Hist Trans Theo EN 1 - Revision history

Li Ruiyang at 13:02, 29 December 2021

2021-12-29T13:02:47Z

Li Ruiyang: /* Chapter 12 A Brief Introduction of Contemporary Chinese Translation Theories--from 1949 to Present */

2021-12-15T14:54:25Z

Chapter 12 A Brief Introduction of Contemporary Chinese Translation Theories--from 1949 to Present

Li Ruiyang: /* Chapter 12 A Brief Introduction of Contemporary Chinese Translation Theories--from 1949 to Present */

2021-12-15T14:53:07Z

Chapter 12 A Brief Introduction of Contemporary Chinese Translation Theories--from 1949 to Present

Li Ruiyang: /* Chapter 12 A Brief Introduction of Contemporary Chinese Translation Theories--from 1949 to Present */

2021-12-15T14:46:47Z

Chapter 12 A Brief Introduction of Contemporary Chinese Translation Theories--from 1949 to Present

Li Ruiyang: /* References */

2021-12-15T14:42:16Z

References

Chen Xinyi: /* 关键词 */

2021-12-15T14:38:45Z

关键词

Chen Xinyi: /* References */

2021-12-15T14:37:18Z

References

Chen Xinyi: /* 4.2 Future Study */

2021-12-15T14:36:09Z

4.2 Future Study

Li Ruiyang at 14:35, 15 December 2021

2021-12-15T14:35:38Z

Li Ruiyang: /* Abstract */

2021-12-15T14:33:59Z

Abstract

← Older revision		Revision as of 13:02, 29 December 2021
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	Xu Yuanchong’ s “creation of beauty as in rivalry” also shows its limitations of being not universally applicable due to its excessive translation requirements and lack of theoretical arguments. For one thing, Xu advocates to take advantage of the target language, but there is no superiority or inferiority of one language over another. It is impossible to find quantitative criteria to judge the superiority of the original work and the translation. For another, to what extent can the translator surpass the the original author? Although literary translation is the re-creation of the original work, the translator cannot, overstep the scope of translation. What’s more, it also involves many problems such as the translator's personal literary cultivation and translation ethics. which may apply to literary translators who have profound literary knowledge, high responsibility for spreading one’s own culture and have the goal of making great achievements in literary translation. (Wang, 2010: 106)		Xu Yuanchong’ s “creation of beauty as in rivalry” also shows its limitations of being not universally applicable due to its excessive translation requirements and lack of theoretical arguments. For one thing, Xu advocates to take advantage of the target language, but there is no superiority or inferiority of one language over another. It is impossible to find quantitative criteria to judge the superiority of the original work and the translation. For another, to what extent can the translator surpass the the original author? Although literary translation is the re-creation of the original work, the translator cannot, overstep the scope of translation. What’s more, it also involves many problems such as the translator's personal literary cultivation and translation ethics. which may apply to literary translators who have profound literary knowledge, high responsibility for spreading one’s own culture and have the goal of making great achievements in literary translation. (Wang, 2010: 106)
		+
		+	===4.2 Future Study===
		+	Reviewing the development history of translation theories in contemporary China, both setbacks and achievements have been experienced. Chinese translation theories share a common framework, set in the Chinese background and start in a typical Chinese way. With a shift to "multicultural dialogue" and "interculturality" in the era of globalization, these aesthetic theories with national cultural characteristics will become the driving force for the advancement of Chinese translation aesthetics. Aesthetics is a reflection of culture, in which knowledge and information can be transmitted, but sentiment is hard to be perceived. Contemporary translation aesthetics should expand its research theoretical system and increase the exploration of interdisciplinary levels such as translation cultural aesthetics, translation cognitive aesthetics, translation communicative aesthetics, translation pragmatic aesthetics, etc. The construction of Chinese translation aesthetics theories should must be rooted in its own characteristic cultural soil, and draw nutrients from other national aesthetics theories.
		+
		+

	==References==		==References==

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 李瑞洋 Li Ruiyang, Hunan Normal University, China
 ==Abstract==
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 ==4. Conclusion==
 ===4.1 Limitations===
 A series of the translation views mentioned in above actually are not the established theories. Since these views hardly set up an organized and complete system, they can not be called the translation theories, such as Yan Fu's translation criteria, Fu Lei's "spirit likeness", and Qian Zhongshu’s "sublimation".

