will integrate the source text into the target language context to enrich the target language color(Song Yue 2018,94).

For example, before the May Fourth Movement in China, translated literature was at the edge of the literary polysystem. Translators tend to adopt domestication translation strategies. Influenced by the Chinese literary tradition, Lin Shu adopted domestication in order to meet the needs of readers. Therefore, his translation works were restricted by the target language, and he translated the western source text into familiar ancient classical Chinese language, so that readers can more accept and recognize this translation activity(Xuan Huifang 2019,92).

For example:

Source text: I’ll fight for my liberty to the last breath I breathe. You say your fathers did it; if it was right for them. It is right for me(BEECHER & DAVID).

Target text: 盖吾之自由，必与持压力者抵死争之，必胜而后已。该美国之自由，美国同英伦力争而得。今吾之自由，必当力与美人争之(Stwoe, Li Shu, & Wei Yi, 1981)。

However, situations are not always the same. Liang Shiqiu began to translate Shakespeare's plays in the early 1930s. Here, the number of translated literary texts was in a growth trend. At the time of the translation of A Midsummer Night's Dream, China was eager to rejuvenate the country by absorbing foreign cultures. Translated literature had a higher position in the polysystem of Chinese literature(Ji Qiming 2016,66).

Fang Ping's translation began in the early days of the founding of the People's Republic of China. Literary and artistic creation at that time emphasized the socialist characteristics of literature, and a lot of socialism excellent literature swarmed. Affected by ideology, China was resistant to the literary works of capitalist countries. When translating and researching with a strong color of ideology and class struggle. It can be seen that when Fang Ping translated and introduced ''A Midsummer Night’s Dream'', translated literature was not at the center of the literary polysystem(Ji Qiming 2016,66).

If strictly obey the polysystem theory, Liang Shiqiu will adopt foreignization and Fang Ping's translation strategy will accept domestication. However, in the practice of translating ''A Midsummer Night's Dream'', this is not the case. Here are examples.

Source text: “By’r lakin, a parlous fear(William).

Liang’s version:天啊，是可怕的紧。

Fang’s version:我的圣母娘娘，这可不是跟你闹着玩的事啊。

However, the translation strategy Liang adopted is foreignization, while Fang Ping used the translation strategy of domestication.

The above application enlightens us that, cultural exchange is complicated, which leads to the diverse choices of translation strategies. Therefore, translators can give full play to their subjectivity choosing appropriate translation strategies, not strictly abide by a certain theory. Because the translation is a process of dynamic communication and re-creation. Only combined specific cultural context with personal understanding can translators figure out the best translation strategies(Ji Qiming 2016,67).

===3. Development of Cultural Turn===
The view of "cultural turn" was formally put forward by Bassnett and Lefevere in the book ''Translation, History and Culture： A Sourcebook'' in the 1990s. The cultural turn mainly depends on the scholars of cultural approach, who actively advocate translators to shift their eyes on translation studies from the text itself to the cultural context outside the text, so as to change the long-standing existence of translation studies as the "vassal" of literature and art, and elevate translation studies to become an independent discipline(Lefevere 2004:110).

Bassnett is one of the leaders, and her works often reveal the importance attached to the cultural background in translation studies(Bassnett, 1995). Translation has indeed become an independent discipline later with its own characteristics, which become the basis of research on cultural turn(Bassnett 1995:11).

Bassnett also introduces a famous metaphor about culture and language, which expresses her emphasis on culture. She compares culture to the human body and language to the heart of this body. Only when the heart and body interact can human vitality continue; Therefore, surgeons can't ignore the whole body that bears the heart when performing the ng surgery on the heart, similarly，it is dangerous for translators to treat the text isolated from culture(Lefevere 2004:110).

The concept “cultural turn” inherited Zohar's polysystem theory, which has attracted many scholars to discuss the phenomenon. This theory examines translation activities from a macro perspective, that is, it puts translation in the context of culture, instead of discussing translation in a vacuum separated from culture and context(Bassnett 1995:88).

Using Zohar's polysystem theory, the cultural school holds that culture has a restrictive effect on translation, and shifts the focus of translation studies from the original text to the target text, from the author of the original to the translator of the target, from the source language culture to the target language culture, and has a deeper understanding of the position and role of the target text(Bassnett 1995:88).

At the same time, it is noteworthy that Jacques Derrida, a famous philosopher, put forward the theory of "deconstructionism", which holds that the meaning of words is not only restrained within the source text but also multiple factors. He also points out that the original author is not the only creator, which also inspires scholars of cultural school to think about the role of translation and enhances the social status of translated works(Bassnett 1995:88).

Chinese traditional translation theory is influenced by the thought of cultural turn. Xuan Huifang(2019)mentioned that the cultural turn of Chinese traditional translation theory can be regarded started from the scientific and technological translation in the late Ming Dynasty. Chinese translators, such as Xu Guangqi, Li Zhizao and Yang Yanjun, were the first to advocate transferring translation from religion to natural science. They also jumped out of the linguistic category of contrast between the source language and target language and directly introduced Chinese traditional translation theory into the social and cultural background concerned by the cultural school(Xuan Huifang 2019,95).

At that time, translation theories began to focus on how to use translation as a tool to stimulate national consciousness. China lagged behind the West in terms of science and technology and ideas. Therefore, the purpose of translation was to absorb the essence of Western culture and arouse the learning enthusiasm of the Chinese. The function of translation is to convey new knowledge and ideas. As to the type of the source text, they tend to choose the technology that is closely related to people's lives and most urgently needed by the country, such as western astronomy, meteorology, machinery and land construction, and other related books. According to Lefevere, translators at that time were sponsors of translation activities, and they regarded translation as a way to sustain feudal autocratic rule, so the scope of attention was narrow, and the cultural turn at this time was not obvious(Xuan Huifang 2019,95).

Later on, especially in the late Qing Dynasty, the feudal rulers adopted a policy of seclusion, which hampered China's progress and its exchanges with the outside world. That state was completely broken by the Opium War, which also crushed the illusion that many people thought the Qing Dynasty was powerful. It stimulated many literati to "opening the eyes to observe the world". Many translators have translated a wide range of foreign newspapers, histories, geography, and other books, not just scientific texts. Many defeats pushed more Chinese people to recognize the deficiencies of their own and the strength of the West. Although they were not translators, they acted as sponsors, which was the main reason for the abundance of translated works and the rapid development of cultural turn at that time(Xuan Huifang 2019,96).

However, it didn't take long for the Westernization Movement to fail, which inspired some elites to realize that China's backwardness was not in technology, but in its feudal autocratic system. The reformists, represented by Kang Youwei and Liang Qichao, have become new sponsors. In this short period of only ten years, a large number of excellent translators have appeared, such as Yan Fu and Lin Shu. Lin Shu, in particular, did not understand any foreign language but translated a lot of great works, like ''la Dame aux Camelias''，''Uncle Tom's cabin'' and ''David Copperfield'', etc. Dictated by others, he translated in classical style. Such kind of translation to some extent can be said to be no respect to the original text. This also reflects that the purpose of translation at that time was not to highly restore the thoughts and styles but to convey conducive information. This period was also the development period of the cultural shift of Chinese translation theory(Xuan Huifang 2019,96).

Developing to the May Fourth Movement, the ideological emancipation of Chinese intellectuals was more extensive. The translation mainly focuses on how to benefit Chinese traditional culture from western culture. The translation is regarded as an important tool to promote social change. Some scholars believe that the transmission of western new ideas is also to import new expression methods, and at the same time, in order to eradicate the feudal traditional ideas, more intellectuals began to call for the use of vernacular Chinese. Lu Xun and Qu Qiubai are representative figures(Xuan Huifang 2019,95).

However, not everyone supports this idea. Mei Guangdi proposes that while introducing western culture, we should also carry forward the traditional culture. Western advanced ideas and technologies are needed to be absorbed, but it does not mean that the Chinese language form should be abandoned. But it can be seen that their ideas have not been widely supported. Just like Gu Zhengkun's viewpoint, unlike the cultural turn that emerged more than 100 years later in the West, cultural translation and translation studies in China at the end of the 19th century and the beginning of the 20th century has presented its obvious characteristics of subjectivity(Xuan Huifang 2019,95).

===4. Judgement===
Since both the polysystem theory and cultural turn are not universal, so they have both advantages and disadvantages at the same time. We should keep rational and critical thinking when studying these theories, and treat their influence on translation studies objectively and dialectically.

Since both the polysystem theory and cultural turn are not universal, they both have advantages and disadvantages at the same time. We should keep rational and critical thinking when studying these theories, and treat their influence on translation studies objectively and dialectically.--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 15:45, 19 December 2020 (UTC)

====4. 1Advantages====
Polysystem theory makes translation studies no longer an isolated linguistic study, but brings descriptive translation studies and cultural turn to translation studies. Linguistic school pays much attention to static semantic contrast, focusing on language patterns or underdeveloped literary theories, while the polysystem system combines translation with many factors such as the cultural context, social conditions and politics, especially affecting translation studies at the political level, such as post-colonial translation studies, feminist translation studies and cannibalistic translation studies derived from historical events(Zhang Xiujuan 2017,47).

Generally speaking, these theories have opened up a wide research field for translation studies, which makes translation studies no longer in an isolated environment, and opens up a way for translation studies to finally get out of the prescribed aesthetic limitations(Zhang Xiujuan 2017,47).

To enable people to look at translation from a broader perspective and grasp its true nature, people will not be limited on the equivalence between the source text and the target text, but also regard the target text as an entity in the target system to study its various properties. This is the very point that developed into Toury's "Target-oriented approach". Since the translation is not only selected from several existing linguistic models but restricted by various systems, we can comprehend the translation phenomenon from the perspective of wider inter-system transmission. It can also be used to guide on how to better promote culture through translation(Zhao Bo 2017,112).

====4. 2 Disadvantages====
Polysystem theory and the view of cultural turn neglect the translator's subjectivity, which means the choice of the target text is not only determined by the polysystem, but also by the translator's subjectivity. Translators will try their best to choose texts or familiar genres consistent with their own styles to give full play to their advantages and improve the quality of translations. Besides, the principle of choosing original texts is determined by the situation that dominates the (native) polysystem, which means that texts are chosen because of the consistency with the new methods of target texts and their possible innovative role in target literature. (Wu Ji 2018,205).

The attitude of the cultural school towards the linguistic school is completely abandoned. According to the cultural school, before putting forward the theory of cultural turn, translation studies lacked a set of macroscopic theories to guide them and did not form a theoretical system to guide translation practice, which is undesirable. At the same time, the cultural school's attention is completely detached from the text, exaggerating the influence of macro factors other than the text, which has been criticized by later generations. Because although the linguistic school focuses on the micro-level of translation studies, which limits the development of translation studies, scholars such as Nida and Newmark put forward a series of theories to scientifically study translation(Wu Ji 2018,206).

===5. Conclusion===
Taken the above analysis together, we can come to the conclusion that polysystem theory and cultural turn still have a wide influence on present translation studies, and cultural factors are still important factors that must be considered in translation activities. The findings reported also shed new light on the responsibilities of today’s translators(Han Xue 2019,138).

When the earth is like a "village", cultural exchange is getting closer and closer. It is necessary for contemporary translators to think about how to maintain cultural confidence through translation and effectively convey excellent culture to other countries. In the process of translation, translators should not only pay attention to linguistic equivalence, but also should think from the perspective of cultural exchange. They should explore a way to combine the inspiration of the polysystem theory and cultural turn, give full play to their subjectivities, and make efforts to tell Chinese stories well and build China's translation system in the world.

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Gillespie, G., & Even-Zohar, I. (1994). Polysystem Studies. Comparative Literature, 45(4), 374.

Lefevere, A. (2004). Translation/history/culture: a sourcebook: ''上海外语教育出版社''[Shanghai foreign language education press].

William, S. A Midsummer Night’s Dream: Yale University Press.

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Gao Feng, &Zhang Deng. 高峰, & 张灯. (2018). 翻译研究发展的推动力——多元系统理论研究. [The Driving Force of the Development of Translation Studies: A Study of Multiple Systems Theory]. ''吉林省教育学院学报''[Journal of Educational Institute of Ji Lin province], 34(02), 62-64.

Han Xue. 韩雪. (2019). 多元系统翻译论本土化策略及其创新性研究[Research on Localization Strategy and Innovation of Multi-system Translation Theory]. 福建茶叶[Fu Jian Tea], 41(02), 137-138.

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==The Influence of Cultural Differences on Translation Methods 姚佳 Yao Jia No.202020080662 英语语言文学==

===Abstract===

Translation activity may appear to be a communication and transfer between languages, but it is closely related to culture. Language and culture permeate each other, and no language can be created and developed without its cultural background, while cultural differences also affect the language expression of the users to a certain extent. In this paper, we will analyse the main cultural differences in translation in terms of historical background, way of thinking, social customs and other factors, but the existence of cultural differences makes translation activities often face some difficulties, which requires translators to master translation skills and correctly look at cultural factors in order to achieve the purpose of communication.

===Key Words===

Cultural differences, Translation methods, Influences, Translation skills

===题目：文化差异对翻译方法的影响===

===摘要===

翻译活动看似是不同语言之间的交流与转换,实则与文化密切相关。语言与文化之间相互渗透,任何语言的产生与发展都离不开其文化背景,而文化差异在一定程度上也影响着使用者语言的表达。本文从历史背景,思维方式,社会习俗等因素来分析翻译中几种主要的文化差异,而文化差异的存在又使翻译活动常常面临一些困难,这就要求译者熟练掌握翻译方法和一定的翻译技巧,正确看待文化因素,从而实现交流沟通之目的。

===关键词===

文化差异,翻译方法,影响,翻译技巧

===Introduction===

The long-term transmission of culture depends on language. Language has always been an important basis for cultural inheritance. And it is also one of the tools used by different cultures in communication. The exchanges between different countries and regions have deepened in recent years. The demand for translation activities has been increasing, and the requirement for translation quality has also been gradually improved. Translation is a cultural communication activity between different countries. It is not only the conversion of two sets of language symbols. In a sense, translation has gone beyond language and become a cultural transfer between countries. There are certain differences in social values and ways of thinking between China and the West. So it is easy to make mistakes in English translation if many words are understood purely from the point of view of performance. This, coupled with the fact that different nationalities are often influenced by their own culture in the course of their historical development, can also lead to errors when translating between Chinese and English. In the face of cultural differences, we should choose appropriate translation methods to achieve the purpose of communication. In recent years, the focus of translators has gradually shifted from language level to cultural level. They have started to study translation methods from a cultural perspective.

===The Main Aspects of Cultural Differences in Translation===

Translation is the process of transforming a relatively unfamiliar expression into a relatively familiar one. Wang Zuoliang, a famous translator and linguist, once said that translators are dealing with individual words, but they are facing with two large cultures.(Wang Zuoliang 1997, 42) Therefore, translation should include not only language but also culture. The development of each country's language has gone through a long process of cultural accumulation and it is influenced by its own history, culture, ethics and many other aspects. The differences between English and Chinese are mainly reflected in the following aspects: historical background, way of thinking, and social customs.

2.1 The Historical Background

Every country has a unique historical background, which inevitably gives rise to different cultural forms in the course of development. And this has a significant impact on the language as a carrier of culture. At the same time, differences in language can have a huge impact on translation activities. This requires the translator to be able to understand the different historical circumstances of the source language and target language in order to improve the level of accuracy of the translation.

First of all, we can see the difference in historical background between China and the West in the process of historical development. Agriculture has always been the lifeblood of the country's development, and the development of agriculture is even directly related to the stability of society. Chinese people have created many excellent cultures through their industrious agricultural work. As a result, Chinese culture is rich in written expressions relating to agriculture. One of the most unique expressions of Chinese culture is the agricultural proverb. It is a fixed phrase that is widely spread among the people. It reflects the principles of agricultural production and summarises a wealth of experience in simple, popular, concise and vivid words, which is a cultural treasure of the Chinese nation and has always been loved by the people.

We can appreciate the unique charm of Chinese culture in some idioms. For example, "cast pearls before swine"(对牛弹琴). We cannot simply interpret this as throwing pearls at pigs, for this does not conform to the practical use of Chinese adage. And we can see another example, "As you sow, so shall you reap"(种瓜得瓜种豆得豆) We must realize that many expressions of proverbs in Chinese have been endowed with profound connotations. The deep meaning of this proverb is that one cannot enjoy the fruits of one's labor without putting in it a lot of hard work. There are many other Chinese agricultural proverbs. For example, “There are three rains in the early spring, all over the place”(立春三场雨,遍地都米), “Snow is in the field, wheat is in the barn”.(雪在田,麦在仓).

As for Britain, it is an island country surrounded by the sea. Its national development is closely related to Marine civilization. Britain's development into the "empire on which the sun never sets" in the 18th century was largely dependent on overseas colonial expansion. Even in today's society, Britain's national development cannot be achieved without its favourable Marine environment. Moreover, Britain has a temperate maritime climate, with humid climate and good vegetation, which makes it very suitable for sailing and grazing. Therefore, there are a lot of idioms related to sailing or sheep herding in English culture, such as, “A small leak will sink a great ship” (微小的裂隙能使一艘巨轮沉没), “A smooth sea never makes a skillful mariner” (平静的大海孕育不出优秀的水手), Being on sea, sail; being on land, settle. (在海上就航行,在陆上就安居).

Secondly, we can find the cultural differences between English and Chinese from the specific historical background. “In the time of Queen Elizabeth, for example, government loyal Jesuits protested against a "fish only Friday" rule imposed by the Catholic Church, which opposed the government. In this context, "Juhn can be relied on, He eats no fish and plays the game" should be translated as "约翰忠诚可靠".” (Lu Wei 2019, 200) If we do not analyze the specific historical background directly, it is bound to lead to cultural cognition errors. In Chinese, "鸿门宴" should be translated as "Hongmen Feast with a trap for the invited", but it is easy to translate (it)--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 04:59, 19 December 2020 (UTC)into "Hongmen Feast" if the translator does not know the historical background of the appearance of the word "鸿门宴", which would create a barrier to cultural exchange. Therefore, it can be seen that cultural background has a great impact on the smooth progress of translation activities, and translators can better choose translation methods only if they are proficient in the cultural background of source language and target language.

2.2 The Social Customs

Customs and habits are mainly reflected in the language and behaviors that people use in communication, which is most likely to reflect the human mind and convey certain meanings. If, in the process of cultural exchange, there are significant differences in customs between countries, this can often lead to misunderstandings when expressing their views. The differences in social customs between China and the West can be extremely obvious. Therefore, in translation, the influence of language and behavioural habits on translation activities cannot be ignored. The differences between English and Chinese social customs are mainly reflected in customs, manners and habits of life.

“We can feel the differences between Chinese and Western customs through people's habitual cognition of some animals in their daily life. ” (Wang Jingjing 2013, 28) In China, for example, the dog is a relatively lowly animal. Since ancient times, those Chinese idioms related to dogs have mostly expressed derogatory meanings. For example, "狼心狗肺","鸡飞狗跳" . However, dogs mean the opposite. For example, "Love me, Love my dog"(爱屋及乌), A lucky dog(幸运儿), etc., which reflects the love of dogs in English-speaking countries.

In addition to dogs, we can also see different meanings of cats in different Chinese and Western customs. In Chinese culture, cats do not show a one-sided extreme phenomenon. Although there are derogatory words such as "猫儿偷腥","猫儿念经-假慈悲", there are also "无论白猫黑猫,抓到老鼠就是好猫". In general, cats are relatively neutral in Chinese culture. While in Western customs, black cats are often associated with negative connotations. “Cats are known in the West as the familiar of witches and wizards, which stems from a medieval superstition ---- The Satan, the devil's favourite incarnation, was a black cat that witches used to take with them as a familiar.” (Zhu Yahui 2014, 25) For example, the idiom “she is a cat”. The translator cannot simply translate the literal meaning into "她是一只猫", but should put it in the context of certain western social customs. So the proper translation should be "a woman with a hidden agenda".

Some idioms about cats are unique to English culture, such as "Cat s paw." The idiom comes from The Monkey and the Cat, written by the famous 17th century fable writer La Fontaine. “The cunning monkey wanted to eat the chestnuts from the fire but was afraid of being burnt, so he encouraged the cat to take the chestnuts out of the fire with his paws, but when the cat asked for his share, the monkey ate all the chestnuts.”(Wang Aihua 2008) This idiom is used to describe a person who is used to do risky things. If such cultural differences are not well understood, there will be a lot of translation misinterpretations.

In addition to the animal derivation, the same colour also has different meanings in both Chinese and English cultures. For example, in Chinese, blue generally represents a bright or relaxed feeling. But in English expressions, blue generally stands for melancholy and deep depression. In ''Treasure Island'', when Jim and his crew are faced with pirates, they are put in a very bad situation. “If we had been allowed to sit idle, we should all have fallen in the blues, but Captain Smollett was never the man for that”.(Stevenson 2013, 118) The word blue here refers to their emotionally depressed state. When translating 'blue' as it is used here, the different customs and habits of English-speaking countries should be taken into account in order to avoid incorrect translations. Here's another example of red. Chinese people believe that "red" stands for fighting spirit, passion and joy. Since ancient times, weddings and festivals have been celebrated with red lanterns and colours. But in the West, red represents blood, it represents killing, it represents death. For example, "red alert" (空袭) "紧急警报",see the red light (觉察危险逼近). In the process of translation, we should have a deep understanding of the cultural background of customs to ensure the accuracy of words and to avoid unnecessary misunderstanding or even wrong translation.

2.3 The Thinking Mode

“The way of thinking is the synthesis and unification of the stereotyped forms, methods and procedures of thinking of the subject in the process of reflecting on the object.” (Chen Hongwei&Li Yadan 2005) “The way of thinking is mainly composed of eight elements: knowledge, conception, method, intellect, emotion, will, and language habits. These elements are interconnected and interact with each other to form a dynamic, organic and complex system. It is the characteristics of each of these elements and their structure that define the nature, type and characteristics of the way of thinking and produce differences in the way of thinking.” (Lian Shuneng 2002) Different ethnic groups not only have different national cultures, but also have their own different ways of thinking and thinking characteristics, which is what we call thinking differences. Each language reflects the thinking characteristics of the people who speak it, and the English and Chinese languages are no exception. The differences in thinking styles are mainly reflected in the different lines of thought that people are used to, and the different perspectives that are favoured in thinking.

Chinese people think in a forward direction, while Westerners think in a reverse direction. Chinese and Westerners may use completely different, or very different, language to describe the same objects or images. It is not difficult to find that English is used to describing and explaining things from small to big, from special to general, from individual to whole. The Order of Chinese is generally from big to small, from general to special, from whole to individual. “When introducing people, Chinese usually lists titles first and then calls them by name, and the titles are listed from the largest to the smallest. English is to announce a name first and then speak a series of duties from childhood to adulthood.”(Liu Wenhui 2002) For example, “现任中国共产党中央委员会总书记，中共中央军事委员会主席，中华人民共和国主席，中华人民共和国中央军事委员会主席于2020年一月十七日对缅甸进行了国事访问”.This sentence, if it is to conform to English language usage, should be translated as “January 17, 2020 saw the state visit to Myanmar of Xi Jinping, currently general Secretary of the CPC Central Committee, Chairman of the CPC Central Military Commission, President of the People's Republic of China, and Chairman of the CPC Central Military Commission”.

Chinese people think in a spiral way while Westerners think in a straight line way. The Chinese people's philosophical thinking is good at making Chinese people think in a broad way. “No matter doing or speaking, they always do everything from the surface to the point, from the big to the small. First, they have a general view of the whole situation and make plans; then, they refine details and make plans. Westerners, on the contrary, like to think from the detailed to the overall, from the single to the whole, which is a completely different way of thinking. (Li Dan&Zhou Xiaoling 2006) It is a reflection of culture and also affects culture. Therefore, Chinese people always put the overall situation in the spiral thinking, while Westerners always put a straight line thinking and a straight line clue in it.

The Chinese like to "paint the dragon and dot the eyes". First, they like to put unimportant information on the top, and then talk about the main content, such as people and events, event results. “In narration, the emphasis of a sentence is usually placed at the end of the sentence, and the story is explained first, and then the theme is entered. The way of argument is the consequence of the first cause; Give the premises before you make a conclusion; Give the background first, then the topic.”(Bu Jia 2012, 123) The Western way is to come straight to the point. “The way they speak is the opposite, picking the main ones first, as if telling the answer first and then announcing the process. The narrative sequence is to first state the results and then analyze the reasons. Make a conclusion before you give a premise. Explain the topic first, then the background.”(Bu Jia 2012, 123) Therefore, it is necessary to adjust the word order in the English-Chinese translation so as to conform to the narrative logic of the two languages. For example, "求稳定、谋发展、促合作 , 是当今各国人民的共同愿望"。This sentence can be translated into：It is the common aspiration of all the people in the world to m aintain stability, seek development andpromote cooperation.

===Influences of Cultural Differences on Translation===

Translation is not only the transformation between languages, but also the transformation between language forms, and even the transformation of cultures. Therefore, in the process of language translation, communicative context, which refers to cultural factors, should be considered. On the one hand, culture is common, and there will be some overlap between cultures, which is also the basis of translation. On the other hand, the culture is also diverse, which is the difficulty of translation. The cultural diversity and uniqueness between English and Chinese often lead to lexical vacancy, semantic conflict and other phenomena that hinder translation. This requires translators to pay attention to such cultural differences and choose appropriate translation methods to solve the translation difficulties and make up for the lack of culture in the process of translation.

3.1 Lexical Gap

Language is the carrier of culture. Every language has its own cultural peculiarities. As a cross-linguistic and cross-cultural communication activity, translation not only conveys text information, but also inherits cultural significance. However, "different cultures break down and describe the world in different semantic categories. Therefore, some semantics in one culture may not exist in another language."( Lado 1957, 78 ) This phenomenon is known as semanticzero. Practice has proved that the great differences between Chinese and English traditional cultures make English and Chinese words and meanings often difficult to correspond one to one, which makes translators have to take necessary strategies to eliminate or reduce barriers to communication. “Language is a culture created by people in the process of long-term practice, which naturally reflects the objective material world. If something does not exist in the community, there is often a vacancy in the meaning of the word.”(Cui Jing 2012, 38) For example, silk, which was not used by westerners at first, belongs to one of the earliest inventions in Chinese history. It was not until the Western Han Dynasty (202 BC-8 AD) that Zhang Qian, on his mission to the Western Regions, opened the door to China and the West by opening the "Silk Road", which connected the Mediterranean countries and spread silk to the world. So, English borrowed Chinese pronunciation to translate the word.

Another example is Peking Opera, which is beloved by Chinese people. It is a comprehensive art that combines singing, reading, doing and playing. However, opera, dance drama and drama that Europeans and Americans like are all in a single form. There is no dance in opera and no singing in dance drama, while drama is mainly dialogues. In view of this, the translator needs to make English readers fully and correctly understand the differences between Chinese quintessence and other art forms. In China, for example, there was no "咖啡"coffee, "冰淇淋"icecream, "沙发"sofa, etc., which had to be completely transplanted from English. But as time changes and cultural exchanges, the development of material culture in China has been synchronization with the west, even beyond. Such as "可乐"(cola), "自助"(buffet), "互联网" (Internet), "超市"( supermarket ), the previous social lack of cultural awareness in China such as vocabulary, has now been welcomed the broad masses.

The lexical vacancy also appears in the different gods known in the East and the West. Westerners believe that God created human beings and dominated the world, while Chinese traditionally accept the myth that Pangu created the world and Nu Wa made man. They believe that the Buddha and Guanyin Bodhisattva have supernatural powers and are able to "save suffering and all living beings". Similarly, the Puritans and Protestants in The English language had a color of religious movement that was not known in China as Puritans. Therefore, it is not easy to translate both in form and in spirit. Chinese people attach great importance to ethics, order of seniority and clear distinction between seniority and inferiority. “In the appellation of relatives in Chinese, clan relationship is very complicated. In contrast, English kinship terms are more vague and general.”(Cui Jing 2012, 38) For example, the English uncle, aunt, and cousin only show gender and simple relatives， the only way to tell them apart may be by their name. In addition, words with Chinese institutional culture characteristics, such as lunar solar terms, heavenly stems, earthly branches and traditional festivals, have no meaning at all in English. Such as Chinese "清明", "端午", "拜年", "一国两制", and in English “Christmas”, “Easter”, “capitalism” and so on.

