Hist Trans Theo EN 14 - Revision history

Yang Aijiang: /* Chapter 14: History of Chinese Translation Theories from 1919 to 1949 */

2022-01-02T11:29:20Z

Chapter 14: History of Chinese Translation Theories from 1919 to 1949

Yang Aijiang: /* Chapter 14: History of Chinese Translation Theories Raised by the Literary Societies */

2022-01-02T11:04:34Z

Chapter 14: History of Chinese Translation Theories Raised by the Literary Societies

Yang Aijiang: /* Retranslation */

2021-12-16T07:59:51Z

Retranslation

Yang Aijiang: /* Zheng Zhenduo from the Literature Research Academy */

2021-12-16T07:58:41Z

Zheng Zhenduo from the Literature Research Academy

Yang Aijiang: /* Conclusion */

2021-12-16T07:11:10Z

Conclusion

Yang Aijiang: /* Conclusion */

2021-12-16T07:07:16Z

Conclusion

Yang Aijiang: /* Conclusion */

2021-12-16T06:34:32Z

Conclusion

Yang Aijiang: /* Conclusion */

2021-12-16T06:33:49Z

Conclusion

Yang Aijiang: /* The Translators in these Literary Societies */

2021-12-16T06:11:23Z

The Translators in these Literary Societies

Yang Aijiang: /* Chapter 14: History of Chinese Translation Theories from 1919 to 1949 */