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 =Chapter 12 A Brief Introduction of Contemporary Chinese Translation Theories--from 1949 to Present =
 当代中国翻译理论简史（1949至今）
-Li Ruiyang 李瑞洋 “Hunan Normal University, China”
+'''当代中国翻译理论简史（1949至今）'''
 ==Abstract==

← Older revision		Revision as of 14:46, 15 December 2021
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	=Chapter 12 A Brief Introduction of Contemporary Chinese Translation Theories--from 1949 to Present =		=Chapter 12 A Brief Introduction of Contemporary Chinese Translation Theories--from 1949 to Present =
		+	当代中国翻译理论简史（1949至今）
	Li Ruiyang 李瑞洋 “Hunan Normal University, China”		Li Ruiyang 李瑞洋 “Hunan Normal University, China”

← Older revision		Revision as of 14:42, 15 December 2021
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−	--[[User:Li Ruiyang\|Li Ruiyang]] ([[User talk:Li Ruiyang\|talk]]) 15:18, 8 December 2021 (UTC)--[[User:Li Ruiyang\|Li Ruiyang]] ([[User talk:Li Ruiyang\|talk]]) 12:34, 13 December 2021 (UTC)	+	--[[User:Li Ruiyang\|Li Ruiyang]] ([[User talk:Li Ruiyang\|talk]]) 15:18, 8 December 2021 (UTC)--[[User:Li Ruiyang\|Li Ruiyang]] ([[User talk:Li Ruiyang\|talk]]) 12:34, 13 December 2021 (UTC)--[[User:Li Ruiyang\|Li Ruiyang]] ([[User talk:Li Ruiyang\|talk]]) 14:42, 15 December 2021 (UTC)

@@ Line 22: / Line 22: @@
 ==关键词==
-翻译理论；翻译标准；翻译美学；传统基础
+中国翻译理论；翻译标准；翻译美学；传统基础
 ==1. Introduction==

