Cult Turn EN 6

The Cultural Turn

Overview Page of The Cultural Turn

Chapter 6: On Translation Strategies of Su Shi's Poetry from the Perspective of Cultural Turn Theory

文化转向视角下苏轼诗词的英译策略研究

黄逸妍 Huang Yiyan，Hunan Normal University，China

Abstract

Poetry is an important carrier of Chinese culture. It is the translator's mission to disseminate Chinese classical poetry. Su Shi was a literary leader in the middle of the Northern Song Dynasty, who made great achievements in poetry, prose, calligraphy and painting. However, few scholars have paid attention to the cultural aspect of translation of Su Shi's poetry . Based on the theory of cultural turn, this paper analyzes and discovers the factors that influence the target readers' understanding of Chinese culture and the transmission of Chinese culture in the translation of classical poetry -- cultural default and cultural difference. Under the guidance of this theory, the author finds that the combination of literal translation and free translation, the coordination of domestication and foreignization, cultural borrowing and cultural substitution can promote the target readers' understanding of Chinese poetry as well as the dissemination of Chinese culture.

Key Words

Cultural Turn, Translation Strategies, Su Shi's Poetry

摘要

诗歌是我国文化的重要载体，具有浓厚的中华文化底蕴；传播中国古典诗歌是译者的使命。作为北宋中期文坛领袖，苏轼在诗、词、散文、书、画等方面都颇有建树。但对于苏轼诗歌英译的研究，鲜少有学者关注到文化层面。本文以文化转向理论为基础，分析并发现了英译古典诗歌中影响目标读者理解或影响中国文化传播的因素——文化缺省和文化差异。在文化转向理论的指导下，作者发现直译意译相结合、归化异化相协调、文化借用和文化替代能够很好地改善由文化缺省和文化差异带来的理解障碍，在促进目标读者对于中国诗歌理解的同时也促进的中国文化的传播。

关键词

文化转向；翻译策略；苏轼诗词

Introduction

This chapter introduces the background, purpose, approach, significance of the study and the structure of this paper.

Background

In a long time, translation studies have been conducted in terms of comparative linguistics, comparative literature and cultural study. (Wang Ning, 2009:8) Traditional translation studies have always been dominated by language-centrism mode. With the belief that translation is just a conversion between two languages, the translators have to be faithful to the original text and express the meaning in the target language in a fluent and elaborate way. However, as the effects of globalization spread continuously, more attention is paid to the cultural aspect of translation. Susan Bassnett put forward the concept of “cultural turn” in 1990 and believed that translation shouldn’t be confined to transfer of language but incorporate the cultural factor as a whole.(Susan Bassnett, 1990:3) Susan Bassnett held that “translation studies is(are corrected by--Jin Xiaotong (talk) 13:17, 13 December 2021 (UTC)) not merely a minor branch of comparative literary study, not yet a specific area of linguistics, but a vastly complex field with many far-reaching ramifications”(Bassnett, 1980:1), and she believed that “the process of translation involves a whole set of extra-linguistic criteria”(Bassnett, 1980:13). Susan Bassnett pointed out that language was the heart within the body of culture. She compared the surgery operated by surgeon to the translation performed by translator and she said “In the same way that the surgeon, operating on the heart, cannot neglect the body that surrounds it, so the translator treats the text in isolation from the culture at his peril”(Bassnett, 1980:14). Later, in 1990, Susan Bassnett further illustrated her theory of culture translation in the book Translation, History, and Culture in which she put forward four suggestions: Firstly, translation are supposed to be conducted with culture as the translation unit and should not linger on the discourse level all the time; Secondly, translation is not a simple process of decoding and re-coding but an activity of communication; Thirdly, translation should be considered as the functional equivalence in the culture of target language rather than be confined as the description of source text; Fourthly, different methods and principles should be applied in different situations in order to achieve different communication goals and needs.

In this paragraphy,I think the author could introduce some opinions of other representative personages such as Lefevere.(corrected by --Jin Xiaotong (talk) 13:17, 13 December 2021 (UTC))

Research Objective and Significance

This research collects translation materials from Selected Poems of Li Bai translated by XU Yuanchong, one of the most famous translators in China. According to Bassnett, translation shouldn’t be confined to transfer of language but incorporate the cultural factor as a whole.(Susan Bassnett, 1990:3)Under the instruction of cultural turn theory, this study aims at figuring out the effects of different translation strategies. The research also explores the practical implication by analyzing XU’s application of translation strategies and thus help us express our culture better. As far as practical significance is concerned, this study serves to provide an appreciation on XU’s translation of LI Bai’s poems from the perspective of cultural turn. What’s more important, it also supplies some implication to the translators about expressing, translating and spreading our Chinese culture to the world. Therefore, to some degree, this study will contribute to the spreading, expanding and enriching of Chinese culture. As for the significance in theory, on the one hand, this study verifies the analytical potential of cultural theory and the value of this theory employed in translation.