2021-12-16T04:36:49Z

Chapter 14: History of Chinese Translation Theories from 1919 to 1949

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 ==Abstract==
-Before and after the May Fourth Movement, there is an unprecedented cultural revolution in the field of ideology and culture, the New Culture Movement. The main purpose of this movement is to enlighten the public and spread advanced idea and culture. Many literary societies are created during this period. The members of these literary societies translate many books which are written in foreign countries. The translation theories are developed gradually in this process. The aim of this paper is to give a systematic analysis about the translation theories raised by those famous writer in the literary societies, such as Lu Xun and Guo Moruo. It is beneficial for us to have a comprehensive understanding about the translation theories from 1911 to 1949.
+Before and after the May Fourth Movement, there is an unprecedented cultural revolution in the field of ideology and culture, the New Culture Movement. The main purpose of this movement is to enlighten the public and spread advanced idea and culture. Many literary societies are created during this period. The members of these literary societies translate many books which are written in foreign countries. The translation theories are developed gradually in this process. The aim of this paper is to give a systematic analysis about the translation theories raised by those famous writer in the literary societies, such as Lu Xun and Guo Moruo. It is beneficial for us to have a comprehensive understanding about the translation theories from 1919 to 1949.
 ==Key Words==
@@ Line 26: / Line 26: @@
 ==摘要==
-在五四运动前后，于思想文化领域曾发生过一场规模空前的文化革命运动，即新文化运动。这场运动以启迪人们，传播先进的文化思想为目的。这场运动中还涌现了许多文学社团。这些文学社团的成员翻译了许多国外著作。在翻译著作的过程中，他们逐渐形成了自己的翻译思想。本论文将系统介绍和分析文学社团成员提出的翻译理论，如鲁迅和郭沫若。我们能更好的了解这些翻译理论。
+在五四运动前后，于思想文化领域曾发生过一场规模空前的文化革命运动，即新文化运动。这场运动以启迪人们，传播先进的文化思想为目的。这场运动中还涌现了许多文学社团。这些文学社团的成员翻译了许多国外著作。在翻译著作的过程中，他们逐渐形成了自己的翻译思想。本论文将系统介绍和分析文学社团成员提出的翻译理论，如鲁迅和郭沫若。本文能让我们对1919年至1949年的翻译理论历史有更深的了解。
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 ====The Purpose and significance of translation====
-In the 1920s, the two major literary societies of Chinese new literature, namely, the Literature Research Academy and the Creation Society, which hold two different literary schools of realism and romanticism respectively, had a debate on translation, especially on the purpose of translation. The Literature Research Academy advocated the translation of 19th century Russian literature, oppressed national literature, and critical realist works of other countries.（The Literature Research Academy advocated to translate critical realist works from other countries of the 19th century, such as Russian literature.） They paid little attention to the famous western classics. Mao Dun who was the main figure of the "Literature Research Academy" said that the translation of Faust and other books was not the most important thing to do at that time. When introducing works to the public, one should evaluate the situation and get one’s priorities right. Earlier, he published a piece titled "Blind Translator", saying that translating western classics is uneconomical. (Tan 2012:77)
+In the 1920s, the two major literary societies of Chinese new literature, namely, the Literature Research Academy and the Creation Society, which hold two different literary schools of realism and romanticism respectively, had a debate on translation, especially on the purpose of translation. The Literature Research Academy advocated the translation of 19th century Russian literature, oppressed national literature, and critical realist works of other countries.They paid little attention to the famous western classics. Mao Dun who was the main figure of the "Literature Research Academy" said that the translation of Faust and other books was not the most important thing to do at that time. When introducing works to the public, one should evaluate the situation and get one’s priorities right. Earlier, he published a piece titled "Blind Translator", saying that translating western classics is uneconomical. (Tan 2012:77)
@@ Line 131: / Line 131: @@
 In nearly half a century of translation activities, he devoted a great deal of his own efforts and translated a large number of works.In the process of translation, he has his own preference. He tends to use free translation when he is translating works. He called his method of translation "Graceful Translation". He thinks such a translation is an ideal one. Graceful translation mainly refers to the elegance of the target text. It requires that the target text should leave space for the readers to taste the text so as to fully understand the meaning hidden behind the text. The requirements of graceful translation are similar to
-the Chinese traditional aesthetic thought of "artistic conception"(意境）. Guo Moruo advocates that translation not only should be readable and elegant, but also should have beauty in form from the aesthetic perspective of translation. (Tan, 2006:133)
+the Chinese traditional aesthetic thought of "artistic conception"（意境）. Guo Moruo advocates that translation not only should be readable and elegant, but also should have beauty in form from the aesthetic perspective of translation. (Tan, 2006:133)
-The term "graceful translation" put forward by Guo Moruo for the first time was in the book "Thoughts expressed in Goethe poems" translated by Dai Tian Han.Guo Moruo said that the life of poetry lied in its charm which was hard to reach. Therefore, the translation of poetry should also put emphasis on its charm. He further explained that if the translation work of poetry caught the charm of the original poem as well as the content and structure of the original poem, this translation work would be wonderful. If it didn't fully show the content of the original poem in order to catch the gracefulness of the original poem, this translation work could still be considered a good translation work.(Yan, 2007:11）
+The term "graceful translation" put forward by Guo Moruo for the first time was in the book "Thoughts expressed in Goethe poems" translated by Dai Tian Han.Guo Moruo said that the life of poetry lied in its charm which was hard to reach. Therefore, the translation of poetry should also put emphasis on its charm. He further explained that if the translation work of poetry caught the charm of the original poem as well as the content and structure of the original poem, this translation work would be wonderful. If it didn't fully show the content of the original poem in order to catch the gracefulness of the original poem, this translation work could still be considered a good translation work.(Yan, 2007:11)
 ====Requirements for the translators====
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-According to Lu Xun, one question that must be answered before writing is which comes first, domesdication or foreignization. A Japanese translator tends to support the former method. He believes that the translation of source text should first be easy to understand. The easier it is to understand, the more effective the translation work will be. Lu Xun holds the opposite opinion. There is no need for the writer to translate if they only pursue the lucidity of the text. Creating a book is much easier to understand. For translation, not only should we transfer the emotion hidden behind the words, but also the translated work should puzzle, at least letting the readers know the time and the place of a specific event, which is very similar to traveling abroad. The translated work should be exotic, which is the so-called foreignization. In fact, there will not be a completely domesticatedtranslation in the world. All translators must take into account both sides, one of course to make it easy to understand, the other meaning the preservation of the original charm. Lu Xun deemed that he would rather not translate smoothly in order to be faithful.(Wang,2004:118)
+According to Lu Xun, one question that must be answered before writing is which comes first, domestication or foreignization. A Japanese translator tends to support the former method. He believes that the translation of source text should first be easy to understand. The easier it is to understand, the more effective the translation work will be. Lu Xun holds the opposite opinion. There is no need for the writer to translate if they only pursue the lucidity of the text. Creating a book is much easier to understand. For translation, not only should we transfer the emotion hidden behind the words, but also the translated work should puzzle, at least letting the readers know the time and the place of a specific event, which is very similar to traveling abroad. The translated work should be exotic, which is the so-called foreignization. In fact, there will not be a completely domesticated translation in the world. All translators must take into account both sides, one of course to make it easy to understand, the other meaning the preservation of the original charm. Lu Xun deemed that he would rather not translate smoothly in order to be faithful.(Wang,2004:118)
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 Influenced by the advanced theories in foreign countries, the early twentieth century brought a new awareness of developing native literary and translation theory in China. The literary societies formed by those students or writers boosted the progress of developing Chinese translation theory significantly.Some central figures in these societies, such as Guo Moruo, Zheng Zhenduo and Luxun, not only play an important role in introducing foreign works, but also enlighten the public through their works. Different translation theories and thoughts raised by the members in these societies act as a catalyst for building Chinese translation theory. The influence of their thoughts even continues to the present day.
-Despite their contributions, Some translation theories put forward by them  are also disapproved by others. As for the "Graceful Translation", Guo Moruo sometimes pays so much attention to the charm of the original text that he neglects the structure of the original text. In other words, some of his translation works are not so faithful. Over emphasizing the faithfulness, Luxun's literal translation would be a little bit similar to rigid translation in his translation work. Some words are not smooth.
+Despite their contributions, some translation theories put forward by them  are also disapproved by others. As for the "Graceful Translation", Guo Moruo sometimes pays so much attention to the charm of the original text that he neglects the structure of the original text. In other words, some of his translation works are not so faithful. Over emphasizing the faithfulness, Luxun's literal translation would be a little bit similar to rigid translation in his translation work. Some sentences are not smooth.
 ==References==

