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20220630_Culture_1 papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 Europeanized Chinese and Cultural Factors Behind it, 2: 英语笔译曹姣 Cao Jiao 202170081564 Research on court culture in the Tang Dynasty from the perspective of poem -- take Changhenge for example, 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
20220630_Culture_2 papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
20220630_Culture_3 papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
20220630_Culture_4 papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
20220630_Culture_5 papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
20220630_Culture_6 papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
20220630_Culture_7 papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
20220630_Culture_8 papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

英语笔译颜媛 Yan Yuan 202170081603

Interpreting Chinese and Western Language Humor Yan Yuan

Abstract

Intercultural communication is currently a cutting-edge topic in the international academic community.Intercultural communication refers to communication activities between people with different cultural backgrounds.It studies the relationship between cultural and communication,with a particular focus on the cultural factors that interfere with communication.At present, English language teaching in universities competence, and neglects social meaning.Multidisciplinary by nature,the study of humor has been approached from various perspectives,such as philosophy ,psychology,linguistics ,literature,sociology and anthropology.However,the previous research ,though somewhat comprehensive ,hasn't yet generated systematic and thus convincing theories concerning the definition,the working mechanism of humor as well as its linguistic expressions.The study of humor language in different cultures is not only limited to the linguistic level,but also rises to the level of intercultural communication. The ultimate goal of cultural communication and integration is the overall development of human beings and their harmonious coexistence.

Key words

Chinese and western humor ;Cross-cultural communication; Humor;Culture

Introduction

Humor has always been an interesting topic in both ancient and modern times, and many people have studied the phenomenon from different perspectives,such as aesthetics,sociology ,psychology,linguistics,philosophy,etc.Theories about humor can also be described as a lot.Humor can be expressed in many different ways, in a dramatic way(comedy),in a pictorial way(cartoons), in a musical way, etc.Language, as a vehicle for the expression of human thought and ideas, is of course an important way and factor in constituting humor, and thus linguistic humor.Language is a complex system in which everything is based on relationships, and there is no such thing as a system of language system.The complexity of the language system is ,of course , a resource that can often used for humorous language. Humorous language is generated under certain conditions through certain linguistic elements and their relationships with each other.The current research on humor language in China is very one-sided and inadequate,mostly staying in the area of rhetorical patterns, words and the techniques of humor language formation,without a comprehensive, three-dimensional and explanatory study.In view of this,in this thesis we are interested in finding out the connection between the elements of the language system and their interrelationships with humor,i.e.,what forms or relationships are humorous?What forms or relationships are humorous and under what circumstances?In this way, we break the one-sidedness of the original research and think further about the study of humor language, deepen our understanding of the "surface structure"and "deep structure"of humor language , and identify some patterns between linguistic forms and humor language. It is an important reference for us to further understand the mechanism of humor language production and even the application of humor language.

Literature Review

As we are known,language is the most important communication tool for human being , though which people known the world and perceive it."The act of language , though not the whole state of human existence,is the basic state of human existence."(Qian Guanlian.2005) Heidegger said,"Man dwells in the dwelling built by language.Humor is also distinguishing feature of human beings (Nash,1985).Human beings mostly express humor through language, which can be divided into two man categories:oral language and written language. The spoken language is the basis of the written language, and the written language is only the expression of the spoken language.Therefore,humor can also be related to language through these two media,and the specific product is the general form of oral language humor,such as comedy ,skits and so on(Of course,they also include the body language of certain performs).Another form of expression is to record humorous scenes or stories in the form of words to make readers laugh,such as humorous stories in newspaper and magazines, humorous novels and so on. From this point of view, we can say that the relationship between language and humor is that language is the basis and the tool og humor.And without language, there would be no humor(except silent behavioral humor). This close relationship can be seen from the research history of language and humor.The research on the relationship between them has a long history and rich achievements.The study of humor has traditionally been concentrated and dominated within the disciplines of psychology,philosophy,and sociology. It was not until the the late 1970s that the study of humor in linguistics took its place and gained attention.Traditional linguistic studies of humor point out that humorous elements in oral jokes are more stable and explicit in phonological terms than in written jokes, and that linguistic humor arises when the first level of linguistic symbols(i.e., phonological or written units) moves to the second level(i.e.,the communicative system).This has led to a number of research approaches , such as ambiguity, which is prevalent in many humorous texts and can be divided into phonological-lexical ambiguity, semantic-pragmatic ambiguity,etc. Since the publication of the first academic book titled Humor Linguistics in China, the study of humor linguistics in China has been exciting.Chinese scholars have studied humorous language,especially Chinese humor language, from perspectives.Mr.Hu Fanzhu's Humor Linguistics is the first linguistic book in China that systematically studies humor.Starting from a review of the history of laugh and the theory of "laugh" in China and the west.The book proposes that humor is a spiritual phenomenon with three levels,namely:humor in the broad sense is comparable to ludicrousness, humor in the normal sense refers to ludicrousness that appeals to reason,and the humor in the narrow sense specifically refers to humor that contains intellectual lightning and generosity, a sense of spirituality and life.The book was published and had a great impact on the academic world.A large number of similar books have been published, but it can be said that they basically do not deviate from the technical lines and research ideas outlined by Mr. Hu in that book. According to incomplete statistics , in terms of published papers, we searched for 22 articles on the Chinese journals with the keywords "humor language"; 5 articles with the keyword " language humor";15 articles with the keywords "speech humor" ;9187 articles were searched by the keyword "humor". In terms of published monographs , in addition to "Humor linguistics", subsequent monographs on humor language or humor include Gua Tian's Humor Language Operations ,Gong Weicai's Humor Language Art, Li Junhua's Humor Language,Sun Shaozhen's Fundamentals of Humor and Fifty Methods of Humor Defense and so on. In terms of outstanding master's theses on China Journal Online, there are 15 master's theses with humor language as the topic or keywords.

The Definition of Humor and Humor Language

What is “humor”？There are many different answers to this question.People have interpreted and explained humor form a variety of perspectives, each with their own insights.However , it is a little known fact that the word “金数”is a foreign word in Chinese .The word “humor” in Chinese can be traced back to more than 200 years ago to the“Where silence and quietude reign” in “Longing for Changsha , The Nine Elegies，The Song of Chu”.Wang Yi notes，“Confucius is very good.As poetry written,“Confucius interpreted the word "默" as silence.The mountains in the south of the Yangtze River are high and the wild is very clean, and there is no voice in the desert.”In Shih Chi,“默”（silence) is protrayed as "墨"(Chinese ink).It can be seen that at that time,the word "默"（humor） meant silence.Since then,the basic meaning of "默"(Humor) has not changed for more than 2,000 years.For example, Li Bai,a great romantic poet in Tang Dynasty,wrote in Song of River in Farewell to Cen zhengjun ,"And yet it is worrying to live alone in such a lonely place ."If we consider the meaning of the word "humor", that is , as an aesthetic category we want to study.It is an exotic and a foreign transliteration word in Chinese.In the last century,Mr.Lin Yutang was transliterated from English "Humor" .The reason why Mr.Lin transliterates "幽默" with the word "humor" is to consider their implied meaning(or instant impression meaning) and morpheme association color.Therefore, we can say that humorous words are both transliterated words and free translated words.Since then,the word "幽默" in modern Chinese has gradually deviated from its original meaning， that is , it no longer means "silent", but points to the meaning of humor.According to the related works published in China, there are definitions of humor as follows: Humorous style is one of the key rhetoric style in Chinese......Humor is the use of language conditions to show the humorous interest in things.It is characterized by a light-heartedness and cheerfulness.It is based on " truth" Humor is a rhetorical technique. Humor is a spiritual phenomenon. This spiritual phenomenon has a broad sense,a common sense. There are three levels of humor.Humor in the broad sense is comparable to ridiculousness ,such as comic, witty ,gagging,funny......Humor in the narrow sense refers to the layer of spiritual phenomenon that is most aesthetically valuable.Humor in the conventional sense is a mental phenomenon that has an appeal to the "ridiculousness " of reason. From the above definition of humor,we ca know how complicated its definition is, different viewpoint are different.This in itself shows its complexity as an object of study , and we can simplify it without getting entangled in the complexity of the definition.Based on the above viewpoints, we are more inclined to Hu Fanzhu's understanding and definition of humor in his monograph Humor Linguistic , that is , humor is a spiritual phenomenon, which can be divided into three levels:broad sense,ordinary sense and narrow sense.To sum up, in this paper we can define humor as laughable, that is, having the effect of inducing laughter. 1.1.1 The definition of humor language

From the above definition of humor, we know that humor is a multidisciplinary research topic,people from philosophy,psychology,sociology,linguistics,literature and many other aspects of the phenomenon of humor research.This thesis mainly studies the humor language, and the so-called humor language is "created by the use of various elements of language variation humor.In dynamic terms, it is the atmosphere in which language is used,or a style of language;in static terms, it is a fuzzy collection of linguistic variants, or an aggregation of ways.”（Hu,1987)From this definition,we can draw the following two conclusions:firstly,humor language must be related to linguistic symbols,humor that dose not use linguistic symbols as a carrier is not within the scope of this study,such as Ding Cong's cartoons and mime act are certainly funny, but they are not humor language; second , humor language should be created by the variation of linguistic elements, not just by the narration of language of language symbols.It is necessary to distinguish between humor expressed in language and humor created by language:in verbal humor, language is used only as a tool , and laughter is triggered by the recorded situation, while language itself may not be funny.From this definition, we can see that in fact, the humor expressed by language is to describe a ridiculous situation or thing by using language as a tool to express idea,so that the listener or reader will find the situation or thing ridiculous after appreciating it.It's like expressing a humorous situation in the form of a cartoon,except one is in the form of a cartoon and the other is in the form of language.Like this one: 午餐会发言人匆忙赶来赴约会，当他坐在第一张桌子前时，他突然意识到了他忘了带他的假牙。 The luncheon speaker was in a hurry to get his appointment,and as he sat down at the first table,he suddenly realized he had forgotten his dentures. 他转向他旁边位男士，说:“我忘了带假牙了。” He turns to the man to hin and says，“I forgot my dentures.” 男士说:“没问题。”说着他手伸进口袋里并取出一-副假牙。“试试这一副。”他说。 The man said, “No problem.”He reaches into his pocket and takes out a pair of dentures.“Try this one.”He said. 发言人试了试。“太松，”他说。 “They’re too loose,”the speaker said. 男士接着说:“我还有一副....试试。 ” The man said, “I have another pair...Try it .” 发言人试了试。说:“太紧。” The speaker tries them on, says, “Too tight.” 男士根本不感到惊讶，他接着说:“我还有一副.....试试。” Not surprised at all, the man continued, “I have another pair of ...Try them on.” 发言人说:“正合适。”他带着这副假牙吃饭，讲话。 “It fits.”The spokesman said.He ate and spoke with this pair of dentures. 午餐会结束后，发言人走过来，向那位帮助他的男上道谢。“我想谢谢您给我的帮助。您的办公室在哪里?我正在找一位好牙医。” After the luncheon,the speaker came up to the man who had helped him and thanked him. “I wanted to thank you for the help you gave me.Where is your office?I am looking for a good dentist.” 男士回答:“我不是牙医。我是本地的殡仪员。” The man replied, “I’m not a dentist.I’m a local mortician.”

