Cult Load Words EN 4 - Revision history

He Qin: /* 4 何芩 The Translation of Cultural-loaded words in Jiu Zhang in Chu Ci Translated by Xu Yuanchong */

2021-12-29T09:06:39Z

4 何芩 The Translation of Cultural-loaded words in Jiu Zhang in Chu Ci Translated by Xu Yuanchong

He Qin: /* 4 何芩 The Translation of Cultural-loaded words in Jiu Zhang in Chu Ci Translated by Xu Yuanchong */

2021-12-19T14:47:21Z

4 何芩 The Translation of Cultural-loaded words in Jiu Zhang in Chu Ci Translated by Xu Yuanchong

He Qin: /* 4 何芩 The Translation of Cultural-loaded words in Jiu Zhang in Chu Ci Translated by Xu Yuanchong */

2021-12-19T14:44:45Z

4 何芩 The Translation of Cultural-loaded words in Jiu Zhang in Chu Ci Translated by Xu Yuanchong

Sun Yashi: /* 4 何芩 The Translation of Cultural-loaded words in Jiu Zhang in Chu Ci Translated by Xu Yuanchong */

2021-12-14T07:25:31Z

4 何芩 The Translation of Cultural-loaded words in Jiu Zhang in Chu Ci Translated by Xu Yuanchong

He Qin: /* 4.4.1 Literary translation */

2021-12-13T13:57:20Z

4.4.1 Literary translation

He Qin: /* References */

2021-12-13T13:56:21Z

References

He Qin: /* 4.2.1 Literary Translation */

2021-12-13T13:55:44Z

4.2.1 Literary Translation

He Qin: /* 3.Classification of Culture-loaded words in Jiu Zhang */

2021-12-13T13:54:55Z

3.Classification of Culture-loaded words in Jiu Zhang

He Qin: /* 2.4 Pervious Research */

2021-12-13T13:53:29Z

2.4 Pervious Research

He Qin: /* References */

2021-12-13T13:51:42Z

References

@@ Line 11: / Line 11: @@
 [[DCG-To-Do|To the To Do list]]
-=4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=
+=4 何芩 The Translation of Cultural-loaded Words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=
-  He Qin, Hunan Normal University, China
+  He Qin, 202120081489, Hunan Normal University, China
 === Abstract ===

@@ Line 19: / Line 19: @@
 === Key Words ===
-Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation;
+Translation; Culture-loaded words;Chinese Classics; Hu Xiang Culture; Cultural Image
 === 题目 ===

@@ Line 16: / Line 16: @@
 === Abstract ===
-''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.
+''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant features is that ''Chu Ci'' is of much regional color of the Chu State, where the Hu Xiang culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.
 === Key Words ===
@@ Line 43: / Line 41: @@
 What are the classification of culture-loaded words in Jiu Zhang？
 What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？
@@ Line 64: / Line 60: @@
 Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word "兮" is used at the end of the stanzas, as well as "之", "于", "乎", "夫", and "而" and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.
 ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name "''Chu Ci''" was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.
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 “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.
-“缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reasons was that in Western culture, the mourning clothes are usually black. For example, the weeds refer to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 07:25, 14 December 2021 (UTC)
 ===== 4.4.2 Free Translation =====
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 In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.
-In the original text, the stanza consists of only three sentences. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 07:25, 14 December 2021 (UTC)
 ===== 4.4.3 Omission =====

@@ Line 17: / Line 17: @@
 ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.
 === Key Words ===
@@ Line 41: / Line 43: @@
 What are the classification of culture-loaded words in Jiu Zhang？
 What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？
@@ Line 54: / Line 58: @@
 Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as "the progenitor of Chinese poetry" and "the progenitor of rhetoric". He is the founder and representative of the "Chu Ci" and started the tradition of "herb and beauty".
 In his early years, Qu Yuan was trusted by King Huai of Chu and served as a "Zuotu" and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of "beautiful government". He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.
 Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word "兮" is used at the end of the stanzas, as well as "之", "于", "乎", "夫", and "而" and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.
 ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name "''Chu Ci''" was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.
@@ Line 192: / Line 200: @@
 “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.
 ===== 4.4.2 Free Translation =====
@@ Line 201: / Line 210: @@
 In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.
 ===== 4.4.3 Omission =====

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 ===== 4.4.1 Literary translation =====
    Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》
-   The Duke thought of his od compeer, oh!
+   The Duke thought of his old compeer, oh!
    Clad in white, he shed tear on tear. (The Bygone Days Regretted)
 “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.
 ===== 4.4.2 Free Translation =====
    Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》

← Older revision		Revision as of 13:56, 13 December 2021
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	《楚辞：英汉对照》[M] 许渊冲译. 北京：五洲传播出版社，2011 Elegies of the South		《楚辞：英汉对照》[M] 许渊冲译. 北京：五洲传播出版社，2011 Elegies of the South
		+
	Bai Chengliang, Tian Chuanmao. The cultural connotation of mythological imagery and translation methods of Chu Ci [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]		Bai Chengliang, Tian Chuanmao. The cultural connotation of mythological imagery and translation methods of Chu Ci [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]

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    And pepper flowers for food are ground. (I Make My Plaint)
-“木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)
+“木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (Wan Li，2021,126-128)
 ===== 4.2.2 Free Translation  =====

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 === 3.Classification of Culture-loaded words in Jiu Zhang ===
-The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.
+The culture-loaded words in ''Jiu Zhang'' are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.
 ==== 3.1 Persons ====
@@ Line 97: / Line 96: @@
 ==== 3.2 Plants and Animals ====
-One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.
+One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.
 ==== 3.3 Places ====
-Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.
+Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.
 ==== 3.4 Objects ====
 There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.

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 ==== 2.4 Pervious Research ====
-''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011)
+''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011, master thesis no page number)
-In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)
+In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing, 2010,master thesis no page number)
-In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)
+''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009,master thesis no page number)
-''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)
+''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011,master thesis no page number)
 === 3.Classification of Culture-loaded words in Jiu Zhang ===

← Older revision		Revision as of 13:51, 13 December 2021
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	Wang Yuhan. The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看<离骚>英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]		Wang Yuhan. The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看<离骚>英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]
		+
	Wu Fei, Long Zhuo, Luo Yunhui. A study on the dissemination of the English translation of the Huxiang canonical book "Chu Ci" under the view of "deep translation"[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧."深度翻译"观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]		Wu Fei, Long Zhuo, Luo Yunhui. A study on the dissemination of the English translation of the Huxiang canonical book "Chu Ci" under the view of "deep translation"[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧."深度翻译"观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]