Comp Stud Trans EN 3 - Revision history

Rao Jinying: /* References */

2021-12-16T01:44:37Z

References

Rao Jinying: /* Legge’ s Version */

2021-12-16T01:42:56Z

Legge’ s Version

Rao Jinying: /* Xu Yuanchong’ s Version */

2021-12-16T01:42:15Z

Xu Yuanchong’ s Version

Rao Jinying: /* Xu Yuanchong’ s Version */

2021-12-16T01:41:11Z

Xu Yuanchong’ s Version

Rao Jinying: /* Legge’ s Version */

2021-12-16T01:40:52Z

Legge’ s Version

Rao Jinying: /* Eugene Nida' s Functional Equivalence Theory */

2021-12-16T01:40:30Z

Eugene Nida' s Functional Equivalence Theory

Rao Jinying: /* Eugene Nida’ s Functional Equivalence Theory */

2021-12-16T01:40:11Z

Eugene Nida’ s Functional Equivalence Theory

Rao Jinying: /* Introduction */

2021-12-16T01:38:27Z

Introduction

Rao Jinying: /* Abstract */

2021-12-16T01:37:45Z

Abstract

Zhu Renduo: /* A Brief Introduction of the Two Versions of Shijing */

2021-12-15T14:57:01Z

A Brief Introduction of the Two Versions of Shijing

← Older revision		Revision as of 01:44, 16 December 2021
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	*Xu Yuanchong. 许渊冲(1990). 中诗英韵探胜[M]A Study on the English Rhythm of Chinese Poetry. 北京:北京大学出版社Beijing:Peking University Press.		*Xu Yuanchong. 许渊冲(1990). 中诗英韵探胜[M]A Study on the English Rhythm of Chinese Poetry. 北京:北京大学出版社Beijing:Peking University Press.
−	written by--[[User:Rao Jinying\|Rao Jinying]] ([[User talk:Rao Jinying\|talk]]) 13:40, 13 December 2021 (UTC)	+	written by--[[User:Rao Jinying\|Rao Jinying]] ([[User talk:Rao Jinying\|talk]]) 01:44, 16 December 2021 (UTC)

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 Based on extensive practice and rich experience of poetry translation and inheritance of predecessors’ theories of literature and arts, he puts forward the Three Beauties Principle in translation of poetry, that is, beauty in sense, beauty in sound and beauty in form. He emphasized that a translator should try his best to convert the beauty in sense, sound, and form of the original works into the target works when translating poems (许渊冲, 1990). What’s more, beauty in sense is of first importance among the three principles, followed by beauty in sound and then beauty in form. In addition to the Tree Beauties Principle, Xu proposed that the translation practice is the only criterion for testing translation (许渊冲, 2021:83) under the guidance of “faithfulness” and “expressiveness”.
 Xu Yuanchong’ s version of ''Shijing'' is characterized by its capacity to convey the beauty of sound as much as possible. Faced with the controversy of whether rhyme should be omitted in pursuit of the correct expression of meaning, he argued that rhyme might obstacle rhetoric in some cases, but the absence of rhyme would inevitably lead to a loss of beauty in the translation as a whole. So he insists on rhyming to make the work readable, which not only ensures comprehensibility of readers but also delights them.
 ==Literature Review==

