Comp Stud Trans EN 7 - Revision history

Zhang Qiuyi: /* REFERENCES */

2021-12-16T03:46:34Z

REFERENCES

Zhang Qiuyi: /* REFERENCES */

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REFERENCES

Wang Yifan21: /* Xu Yuanchong’s life and career as a scholar and a translator */

2021-12-16T03:30:39Z

Xu Yuanchong’s life and career as a scholar and a translator

Wang Yifan21: /* REFERENCES */

2021-12-16T03:29:52Z

REFERENCES

Wang Yifan21: /* Xu Yuanchong’s Life and Thoughts */

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Xu Yuanchong’s Life and Thoughts

Wang Yifan21: /* Xu Yuanchong’s life and career as a scholar and a translator */

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Xu Yuanchong’s life and career as a scholar and a translator

Wang Yifan21: /* Ezra Pound’s Life */

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Ezra Pound’s Life

Wang Yifan21: /* General Introduction to Xu Yuanchong’s Theories on Literary Translation */

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General Introduction to Xu Yuanchong’s Theories on Literary Translation

Wang Yifan21: /* Ezra Pound’s Life */

2021-12-16T03:06:02Z

Ezra Pound’s Life

Wang Yifan21: /* Pound As Translator */

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Pound As Translator

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	Written by: --[[User:Wang Yifan21\|Wang Yifan21]] ([[User talk:Wang Yifan21\|talk]]) 03:00, 16 December 2021 (UTC)		Written by: --[[User:Wang Yifan21\|Wang Yifan21]] ([[User talk:Wang Yifan21\|talk]]) 03:00, 16 December 2021 (UTC)
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	Written by: --[[User:Wang Yifan21\|Wang Yifan21]] ([[User talk:Wang Yifan21\|talk]]) 03:00, 16 December 2021 (UTC)		Written by: --[[User:Wang Yifan21\|Wang Yifan21]] ([[User talk:Wang Yifan21\|talk]]) 03:00, 16 December 2021 (UTC)
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	In 1939, when he was a first-year student, he translated Lin Huiyin's poem "Don't Lose It" into English and published it in the Literary Translation Journal, his earliest translation, and in He then enrolled in the Institute of Foreign Literature at Tsinghua University, where he also taught English to the first graduating class of 1943 at Tianxiang High School. After the victory of the war, Mr. Xu Yuanchong applied to study at the University of Paris through the first major examination held by the Ministry of Education to study abroad. At the University of Paris, Mr. Xu read the realist literature of Balzac and Shakespeare, and the romantic poetry of Victor Hugo, which laid a solid foundation for his later translations of Chinese and French poetry.		In 1939, when he was a first-year student, he translated Lin Huiyin's poem "Don't Lose It" into English and published it in the Literary Translation Journal, his earliest translation, and in He then enrolled in the Institute of Foreign Literature at Tsinghua University, where he also taught English to the first graduating class of 1943 at Tianxiang High School. After the victory of the war, Mr. Xu Yuanchong applied to study at the University of Paris through the first major examination held by the Ministry of Education to study abroad. At the University of Paris, Mr. Xu read the realist literature of Balzac and Shakespeare, and the romantic poetry of Victor Hugo, which laid a solid foundation for his later translations of Chinese and French poetry.
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	===General Introduction to Xu Yuanchong’s Theories on Literary Translation===		===General Introduction to Xu Yuanchong’s Theories on Literary Translation===

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	*Xu Yuanchong 许渊冲，1998，读“翻译文化竞赛论” Reading "Translation Culture Contest Theory"，《外语与翻译》第2期，15-18页 Foreign Languages and Translation Issue 2, Page 15-18.		*Xu Yuanchong 许渊冲，1998，读“翻译文化竞赛论” Reading "Translation Culture Contest Theory"，《外语与翻译》第2期，15-18页 Foreign Languages and Translation Issue 2, Page 15-18.