Research Method

The researcher reads the book Selected Poems of Li Bai. In this process, the researcher writes down the translation containing the employment of translation strategy which is a result of cultural difference. Descriptive qualitative analysis method refers to a way to study a thing by describing the attributes of the thing and focusing on the features of the thing. This method is employed in describing and analyzing the effects from using different strategies.

Literature Review

This part presents the results of other researchers’ studies on the subject at home and abroad.

Studies Abroad

Since the 1960s, traditional aesthetic and linguistic method in translation studies have been doubted while translation study in cultural aspect has developed. The “cultural turn” began with the focus on culture by the cultural school. And the study of cultural school can be roughly divided into the stage of culturalism in the 1960s, the structuralism in the 1970s and the post-structuralism.The culturalism expanded the meaning of culture and changes it from elite culture to mass culture. Structuralism turned to discuss the relationship between text and hegemony and the post-structuralism focuses on cultural diversity.(Zeng Wenxiong,2006:45)

In 1990, Bassnett wrote in collaboration with Lefevere and put forward the concept of “cultural turn”officially in their book. Later, both of them published monographs and collected papers to further illustrate their ideas about cultural turn. Andre Lefevere regarded translation as a form of writing.(Andre Lefevere, 1992:9) And in the book Translation, Rewriting and the Manipulating of Literary Fame, Lefevere tried to demonstrate how rewriting including influences the acceptance and canonization progress of literary works. In his later book, Lefevere pointed out the four elements of translation studies, namely, ideology, poetics, universe of discourse and language.(Andre Lefevere, 1992:87) In Susan Bassnett’s opinion, Translators should carry out translation in a specific cultural context and should never translate in isolation from cultural background.(Susan Bassnett, 2004:23) The aim of translation was to make readers from two or more cultural backgrounds communicate while the exchange of information should take second place.(Susan Bassnett, 2004:15) According to this book, Bassnett believed that different translation methods and strategies should be adopted when it comes to different cultural context. For example, when the original text is descriptive or technological,the translator ought to employ literal translation.(Susan Bassnett, 2004:26) As for the standard of translation, Bassnett argued that there is no single criterion for translation evaluation. When evaluating we are supposed to judge the translation according to whether it can meet the needs of service object.(Susan Bassnett, 2004:16)

I think the author could note in which books these characters are writing their ideas.(corrected by--Jin Xiaotong (talk) 13:22, 13 December 2021 (UTC))

Studies At Home

In China, the study of cultural translation started relatively late. In 1984, Wang Zuoliang published a paper entitled Cultural Comparison in Translation which initiated the study of cultural translation study in China. On he whole, the topics of theses are no longer limited to the interpretation of literary works and the research perspectives are increasingly diversified, which shows the deepening and systematic study in this field.(Sun Yu, 2017:13) In 2006, ZENG pointed out that the cultural turn tends to break away from the ontological study of traditional translation view. In fact, the cultural school has not developed a universal translation theory to describe the translation process reasonably. He argued that cultural turn is only an important aspect and should not be the whole of translation studies. With the reflection of cultural turn, it is necessary to make clear the task of translation studies, update the concept of translation studies and promote the construction of translation studies. Xie has contributed to the update of cultural turn theory in China.In 2012, he introduced the notion “Translation is always a sort of creative treason” put forward by French sociologist Robert Escarpit and he illustrated the significance and value of this notion,based on his analysis of the relevant theories and the theoretical connotations of the notion.(Xie Tianzheng, 2012:1)

Part of the articles analyzed the relationship between cultural translation and promotion of Chinese culture going out. HU Anjiang analyzed the hardships and acceptance of spread of Chinese culture overseas. He pointed out two issues that the translator tended to ignore, that is, principles of translation pattern selection and strategies of rational choice.

Analysis of Translation from the Perspective of Cultural Turn Theory

This chapter mainly discusses the effects of translation strategies applied in the translation of Su Shi’s poems.

