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	<id>https://bou.de/u/index.php?action=history&amp;feed=atom&amp;title=20220630_Classics_3</id>
	<title>20220630 Classics 3 - Revision history</title>
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	<updated>2026-04-04T17:44:49Z</updated>
	<subtitle>Revision history for this page on the wiki</subtitle>
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	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146753&amp;oldid=prev</id>
		<title>Ma Yanhuan: /* Literature Review */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146753&amp;oldid=prev"/>
		<updated>2022-07-06T15:35:19Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;Literature Review&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
&lt;table class=&quot;diff diff-contentalign-left diff-editfont-monospace&quot; data-mw=&quot;interface&quot;&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 15:35, 6 July 2022&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l401&quot; &gt;Line 401:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 401:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Literature Review===&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Literature Review===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Since the 21st century, China has successively implemented the &amp;quot;Chinese Book Promotion Program&amp;quot;, &amp;quot;the Translation and introduction Project of one hundred excellent works of Chinese Contemporary Literature&amp;quot;, &amp;quot;the overseas dissemination Project of Chinese Literature&amp;quot; and so on. to a certain extent, this has promoted many scholars' research on the foreign translation of contemporary Chinese literary works.  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Since the 21st century, China has successively implemented the &amp;quot;Chinese Book Promotion Program&amp;quot;, &amp;quot;the Translation and introduction Project of one hundred excellent works of Chinese Contemporary Literature&amp;quot;, &amp;quot;the overseas dissemination Project of Chinese Literature&amp;quot; and so on. to a certain extent, this has promoted many scholars' research on the foreign translation of contemporary Chinese literary works&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;. Su Tong is famous at home and abroad for his works such as &amp;quot;groups of wives and concubines&amp;quot;, &amp;quot;My Imperial career&amp;quot;, &amp;quot;Bi Nu&amp;quot; and &amp;quot;Poppy House&amp;quot;, which has aroused some scholars and readers to study his works and their foreign translation. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Ye Jie and Wang Xiaowei (2016) sorted out the bibliography of Su Tong's works translated into English, Japanese, French and German, and studied the acceptance of his works overseas and its influence on the spread of Chinese culture. Chinese literature should pay attention to the effect of translation, establish a feedback mechanism, listen to readers' opinions, and correctly choose the subject, content, approach and audience of translation[6]. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Wang Xiaomei and Fan Lu specifically studied the translation content, translation subject and transmission channels of Su Tong's works in Japan. it reveals the reasons for the successful spread in Japan: (1) the translation content is in line with the reading interests of Japanese readers; (2) excellent translator groups; (3) various translation channels[7]&lt;/ins&gt;.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Su Tong is famous at home and abroad for his works such as &amp;quot;groups of wives and concubines&amp;quot;, &amp;quot;My Imperial career&amp;quot;, &amp;quot;Bi Nu&amp;quot; and &amp;quot;Poppy House&amp;quot;, which has aroused some scholars and readers to study his works and their foreign translation. &lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Ye Jie and Wang Xiaowei (2016) sorted out the bibliography of Su Tong's works translated into English, Japanese, French and German, and studied the acceptance of his works overseas and its influence on the spread of Chinese culture. Chinese literature should pay attention to the effect of translation, establish a feedback mechanism, listen to readers' opinions, and correctly choose the subject, content, approach and audience of translation[3]. &lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Wang Xiaomei and Fan Lu specifically studied the translation content, translation subject and transmission channels of Su Tong's works in Japan. it reveals the reasons for the successful spread in Japan: (1) the translation content is in line with the reading interests of Japanese readers; (2) excellent translator groups; (3) various translation channels[4]. &lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;From the perspective of translation studies, combined with the theory of the cultural school of translation studies, Huang Siqi analyzes the translation strategies and specific translation methods adopted by the translator with the support of Su Tong's works &amp;quot;groups of wives and concubines&amp;quot; and &amp;quot;Riverbank&amp;quot;. At the same time, it probes into the spread of the works from the perspective of social factors. It also investigates the acceptance of the works by collecting and summarizing the book reviews published by readers on all kinds of books and websites and newspapers and magazines in Vietnam as well as the relevant research results of scholars.  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;From the perspective of translation studies, combined with the theory of the cultural school of translation studies, Huang Siqi analyzes the translation strategies and specific translation methods adopted by the translator with the support of Su Tong's works &amp;quot;groups of wives and concubines&amp;quot; and &amp;quot;Riverbank&amp;quot;. At the same time, it probes into the spread of the works from the perspective of social factors. It also investigates the acceptance of the works by collecting and summarizing the book reviews published by readers on all kinds of books and websites and newspapers and magazines in Vietnam as well as the relevant research results of scholars.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Through an in-depth study of the creative treason of the two works and the spread and acceptance of the two works in Vietnam, the following conclusions are drawn: the successful translation of the two Vietnamese versions mainly depends on the translation strategies chosen by the translator. the introduction and manipulation of the publishing house and the target language reception environment[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;5&lt;/del&gt;].&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Through an in-depth study of the creative treason of the two works and the spread and acceptance of the two works in Vietnam, the following conclusions are drawn: the successful translation of the two Vietnamese versions mainly depends on the translation strategies chosen by the translator. the introduction and manipulation of the publishing house and the target language reception environment[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;8&lt;/ins&gt;].&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;There are eight articles on the English translation of ''Rice'' in CNKI. For example, Hu Gangliang explored the traces of manipulation in GE Haowen's English translation of ''Rice''. The author makes a systematic analysis from three aspects: ideology, translation poetics and patronage, and draws a conclusion: (1) the three controlling factors manipulate the English translation of &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Mi &lt;/del&gt;from two levels: the western society and the translator. (2) the translator GE Haowen is not only the manipulator, but also the manipulated, and will compromise to the macro manipulation factors. (3) the translator should give full play to his creativity, take care of the target language readers, and skillfully deal with the relationship between betrayal and faithfulness[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;6&lt;/del&gt;].  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Zhao Jie studies the translation strategies of culture-loaded words in the English translation of ''Rice''[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;7&lt;/del&gt;]. Shi Yujie studies the English translation of Binu from the perspective of Bourdieu sociology[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;6&lt;/del&gt;], and Zhao Wenting studies the four-character idioms in the English translation of Riverbank and so on[8].