−	Written by --[[User:Wang Yifan21\|Wang Yifan21]] ([[User talk:Wang Yifan21\|talk]]) 03:00, 16 December 2021 (UTC)	+	Written by: --[[User:Wang Yifan21\|Wang Yifan21]] ([[User talk:Wang Yifan21\|talk]]) 03:00, 16 December 2021 (UTC)

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 In 1939, when he was a first-year student, he translated Lin Huiyin's poem "Don't Lose It" into English and published it in the Literary Translation Journal, his earliest translation, and in He then enrolled in the Institute of Foreign Literature at Tsinghua University, where he also taught English to the first graduating class of 1943 at Tianxiang High School. After the victory of the war, Mr. Xu Yuanchong applied to study at the University of Paris through the first major examination held by the Ministry of Education to study abroad. At the University of Paris, Mr. Xu read the realist literature of Balzac and Shakespeare, and the romantic poetry of Victor Hugo, which laid a solid foundation for his later translations of Chinese and French poetry.
 No reference inserted--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 09:08, 14 December 2021 (UTC)
 ===General Introduction to Xu Yuanchong’s Theories on Literary Translation===

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 Xu Yuanchong was born in 1921 in Nanchang, Jiangxi, and in 1936, when he was fifteen years old, he was in his first year of high school at Nanchang No. 2 High School in Jiangxi, where the Japanese had occupied the north-east of China and were advancing into northern China. But after his victory in the war, Mr. Xu recalls that experience as a solid foundation for his future path in life and for his career as a translator.In 1938, at the age of 17, Xu Yuanchong was admitted to the Southwest Associated University, a joint venture between Peking University, Tsinghua University and Nankai University in Kunming, Yunnan Province, during the war years. It was here that Xu Yuanchong became a student of Qian Zhongshu, Wu Mi, Wen Yiduo, Feng Youlan and many other great artists, and became lifelong friends with the future Nobel Prize winner in physics, Yang Zhenning, and Wang Xiji, the father of the two bombs and one star. All this inspired and established Xu Yuanchong's style of seeking common ground and being unconventional in his translations.
-Mr. Xu also recalled that it was only after tracing his roots that he discovered that the source of influence on Mr. Xu's path to translation was his father's love of a tidy lifestyle and his ability to work with excellent finances. From an early age, Mr. Xu Yuanchong's father taught him to keep the four literary treasures in the most accessible places, which was later expanded by Mr. Xu from the four literary treasures to the written word, or the best way to express himself, and the most accessible place can also be summarized as the best location. Mr. Xu's father cultivated the habit of putting the best words in the most appropriate places. Mr. Xu's mother's love of drawing was an education in 'beauty' and 'joy'. Mr. Xu's mother was a student at the Jiangxi Provincial Vocational School a hundred years ago. Although his mother died young, among Mr. Xu's mother's belongings were two books of drawings and one essay, in which the flowers, trees, birds and animals greatly aroused Mr. Xu's love of 'beauty'. The story "Xiang Yu and Napoleon" in the essay fostered the idea that Mr. Xu would not judge a hero by his success or failure. All of this had a profound impact on Mr. Xu's later translation style and practice. During his time at SWLU, Mr. Xu received guidance from many famous teachers. Mr. Wu Mi was one teacher who changed his concept of translation. In his secondary school days, Mr. Xu thought that the idea of direct translation proposed by Lu Xun was correct because he liked his satirical essays so much. However, after hearing Mr. Wu critique the translation examination papers of postgraduate students, it was definitely still the case that the Italian translation made more sense. On the question of translation, Mr. Qian Zhongshu mentioned in his English letter to Xu Yuanchong that there were two ways to translate poems, one was the method of translating from a colourless glass plate and the other was the method of translating from a coloured glass plate. The former would offend the poem and the latter would offend the translation. Choosing the lesser of the two, he preferred to offend the poem. But Xu Yuanchong believed that the colourless glass translation method pursued truth, while the tinted glass translation method pursued beauty. If the original poem is beautiful and true, the translation cannot be considered a facsimile if it is true but not beautiful; if the translation is beautiful but not true, then there is a risk of distortion. So how exactly should we deal with this? Xu Yuanchong finds the answer in the ''Analects'': "The greatest of the arts is to follow the heart without exceeding the rules".
+Mr. Xu also recalled that it was only after tracing his roots that he discovered that the source of influence on Mr. Xu's path to translation was his father's love of a tidy lifestyle and his ability to work with excellent finances. From an early age, Mr. Xu Yuanchong's father taught him to keep the four literary treasures in the most accessible places, which was later expanded by Mr. Xu from the four literary treasures to the written word, or the best way to express himself, and the most accessible place can also be summarized as the best location. Mr. Xu's father cultivated the habit of putting the best words in the most appropriate places. Mr. Xu's mother's love of drawing was an education in 'beauty' and 'joy'. Mr. Xu's mother was a student at the Jiangxi Provincial Vocational School a hundred years ago. Although his mother died young, among Mr. Xu's mother's belongings were two books of drawings and one essay, in which the flowers, trees, birds and animals greatly aroused Mr. Xu's love of 'beauty'. The story "Xiang Yu and Napoleon" in the essay fostered the idea that Mr. Xu would not judge a hero by his success or failure. All of this had a profound impact on Mr. Xu's later translation style and practice. During his time at SWLU, Mr. Xu received guidance from many famous teachers. Mr. Wu Mi was one teacher who changed his concept of translation. In his secondary school days, Mr. Xu thought that the idea of direct translation proposed by Lu Xun was correct because he liked his satirical essays so much. However, after hearing Mr. Wu critique the translation examination papers of postgraduate students, it was definitely still the case that the Italian translation made more sense. On the question of translation, Mr. Qian Zhongshu mentioned in his English letter to Xu Yuanchong that there were two ways to translate poems, one was the method of translating from a colourless glass plate and the other was the method of translating from a coloured glass plate. The former would offend the poem and the latter would offend the translation. Choosing the lesser of the two, he preferred to offend the poem. But Xu Yuanchong believed that the colourless glass translation method pursued truth, while the tinted glass translation method pursued beauty. If the original poem is beautiful and true, the translation cannot be considered a facsimile if it is true but not beautiful; if the translation is beautiful but not true, then there is a risk of distortion. So how exactly should we deal with this? Xu Yuanchong finds the answer in the ''Analects'': "The greatest of the arts is to follow the heart without exceeding the rules".(Zhao Yiheng：1985，130）
 In 1939, when he was a first-year student, he translated Lin Huiyin's poem "Don't Lose It" into English and published it in the Literary Translation Journal, his earliest translation, and in He then enrolled in the Institute of Foreign Literature at Tsinghua University, where he also taught English to the first graduating class of 1943 at Tianxiang High School. After the victory of the war, Mr. Xu Yuanchong applied to study at the University of Paris through the first major examination held by the Ministry of Education to study abroad. At the University of Paris, Mr. Xu read the realist literature of Balzac and Shakespeare, and the romantic poetry of Victor Hugo, which laid a solid foundation for his later translations of Chinese and French poetry.