Cultural Default and Translation Strategies

Cultural default is defined as “absences of relevant cultural background knowledge shared by the author and his intended readers”. Bassnett holds that translation is the communication between and inside cultures. The equivalence of translation is the cultural functional equivalence between the source text (ST) and the target text (TT).(Bassnett and Lefevere, 1990:8) Therefore, it is necessary to investigate how to effect translation strategies on cultural level.

Literal Translation and Free Translation

Literal translation refers to a method to render of text from one language to another by following closely the form of the source language.(Shuttleworth, M &Cowie,2004:48) Literal translation requires translators to translate a sentence originally, keep the original message form, including construction of sentence, meaning of the original words, rhetoric of the original and so on. Besides, literal translation shall provide fluent and accurate translation that is easily comprehended by the readers of the target language.

Free translation is a method to deliver the intended meaning of the source text without paying attention to details such as syntax, style and so on of the original text. (Shuttleworth, M &Cowie,2004:48)Free translation is suitable in case the translation is difficult to be understood or accepted by the readers or the translation seems not as attractive or powerful as the original text by approach of literal translation.

Literal translation helps keep the original style of source text because the original elements conveying the author’s attitudes such as words, syntax, metaphors and so on are maintained to some extent.(Shuttleworth, M &Cowie,2004:54) While free translation is employed when it is difficult to find cultural equivalent in the target language. In such kind of situation, what the author wants to express is transformed into linguistic elements of the target culture so that the intended readers are able to understand the meaning of original text.

Example 1: SL: 江城子· 密州出猎 老夫聊发少年狂，左牵黄，右擎苍。锦帽貂裘，千骑卷平冈。为报倾城随太守，亲射虎，看孙郎。 酒酣胸胆尚开张，鬓微霜，又何妨？持节云中，何日遣冯唐？会挽雕弓如满月，西北望，射天狼。

TL: Riverside Town Hunting at Mizhou Rejuvenated , my fiery zeal I display : Left hand leashing a yellow hound , On the right wrist a falcon gray . A thousand silk-capped and sable-coated horsemen sweep Across the rising ground And hillocks steep . Townspeople come out of the city gate To watch the tiger-hunting magistrate . Heart gladdened with strong wine , who cares For a few frosted hairs ? When will the imperial court send Me as envoy with flags and banners ? Then I”ll bend My bowl like a full moon , and aiming northwest , I Will shoot down the wolf from the sky. (Xu Yuanchong,2007:100)

This poem was written in 1075 when Su Shi was sent to Mizhou.(Xu Yuanchong,2007:100) In this poem, the poet expressed his strong desire and resolve to contribute to his country by fighting against the enemy and protecting common people from being destitute and homeless. The first sentence explains the reason of hunting -- great aspiration; the second sentence describes the costume of hunters and the grand occasion; the third sentence expresses the poet’s decision to hunt a tiger in recognition of the kindness of the army and civilians throughout the city. In the second part, the poet depicts the the grand after-hunt drinking scene and compares himself to Wei Shang, a local official with an outstanding contribution, and expresses his hope that he will be able to undertake the task of defending the border.

The original words “锦帽貂裘” is translated into “silk-capped and sable-coated” and “天狼” into “the wolf from the sky”. Undoubtedly, literal translation is used because the original words correspond to the translated ones. The unique characteristics of Chinese cultural dress like silk fabric are maintained, which enables the target readers to know more about Chinese culture. Actually, “天狼” is the name of a constellation, here it is a metaphor which refers to another country frequently violating the poet’s country. To make target readers comprehend the poem without cultural barrier, the translator uses “the wolf from the sky” , which represents a literal translation strategy.

Example 2: SL: 水调歌头·明月几时有 丙辰中秋，欢饮达旦，大醉，作此篇，兼怀子由。 明月几时有？把酒问青天。不知天上宫阙，今夕是何年？我欲乘风归去，又恐琼楼玉宇，高处不胜寒。起舞弄清影，何似在人间？ 转朱阁，低绮户，照无眠。不应有恨，何事长向别时圆？人有悲欢离合，月有阴晴圆缺，此事古难全。但愿人长久，千里共婵娟。