3.2 Semantic Conflict

Due to the macroscopic similarity of human living environment and thinking structure, "what can be said in one language can be expressed relatively accurately in another language" (Nida, 1975). However, in addition to these semantically consistent words, there are many other pseudo-semantically consistent words between Chinese and English that seem to be the same. “In translation, this seemingly identical but different words and sentences are impossible to achieve the coexistence of source language and target language. We put this seemingly identical but different phenomenon in translation, known as the incompatibility of form and semantics in translation.”(Lu Guoqiang 2012) Incompatibility is contradiction. In translation practice, this kind of form and semantic incompatibility is very deceptive, which often leads to mistranslation of many words and phrases. For example, "这个故事发生在巴黎." "The story takes place in Paris."; "我们的当务之急是要深化改革" "To deepen reform is the most urgent task. ". Grammatically speaking, the above two translations seem to be sound, but they are semantically incompatible. They are all typical examples of Chinglish and should be amended as follows: 1) The story is set in Paris. 2) To deepen our commitment to reform is the top priority.

In addition, there is another kind of semantic conflict, that is, the asymmetry of emotional meaning in Chinese and English translation. In addition to conveying information, language should also express the attitude of the speaker or the author towards what is said and the attitude of the listener and reader, that is to express feelings. In translation, the lack of a thorough understanding of the emotional meaning of a word often leads to incompatibility between the form and meaning of words. The Chinese words for "干部" and "当官的" have the same conceptual meaning but different emotional colors. The former is neutral and sometimes even has a positive meaning, while the latter obviously has a negative meaning. Another example, the Chinese word for "农民". Farmer is a neutral word in Chinese, while peasant has a derogatory meaning in English, referring to a rude and uncultivated person, so it is more appropriate to translate "农民" as a neutral word farmer. "物美价廉", which means cheap and good. "Cheap" often reminds people of a cheap and inexpensive product, while "economical" has the associative meaning of "good and inexpensive". Therefore, the positive word "物美价廉" should be translated into “economical and good” or “nice and inexpensive”.

In translation, the semantic contradictions caused by improper collocation should be paid special attention to by translators. “Collocation meaning is a collocation of associations acquired by a word from the meanings of other words combined with it. In translation, due to improper collocation, a large number of target languages with incompatible formal and semantic meanings are produced.”(Liu Yang 2016, 18) Only by truly mastering both Chinese and English and getting familiar with their fixed collocation patterns and idiomatic expressions can translators avoid mistranslation caused by improper collocation to the greatest extent. “For example, "假花"(artificial flowers); "假牙" (false tooth), "假新闻"(pseudo-event), etc. In each of the above examples, "假" means "untrue" and is the opposite of "true". However, if you use "fake" or "false" in the translation, it is not in line with the English collocation habit.”(Liu Yang 2016, 19)

When Chinese people study English, they often suffer from the semantic incompatibility caused by improper collocation. One of the important reasons is that they are not familiar with the national expression methods of English speaking. This kind of English collocation translated by Chinese thinking is something we need to work hard to correct. For example, “学习英语知识”，many people will translate it into "learn a knowledge of English" . But the proper translation is "acquire a knowledge of English"/"has a knowledge of English". Leech pointed out that, unlike other types of meaning, collocative meaning has the property of generalization. It is only a special property of individual words. When it cannot be explained by other types of meaning, collocative meaning is resorted to as a special category. (Leech 1974) The particularity of collocation makes it more difficult for us to improve our expressive ability. Therefore, translators need to keep learning these commonly used fixed collocations to improve the accuracy of translation.

3.3 Use Specific Translation Methods from the Perspective of Cultural Differences

Transliteration is a form of translation based on the pronunciation of the original language, generally based on the pronunciation of the content of the original language to find alternative translations in the target language with similar pronunciation. Transliteration is usually used for translating names, place names, country names, proper nouns or words with national characteristics. The transliterated words can only be used together, not separately, otherwise they have no meaning. Since there is a big difference between China and the West in terms of name calling, the transliteration is usually done by transliteration. For example, Charles is translated as "查尔斯", David Copperfield as "大卫科波菲尔得", Romeo and Juliet as " 罗密欧与朱丽叶". There are many examples of transliteration of Chinese and Western place names. For example, Washington, the capital of the United States, is transliterated as "华盛顿", Florence as "佛罗伦萨", and Bristol as "布里斯托". The list of place names is endless. The phonetic transliteration of place names is too numerous to mention. In addition, due to cultural differences, both Chinese and Western countries have developed their own proper nouns and words with unique national characteristics, which generally require phonetic translations. For example, "功夫" translates into "Kongfu", "秧歌" translates into "Yangko". Another example, there is a famous line from a Tang poem:姑苏城外寒山寺,夜半钟声到客船. “"寒山寺" here is not because there is a "Cold Mountain" outside Suzhou, but because it was named after a monk who was called "寒山" in the Tang Dynasty. Therefore, the translation of “Cold- Hill Monastery” would be misleading as "a temple on Han Shan Mountain," which should be translated as “Han Shan Monastery”. ”(Wang Jianghong 2007)

Literal translation is the translation into English of words and phrases that have the same or similar meaning according to their original meaning. Literal translation is an important translation method that has many advantages, such as its ability to convey the meaning of the original text and to reflect its style. It is estimated that around 70% of sentences are processed by literal translation, so literal translation is a widely used translation method by translators, which shows the importance of this method. However, as there are certain differences between Chinese and Western cultures in various aspects, two situations must be taken into account when using literal translation. The first is to pay attention to the mistranslation of proper nouns or technical terms, and the second is to pay attention to words that have the same form but very different meanings in the two languages. For example, when selling something, you can't call your goods cheap, but inexpensive, because cheap means "of inferior quality"; "继承人" do not use successor but heir; "白酒"is not white wine but liquor.

Free translation is different from literal translation. Free translation is a translation that is based on the main idea of the original text rather than a word-for-word translation. It is usually used more often when translating sentences, phrases or larger groups of meaning. Free translation is mainly used in situations where the original language and the translated language reflect significant cultural differences. From the point of view of cross-cultural linguistic communication and cultural exchange, free translation emphasises the relative independence of the cultural system of the translated language from the cultural system of the original language, and is more capable of reflecting the linguistic characteristics of the nation. For example, the Chinese proverb "三思而后行"usually translated into "Look before you leap","一朝被蛇咬十年怕井绳" can be translated into "A burned child dreads the fire","心急吃不了热豆腐" can be translated into"A watched pot never boils".

In English there are also many words that need to be paraphrased and the cultural differences between the two languages in different situations should be respected when translating, otherwise it can lead to misunderstandings in the language transfer. For example, "Every life has its roses and thorns."is translated into："人生有苦有甜。In Hamlet, Act II, Scene 2, there is this depiction and praise of mankind:"What a piece of work is a man! How noble in reason! How infinite in faculty! In form and moving how express and admirable! In action how like an angel! In apprehension how like a god! The beauty of the world! The paragonof animals!" It was translationed into： "人类是一件多么了不得的杰作！多么高贵的理性！多么伟大的力量！多么优美的仪表！多么文雅的举动！在行为上多么像一个天使！在智慧上多么像一个天神！宇宙的精华！万物的灵长！" “Words such as "仪表", "天神", "灵长" corresponded to Chinese cultural imagery and free translation was used for this purpose.”(Sun Yiwen 2019, 170)

===The skills to choose the proper translation methods from the perspective of cultural differences===

The ultimate effect of translation should be that the audience receives complete and correct information and that they have the same experience of reading the translation as if it were their mother tongue. In order to achieve the best possible translation results, it is important to focus on the cultural characteristics of the translation itself and to analyse the target audience of the translation. At the same time, the differences between Eastern and Western cultures should be compared and analysed to identify the cultural factors that influence translation and to clarify that the influence of cultural differences in translation cannot be ignored. The aim is to enable people to face up to cultural differences and to value the dynamic equivalence of translation practice. The aim is to improve sensitivity to cultural differences and the accuracy of language use, to overcome cultural barriers in translation and to achieve intercultural communication.

4.1 Focus on the work itself

When carrying out translation activities, it is essential that the translator carries out an in-depth analysis of the work to be translated. Therefore, the type of work, style, cultural features should be taken into account if the translator wants to achieve the desired results. If the type of work to be translated into English is different, then the requirements can vary considerably. Take the translation of poetry as an example. Poetry is the essence of language and culture. Poetry is usually a harmonious blend of emotions and scenery, and the theme of the poems is usually expressed by the mood.

In the process of translating Chinese poetry, the ambiguity of the language and the problems that arise in the translation process actually stem from cultural differences. We can look at an example of Cao Xueqin’s work: "空对着,山中高士晶莹雪; 终不忘,世外仙姝寂寞林."(Cao Xueqin 1982, 17) And the translation is "Vainly facing the hermit in sparkling snow － clad hills, I forgot not the fairy in lone woods beyond the world". (Yang Xianyi 1978, 67) “The word "雪" in the poem ostensibly refers to snow in nature, but those who are familiar with ''Dream of the Red Chamber'' will know that it is actually the Chinese character for "薛". It refers to Xue Baochai. "林" appears to refer to a forest, but actually refers to Lin Daiyu. If the meaning of the puns in a poem is not clear, the original mood and emotion of the poem will be lost and the reader will be less able to understand the meaning of the poem.”(Li Yafeng 2016, 70) Therefore, the translator should never adopt an ambiguous attitude towards the translation of such punning words in poetry. The translator should start from the work itself, thoroughly clarify the cultural background of the original text and the profound meaning of the work, and choose the appropriate translation to reproduce the true meaning of the poem to help the reader better understand it.

In addition, in the English translation process, the translator must have an accurate grasp of the cultural characteristics of each term in order to choose the appropriate translation method, so that the content of the translation is accurate and comprehensive. For example," 汉皇重色思倾国,御宇多年求不得。"It was translated into: “The beauty － loving monarch longed year after To find a beautiful lady without a peer.”(Xu Yuanchong 2010, 222) “The word 'Han Huang' in the poem is the title of the emperor in Chinese feudal society, a term used in China, and Chinese readers are able to grasp the cultural han meaning of it. The word 'monarch' has been chosen to be more accessible to the reader, who has a general idea that he is a ruler of a country and can get a general idea of the meaning of the original poem". (Li Yafeng 2016, 72) We can see that both Chinese and Western cultures have one thing in common: they are the result of a long process of sedimentation and accumulation and are characterised by diversity and stability. English translators must accurately grasp the differences between Chinese and Western cultures and choose a suitable translation method in order to complete the translation work successfully.

4.2 Focus on the reader

In the whole translation activity, the source material, the translation and the reader are the three elements. And translators should not only pay attention to the high degree of restoration of the source material, but also pay more attention to the feelings of the reader and take the readers’reaction as the fundamental point of reaction. The translation activity itself is to serve the reader, and translators try to make their translations more accurate. If the problem of inaccurate translation still exists, it is necessary to combine naturalisation and alienation to prevent the translation language from being too rigid, and in cases where some local conditions are not understood, markings can be made to enhance the readers’understanding.

Depending on the type of reader, the translation strategies that the translator adopt should also change. For example, if the reader is a minor, the language used in the English-Chinese translation should be straightforward and simple, and the rationale should be clearly visible. Authentic translation not only restores the authenticity of the linguistic content, but also reflects the vividness of the cultural content, thus achieving the purpose of being available for research. The degree of difficulty, translation method and interpretation of the content should be decided according to the target audience in order to produce different effects for different people and thus achieve the purpose of English-Chinese translation.

Eugene Naida has said that as white as snow (白如雪)is translated as "white as goose feathers" where the word is not familiar to the readers at all or does not exist in the language, because the readership or group of readers is different. By analogy, the English idioms 'birds of a feather flock together' and 'shed crocodile tears ' can be translated as " 物以类聚, 鸟以群分" and "掉鳄鱼眼泪" at higher readership levels; at lower readership levels it can be translated as "鱼找鱼, 虾找虾" and "猫哭耗子", otherwise it will not only fail to resonate with the reader, but will also confuse the reader. “Eugene A.Nida strongly advocates that the translator should take into account the reader's receptivity, ‘The first task of the translator in a translation is to convey the information in the original text faithfully’, ‘The text must be interpreted correctly for the reader’.” (Tan Zaixi 1984, 21)

4.3 Focus on the dynamic equivalence of translation

The principle of "dynamic equivalence" was coined by the famous American linguist Eugene Nida in the 1960s. According to Nida, "the translation process aims to reproduce the information content of the source language in the recipient language that is closest to the source language, firstly in terms of equivalence of meaning and secondly in terms of equivalence of style”. (Nida 2001, 87) In this concept, Naida emphasises 'closest' rather than 'equivalent'.

The so-called "nearest equivalent" means that the information in the source language is reproduced in the target language using the nearest "natural equivalent", so that the translation is as natural as possible, both semantically and stylistically. According to the principle of dynamic equivalence, the translator starts with the reader in mind, and does not focus on the linguistic equivalence between the original and the translated form, but on the meaning and spirit of the original, reproducing the main idea of the original as completely as possible. The measure of a good translation is not how close the form of the translation is to the original, but whether the function of the information to be conveyed is the same as that of the original. The principle of "dynamic equivalence" has enormous implications for intercultural translation. To achieve bicultural understanding and communication, it is necessary to have a deep understanding of the differences between the two cultures and then be flexible enough to use translation methods that faithfully reproduce the cultural flavour of the original.(Nida 2001, 88)

In translation activities, the treatment of cultural background information is crucial. Translation plays the role of a bridge for cross-cultural communication, and its aim is not only to transform language and text on the surface structure, but also to transfer the cultural connotations embedded in the original work. For example, the famous English poet Shelley's "Ode to the West Wind" expresses a perfect eulogy of spring with beautiful and rich imagination. Because Britain is located in the northern temperate zone of the western hemisphere, it is subject to oceanic weather all year round, so the west wind generally heralds the arrival of spring. The differences in geographical location and climate between the two countries have resulted in different understandings of the easterly and westerly winds, resulting in different cultural connotations in the language. In order for the readers of the translated text to agree with the readers of the original text, the translator must find a translation in the culture of the target language as opposed to that of the source language. If this geographical and cultural difference is ignored and a literal translation is made, not only will cultural information not be exchanged, but it may also mislead the reader of the translated text.

Over the course of their long history, all peoples have developed cultural symbols which also known as cultural imagery. Cultural imagery is mostly the result of the wisdom, history and culture of each nation. The same object, in a different cultural atmosphere, represents different cultural symbols, carries different cultural connotations and triggers different associations for the reader, leading to different interpretations.

As in Jin Changxu's "Spring Complaint": "打起黄莺儿,莫教枝上啼；啼时惊妾梦,不得到辽西". The poem vividly expresses the woman's helpless desolation and her fervent longing for her husband, who left home and went to the battlefield . As a military stronghold on the northeastern border of the Tang dynasty, "Liaoxi" refers to the area around Yingzhou and Yanzhou, west of the Liao River in the Tang dynasty, and often appears in ancient Chinese poetry, referring to the "battlefield". "This typical Chinese cultural imagery of "辽西" carries a strong sense of Chinese culture that is difficult for Western readers to comprehend. “A literal translation would never work, but a transliteration plus an explanation of the "辽西" as "Liao- xi, the frontier" would make it as much of a cultural fax as possible. The abundance of cultural imagery conveys the cultural connotations of the cultural imagery of "Liaowest" well.” (Ke Zhao 2012, 114) Obviously, if the equivalence of form undermines the equivalence of meaning in the translation process, then the form should not be hesitated to be abandoned in favour of the fidelity of content.

===Conclusion===

Cultural difference in translation is a complex matter, and there are no fixed rules for dealing with them. Therefore, only with a deeper understanding of the cultural differences between the East and the West can a translator maintain the original style of the translated work and make the translation accessible and acceptable to the target audience. As an important factor in building cultural bridges, translators should be prepared to understand the differences in historical background, ways of thinking, social customs and other aspects of different cultures before processing the translation. At the same time, translators should be able to adopt flexible translation methods according to different situations, overcome obstacles caused by cultural differences in translation activities, and respect other cultures as well as their owns. No.202020080662
===References===

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Lu, Wei 卢薇.(2019). 探讨中西文化差异对英语翻译的影响 [Exploring the Influence of Chinese and Western Cultural Differences on English Translation]. ''海外英语'' [English Abroad].(04)200-201.

Wang Jingjing 王经晶. (2013). 浅谈汉英文化差异对翻译的影响 [An Introduction to the Influence of Chinese-English Cultural Differences on Translation]. [Success(Education)] ''成功(教育)''. (06)28.

Zhu Yahui 朱亚辉. (2014). 从中西猫文化视角看猫习语的翻译策略 [Translation strategies of cat idioms from the perspective of Chinese and Western cat culture]. ''文史博览(理论)'' [Literature and History (Theory)]. (09)24-26.

Wang Aihua 王爱华.(2008). 动物在英语谚语中的寓意浅析 [An analysis of the allegorical meaning of animals in English proverbs]. [Lanzhou Journal] ''兰州学刊''.

Robert Louis Stevenson.(2013). ''Treasure Island''.[Cambridge University Press].

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Cui, Jing 崔竞.(2012). 从文化差异角度看英汉翻译中的词义空缺现象 [The Phenomenon of Word Meaning Vacancy in English-Chinese Translation from the Perspective of Cultural Differences]. ''文教资料'' [Literary and Educational Materials]. (01)38-39.

Nida，E. A. (1974). ''Language Structure and Translation: Essays''. [Stanford University Press].

Lu, Guoqiang陆国强. (2012).思维模式与翻译［Thinking Patterns and Translation]. [Shanghai: Shanghai Foreign Language Education Press] 上海: 上海外语教育出版社.

Leech，G. (1974). ''Semantics''.［Penguin］ .

Liu, Yang 刘扬.(2016). 翻译中的形式与语义不相容问题 [The problem of formal and semantic incompatibility in translation]. ''外语与翻译'' [Foreign Language and Translation]. 16-21.

Wang, Jianghong王江宏.(2007). 四种常用的翻译方法 [Four common methods of translation]. ''Journal of Vocational University'' [职大学报].(03)77-81.

Sun Yiwen孙一文.(2019). 从翻译目的论视角看译者对翻译策略的选择——以《哈姆雷特》<第二幕>朱生豪译本为例 [The Translator's Choice of Translation Strategies from the Perspective of Translation Purpose Theory--Taking the Translation of Hamlet <Act II> by Zhu Shenghao as an Example]. ''English Abroad'' [海外英语]. (13)170-171.

Cao, Xueqin曹雪芹. (1982). ''红楼梦(上)'' [Dream of the Red Chamber (上). [Beijing:People's Literature Publishing House] 北京:人民文学出版社.

Yang Xian Yi杨宪益. (1978) ''A Dream of Ｒed Mansions''. [Beijing:Foreign Language Press] 北京:外文出版社.

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==Study of Domestication and Foreignization in Cross—Culture Translation 李海泉 Li Haiquan No.202020080610 English Language and Literature==

=='''Abstract'''==
For a long time, translation has been regarded as a conversion activity between languages. However, with the increasing international communication, translation studies gradually turn to cultural transfer. Generally speaking, there are two principal strategies to deal with cross-culture involved in translation, namely, TL (target language) culture-oriented domestication and culture-oriented foreignization. Domestication means bringing the foreign culture closer to the reader in the target culture,making the target text recognizable and familiar to the readers. Foreignization, on the other hand, means taking the reader over to the source text and in turn to the foreign culture, making him or her see the differences. Because of the differences between the SL culture and the TL culture,a translator is bound to face a choice. So it is inevitable to have the inclination of domestication or foreignization for a translation. It can be said that the subject of domestication and foreignization is one of the core topics of translation. This paper starts with the historical origin of domestication and foreignization, analyzes their respective strengths and weaknesses and discusses the relationship between them. The paper reaches a conclusion that the relationship between domestication and foreignization is dialectic and they can complement each other in the process of translation. And by analyzing the factors influencing and restricting the choice of translator’s strategy, the author puts forward some methods and means to realize cultural transmission through two translation strategies in order to guide translation practice.

=='''Key words'''==: domestication; foreignization; cross-culture translation

The title "abstract" and "Key words" don't need to be bold.--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 08:35, 19 December 2020 (UTC)

=='''摘要'''==
长期以来，翻译一直被视为语言间的转换活动。但随着国际间交往的日益紧密，翻译研究逐渐转向文化间的比较。一般而言，翻译中文化的转换有两种基本策略:即以目的语文化为归宿的归化和以源语文化为归宿的异化。归化是指尽量将译语文化纳入译文读者的知识范围，将作者引向读者;异化是指在翻译中保留原文语言文化的特异之处，将读者引向作者。由于源语和译语文化的巨大差异，译者在翻译过程中必然会面临两难选择，因而一篇译作也必然会出现归化或异化的倾向。可以说，归化和异化的课题是翻译的核心课题之一。
本文从归化和异化的历史渊源入手，分析二者各自的优势和缺陷，探讨了归化和异化两者之间的关系，认为二者既对立又统一，在翻译过程中可以互相补充，并通过选择一些翻译实践的例子加以说明二者的互补性。通过分析影响和制约译者策略选择的因素，作者最终提出了一些能够通过两种翻译策略实现文化传递的方法和手段，以期对翻译实践起指导作用。

=='''关键词'''==：归化；异化；跨文化翻译

Here the problem is similar,and you can have a look at the requirements about the format on the website.--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 08:41, 19 December 2020 (UTC)

=='''Introduction'''==

Translation is not only an activity of lingual exchange and information transfer, but also a kind of cultural communication between different countries and nations. With the growing ties among countries, cross-translation has become a hot topic. And in recent years, translators have shown increasing interest in the problems arising from cultural differences in translation. Generally speaking, there are two principal strategies to tackle them in translation, namely, "domestication" "foreignization". The domestication is target language oriented, while the foreignization is source language oriented.

The study on domestication and foreignization has lasted for quite a long time.

There have been numerous disputes over domestication and foreignization both in China and abroad. In these disputes, people have been trying to obtain a
conclusion as to which translation strategy is better. They tend to overemphasize one strategy and ignore the positive and indispensable role of the other. In fact, their relationship is dialectic. The paper tries to hold a dialectic attitude towards the dispute over domestication and foreignization and study the relationship between the two and tries to make a conclusion that domestication and foreignization are both useful in translation and translators should choose different strategies in various situations. In fact, an excellent translation always well combines the two strategies.

This thesis mainly consists of three chapters.

This chapter mainly consists of three parts.--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 08:54, 19 December 2020 (UTC)

Chapter I is a brief survey of the history of domestication and foreignizatio.The paper will provide a detailed account of some fundamental issues in the study of domestication and foreignization, including their definitions, their details and their advantages and limitations.

Part I is a brief survey of the history of domestication and foreignizatio.The paper will provide a detailed account of some fundamental issues in the study of domestication and foreignization, including their definitions, their details and their advantages and limitations.--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 08:54, 19 December 2020 (UTC)

Chapter 2 presents that the disputes on domestication and foreignization have permeated the history of translation both in the West and in China. The disputes in translation history show that both sides take absolute and one sided attitude towards the two translation strategies and they just overemphasize one of them. Thus many translators feel puzzled at what strategy to choose according to different situations.

Part 2 presents that the disputes on domestication and foreignization have permeated the history of translation both in the West and in China. The disputes in translation history show that both sides take absolute and one sided attitude towards the two translation strategies and they just overemphasize one of them. Thus many translators feel puzzled at what strategy to choose according to different situations.--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 08:54, 19 December 2020 (UTC)

Chapter 3 focuses on the factors influencing the choice of the translation strategies. General speaking,there are three major factors: translation purpose, the text type, and the target reader. Understanding these factors can help translators choose an appropriate translation strategy.A translator should try to avoid biases and remain objective. What’s more, he should consider the above three factors before he decides whether to adapt the original text or to retain as much as possible the foreign flavor of the original text.

Part 3 focuses on the factors influencing the choice of the translation strategies. General speaking,there are three major factors: translation purpose, the text type, and the target reader. Understanding these factors can help translators choose an appropriate translation strategy.A translator should try to avoid biases and remain objective. What’s more, he should consider the above three factors before he decides whether to adapt the original text or to retain as much as possible the foreign flavor of the original text.--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 08:54, 19 December 2020 (UTC)

In conclusion, the writer tries to conclude that a good translator should adopt different devices to realize different strategies according to different situations, and a good translation is one that well combines domestication and foreignization.

=='''Ⅰ A Brief Study of Domestication and Foreignization'''==

===A Brief Study of Domestication and Foreignization===--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:21, 19 December 2020 (UTC)

In many cases controversy is due to the looseness of clarification of fundamental issues (Hou Yanan 2004,5 ). Many people talk about domestication and foreignization when the fundamental issues are seldom clearly defined.In this chapter, the paper will provide some fundamental issues of domestication and foreignization which are based on the following arguments.

1.1 Definition

The terms of domestication and foreignization were first introduced by the famous American translator Lawrence Venuti in his book ''The Translator’s Invisibility: A History of Translation'', which was published in 1995. Domestication and foreignization are defined by Lawrence Venuti as follows:”Domestication means bringing the foreign culture closer to the reader in the target culture, making the text recognizable and familiar. Foreignization, on the other hand, means taking the reader over to the foreign culture, making him or her see the cultural and linguistic difference"(Venuti 1995:19-20). Domesticating means bringing the foreign culture closer to the reader in the target culture, making the text recognizable and familiar. Foreignizing, on the other hand, means taking the reader over to the foreign culture, making him or her see the differences.Compared to marriage, translation practice is similar to the marriage of a Chinese girl with a foreigner. By domestication,"the Chinese girl" will be forced to undergo the cosmetic in order to make her look like a westerner. By foreignization, the bride’s appearance will be left intact although she has to put on the western-style wedding gown. Her cultural identity is also kept to the maximum (Chen Fu 2004,4-5).

1.2 Details About Domestication

There are various opinions as to the forms of domestication.According to Ke Ping (Ke Ping 1993,23),domestication only refers to adaptation of words or phrases.That is domestication means that translating a word or phrase which is of target language (TL) cultural color and which is used as frequently in the TL as the original in the source language (SL) (Hou Yanan 20046).Qin Hongwu (Qin Hongwu 2000,372) holds that domestication also includes the adaptation of SL syntactic structure.According to the definition given by Lawrence Venuti, all the forms of adaptation aim to make the TL more acceptable and familiar to the TL readers.

Every paragraph should be followed by quotations.--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:21, 19 December 2020 (UTC)

Many scholars who favor domestication have put forward their own point view on domestication. Eugene Nida is widely considered as an influential representative of domesticating translation who puts much emphasis on the communication function of translation.His concept of "dynamic equivalence" or "functional equivalence"in translation is the representative of domestication strategy.Dynamic equivalence is defined as"a translation principle according to which a translator seeks to translate the meaning of the original in such a way that the target language wording will trigger the same impact one target culture audience as the original wording did upon the source text audience"."A translation of dynamic equivalence aims at complete naturalness of expression. And tries to relate the receptor to modes of behavior relevant within the context of his own culture:it does not insist that he understand the cultural patterns of the source-language context in order to comprehend the message”(Nida,1964,159).

Therefore, Nida pay much attention to readers response."the relationship between the original receptors and message should be substantially the same as that which existed between the original receptors and message"(Nida,1964:159).So a translation of dynamic equivalence directs its focus of attention not so much toward the source message as towards the receptor response (Zhou Min 2007, 23) For example,according to Nida’s approach of domestication,the Chinese idiom "智者千虑,必有一失"will be translated into "Homer sometimes nods"; the English idiom "to cast pearls before swine" can be translated into "对牛弹琴". A dynamic equivalent translation shifts the focus from verbal comparison between the originala and translation to readers' response (Zhou Min 2007,24).

Meanwhile, domestication involves alteration of the SL cultural images, syntactic structure, and so on. This kind of alteration is designed to make the translation more understandable and smoother to the TL readers. For example, in ''Hong Lou Meng'',

Meanwhile, domestication involves alteration of the SL cultural images, syntactic structure, and so on. This kind of alteration is designed to make the translation more understandable and smoother to the TL readers. For example, in ''A Dream In Red Mansions''.--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:21, 19 December 2020 (UTC)

谋事在人，成事在天。（第六回）

Man purposes, God disposes. (Hawkes)

Hawkes quotes the English proverb directly and make it untouched. In this way,he changes the Buddhist flavor into the Christian flavor. The SL image is replaced with TL cultural image.