@@ Line 9: / Line 9: @@
 [[Book_projects|Back to translation project overview]] [[DCG-To-Do|Zur To-Do-Liste]]
-=Chapter 14: History of Chinese Translation Theories Raised by the Literary Societies=
+=Chapter 14: History of Chinese Translation Theories from 1919 to 1949=
-中国1919年至1949年翻译理论历史
+中国翻译理论历史-从1919至1949年
 杨爱江 Yang Aijiang,Hunan Normal University, China
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 As mentioned above, what underlies the creation of Weiming Society is an awareness that the writers should translate literary works in foreign countries as much as possible. Therefore, the translation of other foreign works played an important role in the activities of Weiming Society. From 1925 to1930, the members of Weiming Society would at least translate a book. In some years, they published three or four books. Among these books, some were translated completely. And they sometimes only chose a part of the book to translate.  (Zhang, 2011:11)
-==The Translators in these Literary Societies==
+==The Representatives from these Literary Societies==
 ===Guo Moruo from Creation Society===
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 The term "graceful translation" put forward by Guo Moruo for the first time was in the book "Thoughts expressed in Goethe poems" translated by Dai Tian Han.Guo Moruo said that the life of poetry lied in its charm which was hard to reach. Therefore, the translation of poetry should also put emphasis on its charm. He further explained that if the translation work of poetry caught the charm of the original poem as well as the content and structure of the original poem, this translation work would be wonderful. If it didn't fully show the content of the original poem in order to catch the gracefulness of the original poem, this translation work could still be considered a good translation work.(Yan, 2007:11）
-====Requirements of the translators====
+====Requirements for the translators====
 The translator who is responsible for the translation work  plays a central role in the process of translation. The quality of the translation work is totally dependent on the translator. Many scholars voice different views about the role of the translator, and so does Guo Moruo.Guo Moruo attached great importance to the improvement of the translator's ability. He thought that the translator should be highly responsible for his choice of work. It was imperative for the translator to carefully think about the value and influence of the book before deciding which book to translate. In the process of translation, the translator needed to look up extensive literature and consult others if he didn't know how to translate.He wrote that the translator should be a master of using words and understand the original book clearly. Besides, he also needed to study the author thoroughly. The translator should have the ability to use his native language freely to express his ideas. These conditions are not easy to obtain, relying on years of study. The translator should not only study language diligently, but also be familiar with all the local customs of a country.(Wang, 2004:149)