&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;There are eight articles on the English translation of ''Rice'' in CNKI. For example, Hu Gangliang explored the traces of manipulation in GE Haowen's English translation of ''Rice''. The author makes a systematic analysis from three aspects: ideology, translation poetics and patronage, and draws a conclusion: (1) the three controlling factors manipulate the English translation of &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Rice &lt;/ins&gt;from two levels: the western society and the translator. (2) the translator GE Haowen is not only the manipulator, but also the manipulated, and will compromise to the macro manipulation factors. (3) the translator should give full play to his creativity, take care of the target language readers, and skillfully deal with the relationship between betrayal and faithfulness[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;9&lt;/ins&gt;].  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;For the study of Su Tong's short story &amp;quot;&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Crazy Mom &lt;/del&gt;on the Bridge&amp;quot;, there are only two articles on China knowledge Network. One is the translation strategies and effects of people's names, things, and action images in the novels by Ye Su and Wu Zhenzhen. The other is Wang Xiaodong's analysis of the image of the &amp;quot;madwoman&amp;quot; in the novel. Up to now, the study of culture-loaded words in the English translation of novels has not been involved, so this thesis is of great significance for the translation and dissemination of Chinese short stories[1][9].&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Zhao Jie studies the translation strategies of culture-loaded words in the English translation of ''Rice''[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;10&lt;/ins&gt;]. Shi Yujie studies the English translation of Binu from the perspective of Bourdieu sociology[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;11&lt;/ins&gt;], and Zhao Wenting studies the four-character idioms in the English translation of Riverbank and so on[8].&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;For the study of Su Tong's short story &amp;quot;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;''Madwoman &lt;/ins&gt;on the Bridge&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;''&lt;/ins&gt;&amp;quot;, there are only two articles on China knowledge Network. One is the translation strategies and effects of people's names, things, and action images in the novels by Ye Su and Wu Zhenzhen. The other is Wang Xiaodong's analysis of the image of the &amp;quot;madwoman&amp;quot; in the novel. Up to now, the study of culture-loaded words in the English translation of novels has not been involved, so this thesis is of great significance for the translation and dissemination of Chinese short stories[1][9].&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Case Studies===&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Case Studies===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Ma Yanhuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146752&amp;oldid=prev</id>
		<title>Ma Yanhuan: /* References */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146752&amp;oldid=prev"/>
		<updated>2022-07-06T15:28:47Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;References&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 15:28, 6 July 2022&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l504&quot; &gt;Line 504:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 504:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[5]Chen Hongwei陈宏薇(1998).汉英翻译基础The basis of Chinese-English translation [M]. 上海:上海外语教育出版社Shanghai: Shanghai Foreign language Education Press.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[5]Chen Hongwei陈宏薇(1998).汉英翻译基础The basis of Chinese-English translation [M]. 上海:上海外语教育出版社Shanghai: Shanghai Foreign language Education Press.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[6]Ye Jie,Wang Xiaowei叶洁,王小伟(2016).苏州作家在海外的译介与传播The Translation and dissemination of Suzhou Writers abroad[J]北方文学Northern Literature.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[6]Ye Jie,Wang Xiaowei叶洁,王小伟(2016).苏州作家在海外的译介与传播The Translation and dissemination of Suzhou Writers abroad[J]北方文学Northern Literature.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[7]Hu Gangliang胡钢亮(2020). 操控理论视角下葛浩文《米》的英译研究A study on the English Translation of GE Haowen's Rice from the Perspective of manipulation Theory [D].浙江师范大学Zhejiang normal University.DOI:10.27464/d.cnki.gzsfu.2020.000083.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[7&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;]Wang Xiaomei,Fan Lu(2020)王晓梅,范露.苏童作品在日本的译介与传播The translation and dissemination of Su Tong's works in Japan[J].海外英语 &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;8&lt;/del&gt;]Zhao Yu 赵毓(2020). 苏童小说《米》中文化负载词的英译策略分析An Analysis of the Translation Strategies of Culture-loaded words in Su Tong's novel Rice [D].上海交通大学Shanghai Jiaotong University.DOI:10.27307/d.cnki.gsjtu.2020.002306&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Overseas English,15-18.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;9&lt;/del&gt;]Shi Yujie施羽洁(2020). 布迪厄社会学视角下的苏童《碧奴》英译研究A study on the English Translation of Su Tong's Bi Nu from the Perspective of Bourdieu Sociology [D].上海外国语大学 Shanghai Foreign Studies University.DOI:10.27316/d.cnki.gswyu.2020.000455.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;*[8]Huang Siqi黄思琪(2020）. 译介学视角下苏童小说越译研究A study on the Vietnamese Translation of Su Tong's novels from the Perspective of Translation Studies &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;10&lt;/del&gt;]Zhao Wenting赵文婷(2017). 基于构式压制下苏童小说《河岸》联合式成语英译研究A study on the English Translation of the Joint idiom in Su Tong's novel Riverbank based on Construction suppression [D].辽宁师范大学 Liaoning Normal University.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[D].广西民族大学Guangxi University for nationalities.DOI:10.27035/d.cnki.ggxmc.2020.000239.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;11&lt;/del&gt;]Ye Su, Wu Zhenzhen叶塑,吴真贞(2019).苏童短篇小说中意象性语言的翻译研究——以《桥上的疯妈妈》为例 A study on the Translation of imaginative language in Su Tong's short stories-- taking Crazy Mom on the Bridge as an example[J].语言与文化研究 Language and Culture Studies.128-134.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;*[9&lt;/ins&gt;]Hu Gangliang胡钢亮(2020). 操控理论视角下葛浩文《米》的英译研究A study on the English Translation of GE Haowen's Rice from the Perspective of manipulation Theory [D].浙江师范大学Zhejiang normal University.DOI:10.27464/d.cnki.gzsfu.2020.000083.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;12&lt;/del&gt;] Nida,Eugene. A. 2004. Toward a Science of Translating [M]. Shanghai Foreign Language Education Press.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;10&lt;/ins&gt;]Zhao Yu 赵毓(2020). 苏童小说《米》中文化负载词的英译策略分析An Analysis of the Translation Strategies of Culture-loaded words in Su Tong's novel Rice [D].上海交通大学Shanghai Jiaotong University.DOI:10.27307/d.cnki.gsjtu.2020.002306&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;13&lt;/del&gt;] Modern Chinese dictionary现代汉语词典 [M]. 商务印书馆Commercial Press, 1996.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;11&lt;/ins&gt;]Shi Yujie施羽洁(2020). 布迪厄社会学视角下的苏童《碧奴》英译研究A study on the English Translation of Su Tong's Bi Nu from the Perspective of Bourdieu Sociology [D].上海外国语大学 Shanghai Foreign Studies University.DOI:10.27316/d.cnki.gswyu.2020.000455.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;12&lt;/ins&gt;]Zhao Wenting赵文婷(2017). 基于构式压制下苏童小说《河岸》联合式成语英译研究A study on the English Translation of the Joint idiom in Su Tong's novel Riverbank based on Construction suppression [D].辽宁师范大学 Liaoning Normal University.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;13&lt;/ins&gt;]Ye Su, Wu Zhenzhen叶塑,吴真贞(2019).苏童短篇小说中意象性语言的翻译研究——以《桥上的疯妈妈》为例 A study on the Translation of imaginative language in Su Tong's short stories-- taking Crazy Mom on the Bridge as an example[J].语言与文化研究 Language and Culture Studies.128-134.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;14&lt;/ins&gt;] Nida,Eugene. A. 2004. Toward a Science of Translating [M]. Shanghai Foreign Language Education Press.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;15&lt;/ins&gt;] Modern Chinese dictionary现代汉语词典 [M]. 商务印书馆Commercial Press, 1996.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==英语笔译	聂薇	Nie Wei	202170081592 MW==&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==英语笔译	聂薇	Nie Wei	202170081592 MW==&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Ma Yanhuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146751&amp;oldid=prev</id>
