Cult Load Words EN 9 - Revision history

Ding Xuan: /* Conclusion */

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Conclusion

Ding Xuan: /* 3.4 Culture-loaded Words Related to Linguistic Culture */

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3.4 Culture-loaded Words Related to Linguistic Culture

Ding Xuan: /* 3.3 Culture-loaded Words Related to Religious Culture */

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3.3 Culture-loaded Words Related to Religious Culture

Ding Xuan: /* 3.2 Culture-loaded Words Related to Social Culture */

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3.2 Culture-loaded Words Related to Social Culture

Ding Xuan: /* 3.1 Culture-loaded Words Related to Material Culture */

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3.1 Culture-loaded Words Related to Material Culture

Ding Xuan: /* 2. The Definition and Classification of Culture-loaded Words */

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2. The Definition and Classification of Culture-loaded Words

Ding Xuan: /* 1. The Theory of Translation Equivalence and Specific Translation Skills */

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1. The Theory of Translation Equivalence and Specific Translation Skills

Ding Xuan: /* Introduction */

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Introduction

Ding Xuan: /* Introduction */

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Introduction

Ding Xuan: /* Abstract */

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Abstract

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 ===Conclusion===
-Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside.
+Under the background of globalization, translation has become an important bridge for cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communication but also to spread national culture reserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside.
 In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.
 本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。
 I think you should research the origin of culture-loaded words more carefully, for example, when it is initially mentioned and so on. So many masters gave definitions to culture-loaded, no matter Chinese or foreign scholars. As to the category of culture-loaded words, I think the two famous and recognized divisions are put forward by Newmark and Nida. I am not quite sure who is Zhang mentioned here and I think you can introduce him in more details. Besides, the format of your references are not exactly correct and you can further improve and polish them.

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 ====3.4 Culture-loaded Words Related to Linguistic Culture====
-Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing with idioms or proverbs.
+Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing idioms or proverbs.
 For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”.
-In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of "凤鸟"(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and "phoenixes riding on the clouds" means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that "Dragon, Phoenix, Kylin and Turtle" has had some effects on Japanese literature and culture,  an additional explanation "祥瑞を寓意する" could be more easily understood by the target readers.
+In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of "凤鸟"(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and "phoenixes riding on the clouds" means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that "Dragon, Phoenix, Kylin and Turtle" has had some effects on Japanese literature and culture, but an additional explanation "祥瑞を寓意する" could be more easily understood by the target readers.
 .4语言文化类

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 ====3.3 Culture-loaded Words Related to Religious Culture====
-Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important part of national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities.
+Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important role in national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities.
 For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of "地府" originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of "地狱"(hell) come into being (Pu 2021:12). The concept of "地府" is greater than that of "地狱", which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation "暗い地獄" is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. [(Pu 2021:12)]

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 ====3.2 Culture-loaded Words Related to Social Culture====
-Different nations have different historical development and political evolution, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words.
+Different nations have different historical developments and political evolutions, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words.
-For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods" for there is no such funeral custom etiquette in Japan.
+For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods" for there is no such funeral custom etiquette in Japan.
-Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the "Ge" clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]
+Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds the view that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the "Ge" clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]
 .2制度习俗文化类

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 There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.
-For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and uses could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of "formal equivalence" in translation equivalence theory. However, it is worth noting that the concept of "奁" was translated into "化粧箱" in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, besides cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]
+For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and usages could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of "formal equivalence" in translation equivalence theory. However, it is worth noting that the concept of "奁" was translated into "化粧箱" in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, excepting for cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]
-In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of "右衽" (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the reference concept of "衽", for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and "右" refers to the directionality of "covering to the right" in Chinese, while "右" may be mistaken for the orientation of "right" in Japanese. Consequently, it is obvious that literal translation is untenable,  thus "前おくみ" is added to the translation to help the target readers understand it. Besides, the cultural connotations contained in "右衽", such as the philosophical view of "harmony between nature and man", and the etiquette thought of "good things is on the left" (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]
+In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of "右衽" (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the referential concept of "衽", for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and "右" refers to the directionality of "covering to the right" in Chinese, while "右" may be mistaken for the orientation of "right" in Japanese. Consequently, it is obvious that literal translation is untenable,  thus "前おくみ" is added to the translation to help the target readers better understand it. Besides, the cultural connotations contained in "右衽", such as the philosophical view of "harmony between nature and man", and the etiquette thought of "good things is on the left" (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]
 .1物质文化类

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 ===2. The Definition and Classification of Culture-loaded Words===
-Culturally-loaded words are the vocabulary in the language system, which can best embody the cultural knowledge that a language carries and reflect the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]
+Culturally-loaded words are the vocabulary in the language system, which can well embody the cultural knowledge that a language carries and reflects the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]
-The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, pose many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]
+The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, but English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, posing many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]
 On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]

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 ===1. The Theory of Translation Equivalence and Specific Translation Skills===
-Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward the definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory focus on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory open up a new perspective to translation studies.
+Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward one kind definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida's functional equivalence theory focuses on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory opens a new perspective to translation studies.
-In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics, and style, the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new concept of translating is actually the theory of dynamic equivalence，which is "directed primarily toward equivalence of response rather than equivalence of form". In Nida's opinion, a dynamic equivalent translation must fit the receptor language and culture in order to make the translated message intelligible and natural to the target language receptors．"A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor to modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message." Nida further perfect his theory in the 1990s. In his book Language, Culture and Translating, he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is "The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it." The Maximal definition of functional equivalence could be stated as "The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did". It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]
+In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics,tyle, and the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new conception that translating is actually the theory of dynamic equivalence，which is "directed primarily toward equivalence of response rather than equivalence of form". In Nida's opinion, a dynamic equivalent translation must fit the receptor's language and culture in order to make the translated message intelligible and natural to the target language receptors．"A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor tothe  modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message." Nida further perfect his theory in the 1990s. In his book ''Language, Culture and Translating'', he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is "The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it." The Maximal definition of functional equivalence could be stated as "The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did". It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]
 Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence. [(Wang 2002:83), (Newmark 2001:28)]

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 Under the background of globalization, translation has become an important bridge for cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]
-In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So as to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.
+In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So in order to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.
 在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally-loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。

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 文物解说词;文化负载词;翻译等值论;日译技巧;
 ===Introduction===
-Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]
+Under the background of globalization, translation has become an important bridge for cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]
 In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So as to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.

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 ===Abstract===
-Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums, affecting the acceptability of the target text receiver directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research that how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries.
+Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums which affects the acceptability of the target text receivers directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research about how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries.
 ===Key words===