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 In 1908 Pound's first collection of poems, ''A Lume Spento'' (《灯火熄灭之时》), was self-published in Venice, Italy, and in 1909 his collection ''Personae''（《人物》）was published in London, and in 1910 his anthology ''The Spirit of Romance''（《罗曼斯精神》）was published. The collection consists mainly of his early translations as well as the results and insights of his scholarly research over the years. In 1912 he became the London correspondent of the small Chicago magazine ''Poetry''（《诗歌》）, and in 1914 he married Dorothy Shakespeare.
-During his time in Paris and London, in addition to continuing his creative work, he explored and nurtured talent, travelled extensively with European and American literary figures, and made a unique contribution to breaking the sedimentation of British and American literature, especially British and American poetry, and to promoting the 'revival' of American literature. He had extensive contacts with sculptors, painters and musicians, and played a significant role in the formation and development of modernist thought in Europe and America. Between 1914 and 1916 Pound was very close to the Irish poet W.B. Yeats. He admired Yeats and took him as his teacher. Yeats was also influenced by him to some extent. After leaving Paris in 1924 and up to the eve of the Second World War, Pound's attention gradually shifted from literary creation to the political and economic problems of capitalism. At the end of the war, he was arrested by the U.S. military authorities and was held for six months at a Disciplinary Training Center near Pisa. In 1958, the joint effort of such eminent personalities as T.S. Eliot, Robert Frost, and Ernest Hemingway secured his release. He returned to Italy, where he worked until his death in 1972.
+During his time in Paris and London, in addition to continuing his creative work, he explored and nurtured talent, travelled extensively with European and American literary figures, and made a unique contribution to breaking the sedimentation of British and American literature, especially British and American poetry, and to promoting the 'revival' of American literature. He had extensive contacts with sculptors, painters and musicians, and played a significant role in the formation and development of modernist thought in Europe and America. Between 1914 and 1916 Pound was very close to the Irish poet W.B. Yeats. He admired Yeats and took him as his teacher. Yeats was also influenced by him to some extent. After leaving Paris in 1924 and up to the eve of the Second World War, Pound's attention gradually shifted from literary creation to the political and economic problems of capitalism. At the end of the war, he was arrested by the U.S. military authorities and was held for six months at a Disciplinary Training Center near Pisa. In 1958, the joint effort of such eminent personalities as T.S. Eliot, Robert Frost, and Ernest Hemingway secured his release. He returned to Italy, where he worked until his death in 1972.(Kenner,1953)
 ===Pound As Translator===