← Older revision		Revision as of 01:42, 16 December 2021
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	As for ''Shijing'', Legge accomplished his verbal version of it when he resided in Hong Kong and had it published in 1987. In this version, Legge applied the translation method of “word for word”, “sentence for sentence”, and “stanza by stanza” (姜燕, 2010:25), which probably prompted Chinese learners or scholars and specialists to attend to explore ancient Chinese culture and understand Chinese academics. Owing to the primary concern focused on the accuracy of concepts and the expectation of a very precise translation of the original text in his translation, other distinct features of Chinese poetry were neglected and not well transformed into the corresponding target text, even if being discussed in the preface. Also, the focus on aesthetics in Legge’ s translation of Shijing is comparatively inadequate.		As for ''Shijing'', Legge accomplished his verbal version of it when he resided in Hong Kong and had it published in 1987. In this version, Legge applied the translation method of “word for word”, “sentence for sentence”, and “stanza by stanza” (姜燕, 2010:25), which probably prompted Chinese learners or scholars and specialists to attend to explore ancient Chinese culture and understand Chinese academics. Owing to the primary concern focused on the accuracy of concepts and the expectation of a very precise translation of the original text in his translation, other distinct features of Chinese poetry were neglected and not well transformed into the corresponding target text, even if being discussed in the preface. Also, the focus on aesthetics in Legge’ s translation of Shijing is comparatively inadequate.
−
−	~~===Xu Yuanchong’ s Version===~~
−
−	Based on extensive practice and rich experience of poetry translation and inheritance of predecessors’ theories of literature and arts, he puts forward the Three Beauties Principle in translation of poetry, that is, beauty in sense, beauty in sound and beauty in form. He emphasized that a translator should try his best to convert the beauty in sense, sound, and form of the original works into the target works when translating poems (许渊冲, 1990). What’s more, beauty in sense is of first importance among the three principles, followed by beauty in sound and then beauty in form. In addition to the Tree Beauties Principle, Xu proposed that the translation practice is the only criterion for testing translation (许渊冲, 2021:83) under the guidance of “faithfulness” and “expressiveness”.
−	Xu Yuanchong’ s version of ''Shijing'' is characterized by its capacity to convey the beauty of sound as much as possible. Faced with the controversy of whether rhyme should be omitted in pursuit of the correct expression of meaning, he argued that rhyme might obstacle rhetoric in some cases, but the absence of rhyme would inevitably lead to a loss of beauty in the translation as a whole. So he insists on rhyming to make the work readable, which not only ensures comprehensibility of readers but also delights them.--[[User:Zhu Renduo\|Zhu Renduo]] ([[User talk:Zhu Renduo\|talk]]) 14:57, 15 December 2021 (UTC)

	==Literature Review==		==Literature Review==

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 As for ''Shijing'', Legge accomplished his verbal version of it when he resided in Hong Kong and had it published in 1987. In this version, Legge applied the translation method of “word for word”, “sentence for sentence”, and “stanza by stanza” (姜燕, 2010:25), which probably prompted Chinese learners or scholars and specialists to attend to explore ancient Chinese culture and understand Chinese academics. Owing to the primary concern focused on the accuracy of concepts and the expectation of a very precise translation of the original text in his translation, other distinct features of Chinese poetry were neglected and not well transformed into the corresponding target text, even if being discussed in the preface. Also, the focus on aesthetics in Legge’ s  translation of Shijing is comparatively inadequate.
-===Xu Yuanchong’ s Version===
+===Xu Yuanchong’s Version===
 Xu Yuanchong, a native Chinese translator, was famous for his translation of ancient Chinese poems into English and French. In 1938, he entered National Southwest Associated University and studied in the Department of Foreign Languages. Later, he was admitted to the Foreign Literature Institute of Tsinghua University. Then he was hired as a professor in English and French, and worked in Peking University from 1983 to 2021. He had translated more than sixty works, making outstanding contribution to Chinese poetry translation field.
 Based on extensive practice and rich experience of poetry translation and inheritance of predecessors’ theories of literature and arts, he puts forward the Three Beauties Principle in translation of poetry, that is, beauty in sense, beauty in sound and beauty in form. He emphasized that a translator should try his best to convert the beauty in sense, sound, and form of the original works into the target works when translating poems (许渊冲, 1990). What’s more, beauty in sense is of first importance among the three principles, followed by beauty in sound and then beauty in form. In addition to the Tree Beauties Principle, Xu proposed that the translation practice is the only criterion for testing translation (许渊冲, 2021:83) under the guidance of “faithfulness” and “expressiveness”.
 Xu Yuanchong’ s version of ''Shijing'' is characterized by its capacity to convey the beauty of sound as much as possible. Faced with the controversy of whether rhyme should be omitted in pursuit of the correct expression of meaning, he argued that rhyme might obstacle rhetoric in some cases, but the absence of rhyme would inevitably lead to a loss of beauty in the translation as a whole. So he insists on rhyming to make the work readable, which not only ensures comprehensibility of readers but also delights them.
 ===Legge’ s Version===