		<title>Ma Yanhuan: /* Literature Review */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146751&amp;oldid=prev"/>
		<updated>2022-07-06T15:23:00Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;Literature Review&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 15:23, 6 July 2022&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l401&quot; &gt;Line 401:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 401:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Literature Review===&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Literature Review===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Since the 21st century, China has successively implemented the &amp;quot;Chinese Book Promotion Program&amp;quot;, &amp;quot;the Translation and introduction Project of one hundred excellent works of Chinese Contemporary Literature&amp;quot;, &amp;quot;the overseas dissemination Project of Chinese Literature&amp;quot; and so on. to a certain extent, this has promoted many scholars' research on the foreign translation of contemporary Chinese literary works. Su Tong is famous at home and abroad for his works such as &amp;quot;groups of wives and concubines&amp;quot;, &amp;quot;My Imperial career&amp;quot;, &amp;quot;Bi Nu&amp;quot; and &amp;quot;Poppy House&amp;quot;, which has aroused some scholars and readers to study his works and their foreign translation.  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Since the 21st century, China has successively implemented the &amp;quot;Chinese Book Promotion Program&amp;quot;, &amp;quot;the Translation and introduction Project of one hundred excellent works of Chinese Contemporary Literature&amp;quot;, &amp;quot;the overseas dissemination Project of Chinese Literature&amp;quot; and so on. to a certain extent, this has promoted many scholars' research on the foreign translation of contemporary Chinese literary works.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Su Tong is famous at home and abroad for his works such as &amp;quot;groups of wives and concubines&amp;quot;, &amp;quot;My Imperial career&amp;quot;, &amp;quot;Bi Nu&amp;quot; and &amp;quot;Poppy House&amp;quot;, which has aroused some scholars and readers to study his works and their foreign translation.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Ye Jie and Wang Xiaowei (2016) sorted out the bibliography of Su Tong's works translated into English, Japanese, French and German, and studied the acceptance of his works overseas and its influence on the spread of Chinese culture. Chinese literature should pay attention to the effect of translation, establish a feedback mechanism, listen to readers' opinions, and correctly choose the subject, content, approach and audience of translation[3].  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Ye Jie and Wang Xiaowei (2016) sorted out the bibliography of Su Tong's works translated into English, Japanese, French and German, and studied the acceptance of his works overseas and its influence on the spread of Chinese culture. Chinese literature should pay attention to the effect of translation, establish a feedback mechanism, listen to readers' opinions, and correctly choose the subject, content, approach and audience of translation[3].  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;There are eight articles on the English translation of ''Rice'' in CNKI. For example, Hu Gangliang explored the traces of manipulation in GE Haowen's English translation of ''Rice''. The author makes a systematic analysis from three aspects: ideology, translation poetics and patronage, and draws a conclusion: (1) the three controlling factors manipulate the English translation of Mi from two levels: the western society and the translator. (2) the translator GE Haowen is not only the manipulator, but also the manipulated, and will compromise to the macro manipulation factors. (3) the translator should give full play to his creativity, take care of the target language readers, and skillfully deal with the relationship between betrayal and faithfulness[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;4&lt;/del&gt;].  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Wang Xiaomei and Fan Lu specifically studied the translation content, translation subject and transmission channels of Su Tong's works in Japan. it reveals the reasons for the successful spread in Japan: (1) the translation content is in line with the reading interests of Japanese readers; (2) excellent translator groups; (3) various translation channels[4]. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Zhao Jie studies the translation strategies of culture-loaded words in the English translation of ''Rice''[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;5&lt;/del&gt;]. Shi Yujie studies the English translation of Binu from the perspective of Bourdieu sociology[6], and Zhao Wenting studies the four-character idioms in the English translation of Riverbank and so on[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;7&lt;/del&gt;].&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;From the perspective of translation studies, combined with the theory of the cultural school of translation studies, Huang Siqi analyzes the translation strategies and specific translation methods adopted by the translator with the support of Su Tong's works &amp;quot;groups of wives and concubines&amp;quot; and &amp;quot;Riverbank&amp;quot;. At the same time, it probes into the spread of the works from the perspective of social factors. It also investigates the acceptance of the works by collecting and summarizing the book reviews published by readers on all kinds of books and websites and newspapers and magazines in Vietnam as well as the relevant research results of scholars. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;For the study of Su Tong's short story &amp;quot;Crazy Mom on the Bridge&amp;quot;, there are only two articles on China knowledge Network. One is the translation strategies and effects of people's names, things, and action images in the novels by Ye Su and Wu Zhenzhen. The other is Wang Xiaodong's analysis of the image of the &amp;quot;madwoman&amp;quot; in the novel. Up to now, the study of culture-loaded words in the English translation of novels has not been involved, so this thesis is of great significance for the translation and dissemination of Chinese short stories[1][&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;8&lt;/del&gt;].&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Through an in-depth study of the creative treason of the two works and the spread and acceptance of the two works in Vietnam, the following conclusions are drawn: the successful translation of the two Vietnamese versions mainly depends on the translation strategies chosen by the translator. the introduction and manipulation of the publishing house and the target language reception environment[5].&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;There are eight articles on the English translation of ''Rice'' in CNKI. For example, Hu Gangliang explored the traces of manipulation in GE Haowen's English translation of ''Rice''. The author makes a systematic analysis from three aspects: ideology, translation poetics and patronage, and draws a conclusion: (1) the three controlling factors manipulate the English translation of Mi from two levels: the western society and the translator. (2) the translator GE Haowen is not only the manipulator, but also the manipulated, and will compromise to the macro manipulation factors. (3) the translator should give full play to his creativity, take care of the target language readers, and skillfully deal with the relationship between betrayal and faithfulness[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;6&lt;/ins&gt;].  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Zhao Jie studies the translation strategies of culture-loaded words in the English translation of ''Rice''[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;7&lt;/ins&gt;]. Shi Yujie studies the English translation of Binu from the perspective of Bourdieu sociology[6], and Zhao Wenting studies the four-character idioms in the English translation of Riverbank and so on[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;8&lt;/ins&gt;].&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;For the study of Su Tong's short story &amp;quot;Crazy Mom on the Bridge&amp;quot;, there are only two articles on China knowledge Network. One is the translation strategies and effects of people's names, things, and action images in the novels by Ye Su and Wu Zhenzhen. The other is Wang Xiaodong's analysis of the image of the &amp;quot;madwoman&amp;quot; in the novel. Up to now, the study of culture-loaded words in the English translation of novels has not been involved, so this thesis is of great significance for the translation and dissemination of Chinese short stories[1][&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;9&lt;/ins&gt;].&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Case Studies===&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Case Studies===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Ma Yanhuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146750&amp;oldid=prev</id>