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 Xu Yuanchong once said, "Western translations are about equivalence, one word for another, and 90% of their major words and vocabulary are equivalent. Unlike other scripts, only 50% of Chinese words and vocabulary are equivalent. While reciprocity does not contradict objective laws, it does not take advantage of subjective dynamics. Without distorting the author's meaning, a translation must bring out the flavor, essence and soul of a nation's culture", so Xu Yuanchong's theory of translation, specifically, contains the following main elements.
-The Ontology of Literary Translation: Theory of Three Beauties. In the preface to Forty-two poems of Mao Zedong(1978), Xu for the first time put forward his Theory of Three Beauties on poetry translation “A translated lyric should not only be faithful to the original but also as beautiful as it is in sense, in sound and in form.” Being beautiful in sense means that in translating a poem, the translator should not only translate the surface level meaning of the poem, but also the deep level sense of it, or even the sense beyond word level. According to Xu, the translation process would be relatively easy if the content and form of the poem are in harmony. While if the content and form of a poem do not match, then the content would be the first priority in translation. In the situation that the form of the original might contain several different meaning, the most beautiful kind should be chosen in translation. Actually what Xu wants to emphasize here is the unique artistic conception of classical Chinese poetry which features implicitness, subtlety and succinctness. Being beautiful in sound means that the translator should try his/her best to present meter, rhythm, and alliteration in the original poem. To Xu, if the original is rhymed, the translation should also be; if the original uses classical Chinese tonal patterns, the translation could use light and stressed tone; if the original tends to use phrases having two or more characters with the same initial constant, then the translation could use alliteration. Being beautiful in form includes the layout of lines, antithesis formed by lines matched in sound and sense, and repetition of words or lines. Xu also made a hierarchical relation among the three beauties form: beauty in sense is the most important, which is followed by beauty in sound, and then beauty in form. In translating classical Chinese poetry, taking presenting the beauty in sense as the first priority, the translator should also try the best to present the beauty in sound; while by achieving the presentation of the beauty in sense and in sound, the translator then should endeavor to present the beauty in form. To Xu, the pursuit of three beauties should be the guiding principle and ultimate goal in classical Chinese poetry translation.
+The Ontology of Literary Translation: Theory of Three Beauties. In the preface to Forty-two poems of Mao Zedong(1978), Xu for the first time put forward his Theory of Three Beauties on poetry translation “A translated lyric should not only be faithful to the original but also as beautiful as it is in sense, in sound and in form.” Being beautiful in sense means that in translating a poem, the translator should not only translate the surface level meaning of the poem, but also the deep level sense of it, or even the sense beyond word level. According to Xu, the translation process would be relatively easy if the content and form of the poem are in harmony. While if the content and form of a poem do not match, then the content would be the first priority in translation. In the situation that the form of the original might contain several different meaning, the most beautiful kind should be chosen in translation. Actually what Xu wants to emphasize here is the unique artistic conception of classical Chinese poetry which features implicitness, subtlety and succinctness. Being beautiful in sound means that the translator should try his/her best to present meter, rhythm, and alliteration in the original poem. To Xu, if the original is rhymed, the translation should also be; if the original uses classical Chinese tonal patterns, the translation could use light and stressed tone; if the original tends to use phrases having two or more characters with the same initial constant, then the translation could use alliteration. Being beautiful in form includes the layout of lines, antithesis formed by lines matched in sound and sense, and repetition of words or lines. Xu also made a hierarchical relation among the three beauties form: beauty in sense is the most important, which is followed by beauty in sound, and then beauty in form. In translating classical Chinese poetry, taking presenting the beauty in sense as the first priority, the translator should also try the best to present the beauty in sound; while by achieving the presentation of the beauty in sense and in sound, the translator then should endeavor to present the beauty in form. To Xu, the pursuit of three beauties should be the guiding principle and ultimate goal in classical Chinese poetry translation.(Jiang Hongxin 2001,77-80)
 The Methodology of Literary Translation: Particularization, Equalization and Generalization. In the preface to 150 Tang Poems(1984), Xu raised the methodology of literary translation: particularization, equalization and generalization. Particularization refers to translation techniques like specialization, concretization, adding words splitting words and so on. Generalization includes translation techniques like abstractization, cutting words or merging words. And equalization means the translation techniques like flexible equalization, changing word function, active form and passive form. The great scholar and translator Qian Zhongshu had made a famous definition on translation that the highest standard of literary translation in “sublimation” by which means to transfer the language of a text into another language without any trace of stiltedness resulting from the differences in usage and at the same time retaining all the flavor of the original. Particularization, equalization and generalization are actually three aspects of the standard – “sublimation”. Particularization is to explore the deep level meaning of the original text through its surface level form. If the translation reaches the deeper level of meaning than the original, then particularization is achieved. On the other hand, generalization tends to turn the abstruse original into plain and understandable translation.