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 ====Retranslation====
-Zheng Zhenduo also expressed his opinion about retranslation which was urgent at that age. People who studied a foreign language were rare at that time because the standard of people's living was very low and they couldn't afford studying a foreign languages. What's worse, most of them specialized in learning English instead of other minority language, which hindered the translation of works in some non-English speaking countries , such as Russia and Gree. As a result, the translation of these works was carried out by virtue of an English version. Zheng Zhenduo once described that, no matter in any country, such complicated and wordy re-translation was rare, but re-translation was very common in Chinese literature under the conditions of China at that time. Many wondered whether it was necessary to retranslate. Zheng Zhenduo deemed that retranslation suggested that retranslation reflected the backwardness of Chinese culture determined by the objective reality condition at that time. So retranslation has its inevitability. Secondly, he believes that retranslation will inevitably produce a definite distance from the original work, but in view of its practical significance, this work would still exist for a long time.(Yang, 2014:18)
+Zheng Zhenduo also expressed his opinion about retranslation which was urgent at that age. People who studied a foreign language were rare at that time because the standard of people's living was very low and they couldn't afford studying a foreign languages. What's worse, most of them specialized in learning English instead of other minority language, which hindered the translation of works in some non-English speaking countries , such as Russia and Gree. As a result, the translation of these works was carried out by virtue of an English version. Zheng Zhenduo once described that, no matter in any country, such complicated and wordy re-translation was rare, but re-translation was very common in Chinese literature under the conditions of China at that time. Many wondered whether it was necessary to retranslate. Zheng Zhenduo deemed that retranslation suggested that retranslation reflected the backwardness of Chinese culture determined by the objective reality condition at that time. So retranslation had its inevitability. Secondly, he believed that retranslation would inevitably produce a definite distance from the original work, but in view of its practical significance, this work would still exist for a long time.(Yang, 2014:18)
 ===Lu Xun from Weiming Society===

← Older revision		Revision as of 07:58, 16 December 2021
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	In 1920s, translation was considered to be of little importance, believing that creation should be put in the first place. The view that "translation is just a matchmaker and what we should make a lot of effort is creation" once dominated the literature circle at that time. Zheng Zhenduo thought totally differently. He wrote an article to highlight the importance of translation. There is no denying that creation is crucial. However, viewing translation as a matchmaker is to belittle the benefits of translation. From the perspective of literature, translation which introduces some renowned foreign literary works is conducive to enriching our traditional literature. For people, it can enhance people's spiritual world. As mentioned above, Zheng Zhenduo further proposes that translating a literary work is like creating a literary work; Both of them should be put great value.(Chen,2002:220)		In 1920s, translation was considered to be of little importance, believing that creation should be put in the first place. The view that "translation is just a matchmaker and what we should make a lot of effort is creation" once dominated the literature circle at that time. Zheng Zhenduo thought totally differently. He wrote an article to highlight the importance of translation. There is no denying that creation is crucial. However, viewing translation as a matchmaker is to belittle the benefits of translation. From the perspective of literature, translation which introduces some renowned foreign literary works is conducive to enriching our traditional literature. For people, it can enhance people's spiritual world. As mentioned above, Zheng Zhenduo further proposes that translating a literary work is like creating a literary work; Both of them should be put great value.(Chen,2002:220)

		+
		+	====Retranslation====
		+
		+	Zheng Zhenduo also expressed his opinion about retranslation which was urgent at that age. People who studied a foreign language were rare at that time because the standard of people's living was very low and they couldn't afford studying a foreign languages. What's worse, most of them specialized in learning English instead of other minority language, which hindered the translation of works in some non-English speaking countries , such as Russia and Gree. As a result, the translation of these works was carried out by virtue of an English version. Zheng Zhenduo once described that, no matter in any country, such complicated and wordy re-translation was rare, but re-translation was very common in Chinese literature under the conditions of China at that time. Many wondered whether it was necessary to retranslate. Zheng Zhenduo deemed that retranslation suggested that retranslation reflected the backwardness of Chinese culture determined by the objective reality condition at that time. So retranslation has its inevitability. Secondly, he believes that retranslation will inevitably produce a definite distance from the original work, but in view of its practical significance, this work would still exist for a long time.(Yang, 2014:18)

	===Lu Xun from Weiming Society===		===Lu Xun from Weiming Society===

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 Influenced by the advanced theories in foreign countries, the early twentieth century brought a new awareness of developing native literary and translation theory in China. The literary societies formed by those students or writers boosted the progress of developing Chinese translation theory significantly.Some central figures in these societies, such as Guo Moruo, Zheng Zhenduo and Luxun, not only play an important role in introducing foreign works, but also enlighten the public through their works. Different translation theories and thoughts raised by the members in these societies act as a catalyst for building Chinese translation theory. The influence of their thoughts even continues to the present day.
-Despite their contributions, Some translation theories put forward by them  are also disapproved by others. As for the "Graceful Translation", Guo Moruo sometimes pays so much attention to the charm of the original text that he neglects the structure of the original text. In other words, some of his translation works is not so faithful. Over emphasizing the faithfulness, Luxun's literal translation would be a little bit similar to rigid translation in his translation work. Some words are not smooth.
+Despite their contributions, Some translation theories put forward by them  are also disapproved by others. As for the "Graceful Translation", Guo Moruo sometimes pays so much attention to the charm of the original text that he neglects the structure of the original text. In other words, some of his translation works are not so faithful. Over emphasizing the faithfulness, Luxun's literal translation would be a little bit similar to rigid translation in his translation work. Some words are not smooth.
 ==References==