TL: Prelude to Water Melody Sent to Ziyou on Mid- autumn Festival On the mid-autumn festival , I drank happily till dawn and wrote this in my cups while thinking of Ziyou . When did the bright moon first appear ? Wine-cup in hand , I ask the blue sky . I do not know what time of year It would be tonight in the palace on high . Riding the wind , there I would fly , But l’ m afraid the crystalline palace would be Too high and too cold for me · I rise and dance , with my shadow I play . On high as on earth , would it be as gay? The moon goes round the mansions red With gauze windows to shed Her light upon the sleepless bed . Against man she should not have any spite . Why then when people part is she oft full and bright ? Men have sorrow and joy , they part and meet again ; The moon may be bright or dim , she may wax or wane · There has been nothing perfect since olden days . So let us wish that man live as long as he can ! Though miles apart，we’ll share the beauty she displays. (Xu Yuanchong,2007:104)

In the first part, the poet imagined the scene on the moon and guesses that the moon may be too cold to live on. The second part describes how the moon shed its light and compares man’s sorrow and joy and parting and meeting to moon’s being bright and dim and waxing and waning. Written in 1076, the poem records the poet’s imagination and thinking about the moon on Mid-Autumn festival and the philosophical pursuit of life. (Xu Yuanchong,2007:104)Besides, this poem not only expresses the poet's good wishes to loved ones, but also expresses his broad-minded and detached view of optimism in the frustrating official career.

The last sentence of the first part “起舞弄清影，何似在人间” depicts the scene when the poet dance under the moon and he thinks that the temperature on the moon is too low so he would like live on the earth. (Xu Yuanchong,2007:104)In the translation, Mr. Xu translates it into “On high as on earth , would it be as gay?”. Obviously, he changes what the poet expresses in the original text. Instead, he explores the deeper reason why Su Shi prefers to live on earth -- there is worldly joy that can not be copied on the moon. According to the comparison, the fact can be detected that free translation strategy is employed to convey the poet’s authentic feeling and to enable target readers to empathize with the original poem. What’s more, in example 1, there is also free translation strategy. The words “孙郎” and “冯唐” refer to two persons in Chinese history. “孙郎” is Sun Quan in the three kingdoms period who hunted a tiger while “冯唐” is an envoy who contributed greatly to the peace between two countries. Translator does not use word-for-word translation and he remove the allusion in the original text and expresses them in a comprehensible way.

Conclusion then can be drawn that separation of literal translation and free translation is impossible or unreasonable. Combination of literal and free translation avoids obscure expression caused by cultural default and meanwhile transfers source language culture and makes target language readers feel the same as source language readers.

Domestication and Foreignization

Domestication and foreignization are two translation strategies and they deal mainly with the extent to which a translator makes a text observe the cultural norms and values of the target language and culture.(Shuttleworth, M &Cowie,2004:63) Domestication and Foreignization are a pair of opposites. Domestication is the strategy of making a text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text so as to focus on the target audience. Foreignization is based on retaining the culture-specific items of the original, accommodating the translation to source language and absorbing the exotic expression of source language.

Example 3: SL: 定风波 三月七日，沙湖道中遇雨。雨具先去，同行皆狼狈，余独不觉，已而遂晴，故作此词。 莫听穿林打叶声，何妨吟啸且徐行。竹杖芒鞋轻胜马，谁怕？一蓑烟雨任平生。 料峭春风吹酒醒，微冷，山头斜照却相迎。回首向来萧瑟处，归去，也无风雨也无晴。

TL: Calming the Waves Caught in Rain on My Way to the Sandy Lake On the 7th day of the 3rd month we were caught in rain on our way to the Sandy Lake . The umbrellas had gone ahead , my companions were quite downhearted , but I took no notice. It soon cleared , and I wrote this. Listen not to the rain beating against the trees . I had better walk slowly while chanting at ease . Better than a saddle I like sandals and cane . I’d fain , In a straw cloak , spend my life in mist and rain . Drunken, I am sobered by the vernal wind shrill And rather chill . In front , I see the slanting sun atop the hill ; Turning my head , I see the dreary beaten track . Let me go back ! Impervious to rain or shine , I’ll have my own will. ( Xu Yuanchong,2007:156)

In the poem, the poet encounters wind and rain in the wild but the rain dose not bother him and influence his emotion, showing his broad-minded and detached mind. ( Xu Yuanchong,2007:156) This poem reflects how an upright literati strive to extricate from his rough life and shows the author's belief and spiritual pursuit in life.