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 ===Ezra Pound’s Life===
-Ezra Pound was born in Hailey Township, Idaho, USA, on 30 October 1885. Before going to Europe, he attended the University of Pennsylvania, where he studied American history, classics and Romance languages and literature. Pound made his first trip to Europe in 1898, then four more in 1902, 1906 and 1908, settling in London in 1908, where he became a major figure in the literary world for a time. Pound was a poet and literary critic, an important representative of the Imagist poetry movement, as well as an accomplished translator who collected and translated a dozen ancient Chinese poems ''Cathy''（《华夏集》） in his 1915 and also translated the [[Great Learning]]（《大学》）, ''the Doctrine of the Mean''（《中庸》） and ''The Analects of Confucius''（《论语》）.Pound and Eliot were both leading figures in late Symbolist poetry, and his theory of 'poetic imagery', derived from classical Chinese poetry and Japanese haiku, made a remarkable contribution to the cross-fertilisation of Eastern and Western poetry.
+Ezra Pound was born in Hailey Township, Idaho, USA, on 30 October 1885. Before going to Europe, he attended the University of Pennsylvania, where he studied American history, classics and Romance languages and literature. Pound made his first trip to Europe in 1898, then four more in 1902, 1906 and 1908, settling in London in 1908, where he became a major figure in the literary world for a time. Pound was a poet and literary critic, an important representative of the Imagist poetry movement, as well as an accomplished translator who collected and translated a dozen ancient Chinese poems ''Cathy''（《华夏集》） in his 1915 and also translated the ''Great Learning''（《大学》）, ''the Doctrine of the Mean''（《中庸》） and ''The Analects of Confucius''（《论语》）.Pound and Eliot were both leading figures in late Symbolist poetry, and his theory of 'poetic imagery', derived from classical Chinese poetry and Japanese haiku, made a remarkable contribution to the cross-fertilisation of Eastern and Western poetry.
 In 1908 Pound's first collection of poems, ''A Lume Spento'' (《灯火熄灭之时》), was self-published in Venice, Italy, and in 1909 his collection ''Personae''（《人物》）was published in London, and in 1910 his anthology ''The Spirit of Romance''（《罗曼斯精神》）was published. The collection consists mainly of his early translations as well as the results and insights of his scholarly research over the years. In 1912 he became the London correspondent of the small Chicago magazine ''Poetry''（《诗歌》）, and in 1914 he married Dorothy Shakespeare.

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 Pound’s emphasis is less on the “meaning” of the translated text or even on the meaning of specific words. He emphasizes the rhythm, diction, and movement of words. By the movement of words, he refers to the contextual meaning and the intertextual. Pound thinks the “meaning” of a work of art can never be fixed; it changes as language changes. The range of associations of the words within an original work of art would differ with its new versions in a different age or culture. Pound explains the energy of languages as “words construction new relations to other words at any particular place and time, this quality lends language its energy”. Pound also takes words as “electrified”, the interaction of which could generate energy. Here Pound is actually talking about contextual meaning. He thinks new relations of words forms new meaning, that’s “the energy of language”. As words are not isolated from context, translator should bear in mind the context of the source text.
-Pound’s theory of translation requires the translator to keep the historical atmosphere in which the words occur so that the translation process reveals not just what the words mean, but also their various implications. He believes that meaning is not something abstract and part of a universal language, but something that is always located in historical settings-the “atmosphere” in which that meaning occurs. To unpack the meaning, one has to know the history and reconstruct the atmosphere in which that the meaning occurs. Pound says, “Three or four words in exact just apposition are capable of radiating this energy at a very high potentially....The peculiar energy which fills words is the power of tradition, of centuries of race consciousness, of agreement, of association.”（郭建中：2000，57）
+Pound’s theory of translation requires the translator to keep the historical atmosphere in which the words occur so that the translation process reveals not just what the words mean, but also their various implications. He believes that meaning is not something abstract and part of a universal language, but something that is always located in historical settings-the “atmosphere” in which that meaning occurs. To unpack the meaning, one has to know the history and reconstruct the atmosphere in which that the meaning occurs. Pound says, “Three or four words in exact just apposition are capable of radiating this energy at a very high potentially....The peculiar energy which fills words is the power of tradition, of centuries of race consciousness, of agreement, of association.”（Guo Jianzhong：2000，57）
 ==The Comparative Study on Image Translation of the Classical Chinese Poetry between Xu and Pound==