He’s always been strong as a mule．

他一向壮得像头牛。

‘牛’is often used to express physical fitness in Chinese culture, while’牛’is expressed in‘horse’or‘mule’according to English expression habits.In summary, domesticated translation can provide readers with closeness,nature and fluency.TL readers easily accept this translation and have more profound understanding of the connotation of the target language(Zhou Min 2007,25).

1.3 Details About Foreignization

Foreignization signifies the differences of the foreign text. Lawrence Venuti,the representative of foreignization, views such kind of translation method as"a strategic cultural intervention in the current state of world affairs, against the hegemonic English-language nations and the unequal cultural exchanges in which they engage their global others” (Venuti 1995,20). Venuti puts forward that foreignization can be a form of resistance against ethnocentrism and racism, cultural narcissism and imperialism (Hou Yanan 2004,10).

Translators who adopt the foreignization strategy try to avoid any alteration or departure from the SL. The culture-specific elements, literary form, and linguistic feature are preserved as much as possible. Foreignization is based on the differences between different national cultures and advocates the original flavor of culture. The purpose of foreignization is to make the TL readers fully experience the exotic atmosphere, feel different nationalities and realize the differences among different language traditions and national cultures by retaining the language styles and national characteristics of foreign countries. Therefore, the appropriate foreignization not only promotes the cultural exchange,but also greatly enriches the expressiveness of the translated language(Tian Yunping 2005,107 ).

With the expansion of cultural exchange,many English loanwords gradually infiltrate into Chinese through foreignizing translation and are widely familiar and accepted by us. For example,in English-Chinese translation, we have talk show(脱口秀),ivory tower(象牙塔),crocodile tears(鳄鱼的眼泪),sour grapes(酸葡萄) and so on. And in Chinese-English translation,there are 气功(qi gong),豆腐(to fu),功夫(kong fu),君子协定 (gentleman’s agreement ), 门户开放政策(the open door policy) and so on (Hou Yanan 2004,12).

1.4 Advantages and Limitations of Domestication and Foreignization

Domestication and foreignization are the main translating strategies. While in translation,translators have a tendency to overemphasize the significance of one strategy and ignore the role of the other one. In fact, both domesticating and foreignizing strategies have their advantages and limitations.As the main strategy,domestication holds its advantages. Mark Schuttleworth and Moira Cowie regard domestication as"a term used by Venuti to describe the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for the TL readers" (Schuttleworth and Cowie,1997,43-44). This involves erasing the linguistic and cultural differences of the original text and adapting them to the norms and conventions of the target culture.Therefore, this target-culture-oriented approach makes the foreign familiar and avoids cultural conflicts and communication barriers. However, every coin has two sides. Venuti holds that domestication has negative connotation "as it is identified with a policy common in dominant cultures which are ‘aggressive monolingual, unreceptive to the foreign’, and which he describes as being accustomed to fluent translations that invisibly inscribes foreign texts with TL values and provide readers with the narcissistic experience of recognizing their own culture in a cultural other"(Venuti, 1995,20).

For example, Nide said that "to grow like mushroom" can be translated into "雨后春笋" so as to achieve functional equivalence, but "雨后春笋" may mislead Chinese readers into believing that there are bamboo shoots in the English-speaking countries.Though domestication is easier for the reader to understand and accept, its naturalness and smoothness of the TT are often achieved at the expense of the cultural messages of the SL. What's more, if the translator always adopts the domestication strategy to replace the cultural differences with the information familiar to TL readers, the TL readers will be further apart from SL culture. Readers just review their own culture which is against the purpose of intercultural communication.

Foreignization, source-culture-oriented approach, respects the foreignness of the source language and culture and try to retain the foreign linguistic forms and cultural differences in target text, so that it enables the target readers to gain "an alien reading experience"(Venuti,1995,20), to know the cultural otherness and to promote cultural communication. Besides, foreignization will play an significant role in preventing cultural hegemony and enhancing the status of foreign culture in the target culture. It is necessary for the target reader to acquaint himself with the foreign culture. What’s more, translation with foreignization could broaden the view of readers.It accords with the needs of cultural transmission and exchanges among different nations.

For instance,there are plenty of expressions concerning animals in every language.The tiger is considered to be the‘king of animals' and stands for dignity in Chinese, while in English,the same meaning is carried by the image of ‘lion’. For example,"他结婚了,太太是只母老虎”,in English, it can translates"He was married and had a lioness at home ". In the foreignized expressions, it is natural for readers to associate them with their native expressions. Through the comparison, they can understand different usages and the exact connotations of the lion and those of the tiger. It is in this way that target readers enrich their acquisition of foreign cultures and accelerate cultural communication (Hou Yanan 2004,14).However,there are limitations in foreignizating translation.Sometimes, alien cultural image and linguistic features may cause information overload to the readers. For example,if the reader can’t understand the ST image, he can’t receive the cultural message contained in the ST, and he may even fail to understand the ST.

Maybe it would be better to have more details about the limitations in foreignizating translation in the last paragraph.--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:25, 19 December 2020 (UTC)

=='''Ⅱ Disputes over Domestication and Foreignization in History'''==

===Disputes over Domestication and Foreignization in History===--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:35, 19 December 2020 (UTC)

No study of domestication and foreignization would be complete without consideration of them in a historical perspective.Throughout the history,there are many different opinions on domestication and foreignization in cross-culture translation.

2.1 Disputes over Domestication and Foreignization in the West

In the west,there are various opinions on domestication and foreignization.It was Cicero in the first century B.C.who first eloquently formulated that a translatormust be either an interpreter or rhetorician (Zhou Min 2007,38).For the next two thousand years, translation theory was mainly limited to a heated discussion of this dichotomy.In the western translation field of today, the loudest speaker for domestication is Eugene Nida, and Lawrence Venuti is the representative of those who favor foreignization.

In the west,there are various opinions on domestication and foreignization.It was Cicero in the first century B.C.who first eloquently formulated that a translator must be either an interpreter or rhetorician (Zhou Min 2007,38).For the next two thousand years, translation theory was mainly limited to a heated discussion of this dichotomy.In the western translation field of today, the loudest speaker for domestication is Eugene Nida, and Lawrence Venuti is the representative of those who favor foreignization.--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:35, 19 December 2020 (UTC)

Domestication recommends fluent translation. Eugene Nida is the representative of those who favor domesticating translation. The concept of dynamic equivalence is a clear indication of his inclination towards domestication. "A dynamic equivalence aims at complete naturalness of expression and tries to relate the receptor to modes of behavior relevant within the context of his own culture" (Nida,1993,159). Dynamic equivalence or functional equivalence is based on the principle of equivalent effect,i.e.the relationship between receiver and message should aim at being the same as that between the original receivers and the SL message(Zhou Ming 2007,41).

A minimal definition of functional equivalence is stated as “ The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it" in the book ''Language, Culture and Translating'' (Nida, 1993,117).He claims, "Anything less than this degree of equivalence should be unacceptable"(Nida,1993, 118). The maximal,ideal definition is stated as “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did" (Nida, 1993: 118). Nida’s "Dynamic Equivalence" can be viewed as a euphemism for domestication (Zhou Ming 2007,41). This can be evidenced also in Nida's own words "The translator must be a person who can draw aside the curtains of linguistic and cultural differences so that people may see clearly the relevance of the original meaning"(Nida, 1993: 121). All in all, Nida's theory virtually reinforces the status of domestication as a canon in English-language translation.

Since the publication of the Translator’s Invisibility in 1986, Lawrence Venuti has become one of the most prominent figures in contemporary U.S. translation circle. Lawrence Venuti is a major advocator of foreignization. His aim is "rather to develop a theory and practice of translation that resists dominant target-language cultural values so as to signify the linguistic and cultural difference of the foreign text" (Venuti, 1995, 23). He states"the fact of translation is erased by suppressing the linguistic and cultural differences of the foreign text, assimilating it to dominant values in the target-language culture, making it recognizable and therefore seemingly untranslatable. With this domestication the translated text passes for the original"(Venuti,1995,23). Hence,he puts forth the principle of"resistancy" to signify the difference from the foreign text by disrupting the cultural codes that prevail in the target language.

2.2 Disputes over Domestication and Foreignization in China

The disputes over domestication and foreignization can be dated back to the period of translating the Sanskrit Buddhist scriptures into Chinese， which is known as the dispute over"simple translation"(文)and"sophisticated translation"(质) Sutra scriptures. Dao’an (Luo Xingzhang 1984，26) firmly advocated faithful translation of "zhi", namely,foreignizatiing translation. While Kumarajiva is strongly against foreignization. He advocated the translation of "wen".In the 1930s,Zhao Jingshen (Luo Xingzhang 1984:267) proposed the translation principle of “smoothness over faithfulness”. Zhao declared that a piece of translation should be smooth, even if smoothness was achieved at the expense of faithfulness. Thus he chose to “rearrange Yan Fu’s three points in a new order, as follows: expressiveness, faithfulness, elegance"(Luo Xingzhangv1984,267). The most famous Chinese scholar who firmly advocates domestication in the 20th century might be Qian Zhongshu. He insists that the highest standard of translation be "sublimation" and a translation be "so faithful to the source text that it does not read like a translated work, because the text in the source language will by no means read like a translated one"(Qian Zhongshu,1981,18-19).

That is to say,a piece of good translation should not reveal its foreignness.Compared with the advocacy of foreignization, the school of domestication is more powerful and popular.Most acknowledged translators century were the representatives of the domestication school,such as Yan Fu,Zhang Guruo,Yang Bi ,just to name a few. (Zhou Min 2007,39) Professor Xu Yuanchong favors domestication. He sees clearly the differences between eastern and western cultures，and proposes the theory of cultural competition to deal with the cultural differences.That is, a translator should make full use of the strength of the TL in order to make the TT more beautiful (Xu Yuanchong,2000:90).As using of four-character-phrases is widely acknowledged as one of the characteristics as well as strong points of the Chinese language,Xu uses a lot of four character phrases in his translation. He also likes to use phrases from ancient Chinese literary works in his translation. For example,“ Elle morul”is translated into“魂归离恨天”which is a phrase used in ''Hong Lou Meng''(Hou Yanan 2004，21).

Maybe we can concludes the results when we make this comparision ahout disputes over domestication and foreignization betweeen China and the west and tell why we need to make this conparison.--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:35, 19 December 2020 (UTC)

=='''Ⅲ Factors Influencing the Choice of Domestication and Foreignization'''==

===Factors Influencing the Choice of Domestication and Foreignization===--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:49, 19 December 2020 (UTC)

In essence, domestication and foreignization are only two different translation methods used to deal with the linguistic and cultural differences between in the process of translation. Whether to choose domestication or foreignization is determined by many factors. Generally speaking, there are so many factors influencing the translator's strategy choice. For example, the text type,the translation purpose,the target reader, the translators cultural attitude,the context, etc.This paper will make a discussion about the three factors: the translation purpose,the text type and the target reader.

3.1 The Translation Purpose

3.1 The Purpose of The Translation--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:49, 19 December 2020 (UTC)

Translation is a purposeful activity.Any human activity is conducted with certain intention in mind.Translation as a human activity is no exception.According to Manttari，the famous functional translation theorist,translating behavior is a complex activity designed to realize the information convey across different cultures and different languages. In his opinion, purpose principle is the first principle of translation(Zhou Min 2007, 60). As Hermans points out: “Without such intention, without taking into account the function which the translation is meant to serve or the problem it is trying to solve,the translators choices appear whimsical, or pointless,or wholly idiosyncratic" (Hermans,1999,39).Because of the existence of linguistic and cultural differences,there is no complete equivalence between TL and SL.Then what should be preserved and what should be altered, or to what degree the SL should be preserved, in other words, what translation strategies the translator should chose is determined by the purpose of translation (Zhou Min 2007,60-61). On the one hand, if the main purpose of translation is to introduce the culture of the SL, to promote the mutual understanding and communication between different cultures in order to broaden the view of the target readers. We should adopt the foreignization strategy.

On the other hand, if the main purpose is for amusement or to please the target readers, and avoid the cultural obstacles or conflicts that may occur in readers reading and comprehending of the TT, domestication should be chosen firstly. Therefore,if translation is for a specific purpose and the task is very urgent, his major concern will be the fluency and readability of the translation in order to avoid obscurity and ambiguity. In such case,the domestication approach is preferable. On the contrary, if translation is for a pressing task of communication,he may adopt foreignization in order to meet the need of appreciating foreign cultures on the part of the readers. For example,in the Chinese sentence "谋事在人, 成事在天", the word "天", in China, is a Daoism concept, while in western we will use 'God'(Zhou Min 2007,62). Foreignization strategy should be adopted if the purpose of translation is to popularize the Daoism and broaden the westerners’ horizon about Chinese culture.The translator can use the word 'heaven' to keep foreign flavors. On the contrary,when the purpose of translation is to make the target readers know the meaning of the sentence and improve the readability of the sentence, domestication should be adopted to make TT more acceptable to the readers and the word‘god’should be used.

So the purpose of translation can shift cultural orientation, which may also determine which translation strateg to choose,domestication or foreignization in some aspects.

3.2 The Target Reader

In the translating process, the translator acts as the producer and the readers the receptor. The relationship between the producer (translator) and receptor (readers)is considered one of the most important among relations involved in translating process (Zhou Min 2007,67).A translation process is not complete without the participation of the readers.Nida (Nida 1993: 139) once said:“The target audience for which a translation is made almost always constitutes a major factor in determining the translation procedures and the level of language to be employed.” Therefore, the level of the intended readers plays an important role in determining a translator’s translation strategy. As target readers are different from each other in almost every aspect, the translator is responsible to analyze their respective communicative needs. The readers are the ultimate judges of a translation. Therefore,the first and foremost thing the translator should bear in mind is to recognize what type of readers his work will probably face.The readers will be they children,general public or experts and so on, in order to have his versions acceptable to the target readers.

Depending on the different groups of readers, the translator can decide which kind of approach he may adopt. For example, for the sentence below, there will be different translations according to different groups of readers.

He is a modern Samson.

(1)他简直就是现代的参孙。

(2)他是一个大力士。

Samson is a character in Bible, who is famous for his strong figure. For readers who know western culture very well, version(1), which is the result of foreignization,seems to be a vivid translation. However, for those who are not familiar with or those who know little about western culture, version (2) is more comprehensible and preferable (Zhou Min 2007,68).

All in all, translators should pay attention to the target reader in the translating process.Domestication and foreignization both take target readers,their cultural backgrounds,their expectation and the time the are in and so on, into consideration but with different focuses of emphasis. The translator should stress the significant role of target readers in order to make a better translation.

3.3 The Text Type

3.3 The Type of The Text--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:49, 19 December 2020 (UTC)

Different types of texts require different translation strategies. Because different types of ST have different functions and intentions, which requires the translator to choose different translation strategies. So different types of ST also affect the choice of translation strategies. According to Christiane Nord,translation can be classified into instrumental translation and documentary translation (Christiane Nord,1997,36).Instrumental translation refers to transfer information of communicative activity in the source culture into the target culture in the translating process.This type of translation is mainly used in the true information and tries to preserve the truth.It stresses the transmission of information,which mainly includes non-literary writing such as advertisement, journalistic writing,reports,scientific and so on. Therefore, the aim of translation is to achieve the accuracy of the content and fluency in language without paying attention to the foreign flavor. Thus domestication is more accessible and can be obtained as much as possible.

Different types of texts require different translation strategies. Because different types of ST have different functions and intentions, which requires the translator to choose different translation strategies. So different types of ST also affect the choice of translation strategies. According to Christiane Nord,translation can be classified into instrumental translation and documentary translation (Christiane Nord,1997,36).--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:49, 19 December 2020 (UTC)

Instrumental translation refers to transfer information of communicative activity in the source culture into the target culture in the translating process.This type of translation is mainly used in the true information and tries to preserve the truth.It stresses the transmission of information,which mainly includes non-literary writing such as advertisement, journalistic writing,reports,scientific and so on. Therefore, the aim of translation is to achieve the accuracy of the content and fluency in language without paying attention to the foreign flavor. Thus domestication is more accessible and can be obtained as much as possible.--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:49, 19 December 2020 (UTC)

Documentary translation refers to the translation that is the medium to represent authentic communicative activities in the source language culture for the target readers(Zhou Min 2007,63). Documentary translation is suitable for translating the original expression where the specific language of the speaker or writer is as important as the content. It is often used in fictional texts like literature. Mainly concerning the mental field and imaginary things, this kind of text contains rich cultural connotations, and reflects the social thoughts and customs (Zhou Min 2007,63).So,in the documentary translation, the foreignization strategy is preferable.

From the above analysis, we could have a conclusion that different strategies should be adopted according to different types of the source text. For example, when translators translate political, historical or philosophical texts,the method of foreignization is often adopted because the aim of these texts is to introduce and reveal the source cultures. On the other hand, when translators translate texts of practical styles, such as notices, news reports, advertisements and popular literature, domestication tends to be the general guideline because the purpose for these texts is to achieve wider readers and better readability (Zhou Min 2007, 64).

From the above analysis, we could have a conclusion that different strategies should be adopted according to different types of the source text. For example, when translators translate political, historical or philosophical texts,the method of foreignization is often adopted because the aim of these texts is to introduce and reveal the source cultures. On the other hand, when translators translate texts of practical styles, such as notices, news reports, advertisements and popular literature, domestication tends to be the general guideline because the purpose for these texts is to achieve wider readers and better readability (Zhou Min 2007, 64).In this paragraph, maybe it would be better to have a more detailed conclusion or a deeper explanation of the strategy we can choose to translate different texts.--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:49, 19 December 2020 (UTC)

In summary, understanding these factors can help a translator to choose an appropriate translation strategy.

=='''Conclusion'''==

In a word, in the cross-cultural perspective, domestication and foreignization have their own advantages, and have a profound impact on translation. In different contexts, they should be reasonably selected, which puts forward higher requirements for the translator’s cultural literacy. In the process of translation, translators should adopt more appropriate translation methods according to specific problems and specific conditions, so that domestication and foreignization complement each other to achieve the ultimate goal of promoting cultural exchanges and communication. If one-sided emphasis on domestication or the pursuit of foreignization will lead to a very short translation work. Therefore,it is necessary to combine the two methods scientifically and grasp the degree to improve the translation effect.

==''' References'''==

Chen Fu. (2004). ''Domestication and Foreignization''. Zhejiang University.

Christiane Nord(1997). ''Translating as a Purposeful Activity-Functional Theories Explained''. Manchester: St. Jerome Publishing.

Jingjing Cui. (2018). ''A Study on the Relativity of Foreignization and Domestication in Translation Based on Date Comparison''. Dezhou University (02):352-360.

Hermans. (1999). ''Translation in System'' . Manchester: St Jerome Publishing.

Neubert, Albrecht. &M Shreve, Gregory. (1992). ''Translation Text''. Ohio: Kent State University Press.

Newmark, Peter. (1988). ''A Textbook of Translation''. Shanghai: Shanghai Foreign Language Education Press.

Nida, Eugene A. (2001). ''Language, Culture and Translation''. Shanghai: Shanghai Foreign Language Education Press.

Nord, Christiane. (2001). ''Translation as a Purposeful Activity-Functionalist Approaches Explained''. Shanghai: Shanghai Foreign Language Education Press.

Shuttleworth, M.＆M. Cowie.(2004). ''Dictionary of Translation Studies''. Shanghai: Shanghai Foreign Language Education Press.

Venuti, Lawrence. (1997). ''Dictionary of Translation Studies''. London and New York: Routledge.

Venuti, Lawrence. (1995). ''The Translator’s Invisibility: A History of Translation''. London and New York: Routledge.

Cao Xueqin ＆ Gao E 曹雪芹＆高鹗.(2005). ''红楼梦''[''Hong Lou Meng'']. Shanghai:Shanghai Literature and Art Publishing House上海: 上海文艺出版社.

Guo Jianzhong 郭建中.(1992).翻译中的文化因素:异化与归化[Cultural factors in translation: Foreignization and Domestication]. Foreign Language 外国语 (02):12-18.

Hou Yanan 侯雅楠. (2004).翻译的归化和异化研究及应用[Research and Application of Domestication and Foreignization in Translation].Dalian:Liaoning Normal University大连:辽宁师范大学.

Ke Ping 柯平. (1993). 释义, 归化和回译-三谈变通和补偿手段[Interpretation,Domestication and Retranslation - Three Means of Adaptation and Compensation]. Chinese Translation中国翻译,(01),23-25.

Liu Yingkai 刘英凯. (1987).归化-翻译的岐路[Domestication - Translation Divergence].Modern Foreign Language 现代外语 (2):15-17.

Luo Xinzhang 罗新璋(编).(1984).''翻译论集''[''Translation Collections'']. Beijing:The Commercial Press北京:商务印书馆.

Qin Hongwu ＆ Li Haiqing 秦洪武,李海青 .(1997).论归化的可行性[On the Feasibility of Domestication]. Foreign Language and Translation 外语与翻译,(02),16-18.

Sun Li 孙丽（2016).以跨文化交际为基准观察翻译中的异化及归化[To Observe Foreignization and Domestication in Translation Based on Cross-cultural Communication].Wuzhou:Journal of Wuzhou College 梧州：梧州学院学报(07):93-95.

Wang Jing王静. (2018).''跨文化视角下的英语翻译理论与实践探究''[''A Study of English Translation Theory and Practice from a Cross-cultural Perspective'']. Changchun:Jilin People's Publishing House 长春：吉林人民出版社.

Xu Jun许钧. (2001).''文学翻译的理论与实践:翻译对话录''[''Theory and Practice in Literary Translation: A Dialogue on Translation''].Nanjing:Yilin Press 南京:译林出版社.

Xun Yuanchong 许渊冲. (2000).''翻译的艺术''[''The Art of Translation'']. Beijing:China National Translation and Publishing Company北京:中国对外翻译出版公司.

Yan zhiqian严智千. (2007).''归化还是异化？''[''Domestication or foreignization''?].Shanghai:Shanghai Jiao Tong University 上海：上海交通大学.

[24] Zhou Lu周蕗 (2015).基于跨文化视野的归化与异化翻译研究[Research on Domestication and Foreignization Based on a Cross-cultural Perspective].Suzhou:Journal of Suzhou Institute of Education 宿州:宿州教育学院学报（2）:55-57.

Zhou Min周敏. (2007).文化视角下的归化异化研究[Research on Domestication and Foreignization from the Perspective of Culture].Beijing:China University Of Petroleum 北京:中国石油大学.--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:27, 20 December 2020 (UTC)

The format our teacher gives for the title of this part is "references". The sequence number is not needed and all the references should have two versions: Chinese version and its English version.--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 09:02, 19 December 2020 (UTC)

==Cultural Differences in Interpreting and Corresponding 吴琼 Wu Qiong MTI 英语口译==
<center> 吴琼 Wu Qiong MTI 英语口译 202070080644 </center>

===Abstract===
Language and culture are very closely related. It is language that allows culture to be recorded, transmitted and perpetuated. With rapid development of globalization, the demands for interpreting between languages are also increasing.
However, cultural differences hinder the smooth expression of interpretation. As Mr. Wang Zuoliang said, "What is the greatest difficulty in translation? It is the difference between two cultures.Something can be told without words in one culture, but in the other culture, interpreters might take a great deal of effort in explaining it." The same applies to interpretation. This paper will mainly study on the cultural differences analysis, cultural differences in interpreting and corresponding, and corresponding strategies to cope with the cultural differences in interpreting. And hoping it can provide some references for the study of English interpretation. （Jiang Yi 2014).

===Keywords===
Cultural differences; Interpreting; Corresponding Strategies

===题目===
口译及相关领域的文化差异研究

===摘要===
语言和文化之间的关系十分紧密。正是因为语言，文化才得以记载、传播和延续。随着全球化进程的加快，不同语言间的口译需求也日益增加。然而在口译时，不同语言间的文化差异阻碍了口译的顺利进行。就像王佐良先生所言：“翻译最大的困难是什么？就是两种文化的不同，在一种文化里头不言而喻的东西，在另一种文化里头却要浪费很大力气加以解释。”（Jiang Yi 姜怡 2014)这句话对口译同样适用。本文将就文化差异的分析、口译及相关活动的文化差异以及其应对策略三个方面对口译及其相关活动的文化差异进行研究，希望能为英语口译的研究提供一定的参考。

===关键词===
文化差异；口译；应对策略

===I. Cultural Differences Analysis===
Due to the differences in cultural backgrounds and ways of thinking, English and Chinese often have completely different expressions for many similar concepts. After analysis, the reason can be reflected mainly in three aspects.

'''I.I. Different Perceptions'''

Both English and Chinese languages have a time-honored history and connotation. Due to many differences, Chinese and Western perceptions are also very different.
For instance, when foreigners talk about "Black Friday", if it is only translated as "黑色星期五" literally in Chinese(target language), the target language receiver may not know the true meaning.Therefore, when interpreters do this kind of translation, regardless of whether it is an "unlucky" day or a "shopping day". The interpretation should be made according to the context.
Another example is "touch the wood", which is believed in the West to ward off evil spirits or find protection.
Since the origin of the phrase is somewhat related to religious beliefs or superstitions, in addition, there is no similar phrase in China. So in the process of interpreting, we should also pay attention to explaining the meaning of the phrase.

In the West, it is impolite to discuss on a man's salary or a woman's age. It is not even allowed to ask how much are the furniture in their homes.
In Chinese, for example, when people praise an old person's good health, they usually say, "您老身子骨很硬朗啊！“ But in English-speaking countries, if you interpret it directly as "Although you are so old, you still look very healthy" will make the other disguised. The reason is that in their view, mentioning age, especially while noticing the word "old" will indicate others'age. So the correct translation would be"You look great or amazing. " (Fan Xiongjie 2014)

'''I.II. Vocabulary Absence'''

"Due to the difference of language and culture, a few vocabulary can not be found in the other language sometimes, and if this happened in the process of interpretation, it can easily lead to information is lost or mistranslated." （Fan Xiongjie 2014)
For example, for those foods which are full of Chinese characteristics, i.e. "dumplings" and "doughnuts", they don't have corresponding vocabulary in English, as in English-speaking countries, those foods can hardly be seen or eaten. So in this circumstance, it is very difficult to describe them clearly unless the person concerned sees or tastes them in his own eyes. Therefore, when interpreters encounter such words, they can choose to translate them phonetically, i.e. "Zongzi" and "Youtiao", then explain the words. The full translated sentence should be "Zongzi, a kind of traditional Chinese rice - pudding" and "Youtiao, a kind of deep-fried dough sticks".

Furthermore, the Chinese language is very profound. It has phonetic, direct, and meaningful translations, as well as passages words, multiple meanings, and so on. In contrast, the English language is more direct. For example, in the Analects of Confucius, there is a sentence that reads, "Isn't it a pleasure to study and practice what you have learnt?" In this sentence, the Chinese word "说" is pronounced as "悦", which means pleasant. But in colloquial language, the two are pronounced the same. If the sentence is translated backwards into Chinese, it becomes " It is not a pleasure to learn with perseverance and utilization?" Although the translation conveys the meaning expressed in the original text, the meaning of the original text, the rhythm of the original text is lost due to the absence of the corresponding expressions. In this kind of translation, there is no way to compensate for the cultural differences, but we can only minimize the lack of meaning and try to accurately convey the connotation expressed in the original text as much as possible.（MALINI MURALI 2020）

'''I.III. Different Linguistic Customs'''

Under the different cultural background and due to different linguistic customs, greetings or other communicative terms are different as well.
For example, when Chinese people greet guests, they would usually say, "欢迎各位，一路辛苦了！" In this case, the interpreters can not translate it literally in the Chinese thinking mode "Welcome, everyone! You must be very tired in the long journey". Actually for native English speakers, on such occasions, they should express their concerns rather than greetings. Therefore, according to the English thinking habit, the interpreter can translate it as "How about your flight?" or "You've had a long trip."