		<title>Ma Yanhuan: /* Introduction */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146750&amp;oldid=prev"/>
		<updated>2022-07-06T15:06:59Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;Introduction&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
&lt;table class=&quot;diff diff-contentalign-left diff-editfont-monospace&quot; data-mw=&quot;interface&quot;&gt;
				&lt;col class=&quot;diff-marker&quot; /&gt;
				&lt;col class=&quot;diff-content&quot; /&gt;
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				&lt;col class=&quot;diff-content&quot; /&gt;
				&lt;tr class=&quot;diff-title&quot; lang=&quot;en&quot;&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 15:06, 6 July 2022&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l392&quot; &gt;Line 392:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 392:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;As far as the translation of Su Tong's short stories is concerned, the Australian scholar Josh Stenberg (also known as Shi Jieshan Josh Sternberg) is the main general. so far, he has translated many of Su Tong's short stories. Such as &amp;quot;picking up babies&amp;quot;, &amp;quot;Shanglong Temple&amp;quot;, &amp;quot;multimeter&amp;quot;, &amp;quot;Vanilla Camp&amp;quot;, &amp;quot;Crazy Mom on the Bridge&amp;quot;, &amp;quot;Weeping Willows&amp;quot;, &amp;quot;Saturday&amp;quot;, &amp;quot;thieves&amp;quot; ceremony&amp;quot;, &amp;quot;Private Banquet&amp;quot;, &amp;quot;Goddess Peak&amp;quot;, &amp;quot;August Diary&amp;quot;, &amp;quot;sad Dance&amp;quot;, &amp;quot;Water Ghost&amp;quot;, &amp;quot;Big pressure&amp;quot;, &amp;quot;hearts Q&amp;quot;, &amp;quot;going home in May&amp;quot;, &amp;quot;Giant Baby&amp;quot;, &amp;quot;A week's morning&amp;quot; and so on. Josh Stenberg is a representative translator of Su Tong's short stories, and his translation is very productive[2].&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;As far as the translation of Su Tong's short stories is concerned, the Australian scholar Josh Stenberg (also known as Shi Jieshan Josh Sternberg) is the main general. so far, he has translated many of Su Tong's short stories. Such as &amp;quot;picking up babies&amp;quot;, &amp;quot;Shanglong Temple&amp;quot;, &amp;quot;multimeter&amp;quot;, &amp;quot;Vanilla Camp&amp;quot;, &amp;quot;Crazy Mom on the Bridge&amp;quot;, &amp;quot;Weeping Willows&amp;quot;, &amp;quot;Saturday&amp;quot;, &amp;quot;thieves&amp;quot; ceremony&amp;quot;, &amp;quot;Private Banquet&amp;quot;, &amp;quot;Goddess Peak&amp;quot;, &amp;quot;August Diary&amp;quot;, &amp;quot;sad Dance&amp;quot;, &amp;quot;Water Ghost&amp;quot;, &amp;quot;Big pressure&amp;quot;, &amp;quot;hearts Q&amp;quot;, &amp;quot;going home in May&amp;quot;, &amp;quot;Giant Baby&amp;quot;, &amp;quot;A week's morning&amp;quot; and so on. Josh Stenberg is a representative translator of Su Tong's short stories, and his translation is very productive[2].&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;4.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;4&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;. Theory--Eugene Nida Cultural Classification system. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Nida published an article called &amp;quot;Linguistics and Ethnology in Translation Problems&amp;quot; in the journal WORD in 1945. This paper expounds the relationship between language and culture, and holds that the problem of translation is essentially a problem of equivalence, which can be dealt with under the classification of ecological culture, material culture, social culture, religious culture and language culture. remind translators to pay attention to cultural factors[3]. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;On this basis, Peter Newmark's classification of culture is: ecological category; material cultural goods; social culture; organizational category; gestures and habits [4]. Chen Hongwei, a Chinese scholar, divides culture into three categories: material culture, institutional culture and spiritual culture[5]. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;In Nida's classification system, ecological culture includes geographical location, climate, animals and plants and so on. The uniqueness of the ecological environment makes the cultures of different nationalities show distinct regionality. Material culture refers to the unique material products under different cultural backgrounds. Social culture is all-inclusive, including historical background, social management, moral standards and habits and so on. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Religious culture refers to national religious legends, beliefs and ideologies. People live in different environments, and their experiences and world views are also different, so there are differences among different religions, even different schools of the same religion. Language and culture is reflected in the cultural words and word-of-mouth literature in the national language. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;The author believes that Eugene Nida's cultural classification is more comprehensive and systematic, so this paper will classify culture-loaded words according to Eugene Nida's cultural classification system, so as to explore the translation strategies and methods of culture-loaded words&lt;/ins&gt;.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Literature Review===&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Literature Review===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Ma Yanhuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146749&amp;oldid=prev</id>
		<title>Ma Yanhuan: /* References */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146749&amp;oldid=prev"/>
		<updated>2022-07-06T14:58:46Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;References&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
&lt;table class=&quot;diff diff-contentalign-left diff-editfont-monospace&quot; data-mw=&quot;interface&quot;&gt;
				&lt;col class=&quot;diff-marker&quot; /&gt;
				&lt;col class=&quot;diff-content&quot; /&gt;
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				&lt;tr class=&quot;diff-title&quot; lang=&quot;en&quot;&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 14:58, 6 July 2022&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l488&quot; &gt;Line 488:&lt;/td&gt;