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 ''Shijing'', or ''The Book of Poetry'', ''Book of Odes'', is a collection of 305 pieces of poems from the Western Zhou Dynasty to the Eastern Zhou Dynasty. Generally, ''Shijing'' can be divided into three sections: Feng, Ya and Song according to different their contents respectively. One of the remarkable features of ''Shijing'' is the frequent use of simile and metaphor, and the application of “association”, which means starting a poem by drawing forth some images quite irrelevant to the central subjects. What’s more, ''Shijing'' contains a larger number of cultural characteristics, so it is hard to totally reproduce the source text in another language. Both of the following English versions has its own features with a lot of investigation and research by the two translators.
-===Legge’ s Version===
+===Legge’s Version===
 James Legge, a Scottish missionary, a scholar of sinology and founder of bilingual education system in Hong Kong, was best known as one of the earliest translators of Chinese texts into English. He started his translation including various volumes of Chinese classic texts, such as ''The She King''（《诗经》）, ''The Tao Te Ching''（《道德经》）, ''The Analects''（《论语》）, ''The Work of Mencius''（《孟子》）. Due to his prolificacy in translation, he had translated completely The Four Books and Five Classics, becoming the first western sinologist independently and perfectly translating the Confucian classic texts into European language.
 Legge’ s translation acquired its honour for strict faithfulness to the original texts and has been considered as “a standard translation” (李霜, 2004: 9-10).

← Older revision		Revision as of 01:40, 16 December 2021
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	Later, Nida realized that the concept of “dynamic equivalence” had been misunderstood. In order to avoid this phenomenon, he put forward the term “functional equivalence” in the book From One Language to Another written together with De Ward in 1986 to replace the dynamic equivalence. Functional equivalence emphasizes not only the equivalence between the function of the source culture in the source text and the equivalence of the target culture in the target text, but also that the “function” is considered to be a property of the text. What's more, the functional equivalence embodies both the equivalence of content and form. In another word, the first principle of functional equivalence is to ensure the target text is precisely equivalent to the source text, at the same time, the equivalence of translation style should also be taken into account by translators. The core of functional equivalence is also reflected in Nida’s definition of translating, “translating consists in reproducing in the receptor language the closest natural equivalence of the source language message, first in terms of meaning and secondly in terms of style”(Nida A. Eugene, Charles R. Tabler, 1982).		Later, Nida realized that the concept of “dynamic equivalence” had been misunderstood. In order to avoid this phenomenon, he put forward the term “functional equivalence” in the book From One Language to Another written together with De Ward in 1986 to replace the dynamic equivalence. Functional equivalence emphasizes not only the equivalence between the function of the source culture in the source text and the equivalence of the target culture in the target text, but also that the “function” is considered to be a property of the text. What's more, the functional equivalence embodies both the equivalence of content and form. In another word, the first principle of functional equivalence is to ensure the target text is precisely equivalent to the source text, at the same time, the equivalence of translation style should also be taken into account by translators. The core of functional equivalence is also reflected in Nida’s definition of translating, “translating consists in reproducing in the receptor language the closest natural equivalence of the source language message, first in terms of meaning and secondly in terms of style”(Nida A. Eugene, Charles R. Tabler, 1982).
−

	This paper in an attempt to analyze the two English versions of ''Shijing'' under the guidance of Eugene Nida’s functional equivalence theory. Functional Equivalence Theory has affected the western translation field a lot, which led to the result that Eugene Nida is considered as “the patriarch of translation study and a founder of the discipline”(Snell Hornby, 1988).		This paper in an attempt to analyze the two English versions of ''Shijing'' under the guidance of Eugene Nida’s functional equivalence theory. Functional Equivalence Theory has affected the western translation field a lot, which led to the result that Eugene Nida is considered as “the patriarch of translation study and a founder of the discipline”(Snell Hornby, 1988).