As a country of ceremonies, China takes modesty as a virtue. When Chinese and foreigners negotiating, the Chinese people used to say, "请多提宝贵意见。" Under this circumstance, if the interpreter translates it as "Please give us your valuable comments.",then it will easily cause misunderstanding. Because English speakers will be puzzled that they are forced to give valuable comments, or you should not mention it. Such a translation is obviously impolite, so it should be translated as "We appreciate your comments." or "Please offer your comments."(Hong Xiaoli 2020)

===II. Cultural Differences in Interpreting and Corresponding===

With the continuous improvement of China's international status, China has more dialogues and business with other countries. We can see foreign affairs interpretation and business interpretation play pivotal roles in these perspectives. And in such interpretation processes, we also see many cultural differences. There are different domains in interpretation, such as escort interpreters, traveling interpreters, business interpreters, foreign fairs interpreters.etc. We will definitely encounter cultural differences in different scopes of interpretation. And here we mainly discuss about foreign fairs interpretation and business interpretation.

'''II.I. Cultural Differences in Foreign Fairs Interpretation'''

Foreign affairs are diplomatic affairs between states, and foreign relations are primarily related to military affairs and diplomacy, with the executive branch of the national government being the main participant in the various "foreign affairs" ,which is a broad term that refers not only to relations, but also to "fairs". "It includes issues, events, relationships, and legal rights granted by the Constitution. It is foreign matters ,especially the related interests between the two countries that are involved in foreign affairs instead of domestic affairs. Foreign affairs interpreting is the oral translation of activities dealing with international affairs. The quality of foreign affairs interpretation directly affects the interests and honor of the country. Foreign affairs interpretation is not only a kind of language behavior but more a kind of cultural behavior. (Hong Xiaoli 2020)

Foreign interpreters have to play different roles such as interpreters, receptionists, advocates and tour guides. For this reason, foreign interpreters should try to reduce the communication barriers caused by cultural differences so that communication can proceed smoothly. In political or commercial negotiations between countries, proverbs, idioms and allusions that are closely related to national cultures can cause difficulties in understanding. For example, in a business negotiation, we used the phrase "鹬蚌相争" to express that in a fierce competition, the third party wins, which is simply translated as "the mussels between the snipe and oyster". That is difficult for foreigners to understand the essence and connotation of the term, which needs to be further explained as "Please be more considerate, and do not only pay attention to the very close interests, we must take the long run to avoid the third competitor's attack."

When an interpreter is accompanying a foreign guest as a host, there may be more barriers to understand something caused by cultural differences. The interpreter should make the necessary adjustments in order to make the name of the dish better understood by the listener. For instance, "童子鸡" is a very popular dish in China, and it is difficult to understand and absurd to translate it directly as "virgin chicken". If it is translated as "spring chicken" or "baby chicken", foreigners can easily understand that the dish is made of chickens and not "unmarried chickens".

"Interpreters should also be aware of the cultural differences between China and the West when introducing our profound culture to Westerners. For example, in Liu Yuxi's poem "东边日出西边雨，道是无情却有情", the interpreters should further interpreted the connotation of the Chinese "日出" and "晴". Xu Yuanchong translated as "The west is veiled in rain, the east enjoyed sunshine; my dear one is as deep in love as day if fine." Westerners do not understand puns and rhymes, especially when combined with the profound culture of China. (Chen Yongzhi, 2019)

'''II.II. Cultural Differences in Business Interpretation'''

The Belt and Road Initiative has led to large quantity of business activities both at home and abroad, and the practice of business negotiation interpretation has continued to heat up. Interpreters should take the responsibility to be proficient in business interpretation and of course should be familiar with the cultural differences in the business field.

In the process of business negotiation, interpreters are not only involved in business negotiation, but also in reception activities in some cases. Interpreters should not only have sufficient foreign language and business knowledge, but also need to understand the differences between Chinese and Western ways of thinking. For example, when greeting an elderly foreigner at the airport, the Chinese interpreter says, "Since you are old, let me help you with your luggage."
But the foreigner said. "I'm not old." This is a misunderstanding caused by the difference between Chinese and Western ways of thinking. Respecting and loving the elderly is a traditional Chinese virtue, and China has always attached importance to social ethics, but in the West, offering help to the elderly seems to say that the elderly are incompetent, which is offensive to foreigners.

The Chinese emphasize ethics and the Westerners emphasize perception. When greeting foreign guests, there is a lot of etiquette of presenting flowers. In business activities, any details need to be considered culturally. For example, lilies are seen as auspicious flowers in China, but in the UK, white lilies are used for funerals and it is taboo to use this flower for congratulations or gifts. The different meanings of the same plant in different cultures reflect the different perceptions of the Chinese and British people, and are essentially a reflection of the differences between Chinese and Western ways of thinking. If you don't understand the cultural differences, you will lay the groundwork for the failure of the negotiation even before the business negotiation begins.

The Han Chinese way of thinking is heavy on harmony. This also confirms the difference between Chinese and Western ways of thinking of dissimilarity. At the same time, Westerners are more logical and precise, while the Chinese are more intuitive and vague. Language is the code of culture and the medium of cultural transmission. The differences in thinking styles are an important reflection of cultural differences, and are inevitably reflected in language.

Some business negotiation activities include not only the negotiating process, but also the dining and banqueting process. When interpreters escorting, they should pay attention to the various cultural taboos of foreigners. These cultural taboos are reflected in almost all aspects of life, and the cultural taboos also reflect the differences between Chinese and Western ways of thinking. For example, Chinese people prefer the number six, but "666" represents the devil in the Bible; and in Christian countries, everything in the shape of a cross is taboo, which is not so obvious in China. (Flaskerud 2013,34)

===III. Corresponding Strategies to Cope With Cultural Differences===

The most important feature of interpretation is immediacy, and the use of dissimilation strategy can quickly translate the source language directly into the target language, but it may cause difficulties for the audience to understand. In foreign interpretation, it is not allowed to make further interpretation after dissimilation. If the domestication strategy is adopted, the interpreter directly converts the source language into the target language, which is familiar to the audience, saving time and achieving instantaneous effect. Interpreters should use both strategies alternately according to their characteristics and other factors. In addition to naturalization and dissimilation, direct translation, meaning translation, word enhancement and substitution can also be used. Foreign interpreters should choose appropriate strategies according to the situation, and these strategies can also be used together to achieve the desired purpose.

Many famous theorists have put forward various criteria to judge the quality of translation, but the principle of "faithfulness, expressiveness and elegance" proposed by Yan Fu is most accepted by the Chinese people. Interpretation is a kind of translation, and its criteria are similar to those of translation. Interpretation has its distinctive characteristics, among which, time constraint is the most significant feature. Interpreters do not have enough time to strictly comply with "faithfulness, expressiveness and elegance", so "interpreters" will believe in the principles of "accuracy, immediacy and fluency".

'''III.I. Accuracy'''

Accuracy is considered by interpreters and interpreting theorists to be the most basic and important criterion. The interpreter's duty is to translate the source language into the target language with accuracy in terms of subject matter, argument, style, wording, number, expression, speed, tone and intonation.

'''III.II. Immediacy'''

Immediacy is a unique criterion determined by the distinctive characteristics of interpretation, where the interpreter needs to get the message to the listener quickly without much time to reorganize the sentence. In consecutive interpreting, the interpreter is required to interpret two to three seconds after the speaker finishes, and simultaneous interpreting places greater demands on the interpreter.

'''III.III. Fluency'''

Fluency is another criterion that interpreters need to adhere to. The communicative nature of interpretation requires the interpreter to deliver the message quickly and fluently to the audience with as few interruptions as possible. Fluency includes the speed at which the interpreter perceives the source language, the speed of encoding, decoding, and expression. (Yang Xiufang, 2014)

Due to cultural differences, there are occasions when the two languages are not interpretable. Cultural differences, we should acknowledge that interpretation is not always possible, but only within certain limits. It is only possible within a certain range and limit. Thankfully, interpretation does not require as much accuracy as translation. The author believes that cultural differences certainly exist in the process of interpretation, but as long as they can be "faithful and accurate," the author will be able to make the interpretation process more accurate. However, as long as the two criteria of "faithfulness and fluency" can be achieved, i.e., on the one hand, there is no tampering with the meaning expressed by the speaker, and on the other hand, there is no tampering with the meaning expressed by the speaker.

This reflects the importance of the interpreter's daily study and only by understanding the similarities and differences between Chinese and Western languages and cultures as deeply as possible can the interpreter reduce errors in the process of interpretation and effectively and play the role of a bridge between Chinese and Western languages and cultures. This shows the importance of daily study and accumulation of interpreters. （Chen Yongzhi, 2019.）

===IV. Discussion===

In order to accurately interpret the connotation of the source language, it is necessary to let the interlocutor fully grasp the connotation expressed by the other party. In the context of China's " Belt and Road Initiative" economic development, global interaction is getting closer, which makes the extension of communication between countries deeper, and in such an environment, in order to build a good cooperation relationship and reach a consistent economic development strategy, it is necessary to complete the corresponding communication for several times in order to achieve mutual development goals. In the process of communication, most of them are face-to-face communication, and both sides communicate and exchange with each other with the assistance of interpreters. So how did those cultural obstacles happened in the process of communication? Here are analysis of the factors leading to the emergence of cultural barriers in interpretation.

'''IV.I. Interpreters have less basic knowledge of the source language and the translated language.'''

In the process of interpreting the source language, the interpreters may not be able to translate accurately due to the cultural barriers, and the translation may even be odd. In view of this problem, this paper considers that the interpreters' basic knowledge of the language is one of the most important factors that cause the interpreters to be unable to translate the source language better due to cultural barriers. In the process of interpreters' translation of foreign language contents, they will be affected by cultural barriers because they know less about some basic knowledge, and they cannot translate the corresponding contents accurately. This is due to the fact that after the implementation of China's economic reform and opening-up strategy, the frequency of business and trade with the British and American countries is greater, which makes many translators in China know more about the basic knowledge of the language contents of the British and American countries, but for the translation of the foreign language contents of some small languages, they do not have enough basic knowledge as a guarantee in the process of translation, so the phenomenon of inaccurate interpretation content will naturally occur.

Interpretation is the foundation of cross-cultural communication activities, and it is difficult to communicate across cultures because of the commonality and individuality of cultures, and different languages carry different cultures. Therefore, as interpreters, in the process of foreign communication, in order to better improve the spoken language, they should consolidate the foundation of the source language and the translated language, and learn the basic linguistic knowledge of the translated language in depth and be familiar with the characteristics of the syntax and grammar of the source language, so that they can accurately complete the translation of the language in the process of translation. We should study the structure of the translation language carefully and in detail, so that in the process of translating some source languages, we can complete the translation of the contents through all the languages of the translation language. Especially when focusing on the translation of some small foreign languages, we must choose to pay attention to the learning of the basic knowledge of the corresponding language, and pay attention to the learning of the basic knowledge of our language, only by paying attention to the cultural basis of both languages can we better improve the translation level of interpreters.

'''IV.II. Less knowledge of the cultural history of the source language.'''

The factors that lead to cultural barriers in interpretation are not only a low level of basic knowledge but also a lack of knowledge about the cultural history of the source language, which can lead to inaccurate translations. The language of a country is closely related to the history and development of that country's language. In China's trade activities with other countries or in the process of cooperation in other fields, there will be times to ease the atmosphere of cooperative negotiations, and during this period, some proverbs will be used in the communication, and if some interpreters know less about the cultural history of the source language, they naturally cannot accurately translate the corresponding content, and this phenomenon mainly exists in non-political communication. In economic trade, tourism, education, medical treatment, science and technology, and construction cooperation, some unofficial languages are often used for communication, and the proverbs or special vocabulary is frequently used in this process , so without grasping the cultural history of the source language, we cannot understand the meaning of the language spoken by the other party in communication. From this perspective, it can be understood that if the interpreters do not know the cultural history of the source language, it will naturally lead to cultural barriers in the process of translation.

As different countries are influenced by history, culture and society in terms of language application, different languages will show different meanings, especially in some countries with deep cultural traditions, some words in proverbs have richer meanings, and if interpreters fail to pay attention to the in-depth study of the source language culture in the process of interpretation, the phenomenon of oops translation may occur. If the interpreters do not pay attention to the in-depth study of the source language and culture in the process of translation, the phenomenon of oops translation may occur. Therefore, in the process of transnational cultural exchange translation, interpreters should master the cultural history of the source language, especially the proverbs and traditional culture of the country, and master the meaning of different language applications in different contexts and word combinations, so as to better improve the translation level and avoid some sensitive problems in the process of communication between the two sides, and interpreters should pay attention to In the process of communication between the two sides, interpreters should pay attention to the comparison of cultural differences and master some sensitive words in the language of both cultures so that they can have the ability to translate foreign languages accurately.

'''IV.III. Lack of practice in interpreting.'''

Among the factors influencing cultural barriers in the interpretation process, the lack of practical experience of interpreters may also lead to inaccurate translation of foreign languages. The practical experience of foreign communication in any situation can improve the working ability of interpreters to a great extent, and only through continuous practice can interpreters understand the language characteristics and considerations of the source language countries. In China's contemporary economic development, after the implementation of the "Belt and Road Initiative" economic reform and opening-up strategy, China's trade and other cooperation with other countries have become more frequent, which makes the demand for foreign-related interpreters in China greater. In such a situation, fresh graduates who are involved in the work of foreign-related communication translators have less working experience and do not have enough practical experience, which leads to the phenomenon of cultural barriers affecting the translation content more frequently. Therefore, from this perspective, it is clear that the lack of practical experience of interpreters also hinders them from translating accurately the content of the source language.'' (Sun Minghui 2019, 167)

After the interpreter has consolidated the cultural foundation of the source language and the translated language and mastered the cultural history of the source language, he or she should focus on actively participating in the practice of interpreting, constantly summarizing the experience of interpreting in practice, and reflecting on some problems that have arisen, so that he or she can have the awareness of intercultural communication and learn some strategies of intercultural translation work, and discover the shortcomings through continuous practice, Likewise, a large amount of knowledge must be applied in practice to achieve the goal of accurate translation and improve the level of communication, and interpreting practitioners should reasonably handle and organize some corresponding skills and special cultural potential factors, and form their own guiding principles of translation, and through continuous practice, they can have high intercultural communication translation ability, which is important for the development of current social activities. This is an important contribution to the development of social activities. Especially for some fresh graduates, they must learn more about the translation characteristics of the language they are translating in some foreign-related communication occasions through continuous study, so as to better improve their own interpretation experience and enrich their interpretation ability.((Simona Simon 2015, 197)

===V. Conclusion===

Through the whole paper, we've gotten an overview of the reason of the emergence of cultural differences in interpreting and corresponding, and also the strategies to cope with it. For interpreters, it is necessary to absorb more knowledge and experiences to broaden our horizon and improve our professional skills. At the end of the paper, the writer wants to recommend some suggestion to readers for further improvement, hope more interpreters could learn something from it. In this regard, this paper points out the necessity of improving the cross-cultural barrier of interpretation, so as to accurately translate the connotation of the source language on the one hand, so that the interlocutor can fully grasp the connotation expressed by the other party. On the other hand, improving the level of interpreters can show the respect of our country to the other party, which can also play a certain role in facilitating the cooperation between them. It is also pointed out that the strategies to improve the spoken language across cultural barriers are to strengthen the foundation of the source language and the translated language, to master the cultural history of the source language and to increase the practice of interpreters.

This paper discusses the cultural differences in interpreting and corresponding in the aspects of Cultural differences analysis, cultural differences in interpreting and corresponding, e.g. foreign affairs interpretation and business interpretation, and corresponding strategies to cope with cultural differences, thus in order to help improve interpreters' capability. The existence of cultural differences places higher demands on the ability of translators and raises higher expectations on the mode of training translators. The translators themselves should strengthen their knowledge of different cultural backgrounds and learn more about the relevant contents to enrich their accumulation. When preparing work before translation, they should collect relevant information well. Due to the immediate and on-site nature of interpretation, the learning of cultural background knowledge should be put in the usual way. For the translation master training institutions, they need to make up for the lesson of cultural differences in the curriculum, especially for the institutions offering business English, they should be more specific and detailed in cultural differences, and they can understand the cultural differences of different countries and regions by regions, not limited to the cultural differences between China and Britain, but also detailed to the cultural differences in different aspects of business activities, and they can simulate business activities in class, so that Students can simulate business activities in class, so that they can deeply experience the necessity of understanding cultural differences under the context of teaching.

===References===

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Hong Xiaoli 洪小丽.(2020) 以“联络口译”为抓手的新时代口译教学探究——评《联络口译》[Exploring the Teaching of Interpretation in the New Era with "Liaison Interpreting" as the Handle--Review of "Liaison Interpreting].当代教育科学,Contemporary Educational Science (09):97.

Jiang Yi 姜怡.(2014)浅谈在口译中如何弥补中英文化的差异[How to bridge the differences between Chinese and English cultures in interpretation].海外英语 Overseas English 2014(13)

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Yang Xiufang 杨秀芳.(2014) 外事口译中文化差异问题的应对策[Responses to the problem of cultural differences in foreign interpretation].湖北函授大学学报,Journal of Hubei Correspondence University 27(14):141-142.

Chen Yongzhi 陈永智.(2019) 浅谈口译过程中的文化差异及应对策略[Cultural Differences in the Interpretation Process and Strategies for Coping].国际公关,International PR (09):279.

Sun Minghui 孙明慧.(2019) 口译中的文化障碍问题研究[A Study of Cultural Barriers in Interpretation].产业与科技论坛,Industry and Technology Forum 18(20):166-167.

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==The Translation of Cultural Elements in Tourism Promotional Materials Under Skopos Theory 杨子泠 Yang Ziling 202070080647 MTI英语口译==

==Abstract==

As China has become an increasingly large inbound tourism country, efforts are put in the promotion of supporting facilities, among which promotion service, especially Tourism Promotional Materials (TMP), is the main way to introduce to not only Chinese tourists themselves but also the great number of foreign travelers, China’s scenic spots, natural resources and culture, and thereby arouse their interest in the landscapes and ancient cultural relics (Wu Feng 2008, 319). Therefore, the translation of TMP is of vital importance in the publicity. Based on Skopostheory, this paper first introduces TPMs, then compares cultural differences in TPM translation. Finally it concludes some strategies and techniques used in TPM translation under the framework of Skopostheory. The author deems it that TPM translation should stand on the side of foreigners, meanwhile revealing the main idea of Chinese original sources.

==Key Words==

TPM translation cultural differences Skopostheory

==摘要==

中国已经成为了一个旅游大国，政府开始大力完善旅游配套设施，其中旅游宣传服务，特别是旅游宣传资料是向中外游客介绍中国旅游景点，自然资源以及文化的最主要方式，从而激起他们对自然风光和古文物的兴趣。因此，旅游宣传资料对宣传工作十分重要。文章从目的论的角度出发，首先介绍了旅游宣传资料，然后对比了宣传资料中中西方的文化差异。最后基于目的论，文章总结出几种实际可行的翻译策略和技巧。作者认为旅游宣传资料的翻译应该站在外国游客的立场来传达中文素材的主要信息。

==关键词==

旅游宣传资料翻译文化差异目的论

==I. Introduction==

Economic globalization boasts the rapid development of tourism industry around the world and the interaction between people (Yang Xianyu 2014, 3). Tourism has become increasingly more an entertainment enriching people’s spiritual life. Serving as promotional materials and advertisements, Tourism Promotional Material (hereafter referred to as TPM) plays increasingly important role in introducing China’s specialty to the world. With the development, more and more TPMs have been translated into English in recent years. Indeed, some good translation materials leave a strong impression on travelers to China, especially those from English speaking countries. It is truly a better way to attract more visitors across the world, to introduce famous scenic spots, tourist attractions and food specialties and to promote the development of international tourism and cultural communication.

TPM, to a certain degree, is a trademark and an external promotion work of tourism destinations, revealing the first image of the tourist attractions, landscapes and the surrounding environments. A good translation is of great significance in the first impression it leaves on potential visitors. (Wu Feng 2008, 319)

Since TPM has a strong effect on the image of tourist attractions in domestic tourism industry, the study of it is of great importance. Mr. Liu Fagong (2012, 70) once said, “some translation errors seem to be very slight, but it can reflect the international communicative competence of a certain area or a certain enterprise”. Inappropriate translation will not only lead to cultural misunderstanding, but also result in barriers in the development of international tourism as a whole.

This thesis focuses on the possible strategies to improve the quality of TMP by comparing Chinese and western cultural differences. To guide the practice of Chinese TPM translation, various theories have been adopted and used, among which Skopostheory is going to be testified. The merits of it and the awareness of cultural differences are to be revealed. Therefore, it first introduces the definition and features of TPM. Then it reveals the difficulties in the translation of TPM caused by cultural differences. After that, the framework of Skopostheory is introduced and the methods and strategies of cultural translation in TPM is discussed under the framework of Skopostheory.

==II. Literature Review==

2.1 Tourism Promotional Materials (TPM)

2.1.1 Definition of Tourism Promotional Materials
In order to define tourism promotional materials, the definition of promotional materials should first be made clear. Mr. Duan Liancheng (1990, 97) has put TPM into two separate categories: the general type and the official type. The former refers to general reports and region guiding brochures, mainly introducing China’s current issues to the public, including introduction of economy, politics, society, culture, people’s living situation and historical heritage. The latter refers to official documents, diplomatic conference and legal instruments, etc. Written in a special form, TPM covers many fields and areas. (Ding Dagang 2008,14)

TPM in this article is the general type, dealing with the tourism industry and resources in tourism cities, which aims at foreign readers. TPM has various types, including books, brochures, maps, paintings, videos, TV documents, newspapers, periodicals and tourism-guided websites as well. TPM serves to depict China’s scenic spots, culture and historical heritages, broadening viewers’ sight, arousing interests among them and finally making them eager to pay a visit. (Yang Xianyu 2014, 3)

2.1.2 Characteristics of Tourism Promotional Materials

As an informative type of material with certain purposes, tourism promotional materials are very distinct from other type of text, for example news, document, and reports etc.. They are equipped with features as follows:

Firstly, informative as they are, abundant messages covering all parts of social life are included. Since tourism, nowadays, not simply embraces scenery and transportation, but is a concept including experiencing different culture conventions, food distinction and language confliction. Therefore, tourism publicity materials should convey a wide range of ideas that may be involved in tourism activities. (Ding Dagang 2008,1)

Secondly, tourism publicity materials mainly boost deep cultural connotation. They aim at tourists all over the world who come from different cultural backgrounds, who share distinct religions and who have various thinking modes and patterns. To make TPM understood and accepted by all, cultural connotation is to be expressed with the aid of aspects of laws, politics, economics and so on. (Ding Dagang 2008, 16)

2.1.3 Function of Tourism Promotional Materials

Intended for the potential tourists, tourism publicity materials provide basic information about destinations, including its cultural background, local people and services. With the assistance of such materials, people’s overview about the target destinations is formed; their interests of visitation are aroused. It aims at convincing tourists, say target readers, of the beauties of destinations. Taken this intention into consideration, TPM contain functions as follows:

First, TPMs are informative and serve informative function. Generally speaking, TPM passes the first images of tourist attractions, cities or provinces on to target readers. Tourism materials such as brochures, photo albums and leaflets impress people at first. TPM carry basic information not only about culture, history but also always nature and ethnic relics as well.
Second, TPMs are attractive, intending to attract people when they see them at the first sight. In order to make it a success, only to provide information is far from enough. A successful promotional material needs to be equally informative and attractive, making the content easy to remember. Rather through their bright colors and magnificent landscapes, TPM are attractive in the way they depict and express. Therefore, often a series of writing techniques are required and used to achieve this effect. (Wu Feng 2008,319)

Consequently, the translation of TPM should also take these functions into consideration in order to achieve final goal of TPM.

==III. Difficulties in The Translation of TPM Caused by Cultural Differences==

The so-called cultural difference is what people form in different ecological and natural environment, such as various language, knowledge, belief, outlook on life, values, ways of thinking, ethics, customs and other aspects of social life. In their own living environment, distinct ethnic groups create their own unique cultural system, shaping their own culture. The difference of culture, especially between Eastern and Western countries, leads to people's different understanding and interpretation on the same thing or even causes misunderstanding (Yu Jianping 2000, 58).

3.1 Differences in Food Culture

Chinese pay close attention to diet, and have formed a rich diet culture, emphasizing color, smell, taste of each dish（Jin Huikang 2005， 218）. However, some foods, such as traditional salted production, are not good for the body with some auxiliary materials due to the pursuit of taste. In the process of cooking, Chinese fry the dishes in many ways. To name the dishes, menu also expresses the people's pursuit of beauty, such as Sixi Wanzi, glutinous Rice Balls etc. They have all been granted special meanings. Nevertheless, people in western countries focus on nutrition. They pay attention to the quantity of protein, Calorie, and raw materials in each food. So American "KFC" -- Kentucky Fried Chicken -- is a simple combination of production process and the raw material. So in the translation of diet culture, translators should also take into account the differences between Chinese and western people.

3.2 Differences in Customs

Every nation has its own unique folk customs. Many foreign tourists are very interested in Chinese people's way of life, especially the origin of some festivals and the way local people celebrate them. For example, during Chinese lunar spring festival, people make dumplings and eat them. During Chinese Lantern Festival, people boil sweet dumplings and hang up lanterns. Tomb-sweeping Day is not only a solar term, but also a day for people to worship ancestors. Dragon-Boat Festival and Mid-Autumn Festival have customs respectively.
In western countries, they have Halloweens and Christmas, carrying distinct cultures as well. People in China bow to Heaven and Earth as part of a wedding ceremony while westerners go to churches. Westerners have Valentine's Day and China Double Seven Day. Although the origins are different, they have evolved into special days for lovers to exchange passion between each other. Increasingly more young westerners know The Legend of Love in China. Therefore, apart from distinctions, culture also has something in common, which makes it translatable and understandable. (Wu Feng 2008, 328)

3.3 Differences in Religions

The majority of westerners believe in Chris, and Chinese people have more religious belief include: Buddhism, Taoism, Islam, Catholicism and Protestantism. They are having far-reaching influence on people's ideology in China. These places have also become the tourist hot spots. Temples, Buddha, Buddhist scriptures in many attractions have attracted a large number of foreign tourists across the world.

==IV. Tourism Text Sources Translation Under Skopos Rules==

4.1 A Functionalist Theoretical Framework: The Skopostheory
The functionalist approach to translation came into being in the late 1970 in Germany. After its emergence, it had become a prominent strategy and one of the dominant theories used in translation studies. A German scholar Hans J. Vermeer (Vermeer 1879,208) first proposed Skopostheory which is widely applied in translating various projects. Skopostheory is to be the functionalist theoretical framework of this research.

4.1.1 An Overview of the Functionalist Approach

According to Bassnett (Bassnett 2002, 43-44), the purpose of translation theory is to achieve an understanding in the course of translation behavior. The act of translation was purely a linguistic activity then. Because of the limitations of linguistic theories, translation theorists started to approach the act of translation in a different point of view in the 1970s. Therefore, the functionalist approach to translation began to emerge.

According to Nida, “translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and second in terms of style” (Nida & Taber 1983, 12). Later, Nida proposed dynamic/functional equivalence theory, which breaks the stereotype of the traditional linguistic approach and then leads the way of further studies. This theory is very practical in TPM translation because it achieves functional equivalence while sharing the same purpose of TPM translation.

4.1.2 Development of Skopostheory

In Paul Kussmaul’s (Kussmaul 2005, 37) point of view, the functional approach is closely related to Skopostheory. To translate the source text into a new language, target readers’ culture characteristics, religion relics and historical backgrounds are to be considered, which determines whether the source texts are to be preserved, modified, or even changed. As TPM is highly practical and pragmatic, its function value is not to be ignored.

In Nord’s (Nord 2005, 10) words, “in the translation of practical texts (such as advertisement, instructions), instead of literary works, theorists adhering to equivalence are more likely to adopt the method of non-word-for-word translation. They choose translation methods followed by identifying different or even contrary standards in accordance with different types of texts and genres of discourses, which makes them more on fused by equivalent theory”. Some scholars agreed with Nord’s view and made functional approaches more practical in translation, which makes the theory more useful in TPM translation. Consequently, the Skopostheory developed with the main study of the four theorists: Katharina Reiss, Hans J. Vermeer, Justa Holz-Manttari and Christiane Nord.