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&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[1]Wang Xiaodong王晓东(2019).苏童《桥上的疯妈妈》中“疯妈妈”形象分析[J]Image Analysis on &amp;quot;Madwoman&amp;quot; of Madwoman on the Bridge by Su Tong .文学教育(上)Literature Education (I)&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[1]Wang Xiaodong王晓东(2019).苏童《桥上的疯妈妈》中“疯妈妈”形象分析[J]Image Analysis on &amp;quot;Madwoman&amp;quot; of Madwoman on the Bridge by Su Tong .文学教育(上)Literature Education (I)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[2]Li Yinghua李英华(2021).苏童短篇小说的创作渊源和英译传播The Creative Origin and English Translation of Su Tong's short stories[J].世界华文文学论坛World Forum on &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;***[3]&lt;/del&gt;Chinese Literature.,66-71.DOI:10.16228/j.issn1008-0163.2021.01.011.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[2]Li Yinghua李英华(2021).苏童短篇小说的创作渊源和英译传播The Creative Origin and English Translation of Su Tong's short stories[J].世界华文文学论坛World Forum on Chinese Literature.,66-71.DOI:10.16228/j.issn1008-0163.2021.01.011.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;4&lt;/del&gt;]Eugene.Nida.Linguistics and ethnology in translation problems[J].Word,1945:194-208.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;3&lt;/ins&gt;]Eugene.Nida.Linguistics and ethnology in translation problems[J].Word,1945:194-208.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;5&lt;/del&gt;]Newmark.Peter.A Text Book of Translation[M].Shanghai: Shanghai Foreign Language Education Press,2000.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;4&lt;/ins&gt;]Newmark.Peter.A Text Book of Translation[M].Shanghai: Shanghai Foreign Language Education Press,2000.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;6&lt;/del&gt;]Chen Hongwei陈宏薇(1998).汉英翻译基础The basis of Chinese-English translation [M]. 上海:上海外语教育出版社Shanghai: Shanghai Foreign language Education Press.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;5&lt;/ins&gt;]Chen Hongwei陈宏薇(1998).汉英翻译基础The basis of Chinese-English translation [M]. 上海:上海外语教育出版社Shanghai: Shanghai Foreign language Education Press.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;7&lt;/del&gt;]Ye Jie,Wang Xiaowei叶洁,王小伟(2016).苏州作家在海外的译介与传播The Translation and dissemination of Suzhou Writers abroad[J]北方文学Northern Literature.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;6&lt;/ins&gt;]Ye Jie,Wang Xiaowei叶洁,王小伟(2016).苏州作家在海外的译介与传播The Translation and dissemination of Suzhou Writers abroad[J]北方文学Northern Literature.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;8&lt;/del&gt;]Hu Gangliang胡钢亮(2020). 操控理论视角下葛浩文《米》的英译研究A study on the English Translation of GE Haowen's Rice from the Perspective of manipulation Theory [D].浙江师范大学Zhejiang normal University.DOI:10.27464/d.cnki.gzsfu.2020.000083.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;7&lt;/ins&gt;]Hu Gangliang胡钢亮(2020). 操控理论视角下葛浩文《米》的英译研究A study on the English Translation of GE Haowen's Rice from the Perspective of manipulation Theory [D].浙江师范大学Zhejiang normal University.DOI:10.27464/d.cnki.gzsfu.2020.000083.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;9&lt;/del&gt;]Zhao Yu 赵毓(2020). 苏童小说《米》中文化负载词的英译策略分析An Analysis of the Translation Strategies of Culture-loaded words in Su Tong's novel Rice [D].上海交通大学Shanghai Jiaotong University.DOI:10.27307/d.cnki.gsjtu.2020.002306&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;8&lt;/ins&gt;]Zhao Yu 赵毓(2020). 苏童小说《米》中文化负载词的英译策略分析An Analysis of the Translation Strategies of Culture-loaded words in Su Tong's novel Rice [D].上海交通大学Shanghai Jiaotong University.DOI:10.27307/d.cnki.gsjtu.2020.002306&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;10&lt;/del&gt;]Shi Yujie施羽洁(2020). 布迪厄社会学视角下的苏童《碧奴》英译研究A study on the English Translation of Su Tong's Bi Nu from the Perspective of Bourdieu Sociology [D].上海外国语大学 Shanghai Foreign Studies University.DOI:10.27316/d.cnki.gswyu.2020.000455.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;9&lt;/ins&gt;]Shi Yujie施羽洁(2020). 布迪厄社会学视角下的苏童《碧奴》英译研究A study on the English Translation of Su Tong's Bi Nu from the Perspective of Bourdieu Sociology [D].上海外国语大学 Shanghai Foreign Studies University.DOI:10.27316/d.cnki.gswyu.2020.000455.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;11&lt;/del&gt;]Zhao Wenting赵文婷(2017). 基于构式压制下苏童小说《河岸》联合式成语英译研究A study on the English Translation of the Joint idiom in Su Tong's novel Riverbank based on Construction suppression [D].辽宁师范大学 Liaoning Normal University.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;10&lt;/ins&gt;]Zhao Wenting赵文婷(2017). 基于构式压制下苏童小说《河岸》联合式成语英译研究A study on the English Translation of the Joint idiom in Su Tong's novel Riverbank based on Construction suppression [D].辽宁师范大学 Liaoning Normal University.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;12&lt;/del&gt;]Ye Su, Wu Zhenzhen叶塑,吴真贞(2019).苏童短篇小说中意象性语言的翻译研究——以《桥上的疯妈妈》为例 A study on the Translation of imaginative language in Su Tong's short stories-- taking Crazy Mom on the Bridge as an example[J].语言与文化研究 Language and Culture Studies.128-134.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;11&lt;/ins&gt;]Ye Su, Wu Zhenzhen叶塑,吴真贞(2019).苏童短篇小说中意象性语言的翻译研究——以《桥上的疯妈妈》为例 A study on the Translation of imaginative language in Su Tong's short stories-- taking Crazy Mom on the Bridge as an example[J].语言与文化研究 Language and Culture Studies.128-134.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;13&lt;/del&gt;] Nida,Eugene. A. 2004. Toward a Science of Translating [M]. Shanghai Foreign Language Education Press.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;12&lt;/ins&gt;] Nida,Eugene. A. 2004. Toward a Science of Translating [M]. Shanghai Foreign Language Education Press.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;14&lt;/del&gt;] Modern Chinese dictionary现代汉语词典 [M]. 商务印书馆Commercial Press, 1996.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;13&lt;/ins&gt;] Modern Chinese dictionary现代汉语词典 [M]. 商务印书馆Commercial Press, 1996.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==英语笔译	聂薇	Nie Wei	202170081592 MW==&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==英语笔译	聂薇	Nie Wei	202170081592 MW==&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Ma Yanhuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146748&amp;oldid=prev</id>
		<title>Ma Yanhuan: /* Introduction */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146748&amp;oldid=prev"/>
		<updated>2022-07-06T14:57:09Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;Introduction&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 14:57, 6 July 2022&lt;/td&gt;
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&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Introduction===&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Introduction===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;1. Su Tong.  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;1. Su Tong.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt; &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Su Tong (1963 -) is a contemporary Chinese writer formerly known as Tong Zhonggui, a native of Suzhou, Jiangsu Province (originally from Yangzhong County, Jiangsu Province). He graduated from the Chinese Department of Beijing Normal University and now lives in Nanjing. Su Tong is one of China's most celebrated bestselling authors, shooting to international fame in 1993 when Zhang Yimou's film of his novella Raise the Red Lantern was nominated for an Oscar.  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Su Tong (1963 -) is a contemporary Chinese writer formerly known as Tong Zhonggui, a native of Suzhou, Jiangsu Province (originally from Yangzhong County, Jiangsu Province). He graduated from the Chinese Department of Beijing Normal University and now lives in Nanjing. Su Tong is one of China's most celebrated bestselling authors, shooting to international fame in 1993 when Zhang Yimou's film of his novella Raise the Red Lantern was nominated for an Oscar.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;His main works include &amp;quot;groups of wives and concubines&amp;quot;, &amp;quot;Flying over my hometown of Maple Poplar&amp;quot;, &amp;quot;House of poppies&amp;quot;, &amp;quot;Rice&amp;quot;, &amp;quot;Escape in 1934&amp;quot;, and &amp;quot;my Imperial career&amp;quot; and so on. Su Tong is not only one of the representatives of contemporary Chinese avant-garde neo-realism, but also one of the most influential and respected writers, and his writing style is also controversial. His works are characterized by the pursuit of an objective and calm style to narrate the story, as far as possible without subjective emotion. The novella &amp;quot;groups of wives and concubines&amp;quot; were selected as one of the top 100 Chinese novels of the 20th century.  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;His main works include &amp;quot;groups of wives and concubines&amp;quot;, &amp;quot;Flying over my hometown of Maple Poplar&amp;quot;, &amp;quot;House of poppies&amp;quot;, &amp;quot;Rice&amp;quot;, &amp;quot;Escape in 1934&amp;quot;, and &amp;quot;my Imperial career&amp;quot; and so on. Su Tong is not only one of the representatives of contemporary Chinese avant-garde neo-realism, but also one of the most influential and respected writers, and his writing style is also controversial. His works are characterized by the pursuit of an objective and calm style to narrate the story, as far as possible without subjective emotion. The novella &amp;quot;groups of wives and concubines&amp;quot; were selected as one of the top 100 Chinese novels of the 20th century.