← Older revision		Revision as of 07:07, 16 December 2021
Line 171:		Line 171:

	Influenced by the advanced theories in foreign countries, the early twentieth century brought a new awareness of developing native literary and translation theory in China. The literary societies formed by those students or writers boosted the progress of developing Chinese translation theory significantly.Some central figures in these societies, such as Guo Moruo, Zheng Zhenduo and Luxun, not only play an important role in introducing foreign works, but also enlighten the public through their works. Different translation theories and thoughts raised by the members in these societies act as a catalyst for building Chinese translation theory. The influence of their thoughts even continues to the present day.		Influenced by the advanced theories in foreign countries, the early twentieth century brought a new awareness of developing native literary and translation theory in China. The literary societies formed by those students or writers boosted the progress of developing Chinese translation theory significantly.Some central figures in these societies, such as Guo Moruo, Zheng Zhenduo and Luxun, not only play an important role in introducing foreign works, but also enlighten the public through their works. Different translation theories and thoughts raised by the members in these societies act as a catalyst for building Chinese translation theory. The influence of their thoughts even continues to the present day.
		+
		+	Despite their contributions, Some translation theories put forward by them are also disapproved by others. As for the "Graceful Translation", Guo Moruo sometimes pays so much attention to the charm of the original text that he neglects the structure of the original text. In other words, some of his translation works is not so faithful. Over emphasizing the faithfulness, Luxun's literal translation would be a little bit similar to rigid translation in his translation work. Some words are not smooth.

	==References==		==References==

@@ Line 170: / Line 170: @@
 ==Conclusion==
-The early twentieth century brought a new awareness of promoting foreign literary theories in China. Guo Moruo, Zheng Zhenduo and Luxun, the central figures in the creation of literary societies, not only play an important role in introducing foreign literary theories and works, but also make great contributions to the development of translation. During the process of translating books, they gradually formed their own translation theories.
+Influenced by the advanced theories in foreign countries, the early twentieth century brought a new awareness of developing native literary and translation theory in China. The literary societies formed by those students or writers boosted the progress of developing Chinese translation theory significantly.Some central figures in these societies, such as Guo Moruo, Zheng Zhenduo and Luxun, not only play an important role in introducing foreign works, but also enlighten the public through their works.
 ==References==

@@ Line 128: / Line 128: @@
-====Graceful translation====
+====Graceful translation (风韵译）====
-In nearly half a century of translation activities, he devoted a great deal of his own efforts and translated a large number of works. He called his method of translation "Graceful Translation". He thinks such a translation is an ideal one.
+In nearly half a century of translation activities, he devoted a great deal of his own efforts and translated a large number of works.In the process of translation, he has his own preference. He tends to use free translation when he is translating works. He called his method of translation "Graceful Translation". He thinks such a translation is an ideal one. Graceful translation mainly refers to the elegance of the target text. It requires that the target text should leave space for the readers to taste the text so as to fully understand the meaning hidden behind the text. The requirements of graceful translation are similar to
-He wrote:
+The term "graceful translation" put forward by Guo Moruo for the first time was in the book "Thoughts expressed in Goethe poems" translated by Dai Tian Han.Guo Moruo said that the life of poetry lied in its charm which was hard to reach. Therefore, the translation of poetry should also put emphasis on its charm. He further explained that if the translation work of poetry caught the charm of the original poem as well as the content and structure of the original poem, this translation work would be wonderful. If it didn't fully show the content of the original poem in order to catch the gracefulness of the original poem, this translation work could still be considered a good translation work.(Yan, 2007:11）
-“ We believe that the ideal translation must not deviate from the original words, the meaning of the original and especially must hold the spirit of the original.The words of the original text should be kept. But there should be no need to translate word for word. Either before or after, it can be freely transferred for the sake of “Gracefulness” to the extent that it does not damage the meaning. In order to keep the words, meaning and gracefulness of the original text, it needs the following conditions:(1) the translator should be a master of using words. (2)understand the original book clearly, (3) to study the author, (4) have the ability to use the native language freely to express his ideas. Of course, these conditions are not easy to obtain, relying on years of study. Not only should we study language diligently, but we should be familiar with all the local customs of a country; We should dabble in the knowledge mentioned in the original book; It is necessary for us to know the life of the author.(Wang, 2004:149)