In the second sentence, the poet uses “竹杖芒鞋” to describe his simple wearing in order to express his open and clear mind. In Chinese ancient culture, most sandals are made of straw and cane of bamboo. However, to make the understanding of target readers easier, the translator weakens the features deeply rooted in Chinese culture and and removes the elements that illustrating the material of the two things.

Example 4: SL: 登高回首坡垄隔，但见乌帽出复没。 （《辛丑十一月十九日既与子由别于郑州西门之外马上赋诗一篇寄之》）

TL: Ascending a height , I look back and feel so sad To see your black cap now appear , now disappear. ( Xu Yuanchong,2007:22)

This poem was written in 1061 when Su Shi parted with his brother. ( Xu Yuanchong,2007:22)In this poem, Su Shi expresses his unwillingness to see his brother away, writes the recollection of the past and the anticipation of the future and also expostulates that his brother should not outstay his office of which he should make light. In ancient China, black gauze cap symbolizes the social status as an official appointed by the government. In the original, the poet uses “乌帽” to remind his brother the identity as an official which paves the way for his expostulation in the last sentence of the poem. Xu Yuanchong translates “乌帽” directly into “black cap”, which embodies the use of foreinization translation strategy. As a unique cultural item in China, “乌帽” is obviously absent from target culture and here translator does not explain its meaning in order to arouse readers’ interest and readers will have the opportunity to know more about Chinese culture.

It can be seen that domestication promotes target readers’ understanding but only domestication will lead to loss of original style and beauty of the source language. If domestication and foreignization are combined and dealt with to a reasonable extent, the translation will be more faithful, smooth and it will conform to the expressing habits of the target language. Therefore, the use of domestication and foreignization translation methods should be analyzed and measured, so that the two cultures can communicate and merge in the conflict through cultural openness and permeability.

Cultural Differences and Translation Strategies

Readers from different cultural background have different understanding of a certain cultural items. To get the roughly same response among source language and target language readers, cultural borrowing and cultural substitution are used in translation.(Shuttleworth, M &Cowie,2004:34)

Cultural Borrowing

When there are no exact equivalents between the source text and the target text, cultural borrowing can be adopted. Cultural borrowing is “a term used by Hervey & Higgins to describe the type of cultural transposition in which an SL expression is transferred verbatim into TL because it is not possible to translate it by a suitable TL equivalent. (Hervey & Higgins,1992:12)The borrowed term may remain unaltered, or it may undergo minor alteration; however what is important is that the meaning of the borrowed expression should be made clear by the TT context.” (Shuttleworth & Cowie, 2004:34)

Example 4: SL: 江城子·乙卯正月二十日夜记梦 十年生死两茫茫。不思量，自难忘。千里孤坟，无处话凄凉。纵使相逢应不识，尘满面，鬓如霜。 夜来幽梦忽还乡。小轩窗，正梳妆。相顾无言，惟有泪千行。料得年年肠断处，明月夜，短松冈。

TL: Riverside Town Dreaming of My Deceased Wife on the Night of the 20th day of the 1st Month For ten long years the living of the dead knows nought . Should the dead be forgot And to mind never brought ? Her lonely grave is a thousand miles away . To whom can l my grief convey ? Revived e ' en if she be , could she still know me ? My face is worn with care And frosted is my hair . Last night I dreamed of coming to my native place : She ' s making up her face At the window with grace . We gazed at each other hushed , But tears from our eyes gushed . When I am woken , I fancy her heart一broken On the mound clad with pines , Where only the moon shines . (Xu Yuanchong,2007:98)

For the mourning of his wife Wang Fu, Su Shi wrote this poem and expressed his endless sorrow and missing for his beloved wife. The first part depicts his current situation and shows his feelings of agony and missing after his wife’s death.(Xu Yuanchong,2007:98) And the second part records his dream that he and his wife meet again when he and wife gaze at each other in silence. In the beginning of this poem, the author points out that it has been 10 years since his wife’s death and then expresses his missing for his dead wife. His wife’s grave is so far from him that he seldom has the opportunity to express his sadness before her grave. Then he imagines that even if they can meet again, they may be not able to recognize each other because of aging faces. In the third sentence, “里” is a traditional Chinese municipal unit of length. 1 里 is equal to 500 meters. Different from the Chinese units of length measurement, english-speaking countries mainly use English units such as mile, yard, foot, inch, etc. Although both “里” and “miles” are unit of length, they do not refer to the same length. A mile is equivalent to about 3.22 里. Therefore, “千里” in the original text does not equal to “a thousand miles”.