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l382&quot; &gt;Line 382:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 383:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;2.''Madwoman on the Bridge''&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;2.''Madwoman on the Bridge''&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Set during the fall-out of the Cultural Revolution, these bizarre and delicate stories capture magnificently the collision of the old China of vanished dynasties, with communism and today's tiger economy.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Set during the fall-out of the Cultural Revolution, these bizarre and delicate stories capture magnificently the collision of the old China of vanished dynasties, with communism and today's tiger economy.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;The novel tells how a crazy mother standing on a bridge in a white velvet cheongsam was ignored by the people around her and bullied by two other women, Grandma Shaoxing and Cui Wenqin until the crazy mother finally had a complete mental breakdown. was forcibly sent to a psychiatric hospital.  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;The novel tells how a crazy mother standing on a bridge in a white velvet cheongsam was ignored by the people around her and bullied by two other women, Grandma Shaoxing and Cui Wenqin until the crazy mother finally had a complete mental breakdown. was forcibly sent to a psychiatric hospital.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l387&quot; &gt;Line 387:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 389:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;3. Translator.  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;3. Translator.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;As far as the translation of Su Tong's short stories is concerned, the Australian scholar Josh Stenberg (also known as Shi Jieshan Josh Sternberg) is the main general. so far, he has translated many of Su Tong's short stories. Such as &amp;quot;picking up babies&amp;quot;, &amp;quot;Shanglong Temple&amp;quot;, &amp;quot;multimeter&amp;quot;, &amp;quot;Vanilla Camp&amp;quot;, &amp;quot;Crazy Mom on the Bridge&amp;quot;, &amp;quot;Weeping Willows&amp;quot;, &amp;quot;Saturday&amp;quot;, &amp;quot;thieves&amp;quot; ceremony&amp;quot;, &amp;quot;Private Banquet&amp;quot;, &amp;quot;Goddess Peak&amp;quot;, &amp;quot;August Diary&amp;quot;, &amp;quot;sad Dance&amp;quot;, &amp;quot;Water Ghost&amp;quot;, &amp;quot;Big pressure&amp;quot;, &amp;quot;hearts Q&amp;quot;, &amp;quot;going home in May&amp;quot;, &amp;quot;Giant Baby&amp;quot;, &amp;quot;A week's morning&amp;quot; and so on. Josh Stenberg is a representative translator of Su Tong's short stories, and his translation is very productive[2].&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;As far as the translation of Su Tong's short stories is concerned, the Australian scholar Josh Stenberg (also known as Shi Jieshan Josh Sternberg) is the main general. so far, he has translated many of Su Tong's short stories. Such as &amp;quot;picking up babies&amp;quot;, &amp;quot;Shanglong Temple&amp;quot;, &amp;quot;multimeter&amp;quot;, &amp;quot;Vanilla Camp&amp;quot;, &amp;quot;Crazy Mom on the Bridge&amp;quot;, &amp;quot;Weeping Willows&amp;quot;, &amp;quot;Saturday&amp;quot;, &amp;quot;thieves&amp;quot; ceremony&amp;quot;, &amp;quot;Private Banquet&amp;quot;, &amp;quot;Goddess Peak&amp;quot;, &amp;quot;August Diary&amp;quot;, &amp;quot;sad Dance&amp;quot;, &amp;quot;Water Ghost&amp;quot;, &amp;quot;Big pressure&amp;quot;, &amp;quot;hearts Q&amp;quot;, &amp;quot;going home in May&amp;quot;, &amp;quot;Giant Baby&amp;quot;, &amp;quot;A week's morning&amp;quot; and so on. Josh Stenberg is a representative translator of Su Tong's short stories, and his translation is very productive[2].&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;4.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Literature Review===&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Literature Review===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Ma Yanhuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146747&amp;oldid=prev</id>
		<title>Ma Yanhuan: /* References */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146747&amp;oldid=prev"/>
		<updated>2022-07-06T14:54:59Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;References&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 14:54, 6 July 2022&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l483&quot; &gt;Line 483:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 483:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[1]Wang Xiaodong王晓东(2019).苏童《桥上的疯妈妈》中“疯妈妈”形象分析[J]Image Analysis on &amp;quot;Madwoman&amp;quot; of Madwoman on the Bridge by Su Tong .文学教育(上)Literature Education (I)&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[1]Wang Xiaodong王晓东(2019).苏童《桥上的疯妈妈》中“疯妈妈”形象分析[J]Image Analysis on &amp;quot;Madwoman&amp;quot; of Madwoman on the Bridge by Su Tong .文学教育(上)Literature Education (I)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[2]Li Yinghua李英华(2021).苏童短篇小说的创作渊源和英译传播The Creative Origin and English Translation of Su Tong's short stories[J].世界华文文学论坛World Forum on Chinese Literature.,66-71.DOI:10.16228/j.issn1008-0163.2021.01.011.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[2]Li Yinghua李英华(2021).苏童短篇小说的创作渊源和英译传播The Creative Origin and English Translation of Su Tong's short stories[J].世界华文文学论坛World Forum on &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;***[3]&lt;/ins&gt;Chinese Literature.,66-71.DOI:10.16228/j.issn1008-0163.2021.01.011.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;3&lt;/del&gt;]Ye Jie,Wang Xiaowei叶洁,王小伟(2016).苏州作家在海外的译介与传播The Translation and dissemination of Suzhou Writers abroad[J]北方文学Northern Literature.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;4]Eugene.Nida.Linguistics and ethnology in translation problems[J].Word,1945:194-208.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;4&lt;/del&gt;]Hu Gangliang胡钢亮(2020). 操控理论视角下葛浩文《米》的英译研究A study on the English Translation of GE Haowen's Rice from the Perspective of manipulation Theory [D].浙江师范大学Zhejiang normal University.DOI:10.27464/d.cnki.gzsfu.2020.000083.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;*[5]Newmark.Peter.A Text Book of Translation[M].Shanghai: Shanghai Foreign Language Education Press,2000.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;5&lt;/del&gt;]Zhao Yu 赵毓(2020). 苏童小说《米》中文化负载词的英译策略分析An Analysis of the Translation Strategies of Culture-loaded words in Su Tong's novel Rice [D].上海交通大学Shanghai Jiaotong University.DOI:10.27307/d.cnki.gsjtu.2020.002306&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;*[6]Chen Hongwei陈宏薇(1998).汉英翻译基础The basis of Chinese-English translation [M]. 上海:上海外语教育出版社Shanghai: Shanghai Foreign language Education Press.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;6&lt;/del&gt;]Shi Yujie施羽洁(2020). 布迪厄社会学视角下的苏童《碧奴》英译研究A study on the English Translation of Su Tong's Bi Nu from the Perspective of Bourdieu Sociology [D].上海外国语大学 Shanghai Foreign Studies University.DOI:10.27316/d.cnki.gswyu.2020.000455.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;*[7&lt;/ins&gt;]Ye Jie,Wang Xiaowei叶洁,王小伟(2016).苏州作家在海外的译介与传播The Translation and dissemination of Suzhou Writers abroad[J]北方文学Northern Literature.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;7&lt;/del&gt;]Zhao Wenting赵文婷(2017). 基于构式压制下苏童小说《河岸》联合式成语英译研究A study on the English Translation of the Joint idiom in Su Tong's novel Riverbank based on Construction suppression [D].辽宁师范大学 Liaoning Normal University.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;8&lt;/ins&gt;]Hu Gangliang胡钢亮(2020). 操控理论视角下葛浩文《米》的英译研究A study on the English Translation of GE Haowen's Rice from the Perspective of manipulation Theory [D].浙江师范大学Zhejiang normal University.DOI:10.27464/d.cnki.gzsfu.2020.000083.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;8&lt;/del&gt;]Ye Su, Wu Zhenzhen叶塑,吴真贞(2019).苏童短篇小说中意象性语言的翻译研究——以《桥上的疯妈妈》为例 A study on the Translation of imaginative language in Su Tong's short stories-- taking Crazy Mom on the Bridge as an example[J].语言与文化研究 Language and Culture Studies.128-134.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;9&lt;/ins&gt;]Zhao Yu 赵毓(2020). 苏童小说《米》中文化负载词的英译策略分析An Analysis of the Translation Strategies of Culture-loaded words in Su Tong's novel Rice [D].