Chinese and Western Humor

4.1 The Evolution of Chinese and Western Humor

Humor comes from the Latin word “humor”, a physiological term referring to “ fluids”.According to Hippocrates, the person’s health and different type of temperament depends on the human body fluid mixing proportion.Therefore, the original meaning of “humor” in human body is the proportion of four kinds of fluids to the people’s minds,constitution,the tendency of the habit,temperament,or the heart,mood.The first person to introduce humor into literature was the famous English dramatist Ben Jonson.At the end of the 17th century , humor took on its present meaning;in the 18th century , there were literary writers and artists who used humor as a creative style.When the form of humor spread around the world ,it became a symbol of wisdom.Mr.Lin Yutang introduced humor into China for the first time.Although humor is a foreign word,humor culture is as old as the history of the Chinese nation.Ancient Chinese contains profound philosophy and ingenious speculation.The contemporary works of Mr.Lin Yutang and Mr.Qian Zhongshu. They are full of humorous wisdom.

4.2 The Difference of Chinese and Western Humor

The difference between Chinese and Western humor is mainly due to the differences in many aspects of Chinese and western culture and way of thinking.Chinese people shaped typical introverted mainland farming culture,which aims to seek peace and contentment,forming a capitalist type of divergent thinking,ritualistic and subtle;while the Westerners are the outward-looking marine commercial culture that seeks only wealth and strength,forming a linear thinking of brush sketch type,spontaneous and open.The formation of Chinese and Western humor is the projection of their own cultures.In such a cultural atmosphere characterized by self-sufficient, China has formed a thinking pattern of “still letting,not fighting,still retreating, not moving”.Because of this cultural mindset , an intuitive way of thinking has been formed. This mindset and way of thinking determines that humor is expressed in an intuitive way.For example, in order to explain a person’s stupidity, we should focus on describing how stupid he is when he speaks and does things,so that people can draw an intuitive conclusion immediately after reading it.However,western culture belongs to extroverted marine culture and advocates innovation. Therefore westerners have formed a speculative thinking that emphasizes creation.In humor,it is embodied in the use of restrained statements, so that people can understand humor itself by understanding litotes.The differences between Chinese and Western humor are very obvious in many aspects, but people’s love and recognition of humor are surprisingly similar.

The Different Characteristics of Chinese and Western Humor

Generally speaking,humor is not only the carrier of culture, but also the embodiment of different national cultures.The differences between the two cultures lead to the different interpretation and application of humor in China and West.Under the nourishment of different cultural systems,Chinese and Western humor has formed the characteristics of different cultural styles.Western humor is so profound that there is a saying that can explain this situation to the fullest,that is, “you can not be a good person, but you can never be a person who does not know humor.Western humor is mostly humor full of wisdom,subtle and thoughtful.They know how to self-deprecating,good at using self-deprecating methods to show humor , and at the same time trying to win each other’s affection.After thousands of years of feudal system in China,people have a strong sense of self-restraint and too many concerns. They prefer to show their perfect selves in communication with others , and it is difficult to laugh at themselves. Therefore , humor is mostly aimed at the third party,which is simple and direct.

5.1 The Different Content and Function of Humor

Humor is a kind of human aesthetic pursuit, is a reflection of the real life , the first in its theme and content reflects the national unique customs and cultural concept.The traditional Chinese Confucian thoughts influence deeply rooted, people talk about “sex” color changing, therefore, the traditional eastern humor neutral theme is the box.And this kind of theme in western humor but make up a large proportion.The functions of humor can be divided into: negative humor(is critical to life,shortcoming and negative phenomenon to negative),affirmative(to life advantages and positive phenomenon be sure and pure humor(neither contains sure, also does not contain negative,it is just for daily phenomena are abound of appeal reflects).Humor is more purely entertaining in the west,which is formed from the initial state oh humor.However,Chinese humor seems to have a heavier historical mission to serve politics.The traditional cross talk spread to the present, and the satirical jokes are mostly of this kind.Western humor culture is profound, the Russian literary scholar Chekhov said, “Do not know how to joke, is a hopeless person..”What's more, westerners are more open than Chinese, with a large proportion of pure entertainment humor. Therefore, they can have a quiet moment with anyone on any occasion, such as an American joke:A young man went to an old man’s birthday party.When he saw the old man, he sighed, “I’m sorry.I do not know whether I can come to your birthday party next year.”And the old man smiled and said : “Why not? You seem very healthy.”This is typical western humor, they play more of a function of relieving mental stress and establishing a sense of superiority, but also reflects their willingness to share and enjoy life by gathering together. Due to the differences between Chinese and Western thinking and cultural heritage,there are obvious differences in the expressions of Chinese and Western humor.Chinese humor is typically expressed through the use of language and words, most typically in comedy,where the artist’s mouth borrows from the profound Chinese language to talk about heaven and earth and comment on the past and present.There are many examples of this in Guo Degang’s comedies.Western humor,on the other hand, focuses on action interpretation. The most representative one is the humorist Chaplin,a series of silent movies that brought a lot of joy to the world.And then the later animated blockbuster Cat and Mouse also won the applause the world with its unique American way.

5.2The Different Ideologies and Aims

An ideology is a set of ideas that constitutes one’s goals,expressions,and actions. An ideology can be through of as a comprehensive vision, as a way of looking at things, as in common sense and several philosophical tendencies, or a set of ideas proposed by the dominant class of a society to all members of this society.Compared with Chinese long history, the history of western countries is comparably short.Take America for example,it is only more 230 years since it was founded . So their awareness doesn’t have much time to develop.Their awareness consists of instant fragments so they are not as passionate about political matters as Chinese citizens.China has a cultural tradition with a five-thousand-year-long history.Chinese people have been influenced by systematic and strong political idea for a long time. Influenced by those ideas and Chinese traditional system,Chinese people show a strong political tendency when dealing with the daily affairs.So the content and characteristics of Chinese humor is influenced a lot by this politic system. In China, literature works are closely related to education. So humor,as a popular culture, is aimed to satirize people with bad behavior and educate them and make them a good citizen. Although satire is one of the purpose of humor , the main purpose is to develop people’s sense of humor.Because humor is considered to be an important quality in western country,many leaders and scholar with a sense of humor are respected by people.This is because humor adds color to their personal charm and shows their wisdom.

5.3 The Different Grasp and Skills of Sense of Propriety

Chinese and Western humor has different styles and techniques due to their different cultural traditions and ideas.From the perspective of humor creation,China and Western countries develop in two different directions in the pursuit of implicature. On the macro level, humor in Western countries strives to combine subtlety with condensation and philosophizing, so that there is more room for humorous evocations. As for Chinese humor it is good at mastering the scale of subtlety and clarity.Chinese and Western humor is far less explicit in technique than in content. It is often rooted in the long-standing cultural traditions and psychological qualities of the nation, and is also very subtle and hidden. Chinese humor deliberately pursues consistent and progressive taste, and contains many “baggage” from beginning to end,which makes the audience always have strong interest , from nervous expectation to relaxed satisfaction, and then jump to new expectation and new satisfaction. However, western humor often has only suspense , but due to the requirements of the integrity and coherence of the story , there are many restriction on the use of “burden”.

The Change and Integration of Chinese and Western Humor

Cultural differences are neither superior or inferior, but rather compatible,complementary and gentle with world civilization.Various cultures coexist in the midst of exchange and conflict.Exchange and conflict are the driving force of cultural development ;coexistence is the guarantee of cultural integration.Culture autonomy and cultural self-awareness can be the way to dissolve the clash of cultures or civilizations. The future direction of cultural conflicts will be the gradual expansion of the field of human consensus, the gradual reduction of barriers to cultural exchange and integration, and the evolution of a mutually existing multicultural system in the context of globalization. Humor is a symbol of civilization and wisdom, and it brings people of different nationalities in a multicultural system , making people realize the power of humor in communication. It prompts national characteristics, express the historical accumulation of national cultural development, and reflects the appearance and status of the times from a unique perspective and in various fields. Humor’s mood and charm can only be understood by the members of the group who share the same culture.Therefore , whether we are analyzing humor techniques or studying its linguistic art, we need to first examine the cultural connotations on which it is based.In this way,humor can be better understood and cross-cultural communication can be successfully realized.The culture of humor reflects the development of the times , the progress of science and the change in social and cultural integration. It can be used from variety of starting points, and through the use of a variety of techniques, it is subtle but not revealing , light-hearted but not subversive, and subtly reflects the splendor of the culture of the times.This is the charm of humor.Humor is the words,actions and expressions that can make people laugh in the process of human communication, which is rich in content and diverse in forms .With the rapid development of information technology , the cost of transportation and communication has been greatly reduced , which makes the whole world more closely connected than ever before, and the humor between China and the West is gradually merging.While Chinese and Western humor merges gradually,we should keep national humor, at the same time, we should broaden our horizons and consider the problem as a whole,so as to keep national humor and boldly admit some commonalities and produce new humor ways.

Conclusion

Humor is a linguistic art that permeates every corner of life. It plays an immeasurable role in life with its unique artistic style, full of amusing and intriguing contexts, humor is a symbol of civilization and wisdom, bridging people of different nationalities under a multicultural system, and making people realize the power of humor in communication. Although the differences between Chinese and Western humor are obvious in many aspects, people's love and recognition of humor are surprisingly similar. In today's era of globalization, various cultures coexist in exchange and conflict, and cultures from different regions gain a certain consensus through cross-cultural communication, and Chinese and Western humor are gradually integrating. This cross-cultural integration of Chinese and Western humor is conducive to the successful communication between China and the West, as well as to the harmonious development of the world. Globalization is an inherent requirement for the development of human society.Human development is in collision and conflict advance,human development is spiraling upward.Cultures from different regions have reached a certain consensus through cross-cultural communication , and human culture needs to be integrated through differences .With the strengthening of the interaction between China and foreign countries will reach an unprecedented level,and cross-cultural study of Chinese and Western humor is conducive to the successful communication between China and the United States, and more conducive to the harmonious development of the world.

References

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英语笔译杨心怡 Yang Xinyi 202170081604

Gendering History on Chinese Movie Yang Xinyi

Abstract

Since the new period, with the vigorous development of Chinese movies, there have been many excellent movies.And the female image in the movie, it is very compelling.China movie culture is deeply influenced by traditional cultural ideas, and the idea of "male superiority over female inferiority" is deeply rooted.Therefore, the female images created in this period were restricted to a great extent.In this paper, the new era of Chinese women's image in the movie type analysis, on the one hand through the image of women focus on women's development and progress, the other side through the image of women reflect their shortcomings. In the survival of male hegemony of women is difficult to tell their true inner thoughts, women's own right to speak was ruthlessly deprived of, they are always a "second sex" identity in the men behind. the real equality between men and women, In the cultural media platform has not been achieved. I hope that through the analysis of the image of women in the movie, build an equal platform for dialogue between the sexes, so that more exciting images of women appear in front of everyone.