As a matter of fact, some translators may directly introduce the unit of length “li” into target culture. For example, when translating the sentence “千里江陵一日还” written by Li Bai, the Yangs (the couple Yang Xianyi and Dai Naidie) offered the translation “A thousand li to Jiangling only takes a day”. (Liu Xiaoying,2013:24)Although target readers do not know what “li” means, but according to the context they can infer that “li” may be a unit of distance because of the number before the word and the place after the word. In this way, the translation not only continues the spread of Chinese culture in English-speaking countries, but also makes English culture richer and more absorbable. Through cultural borrowing, it can not only promote the infiltration and exchange of Chinese and English culture, but also enrich and develop their respective cultures, which is really a double benefit.

Cultural Substitution

Bassnett points out that actually “Translator operates criteria that transcend the purely linguistic, and a process of decoding and recoding takes place”(Bassnett, 1980:16). Translators during translating procedures should make the TL and the SL equal in function and let the TL readers in the TL culture get the same response as the SL readers in the SL culture. From the above, the translator can get rid of the limitation of the literary images of the ST and rewrite or even change the form of originals if there exist conflicts between cultures. In this case, cultural substitution can be adopted by translators. Some substitutes in the target culture can be found to replace the counterpart of the source culture and get the same effect on the foreign readers.

In example 1, The word “太守” of the third sentence “为报倾城随太守” is translated into “magistrate”. In China, “太守” was the highest executive of a county, in charge of ruling the county, recommending virtuous man, deciding on lawsuit pending investigating crafty and evil person, appointing and removing subordinates. “Magistrate” is a title of official in English-speaking countries which refers to a public official authorized to decide questions brought before a court of justice. Since there is no translation equivalent of “太守” in target language, “magistrate” is used as a cultural substitute so that target readers are able to get the same response as readers in source language culture.

Conclusion

The translation studies in the 1980s has highlighted the importance of cultural turn in translation and provided effective guidance for translation practice. More and more translators begin to turn to the cultural perspective. Bassnnet's view of cultural translation puts culture in the first place and holds that translation is not a simple linguistic conversion, but a cultural exchange. This theory undoubtedly brought positive significance to the English translation of Su Shi’s poetry.(Susan Bassnett, 1990:3)It gives translators the direction -- the poetry translation can not only focus on the understanding on language level, more important is cultural meaning hidden behind the language. By translating poetry in the cultural perspective can translation meet the need of different groups under different culture and achieve the purpose of cultural exchange.

By analyzing how to deal with specific Chinese cultural items, the author found that cultural default and cultural differences may cause misunderstanding of the original poem. And the combination of literal and free translation and the synthesis of domestication and foreignization can promote target readers’ understanding and the spread of Chinese culture to some extent. And when it comes to cultural differences, cultural borrowing and cultural substitution may play an effective role in improving translation quality. (Shuttleworth, M &Cowie,2004:62)The paper also demonstrates the feasibility of cultural turn theory in guiding the English translation of Su Shi’s poems, aiming to make the English translation of Su Shi's poems more in line with people's demands for cultural exchange. The view of cultural turn emphasizes the position of culture in translation, attaches importance to the role of translators in translation, and gives translators free space to play. Under the guidance of the cultural turn theory, it is possible to achieve a basic agreement between the ways in which the target language text and the source language play or undertake their functions in the target language culture and the source language culture by adopting appropriate translation strategies. Furthermore, it is also possible to make the target language reader feel roughly the same as the source language reader.

As for the limitation of this paper, firstly, a more objective result cannot be achieved due to the limited time and a restricted number of examples. Secondly, the example illustrated will have more explanatory power if more examples are collected. Thirdly, the theory of cultural turn still needs to be improved. For example, Bassnett does not elaborate on the specific methods to achieve cultural equivalence in translation, which is exactly the direction that translation researchers need to work on. However, the author believes that as long as translators correctly understand and use it, it will play a guiding role in the translation of Su Shi’s poems. It is hoped that the advice can provide a new studying perspective on this subject for other researchers.

From this conclusion, except the positive effects, what are the negative effects of cultural turn for the translation of poems and il's a shock to local cuture？(corrected by --Jin Xiaotong (talk) 13:38, 13 December 2021 (UTC))

Written by --Huang Yiyan1 (talk) 14:39, 8 December 2021 (UTC)

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