上海交通大学Shanghai Jiaotong University.DOI:10.27307/d.cnki.gsjtu.2020.002306&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;9&lt;/del&gt;] Nida,Eugene. A. 2004. Toward a Science of Translating [M]. Shanghai Foreign Language Education Press.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;10&lt;/ins&gt;]Shi Yujie施羽洁(2020). 布迪厄社会学视角下的苏童《碧奴》英译研究A study on the English Translation of Su Tong's Bi Nu from the Perspective of Bourdieu Sociology [D].上海外国语大学 Shanghai Foreign Studies University.DOI:10.27316/d.cnki.gswyu.2020.000455.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;10&lt;/del&gt;] Modern Chinese dictionary现代汉语词典 [M]. 商务印书馆Commercial Press, 1996.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;11&lt;/ins&gt;]Zhao Wenting赵文婷(2017). 基于构式压制下苏童小说《河岸》联合式成语英译研究A study on the English Translation of the Joint idiom in Su Tong's novel Riverbank based on Construction suppression [D].辽宁师范大学 Liaoning Normal University.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;12&lt;/ins&gt;]Ye Su, Wu Zhenzhen叶塑,吴真贞(2019).苏童短篇小说中意象性语言的翻译研究——以《桥上的疯妈妈》为例 A study on the Translation of imaginative language in Su Tong's short stories-- taking Crazy Mom on the Bridge as an example[J].语言与文化研究 Language and Culture Studies.128-134.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;13&lt;/ins&gt;] Nida,Eugene. A. 2004. Toward a Science of Translating [M]. Shanghai Foreign Language Education Press.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot;&gt; &lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;14&lt;/ins&gt;] Modern Chinese dictionary现代汉语词典 [M]. 商务印书馆Commercial Press, 1996.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==英语笔译	聂薇	Nie Wei	202170081592 MW==&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==英语笔译	聂薇	Nie Wei	202170081592 MW==&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Ma Yanhuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146746&amp;oldid=prev</id>
		<title>Ma Yanhuan: /* Conclusion */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146746&amp;oldid=prev"/>
		<updated>2022-07-06T14:41:33Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;Conclusion&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 14:41, 6 July 2022&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l476&quot; &gt;Line 476:&lt;/td&gt;
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&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Conclusion===&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Conclusion===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;In &lt;/del&gt;texts involving cultural differences, it is best to adopt domestication strategies as far as possible to enhance the readability of the target readers&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;, and &lt;/del&gt;sometimes &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;we can adopt foreignization strategies &lt;/del&gt;for the purpose of spreading exotic customs and elements.  &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Taking the culture-loaded words in Crazy Mom on the Bridge as an example, this paper analyzes the translation strategies and methods chosen by Josh Stenberg and makes personal comments and explanations on some of the words. &lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Due to cultural differences, culture-loaded words in one language may be able to find equivalents in another language. if there is no equivalent, we can translate literally without cultural misunderstandings, otherwise, we can use transliteration and free translation to &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;achieve &lt;/del&gt;the best translation effect.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Due to the inevitable differences between Chinese and Western cultures, it is impossible to achieve complete equivalence in the translation of culturally loaded words, so in &lt;/ins&gt;texts involving cultural differences, it is best to adopt domestication strategies as far as possible to enhance the readability of the target readers&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;. &lt;/ins&gt;sometimes for the purpose of spreading exotic customs and elements&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;, we can adapt the strategy of foreignization&lt;/ins&gt;.  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt; &lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Due to cultural differences, culture-loaded words in one language may be able to find equivalents in another language. if there is no equivalent, we can translate literally without cultural misunderstandings, otherwise, we can use transliteration and free translation to &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;make up for cultural losses as far as possible, so as to obtain &lt;/ins&gt;the best translation effect.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===References===&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===References===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Ma Yanhuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146745&amp;oldid=prev</id>
		<title>Ma Yanhuan: /* References */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146745&amp;oldid=prev"/>
		<updated>2022-07-06T14:33:24Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;References&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
&lt;table class=&quot;diff diff-contentalign-left diff-editfont-monospace&quot; data-mw=&quot;interface&quot;&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 14:33, 6 July 2022&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l482&quot; &gt;Line 482:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 482:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===References===&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===References===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[1]&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;王晓东&lt;/del&gt;.苏童《桥上的疯妈妈》中“疯妈妈”形象分析[J].文学教育(上)&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;,2019&lt;/del&gt;(&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;05&lt;/del&gt;)&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;:35.DOI:10.16692/j.cnki.wxjys.2019.05.015.&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[1]&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Wang Xiaodong王晓东(2019)&lt;/ins&gt;.苏童《桥上的疯妈妈》中“疯妈妈”形象分析[J]&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Image Analysis on &amp;quot;Madwoman&amp;quot; of Madwoman on the Bridge by Su Tong &lt;/ins&gt;.文学教育(上)&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Literature Education &lt;/ins&gt;(&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;I&lt;/ins&gt;)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[2]&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;李英华&lt;/del&gt;.&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;苏童短篇小说的创作渊源和英译传播&lt;/del&gt;[J].&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;世界华文文学论坛&lt;/del&gt;,&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;2021(01):&lt;/del&gt;66-71.DOI:10.16228/j.issn1008-0163.2021.01.011.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[2]&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Li Yinghua李英华(2021)&lt;/ins&gt;.&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;苏童短篇小说的创作渊源和英译传播The Creative Origin and English Translation of Su Tong's short stories&lt;/ins&gt;[J].&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;世界华文文学论坛World Forum on Chinese Literature.&lt;/ins&gt;,66-71.DOI:10.16228/j.issn1008-0163.2021.01.011.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[3]&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;叶洁&lt;/del&gt;,王小伟.&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;苏州作家在海外的译介与传播&lt;/del&gt;[J]&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;北方文学.2016&lt;/del&gt;.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[3]&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Ye Jie,Wang Xiaowei叶洁&lt;/ins&gt;,王小伟&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;(2016)&lt;/ins&gt;.&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;苏州作家在海外的译介与传播The Translation and dissemination of Suzhou Writers abroad&lt;/ins&gt;[J]&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;北方文学Northern Literature&lt;/ins&gt;.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[4]&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;胡钢亮&lt;/del&gt;. &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;操控理论视角下葛浩文《米》的英译研究&lt;/del&gt;[D].&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;浙江师范大学,2020&lt;/del&gt;.DOI:10.27464/d.cnki.gzsfu.2020.000083.