← Older revision		Revision as of 14:37, 15 December 2021
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	--[[User:Li Ruiyang\|Li Ruiyang]] ([[User talk:Li Ruiyang\|talk]]) 15:18, 8 December 2021 (UTC)--[[User:Li Ruiyang\|Li Ruiyang]] ([[User talk:Li Ruiyang\|talk]]) 12:34, 13 December 2021 (UTC)		--[[User:Li Ruiyang\|Li Ruiyang]] ([[User talk:Li Ruiyang\|talk]]) 15:18, 8 December 2021 (UTC)--[[User:Li Ruiyang\|Li Ruiyang]] ([[User talk:Li Ruiyang\|talk]]) 12:34, 13 December 2021 (UTC)
−
−	~~==References==~~
−	~~陈西滢 Chen Xiying. 1929. 论翻译 On Translation. 翻译通讯.[J] Translation Journal. 135-143.~~
−
−	~~程永生 Cheng Yongsheng. 2001. 描写交际翻译学 Descriptive Interaction Translation Studies.[M] 合肥：安徽大学出版社. Hefei: Anhui University Press.~~
−
−	~~Chinese Translation Dictionary Editorial Committe. 中国翻译词典编辑委员会(1997).~~
−
−	~~中国翻译词典 Chinese Translation Dictionary. 武汉：湖北教育出版社. Wuhan: Hubei Education Publishing House.~~
−
−	~~方梦之 Fang Mengzhi. 2004.译学辞典 Dictionary of Translation Studies. 上海：上海外语教育出版社. Shanghai: Shanghai Foreign Language Education Press.~~
−
−	~~傅雷 Fu Lei. 2005. 高老头 Le Pere Goriot. 沈阳：辽宁教育出版社. Shenyang: Liaoning Education Press.~~
−
−	~~韩昆 Han Kun. 2009. 论许渊冲的翻译美学思想 On Xu Yuanchong's Aesthetic Thought on Translation. 上海外国语大学硕士论文. Shanghai: Shanghai International Studies University.~~
−
−	~~金圣华 Jin Shenghua. 1996. 傅雷与他的世界 Fu Lei and His Own World. 上海：三联书店. Shanghai: Joint Publishing Company.~~
−
−	~~罗新璋 Luo Xinzhang. 1984. 翻译论集 Collection of Translation Studies. 北京：商务印书局. Beijing: The Commercial Press.~~
−
−	~~罗新璋 Luo Xinzhang. 1984. 我国自成体系的翻译理论 Self-contained Translation Theories in China. 北京：商务印书. Beijing: The Commercial Press.~~
−
−	~~马祖毅 Ma Zuyi. 1981. 伟大的翻译家严复 Great Translator-Yan Fu. 翻译通讯. Translation Journal.~~
−
−	王厚平 Wang Houping. 2010. 美学视角下的文学翻译艺术研究. Research on the Art of Literary Translation from the Perspective of Aesthetics. 博士论文：上海外国语大学. Doctoral Dissertation: Shanghai International Studies University.
−
−	~~王佐良 Wang Zuoliang. 1997. 王佐良文集 Collected Works of Wang Zuoliang. 北京：外语教学与研究出版社. Beijing: Foreign Language Teaching and Research Press.~~
−
−	~~彭长江 Peng Changjiang. 2019. 英汉-汉英翻译教程 English-Chinese and Chinese-English Translation Course . 长沙：湖南师范大学出版社. Changsha: Hunan Normal University Press.~~
−
−	~~沈苏儒 Shen Suru. 1998. 论信达雅——严复翻译理论研究 Studies on Yan Fu’ s Translation View. 北京：商务印书局. Beijing: The Commercial Press.~~
−
−	Translators Association of China. (1984). 中国译协等编，翻译研究论文集（1949——1983）Collection of Translation Studies (1949-1983). 北京：外语教育与研究出版社：Beijing: Foreign Language Teaching and Research Press.
−
−	~~谢天振 Xie Tianahen. 2005. 译介学 Translation Studies. 上海：上海外语教育出版社. Shanghai：Shanghai Foreign Language Education Press.~~
−
−	~~许渊冲 Xu Yuanchong. 1984. 翻译的标准 Translation Criteria. Beijing: Peking University Press.~~
−
−	~~许渊冲 Xu Yuanchong. 2003. 翻译的哲学 Philosophy of Translation. 北京：北京大学出版社. Beijing: Peking University Press.~~
−
−	~~许渊冲 Xu Yuanchong. 2003. 文学与翻译Literature and Translation. 北京：北京大学出版社. Beijing: Peking University Press.~~
−
−	~~许渊冲 Xu Yuanchong. 2006. 翻译的艺术 Art of Translation. 北京：五洲传播出版社. Beijing: Wuzhou Communication Press.~~
−
−	许渊冲、许钧 Xu Yuanchong, Xu Jun. 2001.翻译：“美化之艺术”——新旧世纪交谈录 Translation: "The Art of Beautification"-Conversations between the Old and New Centuries. 南京：译林出版社. Nanjing: Yilin Publishing House.
−
−	~~郑海凌 Zheng Hailing. 2000.中国当代翻译学说 Chinese Contemporary Translation Theory. 郑州：文心出版社. Zhengzhou: Wenxin Publishing House.~~