Key words

chinese movie； feminism；female character

Introduction

The famous French movie artist francois truffaut said: movie is the art of women.This is particularly evident in Chinese movies.In view of the development history of the movies in the new period and even the whole Chinese movies, the female images cannot be ignored in the character gallery of Chinese movies. It should be noticed that the Chinese movie in the new era is gradually getting rid of the shackles of the original political discourse, turning to the artistic vision and new movie language to shape the image of women.With the opening of social culture and the awakening of gender consciousness, the female images in the new era of the movie presents a diversified trend, which makes the female image with greater charm.The first representative female image in the new period movies is the wife and mother image represented by Feng Qinglan in Xie Jin's Legend of Tianyun Mountain.They like men, also suffered the political disaster of the past, but they can with their own sacrifice to save the suffering of men.Therefore, this kind of female image has the brilliance of "Virgin Mary." In the movies of the "fifth generation directors,” whether it is Zhang Yimou's Red Sorghum, Ju Dou, Qiu Ju's Lawsuit or Chen Kaige's Yellow Earth, the female image is also worthy of praise. Different from Xie Jin, the wife and mother position familiar to critics in the past has been replaced by lover, such as Jiu Er in Red Sorghum. This is the gradual opening up of the cultural environment and economic system has a direct relationship. In the nineties, under the coercion of consumer culture, women who mean more and more heavy consumption, their bodies have become the spectacle of being stared at. Of course, women become the focus of the movie performance of the object is not just the above two reasons. In the feminist movie criticism of the vision, the male gaze for the female body is one of the determinants of movie-like state.（Li,1988:76)All in all, the image of women in the new era of transformation, we can not only see the development trajectory of Chinese movies, the same can also see the Chinese social and cultural and ideological concepts of the rheological process. This is the reason for this study, but also the value of this study.

Literature Review

Chinese movie since the birth of a hundred years, there have been a large number of excellent movies, but also created a large number of rich connotation of the role of women, so for these roles of historical research and comparative study has become an academic research entry point.Zhang Xuqing believes that feminist movie is a part of contemporary movie art that must be valued.Feminist movie theory has been distinguished by philosophical concepts such as Marxism, Freudian theory, post-structuralism, etc., which have been popular since the 1970s, and a series of concepts such as "the other" and "deconstruction" originally belong to these theories.Reading was transplanted into feminism.They use these theories for the image of women in the movie and in the ideology of women's consciousness has been criticized, pointed out that women are patriarchal culture and distorted repression one side. These criticism beyond the past simple image analysis and the appearance of social and cultural analysis, is astute.Laura Mulvey's Visual Pleasure and Narrative movie is a classic of this analysis. In the thesis, the most important manifestation of the alienation of women in movies is the materialization of women as carriers of male desires, which, in Mulvey's words, is "women in movies as images and men as bearers of voyeurism."Feminist theory was introduced into Chinese movie criticism since the 1990s.In this process, Yang Yuanying played a more important role.In the context of "feminism and China women's movie," Old time women in ancient China is a history, in which women's consciousness melted away in a male-dominated society and individual families. Yang Yuanying took the movies directed by female directors as the research object, and made a detailed analysis of the narrative characteristics and spiritual structure of female movies.Yang Yuanying believes that female movies are very different from male movies from narrative to internal logic, reflecting women's own emotions, and that "Ghost Love" will become a living fable of feminism.This analysis is very in place, so far scholars for the "ghost" analysis and research did not go beyond this thesis.Xie Xiaoxia believes that women's directors are basically the topics of women's lives, emotions and so on as the subject matter. Although the performance style and narrative techniques vary, but the basic theme can be summed up in three points: Growth, reincarnation and temptation. For example, Xu Jinglei's mental maturity shown in Me and Dad and the maturity of women in emotion and social life experience shown in many works. Samsara is manifested as a change of mother and daughter's fate, that is, the commonality of mother and daughter's fate. Generally speaking, such expressions are historical, showing the influence of times and society on women through the change of mother and daughter's fate. Wu Xiaoli believes in her paper that, With the implementation of the market economy, women directors work in the infiltration of the market and ideological factors are becoming more and more obvious. In other words, that is, the works of the female consciousness gradually reduced, began to compromise and surrender to the patriarchal society. In the past, women write in some works there is still, but in a way that can be male audience and the market access women's movie is struggling in this difficult to move forward.Through the above-mentioned image of women in Chinese movies, we can see that the researchers provide a more fruitful results, they are not tightly satisfied with the theoretical analysis, but also to creative practice and case studies in the form of exposing the existence of the movie text of gender, culture and power differences. As Foucault has pointed out, like the movie also exists in the discourse of the struggle field. On the other hand, these studies also have some shortcomings, which is this article to work on.

1 The diversity of female image

The new era for the creation of movie art provides a great social and cultural space, with the trend of cultural diversity. The development of female image also presents a diversified trend. In the 17 years of the movie, women are expressed as with the same group of men, so in which their sex is destroyed by mud.The so-called independence, but in fact is wiped to the female consciousness and in another identity into the ideological discourse. After entering the new period, the female body gradually be restored. But as a result of 17 years and the cultural revolution caused by the fracture between traditional and modern, China's female sex there is no way to find out the survival of self-awareness in modern society, so only to the history to find, so inn the early period of the new era, the image of women in the movie is mostly based on the image of his wife, mother and other inclusive, they are full enough to heal and moral expectations of people's desire.With the promotion of market economy and the change of women's economic status change, women’s desires and requirements to be publicized, women for their own positioning also gradually clear. In the eight or nine ten years of the movie, there are two types of female image is noteworthy, one is the image of independent women, two categories is the image of the lover on behalf of desire. Into the century, the influence of consumerism gradually penetrate. Cosumer characteristics become increasingly apparent, which is the emergence of consumer images of women. As the new era of movie works very much, and the limited space of this article, so can only select some representative works and image.This paper discusses the process and overall context of social change in the new era.

1.1Wife and Mother

At the beginning of the new period, with the rise of scar literature and reflective literature, women were placed in the historical context to write. In the movie, women have the double identity of the strong and the weak. In the narrative discourse of the fourth generation of directors, women and men have experienced the cultural revolution, famine and other political and natural disaster damage, in front of the suffering of the irresistible, their nature is weak, but they also to the selfless and sacrifice aroused men around, from this perspective they are strong. As a result, this The image is also known as the "Mother of the Wife" image.The appearance of these women not only changed the narrative of integration in the period of seventeen years, but also completed the transcendence of the traditional moral women.The typical representative of this aspect is the Feng Qinglan in the Legend of Tianyun Mountain and Li Xiuzhi in the Wrangler. Xie Jin's 'Legend of Tianyun Mountain' can be regarded as the image of this wife and mother of the movie, because of its work shown women's great tolerance and moral sense, this kind of women is also known as the image of the earth mother.In the day yunshan legend, the hero's identity is down and out scholar, although they were born in a scholarly family, has a very good culture, but the cruelty of political struggle but let them suddenly had nothing.In their down and out, xie jin arranged for a woman to save them. Xie Jin's arrangement, let the emergence of women with a strong sense of mission.In Xie Jin's works, women are not only lovers and wives, but also protectors of men.Their forbearance, strength, tolerance and generosity have established a harbor of expectation for men.Despite the storm or political struggle outside, but when the door was closed at that moment, everything is insignificant, The warmth of family removed everything.In fact, the emergence of this image is actually a male expectations, contains men in frequent complex political struggle after the exhaustion of seeking spiritual comfort and the idea of sustenance. As we can see, in the day yunshan legend, when Feng Qing Luo Qun take back with a scooter, actually like a mother, accepted his son abandoned by society.And when Luo Qun was political recognition, Feng Qing years old has passed away.Therefore, Xie Jin with his deep lens language constantly shooting Feng Qing When I was young photos, rags vest, small wooden bridge, etc., line sent his praise for Feng Qingwei. Xu Lingjun in The Wrangler, like Luo Qun, is also a political exile.In xiu-zhi li appeared later, Xu Lingjun re-ignited hope for life. Xu Lingjun and Li Xiuzhi married and had children, Li Xiuzhi also Xu Lingjun's life is taken care of meticulously. Li Xiuzhi also has the characteristics of Mother Earth. She is not only diligent in keeping the house, but also dissolves Xu Lingjun's unhappy mood with her gentleness. At the same time, it should be noted that Li Xiuzhi appears as a positive role in the movie, which also implies the affirmation of a mainstream discourse. Therefore, Li Xiuzhi said,"I have settled the rebellion for him since the day of marriage." After the vindication, Xu Ling has the qualification to inherit the property of his father. But he flatly refused. This is the thought that she has been in Li Xiuzhi's body to find the position of mother and father, so his break with his father is not only a moral break, but also means that the psychological level of break. In addition, there were many similar roles appear. They and men together, as men in different periods of different needs of the materialization, bear different historical functions. In short, in the affirmation of these women, their connotation and value of the image at the same time, need to see their value is based on the men and show her perseverance and suffering is to forgive men and happiness. Obviously, this woman's reversion was revealed. Women were banished to a history. In years later, these images gradually launched the screen, and with the fifth with the rise of acting directors, some new female images began to appear in people's vision.

1.2 Independent Female

In the late nineties, China appeared to work hot and hot to go abroad, a group of women in the era of inspiration get out of your home and find your place in society.They like men, the success of the career as the my value realization scale. At the time of the TV series, this theme is very common, but in the movie such female image is less.In this kind of female image of the movie, a warm to listen to the "sand bird" and huang shu sequence of "ghost" is a typical representative. Movie sand hired is about the China women's volleyball team's main players sand step due to illness failed to participate First Volleyball International Championship.This is full of ideal sand is not acceptable, so the sand better constantly training hard, hope to be able to take part in the game.Sata was finally allowed to compete and won the silver medal, but she not relegated to this. Still want to try to win the championship. The image of Shahe not only reflects the charm of the individual, but also perfectly combines with the spirit of the times in the 1980s. In the movie, Sha Juan's boyfriend Shen Wei was killed in the process of climbing Mount Everest. Under this blow, Sha Ta chose to cheer up and eventually became the coach of the women's volleyball team.For the sand cuckoo, this choice is not only personal, but also national.In the preface to Huang Shu's Ghost Love, the actress Qiu Yun is also an artistic image worth mentioning. Huang Shuxu in the movie created the actress Qiuyun this independent, spicy, firm actor image.In the movie, Qiu Yun is a career pursuers. Qiu Yun from an early age to learn drama, the purpose is to seek their own self-help. His father did not allow Qiu Yun to learn drama, but was eventually moved by Qiu Yun, personally taught her, so that her career has a good start. Indeed, the movie showed the pressure faced by Qiu Yun, but Huang Shu Xu stressed that this movie focuses on Qiu Yun for their own destiny of the active choice. For the emergence of independent female images during this period, Dai Jinhua(2000) said,"If we say that in contemporary literary circles, many women writers pursue and create their works of women’s style or become a deliberate, or not to do the women's strategy; In the movie world, the emergence of female style has become a mark of historical progress and a step in the difficult emergence of invisible women. Interestingly, most of their movies share the same cultural and social themes as the male directors of the same generation, but because of the selection of female stories and the unexpected entry and disclosure of female life experiences, they have translated and rewritten them into a female version. "This sentence affirms the efforts of female directors in creation. Pointed out that the previous works of women into the social stage when the neglect of their own gender identity. We admit this period of independent female image reflects the women in the process of entering society, the pressures and obstacles faced, but also concerned about their adherence to their own values. This makes their image three-dimensional up.