Katharina Reiss (Reiss 2004, 32) first put forward the concept of text topology, denying the proposal that any target sources not equivalent to the original ones are considered as “non-translation”. Reiss pointed out comprehensive communicative translation, which made the ideas equivalent to the corresponding sources rather than individual words. His contribution laid the foundation for the development of Skopostheory. Katharina Reiss’s view better serves the function purpose of TPM translation, making Chinese traditional culture features well revealed in a foreign way.

Vermeer was the first one who proposed Skopostheory. According to his theory (Vermeer 2000, 228), “translation is a type of human action”, and “any action has its own purpose (skopos)”, thus “translation is an intentional and purposeful behavior”. It can be concluded that translation is a purposeful action aiming at target readers, so the target text should bear fully their culture, religion and background to be better appropriate.

Then Skopostheory was improved by Justa Holz-Manttari (Manttari 2001, 35) with his translation action method. Translation is defined as “a complex action designed to achieve a particular purpose or function”(Nord 2005, 16), and according to Holz-Manttari, it should be regarded as the “translation action” instead of “translation”. Her theory highlighted oriented outcome and driven purpose. Moreover, the commissioner is concerned. The translation action proposed by Holz-Manttari is later widely used in TPM translation due to its practical features.

Christiane Nord (Nord 2001, 197) finally refined Skopostheory by proposing her own functional practice “function plus loyalty”. She added the concept of “loyalty” to the framework of functional approaches. In her theory, “Function refers to the factors that make a target text work in the intended way in the target situation” (Nord 2001, 125), which is basically in accordance with Vermeer’s view.

4.2 Skopos Rules (Wu Feng 2008, 28)

Skopos rule itself is above all in three rules. There are many purposes in the field of translation, but skopos refer to the purpose of target text. According to it, what determines the process of translation is not source text itself or the effect it has on target readers, but the expected function of the target source. Therefore it is regarded as results determining methods.

Second one is the coherence rule. As a target source, the translation is for target readers who share different cultural backgrounds or religion relics and who are going to find the parts that interest them. In this regard, translators should bear in mind their distinct backgrounds and cultural situations, making the translation reasonably understandable and acceptable.

The third rule is the loyalty rule. Since target text is originated from the source text, they are related to each other. However, the relationship is depended upon the skopos and explanation of the translator.

According to Skopostheory, the skopos rule is above all to follow, then the coherence rule and then the loyal rule.

4.3 The Translation of Cultural Elements in TPM Under Skopostheory

Translation of TPM aims at ordinary foreign tourists, introducing Chinese tourism industry and various natural resources, not including monographs for experts traveling in China(Cheng Jinneng 2008, 30). Tourism promotional materials are practical, which arouse interests among tourists. As a result, TPM translation should first follow the basic rule of Skopostheory.

The purpose of the target text-oriented principles are concerned about the target text itself and the tastes of readers. The majority of the source text is written to attract tourists at home, so it will not have the same effect on foreigners. If the source text is created for translation, the translator is also short of indispensable target culture. The translator should be aware that he is translating one culture to another and that he needs to pick out useful information from source text. Furthermore, the source text is one kind of all messages. It does not necessarily be the primary standard. Translation should aim at tourists, so translators should translate to attract them and arouse their interest. This is the final goal of TPM translation (Yang Xianyu 2014, 5). TPM can be various in style and form. As for a translator, cultural elements are huge challenges. However, under Skopostheory, it is to pass cultural messages on to potential foreign visitors.

What is more, those who travel distances to China are not only for bird viewing landscapes, but also for exotic culture and lifestyles. Therefore, culture translation should include as many Chinese cultural messages as possible, to a certain degree, following the third rule – loyalty rule. (Yang Xianyu 2014, 5)

==V. The Translation of Cultural Elements in TPM Under Skopostheory==

Skopostheory

Traveling is not only for landscapes but cultural differences as well. The translation of TPM is intended to attract visitors to come and consume. Consequently, cultural translation is a matter of primary importance. (Wu Feng 2008, 328)

Susan Bassnett (Bassnett 2002, 59), the famous Britain translation theorist, pointed out four specific concepts in Cultural Translation Theory. Firstly, translation should be based on the culture rather than text itself. Secondly, translation is not simply to decode restructuring, but a communication process. Thirdly, target text should not be restricted to source text, and should focus on functional equivalence in two cultures. Last but not least, there are difference norms and standards for translation in different period, each meeting distinct needs. The translation of cultural elements in TPM is to meet the need of people experiencing Chinese local culture. There are various cultural elements in TPM, such as food culture, custom, religion, poetry and landscape architecture etc. Under the framework of Skopostheory, the translation strategies of cultural elements can be concluded into transliteration, literal translation and free translation.

5.1 Transliteration with Explanation
Transliteration is often adopted when translating Chinese words that do not exit in English. However, only transliteration may lead to misunderstanding sometimes, therefore, it is usually followed by explanations. Explanations always well express the meaning, enabling target readers better understand the different culture it embraces.

Example 1.
党参 dangshen (Codono pilosola)
厚朴 houpu (Magnolia of ficinalis)
天麻 tianma (Gastrodiae elata)
枣 Chinese date ( jujube)
当归 Chinese angelica (Angelica sinenses) (Jin Huikang 2005, 265-266)

Examples of transliteration are often found in food translation. Chinese traditional foods are short in Chinese and rarely seen in western countries as well. Therefore, only using transliteration is hard to explain clearly what the main source of the foods are and how they come into being, as these elements are highlighted by western countries. So transliteration is followed by explanation in such translation. (Jin Huikang 2005, 264)

Example 2. 土家族建筑的独特之处在于，在正屋左右两端建有吊脚楼。吊脚楼分上下两层，楼上有伸出的悬空走廊，下面有雕刻而成的柱脚。走廊外沿两边，檐角翘起，雄伟壮观。

The special feature of the Tujia architecture – Diao Jiao Lou is represented by the house with an extending corridor supported by wooden pillars on both side of the main room. There are two stories in the house, the upper floor of which has an extending corridor seemingly suspended in the air while the lower one has sculpted pillars on the ground. Grand are the eave points tilting up on both ends of the corridor edge. (Xu Luya 2007, 133)

People take granted for “吊脚楼” in Chinese, because the name suggests the appearance of the building. However, when translated into English, Diao Jiao Lou is followed by explanations – “the house with an extending corridor supported by wooden pillars”. If it is literally translated, the sound effect of revealing a picturesque image will not be achieved. (Xu Luya 2007, 133)

Example 3. 西湖犹如西子，无论晴雨，无论四季更迭，都有着美丽的容颜。正如苏东坡所写：“欲把西湖比西子，淡妆浓抹总相宜。”
West Lake is often likened to Xizi, one of the four ancient beauties in China. No matter whether it is sunny or rainy, or no matter in great Northern Song poet, wrote, "West Lake may be compared to Beauty Xizi at her best, / it becomes her to be richly adorned or plainly dressed." (Wu Feng 2008, 324)

In this example, if translation stops by transliteration, target readers will not get the full picture of the history behind the West Lake. The impression made on them will not that deep so it may not achieve the effect of attracting them to visit. Therefore, explanation is indispensable in such special words that merely exist in Chinese. (Wu Feng 2008, 324)

5.2 Literal Translation

Literal translation refers to the faithful translation that is loyal to original sources. The translators do not need to make any adjustment in addition to the sentence structure due to the essential information and not much special cultural contents provided in original sources. This translation method is often used in the introduction of the area, location, development and entertainment. The examples are as follows:

Example 4. 桂林位于广西壮族自治区的北部，面积565平方公里，人口100多万，是国内外旅游胜地之一。
Located in the north of Guangxi Zhuang Autonomous Region, Guilin is one of the tourism attractions famous both at home and abroad, with an area of 565 square kilometers and a population of more than 1 million. (Yang Xianyu 2014, 56)

In this example, the English expressions of places and numbers are kept the same as those in Chinese. However, when translated into English, this sentenced in re-sequenced in order so as to make it more coherent in English. Chinese emphasizes on parataxis while English stresses hypotaxis. This is what should be paid attention to when we translate sentences. (Yang Xianyu 2014, 56)

Literal translation is practical for TPM that does not contain specific substantive cultural content. It is not necessarily to adopt various methods to translate. (Yang Xianyu 2014, 53)

5.3 Free Translation
Considering that not every original text can be literally translated because of the differences of sentence structures or words. Free translation is to express the original meaning in a complete English way, not word for word or sentence for sentence translation, which focuses more on the content of sentences. Translators should pay more attention to the whole meaning rather than single words.

Example 5. 白云凤爪 chicken leg（鸡脚）
四包豆腐羹 steam tofu soup（蒸豆腐汤）
炒素丁 vegetable roll（菜卷）
鸳鸯馒头 Shanghai buns（上海馒头）
百年好合 red bean fresh lily bulb（红豆百合茎）
鱼香肉丝 fried shredded pork with sweet and sour sauce

There are many original dish names with no sources in them because they always have stories behind and are often well-known among Chinese, however, with which foreigners will be frightened. These examples often contain exaggerated elements. If translated literally, it will not express the original idea or the true features of the dishes which foreigners value most. (Yang Xianyu 2014, 60)

Example 6. 梁山伯与祝英台的故事，是西湖爱情的又一不朽之作。

Translation 1. The love story of Liang Shanbo and Zhu Yingtai is another imperishable work of the West Lake Romance.

Translation 2. Butterflies Romance, known as a Chinese Romeo and Juliet, is another heartbreaking love story engendered by the West Lake.

The first version is noticeably literal translation, without the explanation of the two names. In China, the names are well-known to all. However, it is not the same story with westerners. After reading the first version, they are not deeply impressed. Therefore, here merely transliteration cannot work. In comparison, the second translation takes free translation, omitting the names and adding “known as a Chinese Romeo and Juliet”. In this way, they immediately know what has happened by the West Lake, because they are quite familiar with the love story between Romeo and Juliet.

Example 7. 南京的风俗：但凡新媳妇进门，三日就要到厨房收拾一样菜，发个利市。这菜一定是鱼，取“富贵有徐”的意思。 (Wu Jingzi 1958, 285)

The custom in Nanjing is for all brides to invite good luck by going to the kitchen on the third day and cooking a fish, which stands for fortune. (杨宪益、戴乃迭译) (Bao Huinan 2001,340)

In this sentence, it is “收拾” in Chinese and “cooking” in English. In Chinese “收拾” has many meanings such as tidy(the room), clear away(the kitchen), and even repair(a bike). However, these are not related to the dishes. So Mr. Yang and Mr. Dai used free translation and put it into “cooking”. Then the idea is clearly delivered. (Bao Huinan 2001, 340)

Free translation is widely used in TPM translation when much special cultural content is included and literal translation is not practical. Free translation can better maintain cultural features of original sources while expressed in a foreign way. (Yang Xianyu 2014, 56)

==VI. Conclusion==

Tourism promotional materials translation plays an important role in the development of tourism. Translators should not translate word by word or sentence by sentence, but they should translate under a certain theoretical guidance, adopting some translating methods and strategies and taking into account the differences between Chinese and Western cultures. Only in this way can translation be possibly understood and accepted.

Tourism promotional materials are practical, aiming at attracting potential visitors to come and visit China after reading them. In this regard, they should be translated under the framework of Skopostheory. Based on translation practice, this paper studies the method of translation from several cultural points under the guidance of Skopostheory.

Part one gives a brief introduction of this paper. Part two discusses the definition and the main features of TPM and the importance of a better translation. Then it analyzes the difficulties in translation caused by cultural differences and the framework of Skopostheory. Finally, under this framework, translation strategies and methods are discussed.

There are many other aspects in the field of cultural differences in tourism promotional materials, such as poetry, landscapes and architecture etc. Due to the limited length of the paper and my own knowledge, other parts cannot be fully illustrated. To conclude, it is worthwhile to study TPM translation from the perspective of cultural differences.

==References==
Bassnett, S. Translation Studies [M]. 3rd ed. (2002). London & New York: Routledge

Nida E. A. & Taber. The Theory and Practice of Translation. (1983) Shanghai: Shanghai Foreign Language Education Press 上海外语教育出版社.

Nord C. Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis [M]. (2005) Beijing: Foreign Language Teaching and Research Press 外语教学与研究出版社.

Nord C. Translating as a Purposeful Activity — Functionalist Approaches Explained [M]. (2001) Shanghai: Shanghai Foreign Language Education Press上海外语教育出版社.

Reiss K. Translation Criticism----The Potentials and Limitation [M]. (2004) Shanghai: Shanghai Foreign Language Education Press 上海外语教育出版社

Vermeer H. J. A Framework for a General Theory of Translating[M]. (1897) Heidelberg: Heidelberg University 海德堡大学

Vermeer H. J. Skopos and Commission in Translational Action [A]. Tr. Andrew Chesterman, in The Translation Studies Reader [C], Ed. Lawrence Venuti. (2002) London & New York: Routledge

Bao Huinan 包惠南 (2001)《文化语境与语言翻译》. 北京: 中国对外翻译出版公司

Cao Xueqin 曹雪芹. (1982).《红楼梦》. 北京: 人民文学出版社

Cheng Jinneng 程尽能. (2008).《旅游翻译理论与实务》.北京: 清华大学出版社

Duan Liancheng 段连城. (1990).《呼吁译界同仁都来关心对外宣传[J]》. 中国翻译出版社

Liu Fagong 刘法公. (2012).《汉英/英汉译名统一与翻译规范研究》. 国防工业出版社

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='''Functional Equivalence'''=

==On the study and analysis of three kinds of beauty and transformation in the mid autumn festival prelude to water melody under the guidance of functional equivalence 林敏 Lin Min==

==Research on C-E Translation of Corporate Publicity Texts from the Perspective of Functional Equivalence 彭锐宏 Peng Ruihong MTI 英语口译 202070080641 ==
<center> Peng Ruihong 彭锐宏 </center>

===Abstract===
With the further deepening of economic globalization, more and more Chinese corporates are entering the global market and the English translation of corporate publicity texts works as a bridge between domestic corporates and foreign customers. As for the translations of Chinese corporate publicity texts, there are a large number of excellent translations while there are also translations with bad quality. In the practice of corporate publicity texts translation. This paper uses Nida's functional equivalence theory as the guiding theory, compares Chinese corporate publicity texts with foreign ones and makes deep discussion and exploration in C-E translation of corporate publicity texts.

===Key Words===
corporate promotional materials; Functional equivalence; translation methods

===题目===
功能对等视角下企业外宣文本英译研究

===摘要===
随着全球经济一体化进程的不断发展，越来越多的中国企业开始走向全球市场，企业外宣文本的英译文本成为了联系国内企业与国外客户的桥梁。查阅我国企业外宣文本的英译本，其中不乏大量优秀译作；但同时,也有不少企业外宣英译文本的质量有待提高。在翻译企业外宣文本实践中，本文以奈达的功能对等理论作为理论指导，将中外外宣文本进行对比，并对中外企业外宣文本的英译做出了深入的分析探讨。

===关键词===
功能对等理论；企业外宣文本；翻译方法

===I. Introduction===
Nowadays, with the development of economic globalization, corporate publicity texts are used frequently across the world. Corporate publicity texts constitute an important part of corporate international publicity. The translation of corporate publicity texts has become a significant bridge and connection between different countries in the world in the exchange of trade and culture, which poses a brand new challenge to translators across the world. Corporate publicity texts translation is different from other types of translation because of its unique vocabulary and syntactic features. The study of domestic corporate publicity texts translation mainly focuses on stylistics, registration or functional grammar. The study of corporate publicity texts translation started late. Fortunately, Chinese scholars have recently strengthened research in this area, including language features, translation standards and translation strategies for corporate publicity texts translation. However, the results of Chinese corporate publicity texts translation research are relatively limited. There is a lack of systematic theoretical research and lack of comprehensive articles on the description of some translation examples. At present, domestic research on this aspect is mostly empirical and decentralized. How to systematize existing theories, how to develop in depth, and to propose a clear methodology are important topics for each researcher. This paper studies the translation of commercial contracts based on Nida’s functional equivalence theory. This paper first reviews the current research status of corporate publicity texts translation, and points out the application value of functional equivalence theory in corporate publicity texts translation. Then the linguistic features of corporate publicity texts are analyzed and elaborated from two aspects: vocabulary and sentence structure. On this basis, the linguistic features of corporate publicity texts are analyzed through examples. This article focuses on the translation of corporate publicity texts. Based on the functional equivalence theory, this paper explores and studies the translation of corporate publicity texts, which is expected to enrich the application of translation theory and research. In addition, it helps to draft and translate corporate publicity texts for companies outside China for reference and guidance. （Li Quandong,2013)

===II. Brief Introduction to Functional Equivalence Theory===
The functional equivalence theory exerts a significant influence on translation in the world. Nida is one of the proposers of the western linguistic translation theory. One of his greatest contribution to the translation theory is the functional equivalence theory that he had put forward, a theory different from most of the earlier theories that focus on the verbal comparison between the source language and target language. Nida attempts to provide a new way to generate equivalence that takes into account the relationship between receptors and text. It is believed that "the relationship between the target language receptor and the target language text should be roughly equivalent to the relationship between the original receptor and the original text." The basic ideas of Nida's functional equivalence theory are mainly reflected in the following three aspects.(Nida,1993）

====2.1 The Concept of Equivalence====
One way to defining functional equivalence in translation is to describe it as “the natural equivalent of the source language information” .There are three basic terms in this definition that deserve our attention: closest, natural, and equivalent. “equivalent” here should not be understood as the meaning of “identity”, but should only be understood as “close”. Functional equivalence translation focuses on the equivalence of receptor “response” rather than the equivalence of linguistic forms. Using the term “equivalent”, Nida recommends to bring the response of the target language receptor as close as possible to the response of the source language receptor.(Nida,1964)

In terms of language, the term “natural” means that the presentation must be readable (related to the linguistic form) and understandable (related to the content) to the target recipient, as different languages have different grammatical features and vocabulary. As far as culture is concerned, functional equivalence is considered to be rendering.
Translators should be familiar with the cultural patterns familiar to the target receptors, and translators should domesticate those foreign cultural patterns. It is allowable to make some adjustments in the form and even in the content to achieve a functionally equivalent effect.(Nida,1993)

Nida uses the term “closest” to describe the proximity between the source language and the target language. Functional equivalence requires the highest degree of proximity. Personally, the author believes that the word “closest” should be analyzed in two different ways: linguistic form and meaning discourse. The ideal situation is to make the version of the form and meaning “closest” to the original message. No aspect should be sacrificed at the expense of the other, but in fact, in translation practice, problems between linguistic forms and discourse meanings always occur, especially when it comes to culturally loaded words or expressions. The transferred information directly determines the response of the target receptor, so in most cases, the linguistic form is forced to give way to the transferred information in order to obtain the closest response between the receptors in two different cultures.(Nida,1964)

====2.2 The Concept of Receptor Response====
It is essential that functional equivalence be stated primarily in terms of a comparison of the way in which the original receptors understood and appreciated the text and the way in which receptors of translated text understand and appreciate the translated text. From this point of view, we can see that Nida emphasizes the response of different receptors ‘source
language and target language, i.e, language function, instead of language form.

Functional-equivalent translation is receptor-directed and places great emphasis on the response of target receptors. In judging the version, Nida put the receptor in a very important position. Traditionally, translation has always been judged by the comparison between the original text and the translated text. Compared to formal equivalent translation, functional equivalence translation focuses more on the response of the receptor and the naturalness of the target language rather than the linguistic form.(Nida,1993)

====2.3 The Concept of Diversity====
Functional equivalence theory provides varying degrees of sufficiency for the minimum translation to the largest qualified translation, rather than a fixed standard. In the case of given the minimum and maximum levels, all translations between the two levels are considered acceptable. Nida pointed out many different factors that the adequacy of translation depends on“the reliability of the text itself, the discourse type, the intended audience, the manner in which the translated text is to be used, and the purpose for which the translation has been made.” All of these factors can produce enough translations. In fact, a series of different degrees of equivalence are understandable and reasonable.
Therefore, functional equivalence theory provides translators with more freedom to deal with specific situations. (Nida,1993)

Compared with many other translation theories that attempt to develop a single standard, functional equivalence theory not only establishes an ideal definition of translation, but also has the lowest standards, and allows for a wide variety of translations.

As mentioned above, according to the theory of functional equivalence, the response of the target reader to the translation should be basically consistent with the response of the original reader to the original text. To this end, Nida emphasizes that the translation should faithfully convey the original information. As a propaganda text, the corporate text is reflected in the recommendation of enterprises and the promotion of corporate products. The translation should faithfully conveys the original information, so that the target reader can obtain the same amount of information as the original reader, understand the enterprise, produce a response consistent with the original reader, and then recommend the enterprise among the target readers, so that the reader can recognize the business philosophy of the enterprise and have confidence in the company’s products. The similar response of readers is what Nida’s functional equivalence theory emphasizes. Therefore, equivalence theory can be used to guide the translation of corporate texts.

At the same time, Nida also emphasized that the translation should conform to the expression habits of the translated words. The corporate publicity text of the company represents the image of the company in the eyes of the reader. The original text of the company’s external materials is in line with the reading habits of the source language readers. The translation cannot be bound by the structure of the original text in the text. Moreover, the translation should conform to the reading habits of the target language reader. Functional equivalence proposes the lowest level of equivalence and the highest level of equivalence, and translations within both limits are acceptable, but the quality of the translation is different. When translating a company’s external propaganda text, the translator can use the functional equivalence theory as a guide and adopt appropriate translation methods to make the translation conform to the reading habits of the target readers, and to achieve the highest degree of equivalence of the translations as much as possible. Therefore, functional equivalence at the specific translation operation level can also guide the translation of the corporate publicity text.(Nida,1969)

Based on the above two points of analysis, it is feasible that functional equivalence theory guides the translation practice of corporate publicity texts.

===III. Features of Corporate Publicity Texts===
With the vigorous development of Chinese enterprises, more and more enterprises are turning their eyes to foreign countries in order to open up a larger and broader market and development space. Of course, the quality of their products is significant. In addition, the quality of the corporate publicity texts translation is also a very important part. To produce high-quality translation, translators need to grasp the characteristics of Chinese and western corporate publicity texts, compare them, find differences, and translate them with the guidance of functional equivalence theory.(Li Quandong,2013)

Corporate publicity texts have their own unique characteristics. The two main functions of corporate publicity texts are information function and imperative function, and communication are its characteristics. There are four basic elements in the process of foreign exchange: communicators, translators, communication channels and foreign audiences.

Chinese corporate publicity texts have obvious Chinese expression characteristics: pursuing the glory word and abusing the “flowers of speech”; using empty phrases, slogans, and official language. In the process of translation, the language, culture, politics, economy and ideology in the primitive and translated language society play a significant role in macro or micro. In order to achieve effective translation of foreign materials, it is necessary to understand the translation principles (information prominence, summoning and simplicity), the content of translation, and specific purposes on the basis of understanding the characteristics of the text itself. At the same time, the factors of the target language, reader response and translation culture should be taken into account. In the process of translation, we should follow the style of the target language, focus on the reader, pay attention to the reader’s reaction, respect the culture of the target language, and moderately control the value information between the source language and the detailed language to ensure the realization of intercultural communication.

In contrast, foreign corporate publicity texts highlights the delivery of practical information for the company, so that customers can have a very clear understanding of the company’s products and service and the company can obtain a favorable position in the customer’s mind. Therefore, it focuses on the history, performance and future development of the company, rather than the ideological and political belonging of the company.(Li Quandong,2013)

====3.1 Features of Chinese Corporate Publicity Texts====
The Chinese corporate publicity text offers readers a view of beautiful language and strong momentum; while the text provides corporate information, it also allows readers to gain aesthetic enjoyment in reading. Specifically, Chinese corporate publicity texts have the following main features:

=====3.1.1 Four-character Structure=====
The corporate publicity text presents the soft power of enterprise competition, and its function is to promote the enterprise, recommend products and services. In order to attract readers and realize the function of corporate publicity texts, Chinese corporate publicity texts often have a four-character structure. The four-character structure has rich and concise forms. It is a unique structural form of Chinese and an expression favored by Chinese readers. The proper application of the four-character structure in the corporate publicity text can not only enhances the cultural connotation of the enterprise, but also enables the text to be neat, rhythmic and musical, so that the corporate text is more aesthetically pleasing than the general text. Moreover, corporate publicity texts satisfy the aesthetic psychological need, enhance the appeal of the text and leave a good impression in the minds of customers.

E.g: “The core concept of a company’ s culture is ‘至诚无息,博厚悠远’ .”
“至诚无息,博厚悠远”源自《中庸》,原文是“故至诚无息。不息则久,久则征。征则悠远。悠远则博厚,博厚则高明。博厚,所以载物也；高明,所以覆物也；悠久,所以成物也。博厚配地,高明配天,悠久无疆”Qiao Junchen, Du Yuzhu, 2007) Combined with the actual situation of the company, this company has integrated and summarized this famous saying. It has condensed the “sincere and uninteresting, profound and far-reaching”. These two four-character structures illustrate its corporate culture, and make the readers add a sense of trust to the company, which makes the company take an advantage in the market competition.

In another example, in 2013, China Petroleum & Chemical Corporation ranked first in the top 500 Chinese companies. The company also likes to use the four-character structure in its text. On the basis of full investigation, they formulated and promulgated the outline of China’s petrochemical enterprise culture construction, and announced the outline to the public, leaving a deep and good impression on the people. The outline puts forward the corporate tenet of “发展企业,贡献国家,回报股东,服务社会,造福员工” and reaffirm the enterprise spirit of “爱我中华,振兴石化”. Moreover, the outline also clarify the fine style of “精细严谨,务实创新” and establish the business philosophy of “诚信规范,合作共赢”, and comprehensively promoted the development of company’s corporate culture.

The above examples show that the four-character structure is a feature of the domestic corporate propaganda text. Appropriate use of the four-character structure can increase the vividness and attractiveness of the text, and is conducive to the propaganda function of the corporate propaganda.(Wang qin,2010)

=====3.1.2 Curve Thinking=====
When expressing in Chinese, the Chinese are accustomed to knocking out sideways, turning around, explaining the external environment, and then speaking the main purpose, reflecting the characteristics of curved thinking. This feature is also reflected in the corporate publicity texts. The corporate publicity texts often list the excellent achievements of the company in various aspects, and then the central idea of the bright future of the enterprise. To this end, the corporate publicity texts firstly give the facts, draw conclusions, and then use the inductive method which is in line with the curve thinking to introduce the enterprise and the products of the enterprise to our customers. For example, Aucma wrote in his external text:
“澳柯玛拥有员工7000多人,具备年产冷柜300万台、冰箱300万台、生活家电500万台、洗衣机400万台、电动车100万辆、自动售货机1万台的生产能力,营销网络覆盖全球五大洲100个国家和地区,呈现出蓬勃向上的发展态势。”

The text first enumerates the number of employees, annual production capacity, and broad product sales channels, and finally proposes the main purpose of Aucma’s development prospects. The method of first dividing and then concluding is in line with the thinking and reading habits of the Chinese people, which helps the company to win the reader’s goodwill.
The corporate publicity texts written by the curve thinking is in line with the reading expectations of domestic readers. Such text helps to promote the enterprise. At the same time, the Chinese corporate publicity texts also focus on the second-person perspective to recommend companies.