← Older revision		Revision as of 14:36, 15 December 2021
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	Xu Yuanchong’ s “creation of beauty as in rivalry” also shows its limitations of being not universally applicable due to its excessive translation requirements and lack of theoretical arguments. For one thing, Xu advocates to take advantage of the target language, but there is no superiority or inferiority of one language over another. It is impossible to find quantitative criteria to judge the superiority of the original work and the translation. For another, to what extent can the translator surpass the the original author? Although literary translation is the re-creation of the original work, the translator cannot, overstep the scope of translation. What’s more, it also involves many problems such as the translator's personal literary cultivation and translation ethics. which may apply to literary translators who have profound literary knowledge, high responsibility for spreading one’s own culture and have the goal of making great achievements in literary translation. (Wang, 2010: 106)		Xu Yuanchong’ s “creation of beauty as in rivalry” also shows its limitations of being not universally applicable due to its excessive translation requirements and lack of theoretical arguments. For one thing, Xu advocates to take advantage of the target language, but there is no superiority or inferiority of one language over another. It is impossible to find quantitative criteria to judge the superiority of the original work and the translation. For another, to what extent can the translator surpass the the original author? Although literary translation is the re-creation of the original work, the translator cannot, overstep the scope of translation. What’s more, it also involves many problems such as the translator's personal literary cultivation and translation ethics. which may apply to literary translators who have profound literary knowledge, high responsibility for spreading one’s own culture and have the goal of making great achievements in literary translation. (Wang, 2010: 106)
−
−	~~===4.2 Future Study===~~
−	Reviewing the development history of translation theories in contemporary China, both setbacks and achievements have been experienced. Chinese translation theories share a common framework, set in the Chinese background and start in a typical Chinese way. With a shift to "multicultural dialogue" and "interculturality" in the era of globalization, these aesthetic theories with national cultural characteristics will become the driving force for the advancement of Chinese translation aesthetics. Aesthetics is a reflection of culture, in which knowledge and information can be transmitted, but sentiment is hard to be perceived. Contemporary translation aesthetics should expand its research theoretical system and increase the exploration of interdisciplinary levels such as translation cultural aesthetics, translation cognitive aesthetics, translation communicative aesthetics, translation pragmatic aesthetics, etc. The construction of Chinese translation aesthetics theories should must be rooted in its own characteristic cultural soil, and draw nutrients from other national aesthetics theories.

	==References==		==References==

@@ Line 14: / Line 14: @@
 ==Abstract==
 Chinese translation theories develop themselves on the grounds of traditional translation views and literary aesthetics. In contemporary China, translation is considered as an art which is actually an embodiment of translation and aesthetic. Aiming to clarify the development of contemporary Chinese translation studies, this paper first summarizes the changes in translation standards, that is, the pure critique,improvements and reinterpretation of the three-character translation standards by Chinese translators in the late twentieth century; then, it reviews the translation studies of Fu Lei, Qian Zhongshu and Xu Yuanchong in recent years and analyzes the aesthetic connotation in them. Meanwhile, this paper briefly states the limitations and expectations of future study, hoping to provide some useful suggestions for better enhancement.
 ==摘要==
 中国学派的翻译理论深深根植于本国的文化土壤之中,  它实际上是在传统翻译观和文学美学的基础上发展起来的。在当代中国，翻译被认为是一种艺术，是翻译和审美的体现。为了厘清当代中国翻译研究的发展，本文首先总结了翻译标准的变化，即二十世纪后中国翻译家们对三字翻译标准的纯粹批判、修正和重新阐释；接着，回顾了近年来傅雷、钱钟书以及许渊冲看似一脉相承的翻译理论，分析了其中的传统继承和美学内涵。同时，本文简要说明了中国现存翻译理论的局限性和对未来研究的期望，希望能提供一些有益的建议，以便更好地提高翻译研究水平。
 ==关键词==
@@ Line 208: / Line 208: @@
 郑海凌 Zheng Hailing. 2000.中国当代翻译学说 Chinese Contemporary Translation Theory. 郑州：文心出版社. Zhengzhou: Wenxin Publishing House.