2 Female consciousness in Chinese movie

After combing the female images in the movies of the new period, the process of female images gradually becoming full is actually the process of female consciousness awakening. As far as the relationship between female consciousness and female image is concerned, the deeper female consciousness is, the fuller female image will be the image of women in the movie in the new era, although different from the past, but both are grown in China culture. However, in the new era, some new values and elements also take on new connotations. The new period movie began to women's self in-depth table. Now, women's self-reliance, self-esteem and self-respect side was presented in front of the audience. And women are beginning to realize that since reputation and achievement, try to get rid of the influence of patriarchal consciousness, with their own efforts.

2.1 Female Identity Consciousness

In Second Sex, Beauvoir pointed out that women are not naturally occurring, but by social construuction. In the Chinese calendar history, the influence of patriarchy is very long, women in history is far away from the political and cultural center, is suddenly depending on the secondary. In Macro view, the center of the history of discourse is mastered by men, they become history set, women tend to appear in the image of the foil, is absent on the stage of history. At home family environment, the male is also the core of the family and the family, women became a reproductive tools. After her death, women still have no right to speak, as the so-called "husband died from the child."If we want to understand the relationship between men and women, we must discuss the concept of "home."It is well known that the family is made up of men and women, and that the history of the family constitutes the history of the nation and of mankind.In China traditional culture, the family is the foundation of the country and has an equally important position.Home country is regarded as a world expression of the whole and put forward by the power discourse, it is not only the basic form of China traditional social structure, but also the root of China culture and national psychology.In a family, women's identity is generally wife, mother and daughter, which is a kind of orientation of women's identity.Because men struggle outside, when men struggle frustrated, back home, women will assume the role of the soother.And if men are facing the test of life and death, so women are the saviors.From the perspective of this division of labor and role orientation, women were imprisoned in the home and became the victim of the patriarchal system.In the new period of the movie, women also play the role of the savior, but should see the female of this period sex rescuer role is in the context of ideological emancipation, is the identity and status of women are covered after complex.Now under the background of the movie, this rescue directly against the damage caused by the Cultural Revolution, it has distinct characteristics of the times.As the analysis of this article before, as this period of women's salvation is not pure the essence is to return to the traditional, they show is mainly a kind of personal spiritual pursuit and choice.In Legend of Tianyun Mountain, Feng Qingjian's love for Luo Qun comes from her worship of intellectuals, while in Horse Shepherd, Li Xiuzhi’s extreme rescue of Xu Lingjun is also because Xu Lingjun is the person she really likes. Therefore, this kind of salvation can not be simply understood as the virtue of traditional women, because this idea can only appear in the specific context of the new era. Although the two image is art, but certainly at the time China's hundreds of millions of people, must have a large number of women like set feng and xiu-zhi li, and these women in the previous era is difficult to appear. The ultimate significance of the emergence of this image is that in the past, they are not described as a single revolutionary role, but through this identity they have returned to the position of women, to find their own female identity. In other words, that is, as this section emphasizes, save the ideas and consciousness of female identity with the confluence. In Dai Jinhua's words, it is "if we say that women originally did not have their own language, always struggling the control of male culture and language. " If we say,"Hua Mulan type situation," is the modern female common face of gender, self predicament; In order to get out of the predicament of "Hua Mulan," women return to their families and become mothers, wives and daughters, which actually indicates the awakening of women's identity consciousness. Of course, we should see the strategy of this expression.In fact, after the end of the Cultural Revolution, in the continuous development of society, women are considered to be weak by society, and thus they do not have to struggle outside, it should be back to the family Xiangfujiaozi. It is through this description, women from the family to find their own value. As the analysis of this article before, in Xie Jin's movie , as the officer of the heroine eventually return to the family, became the mother and wife, it is also a scratch to save a representation of the fusion of knowledge and female identity consciousness.

2.2 Independent consciousness

The development of the new era has given people to change the reality of expectations and opportunities, so women are increasingly willing to seize this opportunity. So when the background of the whole narrative with society to replace the family, women want to be able to prove that they can because of a place in social affairs and qualified in the family as well as men.For example, in Middle Age, Liu Wenting shoulders the pressure of family and career, not only to face up to the plight of women, but also to safeguard the role of wife and mother.Lu Wenting's image profoundly shows the double confusion faced by women in life and work.In Zhou Xiaowen's "Second Aunt," the significance of the second aunt is that she has been eager to get rid of the influence of male values, and the television has become the most distinctive symbol in the movie.At the same time two aunts also has another identity--the lover of the blind.In the pursuit of mother, family, career identity, the pressure faced by the second aunt is palpable.And the same wavelength of the final outcome, though helpless, but her pursuit is valuable from the new era of the movie as a whole, for the discussion of these issues has become a mainstream in the field of movie.The words.Using art to reflect society has also become the pursuit of some directors.At the same time, women also open beginning for some reflection and analysis of their own.The reflection of women have a very distinct personality, also to have their own skills, to be able to live independently and from the bondage of men, so as to realize the value of self. For example, in the ghost, autumn non-success in order to escape the fate of women and play men, as the doors, this became a classic metaphor for women to escape. In the 'sand raven', the sand is also faced with career and family dilemma. In addition,Daughter House,Childhood Friends,Youth Festival and other movies, women are faced with the pressure of this dual force, so their struggle also appears to be extremely decisive.In general, this period of women in the process of moving towards society to strengthen self-awareness, self-realization and value has become a driving force for their struggle. Although most of their struggles have experienced great hardships and pain, and most of the struggle is also a failure as the outcome, but their pursuit of the spirit and enthusiasm has never changed. It can be seen that the new era of movie from the original in accordance with the standards of men to express the awakening of women to women's consciousness, body reveal the process of women's pursuit of self-improvement, the expression of women's consciousness in the movie in the new era to a new situation.

Conclusion

Before the New Age, the most characteristic feature of the portrayal of women in Chinese cinema was the integration of a single "revolutionary" woman as the classic representative of subjectivity. The single 'revolutionary' image of women became the classic representation of subjectivity. These images embodied the gender consciousness of "gender equality".But in the call of the times for 'equality', women lost their gender identity and became masculine images. These images reflect the existence of a gender consciousness of 'equality between men and women', but in the call of the times for 'equality' women lose their gender identity and become masculine.Since the beginning of the new era, the portrayal of women in Chinese cinema has undergone a historical transformation. The image of women and gender narratives gradually reveal gender. The difference between the sexes gradually emerged in the portrayal of women and gender narratives. The first is the emergence of the 'Madonna' image, which began in the 1930s.The image of the Madonna has a strong sense of relief and salvation, as she uses her body and mind to save men from the suffering of history. The connotation of this giving is not a replication of traditional virtues, but rather an autonomous identification and choice of the object of their giving. They have the autonomy to identify and choose their own objects of giving.After a new period of transformation in the image of women and their consciousness, new gender relations are being constructed and positioned in Chinese cinema, especially with regard to the definition of women, which is entering the world of thought at an unprecedented pace. There is every reason to believe that with the development of the times, the image of women and women in Chinese cinema will certainly make greater progress.

References

Li Ercang(1988).Zhangyimou’s saying.Liaoning:Chunfeng Literature and Art Press,76
Yangyuanyin(1990).Feminism and Chinese Women's Films: Communication University of Chin Press,23-25
Dai Jinhua(2000).Chnese Movie Culture(1978-1998):Peking University Press
Li Bin(2007).Recent research on female-themed films:Movie Art Press,121-123

英语笔译杨紫微 Yang Ziwei 202170081605

Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theory of "San Hua" Yang Ziwei

Abstract

Classical Chinese poetry is a gem of Chinese traditional culture. As for the translation of classical Chinese poetry, Mr. Xu Yuanchong is one of the most influential translator of classical Chinese poetry, and his translated works have been unanimously recognized and highly praised by many people at home and abroad. With more than 60 years of translation experience, he has summed up a set of translation theories of his own, which can be summed up in ten words in Chinese as “美化之艺术，创优似竞赛”. This paper mainly focuses on the analysis of the application and embodiment of the mainly translation theories-- the method of "San Hua" (equalization, deepenization and generalization) in Xu Yuanchong's translation of Tang poetry.

Key words

Xu Yuanchong; “San Hua” ; Tang poetry

Introduction

For a long time, translation has been playing an important role as one of the means to promote cultural communication and communication. The translation of many literary works has also achieved high achievements, but the translation of poetry has been mediocre, and it is difficult to produce high-quality translations, especially for the translation of ancient Chinese poetry. Mr. Xu Yuanchong, a modern translation master, has been engaged in literary translation for more than 60 years and has translated numerous works. His focuses on the English translation of ancient Chinese poems and has formed the method and theory of poem translation in rhyme form. In translation, he emphasized the subjectivity of the translator, the creativity and artistry of translation, and innovated and developed the translation theories of his predecessors. He believed that the translated works could not only convey the beauty of the original text, but even surpass it. In particular, his translation theory of "the art of beautification" has proved to be successful in the English translation of ancient Chinese poems. This paper focuses on the application of Xu Yuanchong's theory of "San Hua" in the translation of Tang poetry, and analyzes and explores its role and expression effect in the translation of ancient Chinese poetry into English. This thesis consists of four main parts, we will learn a lot about the previous study of translation of Tang poetry, the introduction and application of the method of "San Hua" in the translation of Tang poetry as well as the value and influence of Xu Yuanchong's translation theories. The purpose of the thesis is to search for realizing the beauty in form, sense and sound as well as making readers and translators themselves comprehend, enjoy and take delight in reading translation of Chinese classical poetry.

Literature Review

In the past research, people focused on the analysis and exploration of the three aspects of beauty of Xu Yuanchong, therefore, the analysis and research of another theory-- "San Hua" is a field that few people pay attention to. In this thesis, I focus on the analysis and application of the method of "San Hua" in the translation of Tang Poetry. Then in the dissertation of A Study On Xu Yuanchong As A Translator （2006）written by Chen Youyang, he introduce the source and definition of the method of "San Hua" which originates from Qian Zhongshu's "the realm of sublimation". In the Literature and Translation (2016) of Xu Yuanchong, it explains the method of "San Hua" in details and gives some examples to demonstrate its application of equalization（等化）、generalization（浅化） and deepenization（深化）. In addition, it analyzes the relationship between the method of "San Hua" and the three aspects of beauty as well as the "San Zhi". "San Hua" is the method to achieve beauty in sound, sense and form, what's more, it produces the translation works that bring joy and pleasure to readers. Now that my thesis stresses on the analysis of Tang poetry through the method of "San Hua", then I should learn clear about the features and categories of Tang poetry. In the article The Discussion of English Translation of Tang Poetry (1994), Gao Yukun analyzes the characteristics and development of Tang poetry translation and he holds that Chinese classical poetry are translatable. Academic journals of Su Lin and Wang Chengcheng, both of them analyze the significance of the expression of the beauty in sense through the method of "San Hua". Since there are culture–laden words and allusions that are difficult to translate, the proper application of "San Hua" cam help us deal with it well. Then I introduce several Tang poems translated by Xu Yuanchong to illustrate the detailed application and appreciation through the method of "San Hua". In conclusion, the method of "San Hua” is applied in literary and poem translation frequently and many translators praise it. Although sometimes in order to realize the three aspects of beauty, it causes some disputes in the accuracy and faithfulness of translation works, it makes great contributions to the translation field and spread of Chinese culture. Thus, the thesis will pay more attention to the analysis, application and appreciation of translation of Tang poetry through "San Hua" to get a clearer and deeper understanding of the translation method.