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[4]&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Hu Gangliang胡钢亮(2020)&lt;/ins&gt;. &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;操控理论视角下葛浩文《米》的英译研究A study on the English Translation of GE Haowen's Rice from the Perspective of manipulation Theory &lt;/ins&gt;[D].&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;浙江师范大学Zhejiang normal University&lt;/ins&gt;.DOI:10.27464/d.cnki.gzsfu.2020.000083.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[5]赵毓. &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;苏童小说《米》中文化负载词的英译策略分析&lt;/del&gt;[D].&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;上海交通大学,2020&lt;/del&gt;.DOI:10.27307/d.cnki.gsjtu.2020.002306&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[5]&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Zhao Yu &lt;/ins&gt;赵毓&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;(2020)&lt;/ins&gt;. &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;苏童小说《米》中文化负载词的英译策略分析An Analysis of the Translation Strategies of Culture-loaded words in Su Tong's novel Rice &lt;/ins&gt;[D].&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;上海交通大学Shanghai Jiaotong University&lt;/ins&gt;.DOI:10.27307/d.cnki.gsjtu.2020.002306&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[6]&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;施羽洁&lt;/del&gt;. &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;布迪厄社会学视角下的苏童《碧奴》英译研究&lt;/del&gt;[D].上海外国语大学&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;,2020&lt;/del&gt;.DOI:10.27316/d.cnki.gswyu.2020.000455.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[6]&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Shi Yujie施羽洁(2020)&lt;/ins&gt;. &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;布迪厄社会学视角下的苏童《碧奴》英译研究A study on the English Translation of Su Tong's Bi Nu from the Perspective of Bourdieu Sociology &lt;/ins&gt;[D].上海外国语大学 &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Shanghai Foreign Studies University&lt;/ins&gt;.DOI:10.27316/d.cnki.gswyu.2020.000455.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[7]&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;赵文婷&lt;/del&gt;. &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;基于构式压制下苏童小说《河岸》联合式成语英译研究&lt;/del&gt;[D].辽宁师范大学&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;,2017&lt;/del&gt;.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[7]&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Zhao Wenting赵文婷(2017)&lt;/ins&gt;. &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;基于构式压制下苏童小说《河岸》联合式成语英译研究A study on the English Translation of the Joint idiom in Su Tong's novel Riverbank based on Construction suppression &lt;/ins&gt;[D].辽宁师范大学 &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Liaoning Normal University&lt;/ins&gt;.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[8]&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;叶塑&lt;/del&gt;,吴真贞.苏童短篇小说中意象性语言的翻译研究——以《桥上的疯妈妈》为例[J].语言与文化研究&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;,2019(01):&lt;/del&gt;128-134.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[8]&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Ye Su, Wu Zhenzhen叶塑&lt;/ins&gt;,吴真贞&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;(2019)&lt;/ins&gt;.苏童短篇小说中意象性语言的翻译研究——以《桥上的疯妈妈》为例 &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;A study on the Translation of imaginative language in Su Tong's short stories-- taking Crazy Mom on the Bridge as an example&lt;/ins&gt;[J].语言与文化研究 &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Language and Culture Studies.&lt;/ins&gt;128-134.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;9］Nida&lt;/del&gt;,&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Eugene． A． 2004． &lt;/del&gt;Toward a Science of Translating &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;［M］． &lt;/del&gt;Shanghai Foreign Language Education &lt;del class=&quot;diffchange diffchange-inline&quot;&gt;Press．&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;9] Nida&lt;/ins&gt;,&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Eugene. A. 2004. &lt;/ins&gt;Toward a Science of Translating &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;[M]. &lt;/ins&gt;Shanghai Foreign Language Education &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Press.&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*[10]&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;现代汉语词典&lt;/del&gt;[M].&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;商务印书馆，1996&lt;/del&gt;.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;* [10] &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Modern Chinese dictionary现代汉语词典 &lt;/ins&gt;[M]. &lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;商务印书馆Commercial Press, 1996&lt;/ins&gt;.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==英语笔译	聂薇	Nie Wei	202170081592 MW==&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==英语笔译	聂薇	Nie Wei	202170081592 MW==&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Ma Yanhuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146738&amp;oldid=prev</id>
		<title>Ma Yanhuan: /* Abstract */</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20220630_Classics_3&amp;diff=146738&amp;oldid=prev"/>
		<updated>2022-07-06T14:12:07Z</updated>

		<summary type="html">&lt;p&gt;&lt;span dir=&quot;auto&quot;&gt;&lt;span class=&quot;autocomment&quot;&gt;Abstract&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 14:12, 6 July 2022&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l369&quot; &gt;Line 369:&lt;/td&gt;
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&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Abstract===&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Abstract===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt;−&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;As the film &amp;quot;&lt;del class=&quot;diffchange diffchange-inline&quot;&gt;raising &lt;/del&gt;the Red Lantern&amp;quot; adapted by director Zhang Yimou based on Su Tong's novella &amp;quot;A Group of wives and concubines&amp;quot; has won major awards at home and abroad, Su Tong's works have gradually received more attention. Madwoman on the Bridge is a short story written by Su Tong, a famous contemporary Chinese writer, which was translated into English by Canadian sinologist Josh Stenberg. Chinese literary works contain many words with Chinese characteristics and bear part of the history and culture&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt;+&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;As the film &amp;quot;&lt;ins class=&quot;diffchange diffchange-inline&quot;&gt;Raising &lt;/ins&gt;the Red Lantern&amp;quot; adapted by director Zhang Yimou based on Su Tong's novella &amp;quot;A Group of wives and concubines&amp;quot; has won major awards at home and abroad, Su Tong's works have gradually received more attention. Madwoman on the Bridge is a short story written by Su Tong, a famous contemporary Chinese writer, which was translated into English by Canadian sinologist Josh Stenberg. Chinese literary works contain many words with Chinese characteristics and bear part of the history and culture&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Culture-loaded words carry many cultural phenomena or specific cultural connotations, so the translation of culture-loaded words is particularly important in spreading Chinese classics. Based on Su Tong's short story ''Madwoman on the Bridge'', this paper makes a case study of the culture-loaded words in his English translation, probes into its translation strategies, and puts forward some countermeasures to provide a reference for the going out of Chinese literature.&lt;/div&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Culture-loaded words carry many cultural phenomena or specific cultural connotations, so the translation of culture-loaded words is particularly important in spreading Chinese classics. Based on Su Tong's short story ''Madwoman on the Bridge'', this paper makes a case study of the culture-loaded words in his English translation, probes into its translation strategies, and puts forward some countermeasures to provide a reference for the going out of Chinese literature.&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;td class='diff-marker'&gt; &lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Ma Yanhuan</name></author>
	</entry>
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