=====3.1.3 The Third-person Perspective=====
The Chinese corporate publicity texts often adopt the third-person perspective, and regard the enterprise as the narrative theme, highlighting the subjectivity of the enterprise. This kind of perspective makes the reader feel that the facts stated in the text are objective, without personal feelings, exaggeration, and then trust the enterprise. The following example sentences are taken from Zoomlion’s official website:

“中联重科股份有限公司创立于1992年,主要从事建筑工程、能源工程、环境工程、交通工程等基础设施建设所需重大高新技术装备的研发制造,是一家持续创新的全球化企业。
中联重科成立20年来,年均复合增长率超过65%,为全球增长最为迅速的工程机械企业。
中联重科是中国工程机械首家A+H股上市公司。
中联重科开创了中国工程机械行业整合海外资源的先河……”

When introducing a company, Zoomlion’s publicity texts often refer to the enterprise as the company name. Using a third-person perspective, the name of the company can continually stimulate the minds of customers and leave a deep impression on the minds of customers; at the same time, it makes the texts of the propaganda objective and authoritative.(Li Quandong,2013)

=====3.1.4 With Political Color=====
China’s socialist economic system determines the dominant position of state-owned enterprises in the Chinese economy. At the same time, private and individual enterprises are also an important part of the socialist economy and make positive contributions to the development of socialist construction. Party organizations in state-owned enterprises, private enterprises and individual enterprises play a guiding role in China’s economic development. Therefore, Chinese companies have an ideology with a strong political color. When discussing the nature of the enterprise, the corporate publicity texts emphasize the care and support of the Chinese Communist Party. Domestic customers believe that the party branch of the company reflects the recognition and attention of the state to the enterprise. Therefore, in the corporate publicity texts, domestic enterprises have focused on highlighting the work of their party construction departments, enhancing the soft power of enterprise competition, and winning the trust of customers.

The official website of Sinopec Group has a column of “Party Construction” advocates the activities organized by the company in the implementation of the party’s guidelines, which shows that the company has always supported the party’s leadership. Domestic readers believe that their development prospects are worth looking forward to with the trust and support of the party. Therefore, this part of the content has important publicity value in the external propaganda text for domestic customers.

It can be seen from the above analysis that the Chinese corporate publicity texts have formed four characteristics of this type of text in order to better recommend the enterprise. These characteristics are in line with the reading habits of domestic readers and can be accepted well by readers, thus effectively realizing the function of corporate texts.(Li Quandong,2013)

====3.2 Features of English Corporate Publicity Texts====
The purpose of Chinese and western corporate publicity texts is to recommend corporate products and services to customers. The functions and purposes of the two are the same, but their direct readers are different, and their styles are naturally different, showing their different characteristics. To be specific, western corporate publicity texts have the following characteristics. (Lin Qingyang&Shi Chunrang,2011)

=====3.2.1 Use Common Vocabulary=====
The western corporate publicity texts advocate the beauty of simplicity, use everyday vocabulary, and are easy to read, which can meets the needs of customers at all levels of reading, and achieve the effect of the enterprise propaganda. These everyday vocabularies help to build a bridge of communication between readers and businesses, making it easy for companies to reach their customers.

Wal-Mart, Chevron and GM’s corporate publicity texts frequently use everyday vocabulary. For example, Wal-Mart’s slogan “Have money, Live better”. It not only reflects Wal-Mart’s business philosophy, and draws closer to the customer’s psychological distance, bringing customers a sense of intimacy. Moreover, it also makes Wal-Mart leave a good impression in the hearts of customers.

There is such a sentence in Chevron’s official website:
“We also care about the environment and are proud of the many ways in which our employees work to safeguard it.”
The “care about and are proud of” in the sentence explain the company’s efforts in fulfilling its environmental responsibilities, and familiar words make customers feel more intimate. The sentence also adds a sense of closeness and trust of the company.

An example in the official website of the automobile giant GM is:
“Our culture, one which represents diversity, inclusion, mutual respect, responsibility and understanding, welcomes fresh perspectives and varied experiences.”
The familiar vocabularies of “mutual”, “fresh” and “varied” in the sentence embody the closeness of the enterprise. Among them, “fresh” and “varied” highlight the company’s continuous innovation and introduction of various talents when providing high-quality products to customers, so that the products can meet the needs of customers to the greatest extent.
Western companies have a large number of everyday vocabularies, which not only make the text easy to read, but also have a sense of intimacy. In the meanwhile, the everyday vocabularies can eliminate the strangeness of customers to the company.(Li Quandong,2013)

=====3.2.2 Linear Thinking=====
Westerners follow linear thinking. When communicating, westerns often get to the point, unlike the Chinese who are mealy-mouthed. This linear way of thinking is also reflected in the text of western corporate publicity texts. In narrative, westerners are accustomed to first explaining the main points and then interpreting them. The layout of the articles follows the principle of from general to concrete, from general to example, and from whole to individual. The linear thinking in the western corporate publicity texts: using the deductive method, the important information is placed at the beginning of the paragraph, and then the cases is used for argumentation. This is in line with the reading habits of western readers and is conducive to propagandizing the company. For example, when GM introduced the development process of the company, it has the following text:

In fact, there are a lot of exciting things to share about our company. This text is straightforward to show that GM has a gratifying performance, allowing readers to quickly get the meaning of the text, and then use specific examples to prove.

The western corporation publicity texts influenced by linear thinking use deductive method of writing, which can help readers quickly find the center of the text. At the same time, the author also found that western corporate publicity texts often introduce enterprises in the first-person perspective.(Li Quandong,2013)

=====3.2.3 The First-person Perspective=====
The function of the corporate publicity texts is to propagandize the enterprise. In order to better perform this function of the text, one can give the text the emotional color. The corporate publicity texts often use the first-person writing when introducing companies. Adopting the first person perspective can give the company vitality, let the company and customers communicate close the distance between the company and the customer, which is beneficial to recommending the company to the customer.

For example, Chevron wrote in its corporate profile:
“Chevron is one of the world’s leading integrated energy companies. Our success is driven by our people and their commitment to get results the right way.... We explore for, produce and transport crude oil and natural gas; refine, market and distribute transportation fuels and lubricants; manufacture and sell petrochemical products”

The example uses “us”, “we” to call the enterprise, letting the reader feel that it is a face-to-face conversation with the company. In this way, the sentence closes the psychological distance between the company and the customer, which is conducive to recommending the enterprise.

The first-person perspective of writing has given the company the emotional color. This kind of feeling encourages readers to get in touch with the company.(Lin Qingyang&Shi Chunrang,2011)

=====3.2.4 Focus on the Transmission of Practical Information=====
The western corporate publicity texts highlight the delivery of practical information of the company, so that customers can have a very clear understanding of the company’s products and services and the company can win a favorable position in the customer’s mind. Therefore, it focus on the history, the performance and future development trend of the company, rather than the ideology and political belonging of the company.

Reading Wal-Mart, Chevron and GM’s corporate publicity texts, we can easily find that western companies’ introduction focuses on introducing the history of the company, propagandizing the scale of the business, and explaining the social responsibilities, development prospects, and enterprises of the company. The practical information is what readers care most about, and it is also the most convincing.(Lin Qingyang&Shi Chunrang,2011)

For example, in its corporate text, GM first focused on the company’s excellent design, quality products and caring services, then introduced the history of the company, its achievements and development prospects, and finally focused on how the company provides its customers with high-end products and high-quality enjoyment. The information such as “safety and Quality” and “Create Lifelong Customers” appearing in the text will leave a deep impression on the customer’s mind and make the customer feel good about the company. In this way, the corporate publicity texts can achieve the functions of recommending the company and products.

Through the analysis of the characteristics of the Chinese and western corporate publicity, we can see that the Chinese and western corporate publicity texts have their own characteristics. These characteristics are consistent with the reading habits of the respective text readers, so they can play a very good publicity role in their respective fields. The characteristics and differences of Chinese and western corporate publicity texts require translators to appropriately transform the text structure into the target language structure when translating the Chinese corporate publicity texts. In this way, the translations can have the characteristics of western corporate publicity texts, which are in line with western readers’ reading habit.(Lin Qingyang&Shi Chunrang,2011)

===IV. C-E Translation Methods in the Guidance of Functional Equivalence Theory===
Combining the theory of functional equivalence, the classification of textual functions, and the theory of translation function, the author believes that foreign translation should follow the principle of functional equivalence and functional translation. Translators should adopt interpretive translation, omission and re-creation methods, and use the strategy of domestication and foreignization .(Ning Hailin&Xu Jianzhong,2008)

====4.1 Explanatory Translation====
Cultural omission is the biggest obstacle of readers in a cross-cultural environment. If the translator ignores the cultural omission or avoids the translation, it will result in the omission and absence of the important information of the original text, which will affect the understanding of the target reader. The translator must create the fullest contextual effect for the target readers and narrow the cultural information, such as:
“863计划” “The Match 1986” “Program to stimulate the development of high technologies”
“三讲” “the Three Stresses-the stresses of studying ,raising political awareness and ensuring honesty and integrity”

====4.2 Omission in Translation====
Translators who translate foreign propaganda must cut down some low-value information, try to reduce the reading and thinking burden of the target readers and convey the meaning of the original text. For example:
“昆明物华天宝,人杰地灵,曾孕育和涌现出郑和,兰茂,徐霞客,聂耳等许多风流人物,留下了许多历史文物。”
“As a place of excellent products and outstanding people, Kunming has numerous historical relics with time passing by.”

====4.3 Re-creation Translation====
Re-creation translation is not simply a “check-in seat”. It must be multi-level and multi-angled. It must be “designed and meticulously constructed”. It must first adjust, sort, summarize, refine, adjust and then carry on the interpretation. Such as:
“把国家电网公司建设成为“电网坚强、资产优良、服务优质、业绩优秀”的现代公司。”
“To build a modernized power grid company with a strong grid, excellent assets, service and performance. ”
“我厂轴承产品多次荣获国家金奖、国家质量金奖杯,并获重大科研成果奖。”
These products are finely machined and highly meet the specifications of relevant standards. Choosing them , you are choosing the best,

====4.4 Domestication and Foreignization====
In the translation of the corporate publicity texts, in order to make the target readers better understand, it is recommended to adopt the domestication strategy, with the target language culture and readers as the center, and use the easy-to-accept expression method of the target language to make the translation easy to understand. Such as “金鸡奖” translated as “JinJi Award”或 “the Golden Rooster Award”, The effect is not good, but it is naturalized as “China’s Oscar”. The effect is obviously improved. For some languages with Chinese characteristics, the alienation strategy can better preserve its exotic atmosphere, which can let the Chinese culture affects the world. 10 domestication and 10 alienation complement each other, such as: “鸳鸯”, “lovebird” , “龙舟”, “dragon boat” , “公积金”, “public accumulation fund” , “梁祝”, “China’s Romeo and Juliet” , “七彩云南”, “7-Colored Yunnan”, “汉文化”, “the Han Culture”, “中原”, “Zhongyuan”, “the central plains” , and “鱼米之乡”, “a land of rice and fish or a land of milk and honey”等.
Foreign translation, aiming to introduce China objectively and truthfully to foreign readers, is a strategic issue. All sectors of society should give more attention and support to quality control, academic control, administrative control, media monitoring, and work together to improve the quality of translation.
Foreign translators must have a deep understanding of the corporate publicity texts translation work and have a highly responsible attitude. Translators should take the word seriously and accurately understand the meaning. Translators should pay attention to the cultivation of language skills, expand the knowledge, enhance cross-cultural communication awareness, be familiar with Chinese and English, and strive to become an expert of Chinese and English language and culture. The translation of the corporate publicity texts is “to let other countries and people in the world understand China”, and its translators should uphold cultural conscious and cultural self-confidence and actively deal with the specific words of the original text.
In short, the translation of the corporate publicity texts is not a corresponding copy of the machine, but the use of the linguistic advantage of the translation under the guidance of functional equivalence. To achieve effective cross-cultural communication, foreign translations must have sufficient audience awareness and strive to achieve cultural self-awareness and demonstrate cultural self-confidence.(Ning Hailin&Xu Jianzhong,2008)

===V. Conclusion===
To sum up, corporate publicity texts put forward more stringent requirements for the accuracy of the translation. As a translator, one should constantly accumulate professional knowledge and improve professional literacy, which should be combined with specific context. Also, one should be good at making use of grammatical rules and strengthening cultural cultivation to enhance the ability to transform different cultural connotations and enrich the experience of improving the accuracy of translation of corporate publicity texts from practice, in order to promote the smooth development of international communication in the world.

===References===
*Nida, E. A. Towards a Science of Translating[M]. Leiden: E.J.Brill, 1964.
*Nida, E. A. Language, Culture, and Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 1993.
*Nida, E. A. & Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J.Brill, 1969.
*李权东.Li Quandong 中文企业简介英译研究[D].[Research on English Translation of Chinese Corporate Profiles] [D]. 上海外国语大学,2013. [Shanghai International Studies University, 2013.]
*林庆扬,石春让.Lin Qingyang,Shi Chunjan. 基于语料库的企业简介文体分析及英译启示[J]. [A Corpus-based Analysis of Corporate Profile Style and English Translation Insights][J]. 长春师范学院学报,2011,(1):107-111.[Journal of Changchun Normal University,2011,(1):107-111.]
*宁海霖,许建忠.Ning, Hailin, Xu, Jianzhong. 知“异”方可“异”——谈企业简介的汉译英[J].[The Chinese Translation of Enterprise Profiles into English] 中国科技翻译,2008,(4):21-23.[China Science and Technology Translation, 2008,(4):21-23.]
*王青. Wang Qing 论外宣资料的编译 [J]. [On the Compilation of Foreign Propaganda Materials] [J]. 淮海工学院学报:社会科学报,2010,(4):86-88. [Journal of Huaihai University of Technology: Journal of Social Sciences, 2010,(4):86-88.]

--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 03:18, 8 December 2020 (UTC)

==A study of Functional Equivalence in Translating the Prose——A Case Study on Cong Cong 汤伊然 Tang Yiran 202070080643 英语口译==

===Abstract===

Zhu Ziqing's masterpiece ''Cong Cong'' is highly popular in the translation community, and several English translations have been published. However, the study on English versions of ''Cong Cong'' started late in China and focuses on a few domestic translators. While researches on translations by foreign translators based on functional equivalence are rather limited and need further in-depth explorations. Therefore, this paper analyzed the translations of Ge Haowen (Howard Goldblatt), the foremost translator of modern and contemporary Chinese literature, and the young Chinese translator Peter, Jingcheng Xu from the perspective of Eugene Nida's functional equivalence in meaning and style, so as to discuss the guiding significance of this theory to prose translation.

===Key words===
''Cong Cong''; Translation comparison; Functional equivalence; Ge Haowan; Peter Jingcheng Xu

===题目===
基于功能对等视角下的散文翻译——以《匆匆》为例

===摘要===
朱自清的代表作《匆匆》在翻译界备受青睐，目前有多个英译本刊行。但国内对其英译本的研究起步较晚，且重点关注译者国内少数译者，对国外译者译文研究严重不足；同时基于功能对等视角下的研究较少，有待进一步深入研究。因此，本文选取素有"中国文学首席翻译家"之称的葛浩文和翻译后起之秀许景城的译文，基于尤金·奈达的功能对等视角，从意义和风格两个层面进行分析，探讨该理论对散文类文学文本翻译的指导意义。

===关键词===
《匆匆》；译文对比；功能对等；葛浩文；许景城

===I. Introduction===

This paper probes into the applicability of Nida's functional equivalence theory in prose translation via comparing two English versions of ''Cong Cong'' translated by a foreign and domestic translator respectively. The whole paper centers on two main aspects of Nida's functional equivalence theory: meaning equivalence and stylistic equivalence.
The paper consists of five chapters. Chapter One gives a brief outline of this paper. Chapter Two serves as the theoretical framework in which two main aspects of functional equivalence theory are elaborated in detail. Chapter Three has a glimpse of the studies on the English translations of ''Cong Cong'' from the perspective of functional equivalence theory both at home and abroad. Chapter Four firstly provides an in-depth appreciation of ''Cong Cong'' by paragraphs and then an introduction of the two translators Ge Haowen (Howard Goldblatt) and Peter Jingcheng Xu. Chapter Five offers a detailed case analysis of the two translations from the perspective of meaning and stylistic equivalence, trying to confirm the guiding significance of Nida's theory in prose translation. And the last Chapter is an overall summary of the whole paper.

===II. Theoretical Framework===

====2.1 The Development of Nida's Functional Equivalence Theory====
In 1959, in the article "Principles of Translation as Exemplified by Bible Translating", Nida characterized his new concept of translation: "Translating consists in reproducing in the receptor language the closest natural equivalent of the source message, first in terms of meaning and second in terms of style." It was in this article that Nida first mentioned the idea of dynamic equivalence. Later in 1964, in his "Towards a Science of Translating", Nida put forward the principle of dynamic equivalence in explicit terms. (Nida, 2001)

In 1969, Nida worked with Charles R. Taber on The Theory and Practice of Translation, in which he developed the contents of Towards a Science of Translation. Nida further clarified the definition of dynamic equivalence and shifted the focus of translation from the message itself to the response of the receptor, which created an epoch-making brand-new perspective of studying translation. In 1986, Nida replaced the term "dynamic equivalence" with "functional equivalence" in his From One Language to Another so as to avoid misunderstandings of the word "dynamic". But the essence of the theory is the same. (Nida & Taber, C.R. 2004)

In the 1990s, Nida improved his Functional Equivalence. In his revised theory, there are two levels of equivalence, minimal equivalence and maximal equivalence. Minimal equivalence means that the readers in the target language text should be able to understand content to the degree that they can imagine how the source language text readers must have understood the content, while maximal equivalence is defined that audiences in the target language should be able to understand the content in basically the same style as the source language audience did (Nida, 1993).

====2.2 Key Aspects of Functional Equivalence Theory====

=====2.2.1 Meaning Equivalence=====
Nida states that functional equivalence should be stated primarily in terms of a comparison of the degree to which the original receptors understand and appreciate the text and the target receptors do. From Nida's point of view, translation is aimed at the target language readers. That is to say, the readers of the target language should have the same reaction as those of the source language. Because of linguistic and cultural differences in literary translation, a translator should not only pursue structural equivalence, but also value the reproduction of meaning, which is in line with the theory of functional equivalence. (Hong Chen, Kaimeng Zhao 2016，133-134)

=====2.2.2 Stylistic Equivalence=====
In light of his definition of translation, Nida points out that though style is secondary to content, it is nevertheless important. Therefore, Nida makes exceptions of rules for some literary translations, poetry, for example. From Nida's point of view, the style itself is indeed a part of the message, especially in literary translation, which cannot be totally separated from content. Stylistic equivalence is also an important way to achieve functional equivalence. (Hong Chen, Kaimeng Zhao 2016，133-134)

===III. Research on the English Translation of ''Cong Cong'' from the Perspective of Functional Equivalence Theory===
The earliest study on English versions of "Cong Cong" began in 2003 and draw many scholar's attention since then. There are 29 papers related on China Knowledge Net, with translations by Zhu Chunshen and Zhang Peiji as the core. Moreover, major breakthroughs are made in the research perspectives that are being more diverse and refined. However, there are very few papers from each perspective. For example, only three papers were searched in the full-text database of China Knowledge Net using "匆匆" and "功能对等" as the subject, keywords, title or abstract. (Zhai Zihui, Liu Lingling 2015，37-38).

In terms of the contents, these three papers mainly focused on the comparative analysis of different English translations of "Cong Cong" in vocabulary, syntax, and chapters. (Zhai Zihui, Liu Lingling 2015，37-38).

Concerning the research perspectives, Yang Fan analyzed the English translation of ''Rush'' by Zhang Peiji based on the functional equivalence theory and proved that this theory is a helper to the discovery of a better literary translation technique (Yang Fan 2017，189).

Cen Junhao entered on the flexibility and rationality of Nida's ''Dynamic Equivalence'' theory via analyzing three methods—corresponding, paralleling, and substitution of transforming words and sentences, as well as their application in "Rush" translated by Zhu Chunshen's, from Chinese to English (Cen Junhao 2015，104).

Zhai Zihui and Liu Lingling compared the similarities and differences in the rhetoric of ''Cong Cong'' and its translation by Zhu Chunshen, such as parallelism, rhetorical questions, similes, and personification, based on the theory of functional equivalence, and confirm that Zhu's translation is faithful to the original text and reproduces its rhetorical features (Zhai Zihui, Liu Lingling 2015，37).

Here is the summary: First, the studies on ''Cong Cong'' in English were mainly conducted on Zhang Peiji's translation, followed by Zhu Chunshen's and Zhang Mengjing's, only one on that of foreign translators. Second, among the existent researches from the perspective of Eugene Nida's functional equivalence theory, analysis confines to a single English version either by Zhu Chunshen or Zhang Peiji, and foreign translators are excluded. (Yi Hongbo, Xu Shanshan 2020，70)

Given this, this paper will take the English translations of Ge Haowen (Howard Goldblatt) and Peter Jingcheng Xu, and do a comparison based on meaning and stylistic equivalence, trying to prove the guiding importance of functional equivalence in prose translation. (Yi Hongbo, Xu Shanshan 2020，70)

===IV. Appreciation of ''Cong Cong'' and Introduction of the Translators===

====4.1 Zhu Ziqing and his prose ''Cong Cong''====
Zhu Ziqing, a well-renowned master in prose-writing, made a very important contribution to modern Chinese literature. His works were designed to reflect his inner feelings about the objective world, and were characterized by simplicity, naturalness, meticulousness, freshness in language, and sincerity in emotion. Zhu advocated the "conversational style" of writing, attempting to make the literary works colloquial while attaching great importance to the beauty of language and sound. (Zhang Jing 2006，60)

''Cong Cong'' was written in 1922, during the ebbing of the May Fourth Movement. It was a time of silence and turmoil, of disappointment and hope. This article shows the despondency and bewilderment of ambitious young people who were disappointed with reality. Zhu Ziqing, in his lamentation of the rapid passage of time, expressed his thinking of cherishing time and making progress. At this time, Zhu was gradually shifting from poetry to prose, so "Cong Cong" combines the characteristics of both of them, with rich emotion, imagery and philosophy. (Zhang Jing 2006，60)

At the beginning of "Cong Cong", a set of neatly worded sentences of consistent length and contrast depicts a scene of changing natural landscape, followed by a set of interrogative sentences of varying length and colloquial expressions. While lamenting the passage of time, the author shows his helplessness. (Yi Hongbo, Xu Shanshan 2020，70)

In the second paragraph, through metaphors, personification, and other rhetorical devices, the author describes the disappearance of more than eight thousand days without "声" or "影" so that he can't help "禁头涔涔而泪潸潸," displaying his frustration and anxiety with the traceless, fleeting time. (Yi Hongbo, Xu Shanshan 2020，70)

In the third paragraph, via a series of daily life scenes, the author uses repetition and anthropomorphism to describe how the days pass when "洗手", "吃饭"，"默默". This deepens his anxiety about the loss of time. The fourth paragraph climaxes the author's worries about the vanishing days through six questions, thus leading to the question of life with indignation and discontent: "为什么要白白走一遭啊？".(Yi Hongbo, Xu Shanshan 2020，70)

The fifth paragraph restates the first question of the text: "我们的日子为什么一去不复返呢?" which reiterates the theme and implies that time is irreversible and that it is important to cherish it. The text has a variety of sentence patterns scattered in an orderly fashion, both long and short, regular and variant, making the whole structure of the text evolve in a well-organized manner, with a rising and falling tone. (Yi Hongbo, Xu Shanshan 2020，70)

====4.2 Introduction of the Two Translators：Ge Haowen(Howard Goldblatt) and Peter Jingcheng Xu ====
As one of America's most prolific and influential translators of any language, Howard Goldblatt, whose Chinese name is Ge Haowen, has introduced generations of English readers to a wide spectrum of contemporary Chinese-language literature and brought translated Chinese literature from the confines of academia into the mainstream. He is the only official English-language translator of novelist Mo Yan, who won the Nobel Prize in literature.(''Howard Goldblatt Collection'', 2019).

With nearly 50 translations of novels, memoirs, and a major anthology of poetry, he is also hailed as the foremost translator of modern and contemporary Chinese literature in the West. (''Howard Goldblatt Collection'', 2019).

PeterJingcheng Xu is a Chinese poet and translator. He has translated into Chinese context many contemporary British poets, such as ''Gillian Clarke'', ''Jason Walford Davies'', ''Ian Gregson'', ''Robert Minhinnick'' and ''Emily Critchley'', and into English a wide spectrum of Chinese literary texts (both ancient and contemporary). His translation works and reviews are published in some key journals, such as Foreign Literature and Art, The World of English, and Journal of World Chinese Studies. (Poetry Hall, 2019)

One is the most prestigious foreign translator of Chinese literature, and the other is a young Chinese translator with a good English education, how would the two present different tactics to the translation of ''Cong Cong''?

===V. Case Analysis===

====5.1 Functional Equivalence in Meaning====
Example one：但是，'''聪明的，你'''告诉我，我们的日子为什么一去不复返呢？

Ge：'''You who are wiser than I''', tell me, then: why is it that the days, once gone, never again return?

Xu：Now, '''you my sage''' would you please tell me, why should our days roll by, never to return?

Analysis:

In example one, the author put forward the question—“我们的日子为什么一去不复返呢?”. Obviously, here, it is not a philosophical question calling for the answers like Marx’s time and space view, but just a lamentation of the passing time.

Xu translated “聪明的，你” into “You my sage”, which refers to a very wise person. It showcases humility, also a sense of detachment. Maybe even the sage has no idea since the question remained unsolved [[till]] at the end of the source text. In this way, it reflects the smallness of human beings in front of immortal time. Ge used a comparison, “you who are wiser than I”, creating a sense of intimacy. The two versions reproduced the original meaning while having their own distinctive highlights.

Example two：我掩着面叹息。但是'''新来的日子的影儿'''又开始在叹息里闪过了。

Ge：But '''the shadow of the new day''' begins darting by, even in the midst of my sighing.

Xu：Burying my face in my hands, I heave a sigh, and '''the new day''' begins thrilling through it.

Analysis:

In example two, Xu adopted omission and translated “新来的日子的影儿” in a straight-forward manner, while Ge applied literal translation and preserved “shadow”. Time in nature is colorless and invisible, but light and shadow can project its trajectory. Hence, it is the “shadow” that fully manifests how fast the time goes by, uncovering stronger disappointment of the author. Ge’s version achieved meaning equivalence very well.

Example three：'''过去的日子'''如轻烟，被微风吹散了，如薄雾，被初阳'''蒸融'''了；

Ge：The days that are gone are like smoke that has been dissipated by a breeze, like thin mists that have been burned off under the onslaught of the morning sun.

Xu：The bygone days like wisps of smoke, have been blown away by breezes and like clusters of thin mist, have been evaporated by the rising sun.

Analysis:

In example three, the two metaphors not only paint a beautiful picture of the rainy south of the Yangtze River but also make us feel that time passes quickly and without a trace.
“过去的日子” was translated by Xu as “The bygone days” and Ge, “The days that are gone”. From the perspective of accuracy, Ge’s version is more inclusive because it covers all moments in the past while “bygone” means happening or existing a long time ago.

Another distinction falls on the translation of “蒸融”. Ge used “burn off” and Xu “evaporate”, both of which connote “vanish” and thus depict the fleeting time vividly. Besides, Ge applied addition with “the onslaught of the morning sun”. However, “初阳” indicates that the sunlight is generally not intensive, so the word “onslaught” is not suitable here. In conclusion, Xu’s translation is more meaning-equivalent.

Example four：'''燕子去了，有再来的时候；杨柳枯了，有再青的时候；桃花谢了，有再开的时候。'''

Ge：'''The swallows may go, but they will return another day; the willows may whither, but they will turn green again; the peach blossoms may fade and fall, but they will bloom again.'''

Xu：'''Gone are swallows, but they may come back again; withered are willows, but they may turn green again; fading away are peach blossoms, but they may flower again.'''

Analysis:

In example four, both Xu and Ge chose the plural form of the noun for “燕子”, “杨柳” and “桃花”, with the exception that the latter is preceded by a definite article. The original wording of “Cong Cong” is highly colloquial, so here “燕子”, “杨柳” and “桃花” should refer to [[specific]] things we see in the real world, [[rather than]] imagery with profound connotation. Thus, “the swallows” “the willows” “the peach blossoms”, in which definite articles were added, are more accurate.

In respect of the tense, Ge used “may do” while Xu “are” in the first simple sentence. The general tense better indicates that “燕子去了” “杨柳枯了” “桃花谢了” are natural phenomena. Another difference lies in the following "but" clause. Ge picked the future sense "they will" while Xu kept "they may". The former "will", to some extent, further strengthen the cycle of nature. Overall, meaning equivalence is better accomplished by Ge's version.

Example five：'''默默时，便从凝然的双眼前过去。'''

Ge：'''When I am standing still and quiet, my eyes carefully follow its progress past me.'''

Xu：'''When I am in contemplation, my gazing eyes feel the day passing by.'''