Methods and Theories

Research method: Literature analysis. By reading journal articles data online and entity books such as "beautiful suffocation of tang poetry", the selection of classic poetry translation works explore the analysis theory of "three concrete application as well as the significance of the translation method, to explore the untranslatability phenomenon in ancient Chinese poetry and the translator's clever translation method in Chinese and English is how to build a bridge; At the same time, it studies the value and function of the "three Modernizations" translation theory in translation and cultural transmission. Theories: "San Hua"--Equalization,deepenization and generalization.

Subtitle 1

The Previous Study on Translation of Tang Poetry at Home and Abroad

The Tang dynasty is one of the most prosper dynasties in Chinese history. At that time, the development of Tang poetry has reached the highest level and left Chinese people a large number of valuable assets. Tang poetry possesses a very significant position in Chinese culture.

The ancient poetry of the Tang Dynasty are mainly five–or–seven–character regulated verse（五言或七言诗）. There are also two kinds of modern poetry, one is called quatrains（绝句） and the other is called metrical verse（律诗）. What's more, the quatrains and the metrical verse have five characters and seven characters respectively, so there are basically six basic forms of Tang poetry: five-character ancient style poem, seven-character ancient style poem, five-character quatrains, seven-character quatrains, five-character metrical verse, and seven-character metrical verse. Ancient poetry requires a wide range of rhymes: in a poem, the number of sentences can be more or less, the chapter can be long or short, and the rhyme can be changed. However, modern poetry has strict requirements on rhyme and disciplines of metre: a poem has a limited number of sentences, that is, the quatrains consist of four sentences while the metrical verse of eight sentences. The rhyme schemes or level and oblique tone of the words in each line has a certain regularity, and rhyme cannot be converted. It also requires the middle four lines to be antitheses. The style of ancient poetry is handed down from previous generations, so it is also called gufeng or ancient style. And modern poetry has a strict meter, so some people call it metrical poetry. The forms and styles of Tang poetry are colorful and innovative. It not only inherited the Han and Wei folk songs, Yuefu tradition, and greatly developed the style of free verse; It not only inherited the five and seven ancient poems of the previous generation, but also developed into a long epic narrative; It not only expanded the use of five-character and seven-character forms, but also created modern poetry with a particularly beautiful and neat style. It pushed the artistic characteristics of the harmony of syllables and the refinement of words to an unprecedented height, and found a most typical form for the ancient lyric poetry, which is still particularly popular with the people. However, due to the strict metrical restrictions in modern poetry, the content of the poem is easily fettered and cannot be created and played freely, which is a great defect brought by its advantages and creates troubles for its translation as well.

It is a hard work to produce high–quality and beautiful translation work of Tang poetry. Since there are not only various themes and styles in Tang poetry, but also allusions, numerals, images, phonetic words, customs, natural scenery, place names and etc. All of these pose greater troubles for translating Tang poetry. Therefore, different translators hold different views in translating Tang poetry and they have their own translation theories.

Since 80s century, there are lots of English versions of Tang poetry, such as Poetry and Prose of Tang and Song, which is translated by Yang Xianyi and Gladys, Xu Zhongjie's New Translations of Two Hundred Tang Poems, Wu Juntao's Translation of Du Fu's Poetry, Xu Yuanchong's New Translation of Three Hundred Tang Poems and Selective Translation of Li Bai's Poems, Zhang Tingchen and Bruce M.Willson's Translation of One Hundred Tang Poems and Weng Xianliang's Translation of Classical Chinese Poetry. In early times, some people thought that poems can not be translated. P.B.Shelly and R.Frost were supporters. Frost said that poetry is what gets lost in translation (Gao,1994). An Austrian philosopher, R. Jakobson believes that poetry is strictly untranslatable (Gao,1994). Although there were such opinions, most people believed that poems are translatable and many translators have explored and formed new translation theories. In addition, E.A. Nida's equivalent effect and functional equivalence theories support that poems can be translated because of language regularity. Among them, some hold to translate poems with English metrical verse, such as Xu Yuanchong and Wu Juntao; while others use free verse on poetry translation, such as Weng Xianliang and Wang Shouyi. Because of intricate features of Tang poetry, translation work is difficult to realize its original beauty in form, sound and sense at the same time, so the former pays much attention to maintain the beauty in form, sound and sense and pursues to realize the combination of sense and form, and the latter emphasizes the importance of sense and seek to reproduce the meaning of the original poem and convey the true feelings of the poet, but sometimes it lost the original beauty of rhyme and sound. As L. Wittgenstein said, "translating from one language to another is doing a ma-thematic task. And translating an emotional poem into another language is like addressing a ma-thematic problem..., which can be solved but lack of a systematic method" (Gao Yukun,1994,22). The French translator, Le Marquis d'Henvey–Saint–Denys also wrote in the preface of his translation work Collection of Tang Poetry in 1862, "Poem translation is taking great risk and it is also hard and painful, because we found that those true beauties lie in the poetry can not be expressed in any foreign language."

No matter what translation theories they use, all of them believe that the translation of poetry is an art. Under the guidance of Yan Fu's translating standards--faithfulness, expressiveness and elegance, they have been trying to achieve the beauty in form, sound and sense. Xu Yuanchong, who has been translating Chinese classical poetry for more than 60 years, made great contributions to the translation field and had remarkable achievements.

Subtitle 2

Main Ideas of Xu Yuanchong’s Literature Translation Theory

2.1 An introduction to Xu Yuanchong

Xu Yuanchong was born in Nanchang, the capital city of Jiangxi province in 1921. He graduated from the Department of Foreign Languages of Tsinghua University in 1943. He entered the Institute of Foreign Literature of Tsinghua University in 44 years and then went to Europe to study. After returning to China, he served as a professor of English and French in foreign languages schools in Beijing, Zhangjiakou and Luoyang. He has been a professor of international culture at Peking University since 1983. He has been teaching the course Translation and Appreciation of Ancient Chinese Poetry at Tsinghua University since 1999. Xu is a famous translator in our country and is called the only expert in translating classical Chinese poetry into English and French verse. He has been nominated for the Nobel Prize in Literature. Xu's business card reads "the only person who translates poetry into English and French". He advocated "Dare to be the first in translation studies", and was regarded as a crazy talent in the field of translation. "I used to like to go my own way by myself, I still like to go my own way by myself, and I will continue to like to go my own way by myself." This is the last thing Xu said to everyone.

Xu's 42 works are all translated works, except for a memoir--Remembrance of the Past, and three works on translation theory--The Art of Translation, On Chinese Verse in English Rhyme, and On Literary Translation. These translations can be divided into four categories. One is Chinese-English translation, including 22 titles such as 600 Ancient Chinese Poems, 300 Immortal Chinese Poems, The Book of Songs, Romance of the Western Chamber, and Selected Poems of Mao Zedong. The second is the Chinese translation, which includes 150 Poems of the Tang and Song Dynasties and 100 Selected Lyrics of the Tang and Song Dynasties and so on. The third type is the Chinese-English translation, including Dryden's All for Love, Scott's Quentin Duward and so on. The fourth category is French-Chinese translation, including Hugo's Selected Plays, Stendhal's Red and Black and other eight kinds. Among them, the most striking is that he translated the literary masterpieces of the past 3,000 years into English and French verse and published them one by one, which has initially outlined the development of verse in the history of Chinese literature. It can be called a great feat in the field of translation. Among his works, 300 immortal Chinese poems, published by the British Penguin Publishing Company, is listed in its "Penguin series". Mr. Xu Yuanchong is the first Chinese to publish translated books in this world famous publishing house.

In 2010, Xu Yuanchong was awarded the "Lifetime Achievement Award in Translation Culture" by the Translators Association of China. On August 2, 2014, Xu Yuanchong won the Northern Lights Award for Outstanding Literary Translation, one of the highest awards in the international translation circle. He is the first Asian translator to win this award.

2.2 A Detailed Introduction to the Method of “San Hua”--Equalization, Deepenization and Generalization

As we have mentioned that the beauty of sense is hard to reach, and these measures can help us to improve our translation capability and learn to deal with translation problems in a appropriate manner. These three measures are methodologies of translation. Xu was inspired by Qian Zhongshu's theory of " the realm of sublimation" and came up with the free translation methods.

Equalization aims to achieve the equivalence between the source language and the target language, and it can only be used when the surface meaning and the deep meaning of a poem are the same. It includes word formation, syntactic transfer, affirmation and negation and allusion transplantation, etc. For instance, Xu Yuanchong translates “孤山寺北贾亭西，水面初平云脚低”into " West of Jia Pavilion and north of Lonely Hill, Water brims level with the bank and clouds hang low". The translation of place names is consistent with the original work. This sentence belongs to literal translation and it is easy to understand. Another sentence“树深时见鹿，溪午不闻钟”is translated into " In the thick woods a deer is seen at times, Along the stream I hear no noonday chimes". It also uses the method of equalization and realize the functional equivalence.

Deepenization refers to the fact that when there are differences between English and Chinese in the process of translation, the expression of the source language and the target language is not consistent, it is necessary to complete the unspoken content in the source language in the translation, so that the target reader can understand it. This method mainly includes amplification, creating something out of nothing, splitting translation or adding some content in the translation that is not explicitly stated in the original text but has this meaning. Here are examples of Xu's translation of Tang poems:

(1)白雪却嫌春色晚，故穿庭树作飞花。 But white snow dislikes the late coming vernal breeze, It plays the parting flowers flying through the trees.

In the translation, the words " dislikes, plays and flying" show us the lovely and brisk white snow with the personification. It expresses the poet's avid expectation for spring with the help of flying snowflakes.

(2)随意春芳歇，王孙自可留。 Though fragrant spring may pass away, Still here's the place for you to stay.

This translation explicitly convey the deep meaning of the sentence. Although the spring is gone, but the autumn scenery is better. The poet is willing to stay. He likes to return to nature, loves the landscape and advocates quiet and pastoral life. It shows the poet's noble feelings and the pursuit of his ideal life. In contrast to " deepenization", there are contents involving different cultures in the two languages. Sometimes it is not easy to translate directly, so we need to use a certain method, such as subtraction, to delete the culture-heavy contents in the original text and replace them with more general and understandable contents.

(3)相见时难别亦难，东风无力百花残。 It’s difficult for us to meet and hard to part； The east wind is too weak to revive flowers dead.