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 Comparative study is of great significance in the study of literary texts in translation, especially in comparing different translation versions of the same literary work. However, it is necessary to first clarify the theoretical framework applied in it before a specific translation comparison analysis can be brought out.
-==Eugene Nida’ s Functional Equivalence Theory==
+==Eugene Nida' s Functional Equivalence Theory==
 This paper in an attempt to analyze the two English versions of ''Shijing'' under the guidance of Eugene Nida’s functional equivalence theory. Functional Equivalence Theory, one of the most important and practical translation theories all around the world, especially in the United States and Germany, was proposed by Eugene A. Nida, the famous American linguist, translator, and translation theorist. This translation theory has affected the western translation field a lot, which led to the result that Eugene Nida is considered as “the patriarch of translation study and a founder of the discipline”(Snell Hornby, 1988).
 Originally known as dynamic equivalence and formal theory, the functional equivalence theory is one of the most outstanding contributions that Eugene Nida had made to the field of translation study. The theory was explained as “ translation is the reproduction of the message of the source language from semantics to style in the most appropriate, natural and reciprocal ways”(Nida Eugene, 1964:159), so as to set a standard for the conversion between source and target texts, and narrow the gap between the two. Nevertheless, before the theory was clearly defined in 1969, three stages of its development emerged. Finally, Nida defined the dynamic equivalence in his work The Theory and Practice of Translation as the “quality of a translation in which the message of the original texts has been so transported into the target texts that the response of the receptors is essentially like that of the original receptors”(Nida A. Eugene, Charles R. Tabler, 1969:200).
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 This paper in an attempt to analyze the two English versions of ''Shijing'' under the guidance of Eugene Nida’s functional equivalence theory. Functional Equivalence Theory has affected the western translation field a lot, which led to the result that Eugene Nida is considered as “the patriarch of translation study and a founder of the discipline”(Snell Hornby, 1988).
 Originally known as dynamic equivalence and formal theory, the functional equivalence theory is one of the most outstanding contributions that Eugene Nida had made to the field of translation study. The theory was explained as “ translation is the reproduction of the message of the source language from semantics to style in the most appropriate, natural and reciprocal ways”(Nida Eugene, 1964:159), so as to set a standard for the conversion between source and target texts, and narrow the gap between the two. Nevertheless, before the theory was clearly defined in 1969, three stages of its development emerged. Finally, Nida defined the dynamic equivalence in his work The Theory and Practice of Translation as the “quality of a translation in which the message of the original texts has been so transported into the target texts that the response of the receptors is essentially like that of the original receptors”(Nida A. Eugene, Charles R. Tabler, 1969:200).
 ==A Brief Introduction of the Two Versions of ''Shijing''==

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 ==Introduction==
-Comparative study is of great significance in the study of literary texts in translation, especially in comparing different translation versions of a same literary work. However, it is necessary to first clarify the theoretical framework applied in it before a specific translation comparison analysis can be brought out.
+Comparative study is of great significance in the study of literary texts in translation, especially in comparing different translation versions of the same literary work. However, it is necessary to first clarify the theoretical framework applied in it before a specific translation comparison analysis can be brought out.
 ==Eugene Nida’ s Functional Equivalence Theory==

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 ==Abstract==
-As the first general collection of poetry in ancient China, ''Shijing'' is unique in style and rich in words and phrases. The translation of Shijing has a history of several hundred years, and scholars at home and abroad have never interrupted the study of ''Shijing'', but the translation study of it is still in an initial stage. Nowadays, the multicultural background of the times highlights the contemporary significance of the study of the English translation of Shijing even more.
+As the first general collection of poetry in ancient China, ''Shijing'' is unique in style and rich in words and phrases. The translation of Shijing has a history of several hundred years, and scholars at home and abroad have never interrupted the study of ''Shijing'', but the translation study of it is still in an initial stage. Nowadays, the multicultural background of the times highlights the contemporary significance of the study of the English translation of ''Shijing'' even more.
-This paper intends to apply Nida’ s functional equivalence theory to analyze the two versions of English translations by Xu Yuanchong and Jame Legge of ''Shijing'' from four perspectives: stylistics, rhythm, diction and imagery. The following conclusion can be drawn according to the analysis: ''Shijing'' has a unique style and rhyme scheme, so the translation should firstly achieve parity with the original text in terms of style and form, and secondly the harmony of sound and rhyme should be focused on, so that readers of the target text and readers of the original text will have a similar impression on the form of Shijing. Therefore, the translators should consider the words and phrases, and strive to reproduce the imagery of the original text or the emotion conveyed by that imagery while ensuring the fluency of the translation in order to achieve content equivalence.
+This paper intends to apply Nida’s functional equivalence theory to analyze the two versions of English translations by Xu Yuanchong and Jame Legge of ''Shijing'' from four perspectives: stylistics, rhythm, diction and imagery. The following conclusion can be drawn according to the analysis: ''Shijing'' has a unique style and rhyme scheme, so the translation should firstly achieve parity with the original text in terms of style and form, and secondly the harmony of sound and rhyme should be focused on, so that readers of the target text and readers of the original text will have a similar impression on the form of ''Shijing''. Therefore, the translators should consider the words and phrases, and strive to reproduce the imagery of the original text or the emotion conveyed by that imagery while ensuring the fluency of the translation in order to achieve content equivalence.
 Key Words: ''Shijing'', English Translation, Functional Equivalence Theory
 ==Key Words==