Analysis:

In example five, firstly the two translators chose a different expression for “默默”. Compared with Xu’s “in contemplation”, Ge’s “standing still and quiet” is more vivid and touching, creating a picture that attracts the readers’ empathy. Secondly, apart from taking “my eyes” as the subject, one translated “凝然” into an adjective “gazing”, the other an adverb “carefully”. In this case, Ge’s “carefully”, together with the verb “follow” reproduced the scene in the source text more specifically and convincingly.

Example six：'''在逃去如飞的日子里，在千门万户的世界里的我能做些什么呢？只有徘徊罢了，只有匆匆罢了；'''

Ge：'''During these fleeting days what can I, only one among so many, accomplish? Nothing more than to pace irresolutely, nothing more than to hurry along.
'''

Xu：'''Amid the fleeting days, what could I do in the world of hustle and bustle, but roaming and sighing the flight of time?'''

Analysis:

In example six, for “千门万户的世界”，Xu’s “the world of hustle and bustle” not only contain Ge’s “so many” people, but also the fast-pace of the world. Besides, their treatment of “徘徊” and “匆匆" saw a big difference. Ge used "pace irresolutely" and "hurry along" while Xu "roaming and sighing the flight of time". Obviously, Ge adopted the literal translation and Xu, free translation.

Here, given the context, "徘徊” “匆匆” is no way just point to the exact action. To sum up, Xu’s version is more consistent with the meaning of the original.

====5.2 Functional Equivalence in Style====
Example one：'''《匆匆》'''

Ge：'''Haste'''

Xu：'''The Fight of Time'''

Analysis:

In example one, “匆匆” in the source text varies in part of speech. For example, “匆匆” in “去来的中间，又怎样地匆匆呢？” “我觉察他去的匆匆了" is an adverb, in "只有徘徊罢了，只有匆匆罢了” is a noun. Here both Ge and Xu translated it into a noun, which conforms to the title-style. Ge’s “Haste”, compared with Xu’s “The Flight of Time”, is more concise and consistent in form.

Moreover, “Haste” pronounces with only one syllable and ends in a combination of fricative and blast, which sounds like a sigh and is more in line with the emotional tone of the source text. Therefore, Ge’s version reproduces the original style in a better way.

Example two：我不禁'''头涔涔而泪潸潸'''了。

Ge：Uncontrollably, my '''sweat and tears stream down'''.

Xu：Aware of this, I feel '''sweats exuding from my forehead, and tears brimming in my eyes'''.

Analysis:

In example two, Xu translated it into two simple sentences, with diversity in the use of words such as “exude” “brim”. Nevertheless, Ge’s “stream down” is more precise, and condensed as same as the style of the original.

Example three：'''你聪明的，告诉我，我们的日子为什么一去不复返呢？'''

Ge：'''You who are wiser than I, please tell me why it is that once gone, our days never return.'''

Xu：'''You my sage, please tell me, why should our days roll by, never to return?
'''
Analysis:

In example three, here the sentence is the last paragraph, and repetition is applied. From the two versions, we can tell that both Xu and Ge maintained this rhetorical, wording, and tone. One thing worth mentioning is that Ge emphasized “the days” for the first time and the second “once gone”. Besides, he transformed this question into a definite sentence.

In an overview, the first “你聪明的，告诉我，我们的日子为什么一去不复返呢？” provokes the reader to think. After elaboration, the question appears again at the end of the text, which is a finishing touch but implies a certainty: our days are gone. Ge’s translation reproduces the repetitive rhetoric of the original text, and more skillfully reflects the different connotations in line with the sequence of the two questions by emphasizing different words.

The treatment of the last sentence into a definite sentence is even more exquisite, serving both as the answer and conclusion for the whole text: the past cannot be repeated, only time can be cherished.

Example four：'''燕子去了，有再来的时候；杨柳枯了，有再青的时候；桃花谢了，有再开的时候。'''

Ge：'''The swallows may go, but they will return another day; the willows may whither, but they will turn green again; the peach blossoms may fade and fall, but they will bloom again.'''

Xu：'''Gone are swallows, but they may come back again; withered are willows, but they may turn green again; fading away are peach blossoms, but they may flower again.'''

Analysis:

In example four, both Ge and Xu preserved the sentence structure of the source text. Differing from Ge’s version which strictly abided by the original wording, Xu adopted inversion. He underlined the verb of “去” “枯” “谢”, attempting to stress the changes brought by time: as spring goes by and autumn comes, flowers bloom and fall, but only time remains unchanged and keeps moving forward. Yet from the point of retaining the style and melody beauty, Ge’s version is more fluent and catchier.

Example five：'''是有人偷了他们罢：那是谁？又藏在何处呢？是他们自己逃走了罢：现在又到了哪里呢？ '''

Ge：'''Are they stolen by someone? Then, by whom? And where are they hidden? Or do they run away by themselves? Then, where are they now?'''

Xu：'''Are they stolen by someone? If so, who could it be, and where could they be hidden? If they run away by themselves, where are they now?'''

Analysis:

In example five, three questions and two declarative sentences combined. Xu copied this pattern in his translation while Ge turned the two declarative sentences implying guesses and doubts—“是有人偷了他们罢”, “是他们自己逃走了罢” into questions. By enhancing the questioning tone, Ge’s version effectively fulfills the purpose of guiding the readers along with the author to explore the answer, as well as the style equivalence in translation.

Example six：早上我起来的时候，小屋里射进两三方斜斜的太阳。'''太阳他有脚啊'''，轻轻悄悄地挪移了；我也茫茫然跟着旋转。

Ge：In the morning when I get up, there are two or three rays of sunlight slanting into my small room. '''The sun, does it have feet?''' Stealthily it moves along, as I too, unknowingly, follow its progress.

Xu：When I get up in the morning, the sunshine the slanting sun sheds beams into my room, edging away gently and quietly, '''as if he is footed.''' Without awareness, I feel myself already echoing his revolution.

Analysis:

In example six, personification is used in “太阳他有脚啊”, which illustrates that time flies like a shuttle. Xu used the adjective "footed" and related it as a clause led by “as if”. Ge, in another way, translated it into a question—“The sun, does it have feet?”. He put “The sun” at the beginning of the sentence and used the pronoun “it” to emphasize the temporal symbolism of the sun. Ge’s version, with a stronger questioning tone, reinforced the author's helplessness about the passage of time. Does the sun have feet? How else could time pass so quickly?

Example seven：'''过去的日子如轻烟，被微风吹散了，如薄雾，被初阳蒸融了；'''

Ge：'''The days that are gone are like smoke that has been dissipated by a breeze, like thin mists that have been burned off under the onslaught of the morning sun.'''

Xu：'''The bygone days like wisps of smoke, have been blown away by breezes and like clusters of thin mist, have been evaporated by the rising sun.'''

Analysis:

In example seven, Ge and Xu both used the preposition "like" and the perfect tense "have/has been". Given the sentence pattern, the two translators paused at a different beat. Xu cut it as the same as the source text, and flows more smoothly, structured in neat style with "wisps" and "clusters", "blow away" and "evaporate". To conclude, Xu observed the style equivalence.

Example eight：'''于是——洗手的时候，日子从水盆里过去；吃饭的时候，日子从饭碗里过去；'''

Ge：'''Then as I wash up, the day passes through my washbasin, and at breakfast through my rice bowl.'''

Xu：'''Thus, when I wash my hands, the sink washes away the day. When I have a meal, the bowl vanishes the day.'''

Analysis:

In example eight, although Xu’s translation is consistent with the original text in terms of syntax, and shows his innovation of not using “the day”, namely, “time” as the subject, which restored the scene and created a sense of being in it. The materialization of time, that is, the use of tangible things to replace the invisible time to show the dynamics of its passing. Compared with Ge’s translation, Xu's seems slightly abstruse, but it cannot efface its shining points.

===VI. Conclusion===
The motion of this paper derives from the gap of research on foreigner’s translations of ''Cong Cong'', especially from the perspective of Nida’s functional equivalence theory. Moreover, this paves the way for further analysis of this theory’s significance and applicability in prose translation. In this process, based on translations of Ge Haowen and Peter Jingcheng Xu, cases are listed and exemplified to discuss how does Nida’s functional equivalence in meaning and style be achieved in Cong Cong, a typical literary work with distinctive colloquial and sound style.

In general, both Ge and Xu have their own strengths and characteristics. By comparison, Ge’s translation is better in light of the correspondence of the theory and features of prose translation. Ge better preserved the language style and emotional tone of the source text, reproduced the beauty of its meaning, and achieved a perfect combination of “translation” and “expressiveness”.

What’s more, Peter Jingcheng Xu, a promising young translator, also left a great impression with his translation. His succession of three exclamations—“Alas” “Nothing” “Nay, not even…” sends the readers into a shock both visually and mentally; His “the sink washes away the day” and “the bowl vanishes the day” open a new perspective for readers to taste the prose ''Cong Cong''.

To conclude, the functional equivalence initiated by Nida is of great and profound significance in prose translation which is worthy of being paid more attention to.

===VII. References===

* GOLDBLATT, H. Haste. In J.S.M LAU&H. GOLDBLATT (eds.) The Columbia Anthology of Modern Chinese Literature[C]. New York: The Columbia University Press, 1955.

* Ge Haowen (2011) ‘A Mi Manera: Howard Goldblatt at home A self-interview’, Chinese Literature Today, 2(1): 97-104.

* Hongping Chen, Kaimeng Zhao. On the Functional Equivalence in Literary Translation[C]. Information Engineering Research Institute, USA. Proceedings of 2016 3rd International Conference on Psychology, Management and Social Science (PMSS 2016). Information Engineering Research Institute, USA:智能信息技术应用学会, 2016: 139-143.

* ''Howard Goldblatt Collection'', Chinese Literature Translation Archive, University of Oklahoma (USA).

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* Tan Zaixi. ''On Nida’s Translation Theories''[M]. Beijing: China Translation & Publishing Corporation, 1999.

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* Cen Junhao岑俊豪. (2015). 浅谈尤金·奈达的“功能对等翻译论”在译文《匆匆》中的应用 [An Analysis on the Application of Eugene Nida’s “Dynamic Equivalence” Theory in Translation Rush] Overseas English 海外英语 (10): 104-106.

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* Li Xianyong李现勇, Pang Qiang逄强. (2012). 秉原文之形，传原文之神——《匆匆》朱纯深译本审美赏析 [Representing the Spirit of the Original Text Based on Retaining its Form—the Aesthetic Appreciation of Zhu Chunshen’s Translation of “Cong Cong”]. Youthful Years 青春岁月 (08): 92.

* Min Xiyong闵西鸿．(2013). 《匆匆》两译本修辞翻译风格对比研究 [Rhetorical Style Reproduction of Cong Cong in its Two English Versions]． Journal of Mudanjiang Normal University (Philosophy and Social Science Edition) 牡丹江师范学院学报（哲学社会科学版） (4): 113-115.

* Yi Hongbo易红波, Xu Shanshan许姗姗. (2020). 修辞视角下《匆匆》英译赏析——以朱纯深与葛浩文译文为例. [Rhetorical Analysis of Cong Cong—Based on English Translation by Zhu Chunshen and Goldblatt]. Journal of Sichuan Minzu College四川民族学院学报 29(04): 69-73.

* Eugene A. Nida尤金·A·奈达. (2004). 翻译科学探索 [Toward a Science of Translating]. Shanghai Foreign Language Press 上海外语出版社.

* Yang Fan杨帆.(2017). 从功能对等理论分析朱自清《匆匆》英译 [An Analysis of English Translation of Zhu Ziqing’s “Hasty” from the Perspective of Functional Equivalence Theory] The Journal of Shandong Agriculture and Engineering University 山东农业工程学院学报 34(04): 189-190.

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==Semantic Translation and Communicative Translation 阳慧 Yang Hui 202070080646,英语口译==
Yang Hui 阳慧 202070080646

=== '''Abstract''' ===

In the early 80 's of the 20th century, Peter Newmark, a famous translation theorist, put forward a profound theory of semantic translation and communicative translation. It is considered that there are both differences and links between the two. Under the guidance of semantic translation and communicative translation, the translator uses corresponding translation strategies according to the type of source text and the characteristics of target language readers. From the perspective of semantic translation and communicative translation, this paper discusses the translation strategies under the
guidance of this theory to demonstrate the application of Newmark's translation theory in translation practice.

==='''Key words'''===

semantic translation; communicative translation; application

==='''题目'''===
语义翻译与交际翻译

==='''摘要'''===
20世纪80年代初期，著名翻译理论学家彼得·纽马克提出了影响深远的语义翻译和交际翻译理论。认为这两者之间既存在差异又存在联系。在语义翻译和交际翻译的指导下，译者根据源文本的类型和目的语读者的特点，使用对应的翻译策略。本文将从语义翻译和交际翻译视域出发，通过具体翻译案例的展示，探讨这一理论指导下的翻译策略论证纽马克翻译理论在翻译实践中的应用。

==='''关键字'''===
语义翻译；交际翻译；应用

==='''1.Introduction'''===
At present, when we discuss the western schools of modern translation theory, we always refer to Eugene a . Nida, a prominent representative in his field of research. Nida's translation theories, such as those on " dynamic equivalence ", are particularly popular among domestic translators. By contrast, peter Newmark, another prominent translation theorist, has little influence. In fact, Newmark's translation theory in the Western modern translation theory schools can also be called unique. In this paper, the author divides translation into two methods of " communicative translation and semantic translation " . From the two aspects of language form and content, the author discusses the translation methods of achieving different " equivalence " and provides new ideas and approaches for translation practice. In this paper, the author divides translation into two methods of " communicative translation and semantic translation " (Zhang Youyi 2007,20).

=== '''2.Development of Semantic translation and Communicative Translation''' ===
Semantic translation and communicative translation are important translation theories put forward by British translation theorist Peter Newmark. On the basis of summing up the previous translation theories and his own translation experience, he put forward these two important translation concepts. In the development of translation theory, it has made outstanding contributions. The essential difference between them is that semantic translation emphasizes retaining the style of the original text, while communicative translation focuses on communicative function, which makes it easy for the readers of the target language to understand(Tang Jie 2016,19). literal translation and free translation are inextricable topics when translation is discussed in the field of translation. It is under this kind of
thinking that the target text rarely considers the factors such as reader reflection, the category of the text and the purpose of translation (Ye Zinan 2001, 17).

At present, when we discuss the Western modern translation theories, we frequently refer to Eugene Nida, who is the most prominent representative in this research field. Nida's translation theories, such as those on "dynamic equivalence", are particularly popular among scholars of translation studies in China. By contrast, Peter Newmark, another prominent translation theorist, has relatively little influence. In fact, Newmark's translation theory within the Western modern translation theory schools can also be called unique(Xie Tianzhen 2008, 35).

The two strategies of "communicative" translation and "semantic" translation. From the two aspects of language, form and content, the author discusses the translation methods of achieving different "equivalences" and provides new ideas and approaches for translation practice. Nida once remarked on the theory of Newmark: "Semantic translation and communicative translation are important translation strategies put forward by British translation theorist Peter Newmark. On the basis of summing up the previous translation theories and his own translation experience, he put forward these two important translation concepts. Within the development of translation theories, they are an important part"(Tang Jie 2016, 65).

The essential difference between them is that semantic translation emphasizes retaining the style of the original text, while communicative translation focuses on the communicative function, which makes it easy for the readers of the target language to understand literal translation and free translation are inextricable topics, when translation is discussed. If we follow this kind of thinking, we rarely consider factors such as reader reflection, the category of the text and the purpose of translation in regards to the target text. (Ye Zinan 2001, 17)

==='''3.Comparison Between Semantic Translation and Communicative Translation'''===
Newmark regards language as a "tool for thinking and self-expression", which means that individual thinking differences determine the differences in style characteristics. In view of the extensive differences in texts, Newmark makes a detailed analysis of semantic translation and communicative translation in his book ''About Translation'' .
Liao Qiyi gives a more detailed explanation of semantic translation and communicative translation based on the summary given by Newmark. And according to Liao's explanation, it is summarized as follows(Newmark 2006, 123):

===='''3.1 Objectivity and Subjectivity'''====
First, semantic translation is objective, precise and subject to the culture of the source language and the original author. When translating the semantic meaning of the source text, it should be interpreted only when the connotation of the source text constitutes the biggest obstacle to understanding. In order to reproduce the thought process of the source text, semantic translation strives to keep the language features and unique semantic expressions of the source text, and gives full play to the expression function of the language. Communicative translation, on the other hand, is subjective, and the core lies in the transmission of information, making the reader think, feel and act, giving full play to the function of language to express information (informative)and producing effects (vocative), concentrating only on the response of the target language readers, making the source language yield to the target language and the culture of the target language. Therefore, when using communicative translation strategies, the translator has some freedom to modify the source text, but this does not mean that the translator cannot respect the source text(Tang Jie 2016, 60).

===='''3.2 Forms of Expression'''====
Second, there are differences between semantic translation and communicative translation in the form of expression. Semantic translation makes the form of the target text closer to that of the source text, and tries to retain the sound effect of the source text. Communicative translation focuses more on the response of the target language readers to easy reading, reorganizes syntax, utilizes more general words and collocations, and strives for a straightaway translation Semantic translation focuses on the transmission of textual meaning. Communicative translation, on the other hand, focuses on the transmission of textual context Semantic translation is still centered on the source language. Communicative translation, whereas, centers on the reader of the target language. mean that the translator cannot respect the source text(Tang Jie 2016, 61).

===='''3.3 Highlights on Contents '''====
Third, semantic translation and communicative translation have diverse highlights when the content and effect of information are contradictory. Semantic translation emphasizes content over effect, while communicative translation emphasizes effect over content(Tang Jie 2016, 61).this part is too short that to make readers understood.

===='''3.4 Language Style'''====
Fourth, compared with communicative translation, semantic translation is more technical, intricate, arcane even unintelligible. It does not lay emphasis on reproducing the intention, but focuses on reproducing the thinking process of the author of the source text. It tends to over translate, choosing more professional specific words than the source text to express the subtle differences of meaning. Communicative translation, on the other hand, is more unobstructed, simple, clear and direct, which is more in line with the language habits of the target language readers(Tang Jie 2016, 62).

===='''3.5 Length'''====
Fifth, the translation with semantic translation generally has no explanatory words to help readers comprehend, so the translation of communicative translation is usually longer than that of semantic translation. In addition, semantic translation takes smaller words, phrases or clauses as translation units, while communicative translation tends to take sentences and paragraphs as translation units(Tang Jie 2016, 62).

===='''3.6 Inferiority and Superiority '''====
Sixth, semantic translation is an art, which is more than one person's responsibility, there can be no inaccurate translation, and the translation is generally inferior to the original, but communicative translation is a skill, which can be undertaken by many people. The translated text is generally superior to the source text because of its emphasis on effect, concise and straightforward language, and appropriate polishing to make up for some missing meanings in semantic translation(Tang Jie 2016, 63).

Although there are many differences between semantic translation and communicative translation, they are closely related and cannot be separated completely. emphasis text only has a function alone, plays a single guiding role or only reflect a kind of method strategy, just for a variety of functions, methods, strategy , When semantic translation and communicative translation overlap in translation practice, no matter which strategy is adopted and guidance is reflected, the target text should subject to the basic grammatical structure and some fixed stylistic features of the target language while reflecting the ideological content of the source text(Liu Miqing 2008, 67).

==='''3.Relation Between Semantic and Communicative Translation'''===

Previously, Karl Buhler, a German linguist, proposes the model of "Language tools" to study Language in his book Theory of Language (1990. According to Buhler, there are four elements in )daily communication the speaker, the receiver, the symbol and the context, so in the process of language in communication, it should be at least three basic functions, that is, expressive function, informative function and vocative function; Then, the linguist R. Jakobson thinks that there should be six important factors in the process of intersection: that is, mode, context, receiver, sender, contact channel and message itself. On the basis of the theory of language function, Newmark divides the source text into three types: that is, expressive texts, informative texts and vocative texts(Ma Yujuan& Miao Ju 2009, 111).

According to Newmark, translation is the translation of the text, the study of translation cannot be separated from the text. And according to Newmark's point of view, the core of the expressive function of language lies in the thought of the speaker. The typical expressive texts mainly include: First, literary works such as poetry, novels, plays and ancient books; Second, authoritative works such as philosophical works, legal documents and political speeches; Third, autobiography, essays and literary works are included(Cheng Mei 1993, 62).

The core of the expressive text is the author-centered, and the author's status is sacred. When translating expressive texts, the translator should reproduce the features of the source language expression form in the target language to reflect a more complete aesthetic effect. Therefore, the translator should reproduce some figures of speech in the source language when translating this text. On the contrary, in some special expressive texts, the expressive function of the language, which requires the translator to be able to distinguish the emphasis when translating expressive texts, is higher than its aesthetic function(Che Yunfeng 2010, 57).

As for the informative function of language, Newmark believes that the core of the informative function of language hinges on the external situation context, the authenticity of topics and the objective world beyond the language. Therefore, the core of informative text lies in the objective authenticity of the information content. In the process of translating informative texts, the translator should present the authenticity and accuracy of the information content of the source text in the target language as completely as possible. Therefore, the translator should take the target language as the orientation and pay attention to the effectiveness and accuracy of communication(Newmark 2001, 62).

However, it should be noted that the success of the translation of informative texts largely depend on the linguistic features and stylistic features of the texts themselves. In addition, for example, in the translation of informative texts, the greater the cultural differences between the source culture and the target culture, the more difficult it is to achieve equivalence between the translated text and the source text(Newmark 2001, 63).

The third type of text proposed by Newmark is the vocative text. He believes that the vocative function of language lies in the reader or the language receiver. The so-called "vocative" is that the author appeals to the reader or the receiver to act, think or feel something based on the emotional level, specifically, the author makes some response according to the intention of the reader. Therefore, when translating vocative texts, the translator should be guided by the target language rules and culture, and reproduce the vocative effect that is relative to the original author and the vocative elements that are faithful to the original author(Newmark 2006, 68).

==='''4.Application of Semantic Translation and Communicative Translation'''===

These three text types cannot be completely separated. Very few texts are pure fragmentary expressive, informative and evocative texts, but usually three or two texts have both functions, but with some emphasis. The formation of text type theory opens up a new perspective for translators to do translation work. In this way, before translation, translators should carefully study the text content and linguistic style after selecting the translated text, and determine the appropriate perspective of text type according to Newmark's analysis of text type(Cheng Mei 1993, 65).

Given the above, the ultimate goal of text type classification is to provide the most appropriate translation method, strategy and guidance for translated works. In succession, Newmark proposes the effective translation strategies and he thinks that semantic translation and communicative translation are the most convenient and extensive applications. As mentioned above, semantic translation lay emphasis on the thinking process of the original author, while communicative translation pays more attention to how the language itself achieves proper effect(Newmark 2006,54 ).

Therefore, semantic translation is applicable to expressive texts, while communicative translation is applicable to the latter two types of texts. He puts forward: materials suitable for semantic translation include texts that are as important to the specific language as the content of the speaker or author, whether it is philosophy, religion, political science, technology or literature. Materials appropriate for communicative translation include: news, informative writing, non-personal communication, propaganda, announcements, standardized writings and popular fictions"(Newmark 2006, 98).

In a word, the English version of Jingui Yaolue (Synopsis of Prescriptions of the Golden Chamber) is a type of text with both expressive and informative. According to Newmark. The knowledge to readers. Based upon the connotation of semantics and communicative translation theory and their discrepancies, the translator gives a general overview of the roles they play in practical application( Newmark 2001, 63).

On the score of transforming the content of the original text and author 's intention well and truly, the translator retains the linguistic characteristics and unique expressions of theorists when illustrating their theoretical notions and insights. When the translator translated certain words with cultural background, era background, and historical background, such as academic vocabulary and proper nouns in diversified subject domains, the translated names cannot be obtained based on her own assumptions and judgments. Instead, the translator should confirm whether her translation is a generic term recognized within the academia(Zhang Peiji 1981, 52).

The author abides by this rule firmly ,ring the translation process. Besides, sometimes, if the objective things are described in chronological order, causal order, logical order, or in the same primary and secondary order, the two languages have basically the same way of writing, it can be translated by linear translation method according to the specific situation, maintaining the consistency of voice and tense. Semantic translation can better reflect the author 's thinking process and the expression of opinions so that the target readers can read it without obstacles. The communicative translation provides the translator with more freedom. In translation, the translator must consider the target reader 's feelings and strive to guard linear translation method according to the specific situation, maintaining the consistency of voice and tense. English and Chinese have different thinking modes, language habits and means of expression(Xie Tianzhen 2008, 32).

===='''4.1 Application of Semantic Translation'''====
When translating, it is sometimes the case that certain words and phrases should be added, so that the translation can achieve the same effect as the original text in terms of content, spirit and style (Cheng Mei, 1993,58). Additional translation is to add words that are not in the original text but actually have certain meanings. In a word, through additional translation, firstly, it can ensure the integrity of the grammatical structure of the target text, and secondly, it can make certain that the meaning of the text is explicit and consistent with Chinese expression habits(Zhang Youyi 2007, 81).
Example 1:

Source text: The mother inclines over the child and both verticality and horizontality cease to be operative.

Target text:母亲的情感向孩子倾斜，纵向思维与横向思维都不再奏效。

It mentioned the inter-subjectivity theory earlier before this sentence. the author inquired relevant materials and found that this theory is the discussion of emotional cognition. Therefore, the word "t !" should be added to complete the content that is not clearly explained but gives a hint, so as to facilitate readers' understanding(Zhang Youyi 2007,91).It mentioned the inter-subjectivity theory earlier before this sentence. the author inquired relevant materials and found that this theory is the discussion of emotional cognition.

Inter-subjectivity theory is concerned with the horizontal expansion and vertical extension of thinking. Horizontal thinking, as the name implies, refers to the person's thinking has its characteristics of lateral, broad development. People with this kind of thinking are good at drawing inferences from one example. Vertical thinking refers to the thinking form that is carried out in a sequential, predictable and stylized direction within a kind of structure. It is a clear and logical thinking mode that is consistent with the development direction of things and human cognition habits(Ma Yujuan& Miao Ju 2009, 24).

In Example 1, the author indicates that because parents love their children so much, they will easily lose their sense of reason when they encounter problems with their children. This is realistic and commonplace phenomenon. Verticality and horizontality denote "垂直性"和" 横向性 " respectively, they are both abstract words. English expressions are sometimes abstract, while Chinese express abstract contents in concrete images. Literal translation will cause confusion. In this case, appropriate word likes " 思维" should be added according to the context to make the meaning concrete(Che Yunfeng 2010, 74).As for Example 1, the author indicates that because parents love their children so much, they will easily lose their sense of reason when they encounter problems with their children. This is realistic and commonplace phenomenon. Verticality and horizontality denote "垂直性"和" 横向性 " respectively, they are both abstract words. English expressions are sometimes abstract, while Chinese express abstract contents in concrete images. Literal translation will cause confusion. In this case, appropriate word likes " 思维" should be added according to the context to make the meaning concrete(Che Yunfeng 2010, 74).

===='''4.2 Application of Communicative Translation'''====
The four-character structure is the crystallization of the wisdom of the Chinese nation. It has a compact and flexible structure, gives the essentials in compendious language, and is easy to read. It is a major component of Chinese expressions, a terse language material(Ma Yujuan& Miao Ju 2009, 51).
Example 1:
Source text: This dissemination, however, has also been a kind of domestication(perhaps inevitable), as anyone who lived through the heady days of the late 1970s and the 1980s of line-in-the-sand warring factions - Marxists versus post structuralists, feminists versus Marxists, psychoanalytic theorists versus all three.

Target text:然而，这种传播也是一- 种归化(或许是不可避免的)，就像任何经历过20世纪70年代末和80年代那些令人兴奋的，界限分明的交战派别一样一马克思主义者与后结构主义者、女权主义者与马克思主义者、精神分析理论家与以上三者，这些派别的对抗。

“Line-in-the-sand" has the definition of dividing the demarcation line. As can be seen from the context, what is said here is the fighting status of various theoretical factions. These factions resisted each other. If the translation is rendered directly, the translation will be too plain, and it will not manifest the intense and tangle some circumstances. Thereby, based on her accumulation of Chinese traditional civilization, the translator adopted a vivid four-character idiom to describe such a situation, displaying the linguistic characteristics and particular qualities of Chinese, and giving the article an affinity(Tang Jie 2016, 66).