In this translation, it omits the word “百”which has no influence on the meaning expression. In this way, Xu also maintains the beauty in form and sound. What's more, the word "flowers" has involved the meaning of hundreds of flowers. This is what we call subtraction, which is one of the methods of generalization. Among them, deepenization is the best way to show us the beauty of sense. It is the high standard of literary translation and generally the translation work supersedes the original one. Thus, it is regarded as creation. In the translation of Tang poetry, we have to be clear that which method we should use in the process of translation to achieve the three aspects of beauty, especially the beauty in sense. The ultimate goal of translation is to produce high–quality translation works which are better than the original ones.

Subtitle 3

The Analysis and Appreciation of Xu's Translation of Tang Poetry through the Method of “San Hua” In this part, we will study Xu Yuanchong's translation methods of “San Hua” deeply and know more about their use in translation of Tang poetry.

3.1 An analysis of Happy Rain on a Spring Night through the Method of “San Hua”

春夜喜雨（唐）杜甫好雨知时节，当春乃发生。随风潜入夜，润物细无声。野径云俱黑，江船火独明。晓看红湿处，花重锦官城。

Happy Rain on a Spring Night Du Fu Good rain knows its time right, it will fall when comes spring. With wind it steals in night; mute, it wets everything. Over wild lanes dark cloud spreads; in boat a lantern looms. Dawn sees saturated reds; the town's heavy with blooms(Xu Yuanchong,2020,32).

This poem describes the poet's happy and brisk feelings to see the spring rain. It was written in the spring of 761 (the second year of Shangyuan). After a period of exile, Du Fu finally settled down in Chengdu, Sichuan Province due to the drought in Shaanxi Province and began a relatively stable life in the middle of Sichuan Province. When he wrote this poem, he had been living in a cottage in Chengdu for two years. He personally cultivated, planted vegetables and flowers, and socialized with farmers. He had a deep love for spring rain, so he wrote this beautiful poem describing the rain on a spring night that moistens everything.

Spring rain knows to adapt to the season. When all things germinate and grow, accompanied by the spring breeze, spring rain secretly in time to come at night to nourish all things silently. The country path and the clouds in the sky hide in the darkness, the lights of the fishing boats on the river are particularly bright. Till dawn, I saw that drizzle had moistened red flowers, which made them more charming. And beautiful flowers are full of Jin Guan City. At first, from the perspective of the beauty in three aspects, this is a five–character metrical poem and every sentence is divided into two parts. The first part includes two syllables and the second part includes three syllables. When translated into English, there are five syllables in each sentence and the first part includes two or three syllables and the second part includes three or two syllables. Moreover, the first and second sentences rhyme and so do the third and fourth sentences in both original and translation works. These show the beauty in form and sound. With regard to the expression of beauty in sense, it is not hard to know that the title and the whole poem basically used equalization(等化) so that it is easy for us to understand. In the first sentence, in order to maintain the end rhyme, Xu reversed the order of words "when spring comes" but translated it into "when comes spring". The words "good rain" express the poet's love to spring rain, which sets the general tone for the poem. And in the second sentence, he used "steals" to describe the falling rain which adopted personification and presented us a lively and dramatic picture. He also reversed words in the sentence of "mute, it wets everything", such kind of inverted sentences also seen in the second and third lines. The clouds are spreading the sky gradually indicates the upcoming of the very rain. And "looms" also reveals the carefulness of Xu's word selection. Because of the sullen weather and distance, the light from a lantern in a boat is weak and flickering due to the wind, so he chose the word "looms". Besides, words like "saturated" and "heavy" are appropriate choices. As for “锦官城”, he just translated it into "the town", which is the use of generalization(浅化) that omitted the explanation to allusion. As a whole, by means of the “San Hua”, readers can understand the poem without any difficulty and they can also feel the poet’s true feelings. Meanwhile, the choice of words, lengths of sentences and rhymes are pleasing to read and the meaning of the poem as well as the poet's true emotion are showed in the translation work. We can not only feel the poet's excited and surprised mood but also appreciate the musical beauty of the poem through reading it, which means this translation let readers enjoy and love it.

3.2 An analysis of The Sad Zither through the Method of “San Hua”

锦瑟 (唐）李商隐锦瑟无端五十弦，一弦一柱思华年。庄生晓梦迷蝴蝶，望帝春心托杜鹃。沧海月明珠有泪，蓝田日暖玉生烟。此情可待成追忆，只是当时已惘然。

The Sad Zither Li Shangyin Why should the sad zither have fifty strings? Each string, each strain evokes but vanished springs: Dim morning dream to be a butterfly; Amorous heart poured out in cuckoo’s cry. In moonlit pearls see tears in mermaid’s eyes; From sunburnt jade in Blue Field let smoke rise. Such feeling cannot be recalled again: It seemed lost even when it was felt then(Xu Yuanchong,2020,124).

It is one of the most significant poems of Li Shangyin. From the title -- the Sad Zither, we can know that the main focus of the poem is "sad".

This poem has been variously annotated. Some people thought it was a mourning work, some thought it was patriotic, and some thought it was deploring with sighs for all his talent, and others thought it was a description of missing the poet's maid Jin Se. But most people agreed with the first idea. In Xu's translation, most poems use the end rhyme and so does this. From the structure of the poem, we can see that forms of the original and translated works are the same. In regard to the full expression of its meaning, we can analyse it one by one sentence. The first couplet expresses the poet mourns for the lost golden years which we can see from words “思华年”, he translated “华年”into "springs" instead of "golden years" for the beauty of sound by means of generalization. Moreover, as the beginning of a year, spring represents vitality, energy and beauty which is like the most valuable years of people and expresses the poet cherish the golden years greatly. And "vanished springs" uses deepenization which told us that his golden years were lost forever and he was very regretful. Going forward, the second and third sentences include many allusions which is the most difficult task to deal with. The second couplet uses an allusion from Zhuangzi. It says that Zhuangzhou dreamed that he was a butterfly when he woke up from his dream, he found that Zhuangzhou was still there and he did not know where the butterfly was going. The poet took this as a metaphor for the beautiful situation he indulged in when he was young. “望帝春心托杜鹃”comes from a legend that in the late Zhou Dynasty, Shu monarch Du Yu abdicated and retired from public life, but he was unfortunately died. After death, his soul into the cuckoo, crying sadly and moving people's hearts. The poet used the story to convey his hatred and also the ardent miss for his wife. In Xu's translation, he did not translated these allusions directly into "Zhuangsheng" or "the emperor Wang", but omitted the subject. This is the adoption of generalization which avoids complicate and unnecessary explanation of allusions. Then he used the word "dim" actually showed the poet's confusion and melancholy, and "amorous heart" indicated the emperor Wang as well as the poet himself and the word "cry" expressed his sorrow for the vanished golden years and his dead wife directly. In this translation, Xu directly expresses the poet's true feelings which is hid in allusions, it is the method of specification in deepenization. In the third couplet, “沧海月明珠有泪”refers to the tears of mermaids that can turn into pearls. The poet combines the moon beads and tears into a hazy wonderland, expressing a kind of complex feelings of dis-consolation, which includes both the love for its high and clear, and the sadness for its cold and loneliness. And “蓝田日暖玉生烟”refers to the phenomenon that the jade mountain of Blue Field is often illuminated by the sun and the essence of the beautiful jade in it is rising gradually, which is as fine as hair from a distance, but nothing at all from a close look. The poet took advantage of the ideal scenery with high aesthetic meaning to express a kind of regret that can not be close to noble spirits. It is the same as the third allusion. Different from the second couplet, the first half of the third sentence roughly explained what the allusion talked about to readers while the second half used literal translation. If not understand these allusions, it will be hard for us to make it clear that what the poet want to express. Therefore, the proper translation of allusions is really formidable. The last couplet conveys the poet's grief and regrets again but it is much stronger than before. “可待成追忆”was translated into " cannot be recalled again" by Xu Yuanchong, which used negation translation in equalization. In fact, it emphasized that the beautiful days and loved ones were gone for good and it was too late to redeem for him. The word "lost" was tantamount to “惘然”that revealed the inner world of the poet. Xu had not translated“当时”into "when it was felt then" instead of “at that time”, which also belongs to the specification in deepenization, he described the feelings of the poet in details and made it clear to readers.

So from this piece of work, we can get to know that how difficult to deal with allusions properly because of the cultural differences between China and foreign countries. In my opinion, Xu did a really remarkable work. Through his translation, we can not only feel the beauty in form, sound and sense of the Chinese version, but also learn to make full use of the method of “San Hua” to help us understand its main idea and the poet's emotions. Particularly the translation of allusions that eliminates the tedious and unnecessary explanation of them which foreigners can not understand, and maintains the original beauty in form and expresses the important things involved in them as well.

3.3 An analysis of The Mourning Day through the Method of “San Hua” 清明（唐）杜牧清明时节雨纷纷，路上行人欲断魂。借问酒家何处有，牧童遥指杏花村。

The Mourning Day Du Mu A drizzling rain falls like tears on the Mourning Day； The mourner' heart is going to break on his way. Where can a wine shop be found to drown his sad hours? A cowherd points to a cot' mid apricot flowers(Xu YUanchong,2020,160).

The first line of the poem points to the natural conditions in which the poet is exposed, such as the time and weather. Tomb-sweeping day is one of the big festivals of the tang dynasty on which people will hold family reunion, visit a grave, outing, and attend various activities. Du Mu did not see the sun in the Qingming Festival in Chizhou（池州）, but only drizzle. The second sentence turns from the perspective of objective to the subjective, focusing on the poet's emotional world. He saw passers-by on the road were busy mourning their dead loved ones, and he felt very sad and grieve. In the third sentence, the poet's feelings mingled with scenes. He was very sad when traveled in the rain. The rain wet his clothes and the weather was chilly. Then the poet sought to drown his sorrows in wine, so he asked the way. The last line tells us to whom the poet asks for directions. "A cowherd points to a cot' mid apricot flowers" brings the reader into a completely new realm, which is completely different from the previous melancholy and misery. The cowherd's warm and sweet voice, distant apricot flowers blooming like brocade, the spring is in the air, and the wine flag at the village head is fluttering. The first two lines of the poem create a sad and sentimental picture, while the last two lines show a vivid and lively one, which is contrasted and interlaced with each other. It also shows us the change of emotions of the poet.

First and foremost, from the three aspects of beauty, Xu still adopts the end rhyme. The number of words in every sentence varies by only one or two, so from the perspective of form, the whole poem is relatively neat after translation.

Then what matters most is the adoption of the method of “San Hua” in the expression of the beauty in sense. Firstly, the title “清明”was not translated into "Pure Brightness Day" or "the Qingming festival", but "the mourning day" because the poem mainly talks about the scenes and poet's feelings on mourning relatives on this very day. And for target readers, especially foreigners, they do not understand what is the Qingming festival or Pure Brightness Day and what people do on this day. Comparatively speaking, " the mourning day" makes the main idea of the poem clear and it is also in line with the original meaning. Therefore, in this poem, Xu mainly used the method of deepenization. In the first sentence,"a drizzling rain" depicts the features of spring rain which is not thick and fast. "Fall like tears" is not showed in the original work, but it is implicated in the sentence. The falling rain is like mourners' tears on their way to visit their dead loved ones. Xu excavates and expresses the implicit meanings of the original text, which eases the burden to fully understand the poem. Then “路上行人” actually do not "pedestrians" or "travelers", but "mourners". Because on the mourning day, those people were engaged in paying respect to the dead and they hurried on the road due to the rain. Xu translated “欲断魂” into "heart is going to break" which belongs to free translation and expressed the mourner's deep sorrow. In the third line, "wineshop" points out that the poet wants to drink down his sorrow, and "drown his sad hours" makes it clear and touching. In the original text, there is also not the purpose why the poet looks for a wineshop, but Xu's translation reveals everything. It belongs to specification and amplification. The last sentence is the answer to the question before--There is a wineshop mid apricot flowers. If let us translate“杏花村”, it could be "apricot village". But after thinking twice, we will notice that it could not be an apricot village, but a cot hid among the apricot flowers which is more appropriate and beautiful. On the whole, through reading Xu's The Mourning Day, we tapped the implicit meaning of every sentence out. And in this English version, Xu directly expressed the poet's heartfelt sorrow, dis-consolation and gratification. In reading this poem, we sympathize with the poet, mourn with him, and find comfort in the discovery of a wineshop hidden in an apricot flowers.

In conclusion, through the analysis and appreciation of the three poems translated by Xu Yuanchong, we further understand the use of his translation methods ”San Hua” in poetry. In general, equalization and deepenization are used frequently in poetry while generalization is mostly used to deal with allusions and etc. Generally speaking, to reverse the disadvantages of the target language, we can use the generalization method to make readers understand the text. Striving for the same high quality of translation as the original work, we can use the equalization method to make readers appreciate it. Developing the advantage of translation and make it surpass the original text, we can use the deepenization method to make readers admire it. This is Xu's skopos theory of literary translation.

Subtitle 4

The Influence of Xu's Translation Theories As an expert of translation, Xu Yuanchong forms his own systematic translation theories which are applauded by most people. And these theories are clearly showed in every piece of his work. We have to admit that his translation theories indeed shed new lights on translation and make tremendous contributions to the exchange between Chinese and foreign cultures. His translation work not only let Chinese people enjoy the foreign literary works in a fresh manner, but also present the original beauty of Chinese literature to foreigners. Under the guidance of his specific translation theories, we get a clearer map to translate poetry, novel and etc. Xu Yuanchong's translation theories “美化之艺术”is combined by extracting one word from predecessors' translation theories. It is based on their experiences and his own translation practice for more than sixty years. He inherited and developed these theories and explained them explicitly. Firstly, He believed that "elegant" no longer means quaint in today's world, but elegance or beauty. Xu said:"According to my own translation practice, I think Yan Fu's 'faithfulness, expressiveness and elegance' can be understood today as 'faithfulness to the original content, smooth translation form and giving play to the linguistic advantages of the translation.' "In my opinion,'faithfulness, expressiveness and elegance' can be understood as 'faithfulness, expressiveness and excellence'. Excellent is to give full play to the advantages of the target language, which is to use the best way of expression of the target language with words of beautiful meaning, sound and form, in other words, 'excellent' is' beautiful '." Secondly, he explains the relationship between science and art, translation words and taste or styles, truth and beauty with simple formulas. Xu says:" Chinese poetry often has multiple meanings with endless aftertaste, while English poetry expresses the literal meaning." Thus, the western science school put forward the theory of "equivalence", "equivalence of function", "equivalence of effect" and literal translation theories. Because the meaning is greater than the words, the Chinese school of art puts forward the theory of free translation and spiritual resemblance, giving play to the advantages of the target language, that is to say, the translator can not only translate all the contents of the original text but also contents are not showed in the original text. Therefore, the formula for literary translation is 1+1>2. Thirdly, he advocates literary translation should create beauty, so he proposes the advantage theory. The translation of cultural allusions is the most difficult. Literal translation cannot preserve beauty even if it can preserve truth. But if we adopt free translation, even if it can be beautiful, it is often hard to avoid distortion. A true translation can make readers comprehend it; a beautiful one can readers enjoy it, and a translation that preserves both truth and beauty will delight the reader. Therefore, the translation of poems should preserve the beauty of the original poems with as little distortion as possible. Since literary translation is an art and literary works are about people, so they have to be fascinating and exciting. If we only pursue truth without paying attention to beauty, it may be not a beautiful work, so the beauty of it is more significant than the truth.

Conclusion

Xu is a very confident, talented and prolific translator with strong character and innovative spirits in the translation field. He has a special calling card; in it there are two phrases "over sixty books published in China and aboard,the one and only person translated series of Classical Chinese poetry into English and French." In another calling card reads "without the title of academician, but he excels an academician; translated over one thousand classical Chinese poems to Europe and America". His translation theories and practices gained a wide range of recognition at home and abroad. Reading his translation of Tang poetry is an enjoyment. Nowadays, there are still many translators and translation theorists support his translation theories, particularly three aspects of beauty and the method of “San Hua”. Looking at the translation of Tang poetry in history, Xu Yuanchong's translation makes our eyes shine. The beauty of classical Chinese poetry, which is thought could not be translated, came to life in his writing. Under the guidance of the beauty in form, sound and sense, translators adopt approaches of equalization, generalization and deepenization to pursue their goals of letting readers comprehend, appreciate and even admire their translations. Although some of his translation theories are still controversial and questioned by some translation staffs, as the saying goes:" There are spots even on the sun", this does neither affect his lofty status in the translation field, nor does it negate his great contribution to the inheritance and dissemination of translation field and culture. Mr. Xu Yuanchong devoted his whole life to the cause of translation and the pursuit of beauty. He spent most of his life summarizing his valuable translation experience and forming his own translation theory system, which is helpful for us to further understand translation and further practice it. His works let us appreciate the local conditions and customs of foreign countries, but also bring foreigners to enjoy the beauty of classical Chinese poetry. In this paper, we studied Xu's mainly translation theories and cited several Tang poems to illustrate his translation methods. Through the analysis of his works, we get a clearer picture on the use of his translation theories, and we also know more about the defects of his translation which casses our reflection. After all, translation theory system can not be completed in one day. It requires us to explore and improve it through trial and error.

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英语笔译张国浩 Zhang Guohao 202170081606

The Influence of Electronic Language on Chinese Language and Culture in the Internet Age Zhang Guohao

Abstract

Language is the most important communication tool and the carrier of culture. Language itself is also a cultural phenomenon. The Chinese nation has a long history of thousands of years, and its language and culture are an indispensable part of Chinese traditional culture. With the development of electronic network and information technology, electronic language is also booming under this background. Electronic language is the product of the times. It has both positive and negative effects on Chinese language and culture. Starting with the analysis of the emergence and characteristics of electronic language, this paper focuses on the positive and negative impact of electronic language on Chinese traditional language and culture in the new media era, and further puts forward a series of measures to protect Chinese traditional language and culture.

Key words

New media; Electronic language; Language culture

Introduction

With the development of current information technology and network technology, a large number of electronic languages, also known as network languages, have appeared on the Internet. And they have increasingly penetrated into people’s daily life with the development of the Internet. Electronic languages reflect the current hot social issues, and have the characteristics of simplicity. With the increase of electronic languages, it is bound to have a certain impact on Chinese traditional language and culture. Electronic languages have both positive and negative effects on Chinese traditional language and culture. While expanding the vocabulary of modern Chinese, some vulgar and malicious electronic languages are eroding the traditional Chinese language and culture. How to make electronic language and Chinese traditional language and culture coexist harmoniously in the new media era is a topic that is worth studying and discussing. This paper will introduce the background of electronic languages, the characteristics of electronic languages and the impact of electronic languages on Chinese traditional language and culture, and explore measures to protect Chinese traditional culture in the new media era.

The Electronic Language in the New Media Era

1.1. The Emergence of Electronic Language in the New Media Era

After three technological revolutions, the new media era has finally arrived. With the rapid development of the Internet, the momentum of new media in people’s lives is also growing. And the electronic language that followed became one of the most important parts of it. Today, under the circumstance of the new media era, electronic language has developed with the development of the network. The continuous development of society has made the traditional language unable to meet people’s spiritual needs. People are now facing a colorful language world on the computer screen. While lamenting people’s strong adaptability, we have to say that this is the result of the transformation of the media. The media carrier has to decide the trend of culture. When we look at the characteristics of electronic language in the era of fresh media, it is not difficult for us to have such results.

1.2. The Definition of the Electronic Language

Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on. It was born in the electronic media and developed with the popularity of the network. Electronic language is participated by the public and can not be separated from the carrier of electronic media. It passes between the instructors of electronic media. Compared with the traditional language, there is no classical version of the electronic language because the electronic media has only appeared for a few decades. Therefore, the grammar and word order of it do not seem to conform to the traditional language norms.

1.3. The Characteristics of Electronic Language in the New Media Era

1.3.1 Electronic language is the combination of written language and spoken language.

According to different media, language can be divided into written language and spoken language. Written language has very restrictive grammar rules, a standard punctuation system and a very strong logic. With no intuitive feeling like spoken language, written language has a deterrent to people and help to form people’s rigorous rational thinking. However, spoken language is very flexible, and is not stick to one pattern. It has the characteristics of immediacy and transience, which makes spoken language not as easy to store and popularize as written language. There is a confrontation between written language and spoken language inadvertently, and this confrontation has been eased in today’s new media era. Electronic language acts as such a bridge. Electronic language not only has the expression environment of written language, but also has an obvious tendency of colloquialism. Whether it is online chat, forum post or mobile phone short message, it is not completely the same as the traditional expression. Since electronic language requires users to type what they want to say on the screen, and requires the receiver to browse the information through their eyes, so it has obvious characteristics of written style in this way. However, it is also influenced by the colloquial style, so there is obvious mutual penetration from both sides. Generally speaking, electronic language is a kind of colloquial written language, which fully integrates the two types to serve its own needs.

1.3.2 Electronic language is pictorial and vivid.

In the new media era, the recipients of electronic media can not learn the rich body language of the communicator from the electronic screen, but they can get some information by some vivid dynamic expressions sent by the messenger. People often use various symbols on the keyboard to create a lot of very vivid and humorous facial expressions to express their body language at that time, in which there is almost no difference between happiness and sadness in real life. These electronic languages are very interesting on the electronic screen and often make people laugh, which instantly shorten the distance between the information sender and the receiver. Through these vivid cartoon symbols which are different from words, the communicator penetrates parts of the meaning he wants to convey, making the virtual electronic media full of reality and immediacy. As a result, many relaxing and humorous electronic languages have emerged. They are not only humorous, but also easy to understand. This kind of relaxing and humorous style caters to the needs of modern people to relax their body and mind, so that the tense young generation can speak freely. When facing a boring topic, they can also discuss with each other in a humorous tone, which undoubtedly brings an unparalleled happy experience to the users of new media.