==='''5.Conclusion'''===

As Newmark said, it is impossible to use a single theory to support any work, nor can it use a single technique, nor can semantic translation and communicative translation. The ultimate goal of semantic translation and communicative translation is different. The semantic translation is the original author's service, which follows the way of thinking and text genre characteristics are all original text ;The ultimate goal of communicative translation, unlike semantic translation, is to make the reader better understand the translation, let the reader think and feel(Newmark 2001, 35).

Therefore, the translator needs to translate the main content of the original text, pay more attention to the social value of the translation, and conform to the target language of speech. In the study of semantic translation strategies and communicative translation strategies, we should note that the distinction between semantic translation and communicative translation is relative, not absolute, and is often complementary and complementary. Liao Qiyi, a Chinese scholar, argues that there is a common ground between semantic translation and communicative translation, and that there is a strong connection between semantic translation and communicative translation(Liao Qiyi 2004, 37).

Secondly, both must faithfully reflect the main content of the original text ;Finally, these two translation strategies can be combined when the readers of the translation are consistent with the readers' interests and knowledge level of the original text, which means that the author and the reader of the translation are truly realized. German linguist Karl Buhler proposed that language has three functions: information function, expression function and infection function. On the basis of his theory, Newmark sums up three types of text. Informative text, expressive text and call active text. Informative text is an objective summary of events(Liao Qiyi 2004, 38).

Newmark's translation theory emphasizes semantic translation and communicative translation as a whole, because they are two different and complementary translation methods. Context, time and city are the necessary factors in the process of translation . What kind of translation strategies are adopted, and specific problems need to be analyzed((Newmark 2006, 46).
.

If semantic translation is adopted, the translator aims to follow the content and form of the original text, but in order to make the translation more popular and natural, avoid the language obscurity caused by the great differences between Chinese and English, sometimes it is necessary to combine the two methods, which combines the faithfulness of the author with the faithfulness of the reader, that is to promote the normal communication even in the translation of a sentence, at the same time two methods can be used to ensure the smooth communication and attract more readers(Tang Jie 2016, 78).

===Reference===

Peter Newmark. (2001).Approaches to Translation. Shanghai: Shanghai Foreign Language Education Press.

Peter Newmark. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language Education Press.

Peter Newmark. (2006). About Translation. Shanghai Foreign Language Education Press.

Cheng Mei 成梅. (1993). “翻译理论探秘，反思及应用——纽马克译论精选”[Exploration, Reflection and Application of Translation Theory--Selected Version of Newmark Translation Theory]. Shanghai: Shanghai Science and Technology Translation 上海科技翻译.

Cheng Hongzhen 程洪珍. (2003). 英汉语差异与英语长句的汉译[ Differences Between English and Chinese and Translation of Long English Sentences]. ''中国科技翻译'' China Science and Technology Translation(4)21-22.

Che Yun 车云峰. (2010). 牛津实用英汉双解词典[Oxford Practical Dictionary of English and Chinese]. London: Oxford University Press 牛津大学出版社.

Liao Qiyi 廖七一. (2004）. 当代英国翻译理论[Contemporary British Translation Theory]. Wu hai: Wuhai Education Press 武汉教育出版社.

Liu Miqing 刘宓庆. （2008）. 翻译基础[Translation Basis]. Shanghai: Huadong Normal University 华东师范大学.

Ma Huijuan 马会娟& Miao Ju苗菊. (2009). 当代西方翻译理论选读[A Selection of Contemporary Translation Theories]. Beijing: Foreign Language Teaching and Research Press 外语教学与研究出版社.

Tang Jie 唐洁. (2016). 语义翻译与交际翻译的区别与应用[Differences and Applications Between Semantic Translation and Communicative Translation].Hu Nan: Hu Nan Press 湖南出版社.

Xie Tianzhen 谢天振. (2008). 当代国外翻译导读[Introduction to Contemporary Foreign Translations]. Tianjin: Nankai University Press 南开大学出版社.

Zhang Peiji 张培基. (1981). 英汉翻译教程[English-Chinese Translation Teaching]. Beijing: Foreign Language Teaching and Research Press 外语教学与研究出版社.

Zhang Youyi 张友谊. (2007). 论彼得·纽马克的语义翻译[On Peter Newmark’s Semantic Translation Theory]. ''高等函授学报''Journal of High Correspondence(10)70-71.

Ye Zinan 叶子南. (2001). 高级英汉翻译理论[Advanced English-Chinese Translation Theory]. Beijing: Tsinghua University Press 清华大学出版社.

--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 03:55, 21 December 2020 (UTC)

==A Study of Functional Equivalence in Translating Children's Literature---A Case Study on ''The Lion King'' 刘智伟 Liu Zhiwei 202020080622==

<center>刘智伟 Liu Zhiwei, 202020080622 </center>

===Abstract===
Childhood is the most important stage of life development, and the influence of children's literature on children's education is in the first place. Children's literature is particularly required to be vivid and easy to understand, which requires that translation strategies should be adjusted according to the characteristics of children's psychological development and on the basis of functional equivalence translation theory. Based on the characteristics of children and children's literature, and combined with the translation strategies and methods of ''The Lion King'', this chapter makes a more profound analysis of translation equivalence theory.

===Key Words===
Children's Characters, Children's Literature, Functional Equivalence Theory --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 01:59, 1 November 2020 (UTC)

===题目===
功能对等理论在儿童文学翻译中的使用---以《狮子王》为例

===摘要===
儿童期是人生发育最重要的阶段，而儿童文学对于儿童的教育影响处于前位且是第一性的。儿童文学特别要求通俗易懂，生动活泼，这也就要求儿童文学翻译作品应根据儿童心理发展特点、基于功能对等翻译理调整翻译策略。本文主要是通过儿童特点、儿童文学特点，同时结合《狮子王》翻译策略与方法，对翻译对等理论进行更加深刻的解析。

===关键词===
儿童特点，儿童文学，功能对等理论

===Introduction===
Children’s literature contains different kinds of genres such as children’s prose, children’s novels, fairy tales and so on, in which fairy tales are the most special one and the most popular one for there are strange plots, vivid expressions and interesting characters helping children form theirs values towards the world. To make English literature suitable for Chinese kids, translators should think about cultural backgrounds, psychological features and linguistic features of the readers based on the theory of equivalence.

===The Introduction of the Theory of Equivalence===
Functional equivalence is a translation theory put forward by Eugene Nida, which consists of dynamic equivalence and formal equivalence making great contributions to translation theory. In his book ''Toward a Science of Translating'' (1964), he put forward and distinguished what he called dynamic equivalence and formal equivalence for the first time. Later, he expounded dynamic equivalence in his book ''The Theory and Practice of Translation'' (1969).
Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. (Nida, 1969) To avoid being misunderstood and provide a clearer meaning, Nida used “functional equivalence” to replace “dynamic equivalence” in From One Language to Another (1986). According to Nida, the best version of translation should never look like a translation. To avoid such feeling of translation, certain fundamental sets of precedence in translating should be established, such as the precedence of contextual consistency, the precedence of dynamic equivalence and precedence of forms that are acceptable to the readers. At the same time, translation should not be isolated and cultural background should be considered and try to make translations with original features and without cultural differences. While there is no possibility to balance between significance and culture, one must abandon the formal equivalence. Furthermore, it is better to recreate when the changes of form cannot show the original meanings of the text.
According to the functional equivalence theory, testing the quality of translation does not consist in a comparison of corresponding lexical meaning, grammatical classes, and rhetorical devices to see the extent of verbal consistency, but in the response the readers act after reading the translation. To sum up, the functional equivalence theory focuses on reader’s response, which calls for the response of the original receptors to original text (Jia Xiuhai 2008).

===The Salient Features of Children’s Literature===
Children’s literature formed in the mid-18th century with the publishment of Émile, ou De l'éducation, a book of Rousseau. The advent of Hans Christian Andersen fairytale marked the beginning of the boom period of world children’s literature. After 20th century, a large amount of excellent works came out all over the world pushing it into another boom period. There was no specific literary works for children in the early period of China until the “New Culture Movement” period when children’s literature occurred to be an independent status. (Hua Xiaofen 2020, 91)
Children’s literature, as a way of enlightenment, is required to be serious but as a kind of reading material for children it is required to be simple and interesting. At the same time, children’s linguistic features, cognitive features and psychological features should be considered in order to meet the needs of children. On the contrary, a lot of authors try very hard to write children’s literature so as to make them “de-adultification”.(Zhang Yanling 2019, 248)

The beginning of literature is from imitation so that a large amount of translation works of children’s literature come out to learn foreign works of children's literature. The difference between English and Chinese is clear but to make language interesting with translating it in proper way is not an easy thing.(Tang Huaying2017, 133)

====Distinct Themes in Children’s Literature====
Childhood is the developing period of a man which means it is the most important stage in one’s life and children in this time have a sensitive sense to learn new things. From simpleness to complexity, children have formed a complete system of perception and their understandings change to be deeper from the surface understanding. As a kind of enlightenment, children’s literature provides a way for children to learn simple lessons so that it contains simple but distinct themes, clear but positive themes with educational meanings. Furthermore, children’s literature in foreign countries, especially in British and America, emphasizes on maternal love that is often reflected in girls’ childhood. And in children’s literature, it also shows a world in imagination with a sharp contrast with the real world in order to open children’s eyes. Children could recognize truth from bad things, beauty from colorful things and kindness form cruel things. At the same time, culture of religion cannot be avoided in literary works. To infuse correct religious ideas properly is what we need to think deeper in case that the literary works should get in the way for children to know the world.(Wang Yali 2020, 74)

To be an excellent translator of children’s literature, one should grasp the distinct theme in each work, paying much more attention to the values that the work wants to show about, for all the literary works for children must have a positive effect on children. In other words, a translator should take the responsibility of choosing best works and translating them from the perspective of a child. Just as Chen Bochui, an author of children’s literature, says that only if an author writes his works through the perspective of a child, hearing by the ears of a child, seeing by the eyes of a child, and feeling by the heart of a child, can he have literary works understood and appreciated by children. It is the same for a translator because translating is like following the footprints of the original works.(Hua Xiaofen2020, 91)

====Various of Genres of Children’s Literature====
Various of genres can be found in children’s literature which consists of poem, novel, fairy tale and allegory and so on. Different genres may show different aspects of the world and different genres may provide different ways to know the world pushing children form a complex but colorful cognitive system. Poem is the most beautiful genre containing impressing rhythm, catchy words, and simple content, which provides an easier way for children to learn to use language in a graceful manner. Novel is usually a long story that contains a complete system like family or society, through which children could get an overview of the world. Fairy tale is usually different from the real world but reflects the real world in some ways. Children are very fond of this kind of genre for it enriches children’s experience and has an impressive influence on their thinking. Different genre gives different possibilities but rationality and normality should be put in the first place.(Hua Xiaofen2020, 91)

To become an excellent translator of children’s literature, one must get to know the essence of different genres in order that a translator can transfer his styles easily in different genres. Translation is a complex process that consists of many steps. Zhang Meifang (1999) once pointed out that “In the process of translation, a translator is the recipient of the source text and the producer of the target text either. In this way, he must have text analysis in both of the two processes and compare the results to finish the translation task properly.” Newmark come up with the three steps of translation: firstly, understand and analyze the source text; secondly, conceive a mind map of translating about the choice of words and sentences; thirdly, reproduce the text according to author’s intention, readers’ expectation, and proper regulation. Choosing proper translation strategies through text analysis is necessary.(Zhou Xuanfeng2004, 102)

====Vivid Expressions in Children’s Literature====
In the period of childhood, language system is not mature enough to accept all the linguistic phenomenon. And children cannot focus on the same thing for a long time so that abstract and complex languages cannot arise their attention. To make sure that children of different ages can understand the expression easily, vivid expressions are acceptable. In 1865, the publication of ''Alice's Adventures in Wonderland'' caused a stir and it fully showed the vivid expressions of children’s literature. It is a story about the real experience in wonderland of the sweet girl, Alice. The reason why it is still popular in the world is that it tells an interesting story with simple words and the translation even uses allusions in ''Journey to the West'' to stimulate children’s interests. (Hua Xiaofen2020, 91)

To be a good translator of children’s literature, one must learn children’s psychological and linguistic features in order to translate the literary works in a proper manner. Different from adults, the linguistic competence of children is not as perfect as that of adults. According to a research about linguistic features of children, children acquire intonation of Chinese first and then pronunciation. The acquisition of vowels is much earlier than that of consonants. It is reported that a kid aged three years old making mistakes in speaking language is very normal. Language acquisition in the early age of childhood must go through a specific process and children in this stage don’t have a mature system for language and their cognitive ability is limited so that translators should try to use simple but vivid words to make children of different ages understand texts easily.(Cao Li2018, 437)
====Cultural Infusion in Children’s Literature====
Cultural confidence is a core point in today’s development of all aspects. Culture is the soul of a nation and it pushes the development of a nation in some ways. It is like an invisible weapon which influences people’s mind and value towards the world. Nowadays, more and more literary works concern more about cultural infusion,through which Chinese culture can be spread to the whole world and foreign cultures can come into China either. In this way, literary works are regarded as an important tool to transmit cultures so that assessing literary works can be an essential point. And as a way of enlightenment for children, children’s literature plays an essential role in developing Chinese culture. (Liu Xiaoqing 2020, 91)

To be a translator taking the responsibility of exchanging different cultures, one must know the east and know the west. There’s difference in social conventions affected by geographical and historical factors. There’s difference in thinking patterns and authors in the western countries take sentence stricture for granted such as Shakespeare. There’ s difference in etiquette and Chinese culture has been influenced by Confucius. To combine the two kind of different cultures and to make it easy to understand become the key point for translators.(Wang Yali2020, 74)

===A Case Study: E-C Translation of ''The Lion King'' under the Guidance of Functional Equivalence Theory===

''The Lion King'' is story written by The Walt Disney Company inspired by Shakespeare’s Hamlet. It has been made into a movie in 1944 when it caused a stir to the whole world. Simba is the little prince of Pride Land, and his father Mufasa is the majestic king. However, his uncle Scar has designs on Mufasa's throne for a long time. In order to take the throne, Scar must eliminate the little prince for Simba will be the next king of Pride Land. Therefore, he has been wrestling to try every means to make Simba go outside of the land where there is no Mufasa protecting him, and then waits for the right opportunity to kill him with the help of those hungry hyenas who is the army of Pride Land. It is when Simba cannot fight that Mufasa comes to rescue him in time. Later, Mufasa is murdered by Scar who has tried every means to scheme against the real king of the land. After Mufasa’s death, Scar had ulterior motives to make Simba to leave and at the same time, he sent some hyenas to kill him, but Simba escaped to other place with his wit. Simba went through the very hot and dry dessert and encountered a meerkat named Timon and a kind warthog named Pumbaa who witnessed Simba grow into a powerful lion. Not long afterward Simba met Nana, his playmate when he was in his childhood. Nana told Simba that Pride Land had suffered a disaster and she encouraged him to return to the land but Simba was unwilling to get back to the place anymore. Later, Simba met with his father's spirit and decided to restore the country with the guidance of mage Rafiki. In the following struggle to restore Pride Land and save the people, Simba understood the true meaning of responsibility and got victory with the help of his friends and relatives. (Zhang Liya2020, 20)

''The Lion King'' is a glorious animation that praise justice and love, castigates evil and conspiracy, and it shows respect to the principle of the circle of life, and discloses a philosophy of the whole life. According to Nida’s theory, the translation work must represent the original meaning of the source text with proper words and structure. And to make the target text attract children’s attention, the translation work must find the best way to cater their interests. Due to the popularity of the movie version of The Lion King, the translation version is fewer. The translation version of The Lion King is translated by Song Ruixue and published by National Open University Press. (Zhang Liya2020, 20)
====Functional Equivalence at Lexical Level====
The use of simple words is the basic feature of children’s literature, through which the translators choose lucid and suitable words for children readers. Just as Nida mentioned that “Translation is the representation of the source text with the closest and most natural words, so the first equivalence is in semantics and the second is in literary genres.”(Xiong Ziwei2018, 9)
=====The Use of Reduplication=====
From the perspective of linguistic features, the use of reduplication in Chinese gives readers the beauty of rhyme, expression, and form so that it will arise children readers’ interests no matter in the aspect of reading or listening. On the other hand, the intonation will be stressed with the use of reduplication that will strengthen the emotional expressions which makes the character more prominent and the translation work more readable.(Xiong Ziwei2018, 9)

Reduplication is to reuse the same word so that it gives readers catchy rhythm which makes the ordinary words special and gives more power to language itself. In this way, the use of reduplication combining with the sound shows the mental activity of the character and children readers will easily get the image. (Xiong Ziwei2018, 9)

Example 1: The three scared bullies ran away as Scar looked from shadows.

Translation: 三只鬣狗吓破了胆，灰溜溜地逃跑了。刀疤躲在阴影里，看见了这一切。

The first example is taken from the part that Mufasa went to resecure Simba when he was in trouble. Mufasa’s majestic looking was showed up with the sharp contrast with bullies’ coward reactions. The translator doesn’t have a literal translation but adds an adverb in the replication form in which it makes the sentence beautiful in rhyme. Furthermore, the three bullies were scared and regretful at the same time so that “灰溜溜地” represents their psychological activity in a proper way. The coward characters seem to leap off the page, from which children will understand the character better and get the kindness from the bullies. (Song Ruixue2020,18)

Example 2: Simba saw his father fall. He ran calling Mufasa’s name but the king was already dead.

Translation: 辛巴眼睁睁地看着自己的父亲掉落深谷，他痛苦地呼唤着父亲的名字，然而木法沙再也无法回应他了。

The second example is taken from the part when Mufasa was murdered by Scar, and Simba could do nothing to help his father so that he just saw the death of Mufasa and felt devastated and self-condemned. For Simba, it is because of his inability that makes his father die who has loved him so much. For children readers, they may regard themselves as Simba who felt depressed and the word “眼睁睁地” causes a feeling of useless, through which children may get to understand the importance of responsibility. In this way, it makes a contrast between the helpless Simba and brave Simba who conquered Pride Land, through which children get a more impressive image of Simba.(Song Ruixue2020,24)

Example 3: Scar could not run away. Simba hit him with a powerful blow.

Translation: 刀疤再也逃不掉了。辛巴重重一击……

The third example is taken from the part when Simba began to fight with Scar and he hit him in the last second. The translator translates “with a powerful blow” to “重重地” making the sentence more easy to understand for a child and showing Simba’s power and anger. The use of reduplication not only makes the image impressive but also strengthens the emotion of Simba. It is in this part that Simba revenged for his father. Different from Shakespeare’s Hamlet, Simba didn’t have hesitations but on the contrary, he fought against Scar in a very quick and powerful manner. There is a clear boundary between truth and evil so that Simba’s decisive actions show that one must not hesitate to make choice or the evil will go on making troubles. (Song Ruixue2020,47)

The background of a story is difficult for a writer to explain to children readers for they don’t have a mature cognitive system to accept all the social and history background. However, the lexical choices of a writer or a translator can be a best way to show the deeper meaning of a simple story. Firstly, the use of republication makes every sentence in the story vivid and clear. Like a poem, the republication in each sentence gives readers beautiful rhythm that helps children form the sense of pace in language. At the same time, it is easy for them to accept this kind of beautiful expressions rather than those straightforward and dull words. Secondly, the use of republication makes each sentence in the story filled with the psychological activities of characters so that the complex changes of a character is showed up through very simple sentences. It is reported that children in the early age when they begin to learn language are very sensitive to every word they heard. And the use of reduplication helps them to use simple words to show their own feelings. The form of reduplication itself is a kind of beauty which will fulfill children’s need of appreciation of beauty. To summarize, the use of reduplication makes the whole text rhythmic, makes the whole story more vivid, makes all characters impressive and interesting.(Guo Zimeng2020, 94)

=====The Use of Adverbs=====
The use of adverbs in English is very common no matter in literary works or daily life. Whereas, we may hardly find adverbs in Chinese adults’ daily life. On the contrary, the use of adverbs in children’s literature makes the whole text filled with cute and clear expressions. The acquisition of Children’s emotion is the reflection of psychological states and social environment. According to Donald Olding Hebb, a Canadian psychologist, pioneer of cognitive psychophysiology, children’s emotion and cognition are inseparable. The expression of emotion relies on cognition in some way. In other word, understanding is prior to emotion and emotion is the production of cognition. In some literary works, the use of adverbs gives readers a chance to perceive the emotions of characters in order to improve the ability to feel emotion and express emotions in a correct way.(Xiong Ziwei2020, 9)

Example 4: All the animals were quiet and bowed in respect to Simba the little lion cub.

Translation: 动物们保持安静，他们心怀敬意地跪拜着小狮子辛巴。

Example 4 is taken from the part when Rafiki ceremoniously marked Simba’s forehead and lift him into the air for all to see. The translator uses the adverb to show the respect of all the animals in Pride Land. The meaning of “bow” is strange for a child to understand for children don’t have any ideas about social conventions and historical background. But the use of this adverbs shows the meaning of it which is a kind of behavior with respect. The social position of little Simba is represented in this way, through which children may understand the etiquette in a social group especially in family. The contrast between the respectable Simba and the Simba chased out by Scar is produced so that the changing features of a character are clear to be understood.(Song Ruixue2020,4)

Example 5: Simba told Scar his dad had just showed him the kingdom which he was going to rule.

Translation: 辛巴高兴地告诉刀疤，父亲带他参观了整个王国。这里所有的土地都将是他的。

Example 5 is taken from the part when Mufasa takes Simba to visit the whole land except the place under the shadow. The translator adds “高兴地” to show Simba’s excitement in order that children readers can feel Simba’s pure kindness that children will find themselves in this story. Comparing with Scar’s evil, Simba’s innocent character has a more impressive effect resulting in reader’s preference towards Simba.(Song Ruixue2020,13)

Example 6: “Being brave doesn’t mean you go looking for trouble.” Mufasa explained gently.

Translation: 木法沙温柔地回答：“儿子，勇敢并不代表你要到处闯祸。”

Example 6 is taken from the part when Mufasa rescued Simba from the hyenas and he taught him a lesson but in a very gentle way. The image of a father is usually strict and great, and the character of Mufasa makes it gentler which will make children have more admiration towards their father. At the same time, Simba’s mistake doesn’t get serious criticism because he tells the truth to his father. So in this part, children may learn to be a calm person and tell the truth no matter in what kind of situations. (Song Ruixue2020,20)

Example 7: “I can’t go back,” Simba replied.

Translation: “我回不去了。”辛巴绝望地说。

Example 7 is taken from the part when all of Simba’s partners come to persuade him to go back to Pride Land. The translator adds a adverb to describe his mental activity at that moment which makes the character round with guilty and desperation. But the word “绝望地” may be very strange for a child within 6 years old to understand because it is a word taught in the primary school so that it is necessary to explain about it. Regardless of this point, the use of this adverb will help children to feel the emotion of Simba who has guilty in his mind but wants to go back to his homeland hopelessly.(Song Ruixue2020,35)

To explain about a complex mental activity of the character is a great challenge for a writer or a translator of children’s literature, but the use of adverbs may solve this problem. And the use of adverbs in this story helps children to express their own feelings and expressing one’s own feeling is always a compulsory for a person at all ages. (Zhu Xiaotong2020, 95)

=====The Use of Four-Character Idioms=====
One of the features in Chinese literary works is the use of four-character idioms and it is a way for readers to learn Chinese culture. However, the use of four-character idioms in Children’s literature must be chosen according to children’s cognitive feature and knowledge background.(Zhou Wenjuan2018, 81)

Example 8: Mufasa asked why Scar had not come for the celebrations. Scar said he forgot.

Translation: 当木法沙询问他为什么没有来参加庆典的时候，刀疤漫不经心地说自己忘记了。

Example 9: Simba went through the very hot, dry desert until he could not go on and he collapsed.

Translation: 辛巴走在一片炙热干涸的土地上，最后精疲力竭地倒下了。

There are only two examples of four-character idioms used in this story. Both examples are talking about the two characters’ mental activities to highlight their mental changes. Due to children’s lack of knowledge storage, the use of four-character idioms gives a chance for them to learn in a pragmatic way.(Song Ruixue2020,7)

====Functional Equivalence at Syntactical Level====
The difference between children’s literature and literature for adults lies in the sense of direction, rhyme, and description. In syntactical level, it represents in the aspects of simple sentences and oral expressions. Children lack of ability to understand written language and they don’t have a mature cognitive system. To make all the content simple to understand, direct expressions should be put in the first place. At the same time, the use of simple sentences and oral expressions strengthen emotions of characters and add more interests for children readers. (Zhou Wenjuan2018, 81)

=====The Use of Simple Sentences=====
The use of simple sentence in children’s literature is the most common way to make it readable for children. The simple sentences that consist of fewer words and simple structures are allowed in order to accommodate children’s reading ability. Even though a few complex sentences are used, they are mostly the parallelism of simple sentences with loose structures. Furthermore, simple sentences make it easy to express naïve content to meet children’s childish instinct. (Lu Huaying 2017, 134)

Example 10: Simba begged his father to let him join, but Mufasa simply commanded Zazu to take Simba home as he sped off to protect the kingdom.

Translation: 辛巴央求父亲带他一起去，可是木法沙命令沙祖带辛巴回家，接着就迅速地离开了，他要保卫他的王国！

Example 10 is taken from the part when Mufasa goes to fight and orders Zazu takes Simba to go back home. All the actions happen at once so that the source text uses a complex sentence without a stop. Different from English, a long sentence in Chinese may be so difficult to understand for a child, so the translator divided it into four simple sentences with conjunctions like “接着” making it coherent and loose. (Song Ruixue2020,10)

Example 11: Under Simba’s rule, there was a lot of food and all the animals returned.

Translation：在辛巴英明的统治下，荣耀国食物充足，动物回归。

Example 11 is taken from the ending part that is the same as the start of the story representing a circle of life. The use of the three simple sentences produce a peaceful ending with relaxing tone. (Song Ruixue2020,48)

=====The Use of Oral Expressions=====
Oral expressions have differences in words, sentence structures and figures of speech comparing with formal expressions through which the literary work becomes native and naïve. On the contrary, it has the same meaning as the formal expressions but it represents the content in different tone, style and emotion which is suitable for different situations. And the choice of oral expressions depends on context and social background of the text. (Lu Huaying 2017, 134)
Example 12: Scared, the cubs ran for their lives.

Translation: 两个小家伙拼命逃跑，他们被吓坏了！

Example 12 is taken from the part that Simba and Nana ran away from the danger in a hurry. However, the expression of example 12 is flat and it doesn’t represent their fear. Whereas, the translator divides the sentence into two and makes it tense giving readers a feeling of hurry. Children readers may feel their fear through the sentence “他们被吓坏了” which is more vivid than a word and earlier to understand. (Song Ruixue2020,18)

Example 13: Timon told Simba to forget about the past and enjoy the new life.

Translation: 丁满告诉辛巴把过去抛在脑后，享受新的生活。

Example is taken from the part that Simba escapes from Pride Land and meets his new friends to start a different and new life. The use of “抛在脑后” makes children readers to think about the real meaning of it but it produces a more vivid result than a single word “forget”. (Song Ruixue2020,31)

The psychological features and cognitive features make us believe that only interesting things can arise children’s curiosity and children like to read interesting stories and play interesting games at the same time. So, it is necessary to make children’s literature simple but interesting, short but colorful. (Tian Hua2008, 77)

===Conclusion===
Golgi once said that “children’s literature is a kind of happy literature” so that to make children’s literary works easier to accept by children readers, one must focus on language used in the works. To summarize, the translation of children’s literature is simple but vivid focusing on representing character’s mental activities and helping children learn to express themselves with correct words. To focus on reader’s response, functional equivalence theory in translation of children’s literature is widely used. Functional equivalence theory solves the long-standing discussion over "literal translation and free translation" problem. Both literal translation and free translation are desirable in certain translating practice so that the translation of children’s literature should be flexible according to children’s psychological and cognitive features. (Liu Xiaoqing2020, 91)
--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 02:16, 21 December 2020 (UTC)
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--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 02:16, 21 December 2020 (UTC)