1.3.3 The expression of electronic language depends on the context and its meaning is vague.

Context refers to the speech environment, which includes both linguistic factors and non-linguistic factors. Contextual factors such as context, time, space, situation, object, and discourse premise, are all related to the use of words. Context includes specific time, specific space, specific scenes, specific characters and so on. Electronic context mainly refers to some new media such as electronic bulletin boards and e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Electronic context mainly refers to some new media such as e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Therefore, electronic language is bound to be misunderstood without a big context. The context of electronic language has always been open, allowing everyone to join freely. Different media will produce different languages. Electronic language is generated with the arrival of the new media era and will develop with the continuous development of the new media. The characteristics of electronic language are inseparable from the convenience of transmission, fast replication and various presentations of new media. Therefore, with the continuous development of new media, the era of electronic language has come.

1.3.4 Electronic language is highly dependent on network information technology media.

The intelligent terminals represented by computer, electronic information technology and Internet technology have created electronic language and the unique paralanguage of electronic language such as emoji, which not only makes up for the lack of body language such as expressions, movements and moods of language users, but also makes electronic language form multiple forms of expression, such as structured, semi-structured and unstructured forms. At the same time, network information technology has built a platform for the use of electronic languages, such as various forums, QQ groups, micro-blogs, We Chat and other virtual spaces, so that spoken or written languages and other different types of languages and dialects communicate with each other. Without the network information technology, the electronic language cannot exist. This technology also breaks the limitation of traditional spoken and written language, making the electronic language a super language without the limitation of time, space and region. Therefore, the modern information technology with computer, communication, network and electronic technology as the core is the material basis for the generation and use of electronic language.

The Influence of Electronic Language on Chinese Traditional Language Culture

The new media era is a multilingual society, so there is an obvious language-mixing phenomenon in electronic language. In electronic language, there is no absolute authority and anyone can speak freely, which makes the electronic language have a strong vitality and a huge impact on the traditional Chinese language and culture.

2.1 The Positive Influence

2.1.1 It can promote the development of Chinese language and culture

The electronic language has a variety of changes. Its simple, fast and vivid features not only meet the needs of the new media era, but also give people a fresh and lively feeling. Any language in the world is constantly updated and developed in use. Language innovation is an extremely important factor and a manifestation of vitality of a language. Without innovation, there is no development of language. Denying innovation and resisting innovation are equal to killing the vitality of a language. With the continuous development of electronic language, a large number of new words have emerged and the number of loanwords have increased. And with the extensive use of lettered words and numerals, Chinese vocabulary has been greatly enriched and developed. In the aspect of pronunciation, we use some homophonies to replace some Chinese words. For example, now we use “酱紫”to replace “这样子”. In terms of grammar, electronic language does not adhere to traditional grammar, which enriches and transforms the grammar system, and distorts conventions. In addition, electronic language has accelerated the demise of some old words. This series of characteristics makes the Chinese language fully nourished and breaks the barriers to knowledge. As a result, Chinese language spreads rapidly. At the same time, it adds the fun and color of people’s lives, making cultural exchanges unprecedentedly free and prosperous.

2.1.2 It can promote the transformation of reading methods.

In the era of new media, electronic language is constantly innovating and changing. With the continuous progress of technology, people’s reading methods are changing. Today’s electronic media reading is basically replaced by “hypertext” and “hyperlink”. People can read everything related to the text by clicking on links one by one, which is much more convenient than before. This way also satisfies people’s psychology of seeking knowledge and curiosity. In addition, with the popularization of high-tech products such as mobile phones and tablet PCs, mobile reading begins to prevail. People’s reading is no longer confined to a place. Through these new media, people can easily read anytime and anywhere, which generally improves the reading efficiency.

2.2 The Negative Influence

Firstly, the emergence of electronic language may make Chinese traditional language and culture be in danger of dating. Chinese traditional language and culture is the summary of experience of the continuous development of the Chinese nation. And it is also the national spirit gradually condensed in the long-term social practice. The language culture full of the fine tradition of the Chinese nation not only provided great power for the development of the Chinese nation in the past, but also will play an important role in the future of the Chinese nation. However, in today’s new media era, young students are the main users of electronic media. Since they are particularly sensitive to new things and electronic language has the characteristics of convenience, rapidity and image, it has a fatal attraction for young students who like to pursue new things. While they continue to create electronic language, they also continue to penetrate electronic language into their own lives, which makes Chinese traditional language and culture more and more distant from them. If things go on like this, it will inevitably lead to the dating of Chinese traditional language and culture, and make the future of traditional language and culture bleak.

Secondly, the trend of vulgarization of some electronic language has produced cultural garbage. In the new media era, electronic language constantly pursues individuality and innovation. However, there are also some shortcomings. The virtuality and obscurity of the network make it easy for both sides of the dialogue to relax or even unbridled in their communication, which results in the uncivilized electronic language. Some electronic languages abuse other people or even carry out personal attacks with rude words and dirty words, losing the minimum civilization. And information surplus will produce information garbage, making people consume more time to filter the information. This is a manifestation of information pollution. All these phenomena will seriously affect people’s normal life order. Nowadays, the vulgarization trend of electronic language is becoming more and more serious, and it begins to penetrate into the traditional media. If it is not guided as soon as possible, our traditional language and culture will be destroyed.

Thirdly, electronic language does not conform to grammatical norms. Since electronic language does not conform to grammatical norms and blindly pursues novelty and convenience, it violates Chinese language norms in many ways. Some typos and words and phrases with misinterpreted meanings will have a negative impact on the education of Chinese language. Although these nondescript languages are novel, their damages to Chinese or other languages are obvious. Adolescents are extremely sensitive groups and are willing to accept new things. However, their ability to generally distinguish between right and wrong is not strong. Therefore, in the process of learning, it is easy for them to be affected by these electronic languages, which makes them easy to develop bad habits of not using standard words and standard expressions. As a result, it is detrimental to the learning of traditional language and culture, and their appreciation ability will be decreased.

Fourthly, electronic language can form linguistic generation gap and cause communication difficulties. Electronic language represents a certain type of language and culture in the new media era, and has been widely used in the new media era. It continues to penetrate into the life of the young generation pursuing fashion. In this specific new media language environment, electronic language has its significance. However, when it leaves this specific environment, it will no longer become a tool for people to communicate with each other. If people do not understand it, it will hinder normal communication between people. In terms of the communication effect of a language, this generation gap misleads the communication between the communicator and the receiver, and has a great impact on the traditional language and culture. Many electronic languages cause generation gap between parents and children. Due to the non-standard use of language, parents often don’t know what their children mean. The gap between the two generations is hard to erase. Now, coupled with the novel electronic language, the generation gap between the two generations is bound to deepen and the communication between them will become more and more difficult.

The Measures to Protect Chinese Traditional Language and Culture

First of all, the government should introduce relevant laws and regulations to regulate electronic language. The support of the government is like a beacon, which can guide Chinese traditional language and culture to a bright road. In this aspect, China has also made some attempts, such as popularizing Mandarin Chinese nationwide, which is not only the necessary measures to facilitate communication, but also can effectively regulate the Chinese language so as to promote effective dissemination of Chinese language and culture. In addition, in the aspect of creating a good new media environment, the role of national laws and regulations cannot be replaced by other methods. This kind of compelling force can guide the development of electronic language towards the right path. While standardizing itself, it will also promote the traditional language and culture and electronic language to absorb the advantages of each other, learn from each other, and finally achieve a win-win situation.

Secondly, the government should popularize the education of Chinese traditional language and culture. Education has always been the foundation of people’s livelihood. Improving education has no harm to the spread of traditional language and culture. In order to strengthen the proportion of Chinese studies and standardized the use of Chinese language in compulsory education, teachers should pay attention to the cultivation of students’ traditional language accomplishment. High school period can’t pay more attention to the science education but to grasp both sides. In addition, it is necessary to popularize quality education and improve the overall quality of students from all aspects in order to lay a good foundation for entering university. In the university curriculum, we should add the curriculum of Chinese traditional language and culture and the comparative appreciation of Chinese language and culture with other countries, especially in western countries. In this way, we can increase students’ appreciation ability, so that the majority of students can feel the charm of Chinese traditional language and culture, deepen the understanding of Chinese traditional language and culture in the process of comparison with other countries, and make more efforts to protect our traditional language and culture. Many attempts have been made in folk such as the rise of modern private school. Although there is a conflict with the law of compulsory education, but its spirit of exploration should be affirmed and supported.

Thirdly, we need greater efforts to enhance the development of traditional media. Under the pressure of new media, traditional media has a trend of decline. Newspapers are in danger of dying out in the new media age; book sales are also declining year by year. Although journals have entered the digital age, the cultural capacity of them is not high and the transmission channel is not unblocked. If all of these are not solved in time, the consequences will be serious. Moreover, traditional media is an excellent way to spread traditional language and culture. Therefore, it is necessary to continuously explore the new advantages of traditional media and learn advantages from other media, so as to make the traditional language and culture flourish in the traditional media.

Fourthly, The media should hold more programs about traditional culture. The traditional language and culture should be consciously or unconsciously integrated into the program, so that the audience can get spiritual sublimation. Traditional cultural programs may have low viewing rate due to their monotony and slow rhythms. This requires the media director to find a way. In this regard, CCTV’s Lecture Room is a good example. It integrates traditional language and culture into the program in a novel and unique way. It not only spreads Chinese traditional language and culture to the audience, but also leads to an active atmosphere and increase the attraction. As a result, the viewing rate will naturally be higher. In recent years, the film about traditional language and culture is also very popular. The film Confucius and Sacrifice have achieved good earnings. These films show the charm of Chinese traditional style to the world, and have a great significance for the inheritance and development of traditional language and culture. The media therefore has a long way to go in this regard.

Fifthly, we need to speed up the construction of websites that can inherit Chinese traditional language and culture. In the new media era, with the rapid development of science and technology, electronic language is also sweeping the whole network. How to open up a new world of Chinese traditional language and culture in this new field has attracted more and more attention. From my perspective, it is very important for us to adhere to our own principles in the virtual network. In order to protect the traditional language and culture and resist the invasion of electronic language, we must first make the traditional language itself become strong. It is a good choice to run a website that can inherit Chinese traditional language and culture. The website we want is not a pile of meaningless electronic language, but to carry forward the development of Chinese traditional language and culture. This is a spirit that needs to be firmly observed. There is no doubt that if all of these are truly achieved, it will be of great significance to the standardization of language.

Inheritance and Innovation of Chinese Traditional Language and Culture through New Media Means

The above measures are general protection measures for Chinese traditional language and culture. With the continuous development of the new media era and the continuous innovation of science and technology, we need to learn to use the means of new media to protect and inherit Chinese traditional language and culture. This part takes cultural TV programs as an example to discuss how to use TV cultural programs to effectively inherit traditional language and culture.

In recent years, TV cultural programs have become increasingly popular. Under this background, many TV media have participated in the creation of traditional cultural TV programs. The explosive and hot broadcast of TV cultural programs can not only give full play to the communication function of TV programs, but also realize the role of TV program communication in promoting traditional language and cultural spirit. Therefore, how to maintain the original intention of traditional cultural heritage of TV cultural programs is the main purpose of its development. At the same time, through the continuous optimization of the content of the program, it realizes the effective dissemination of traditional language and culture, and thus plays a good role in promoting the construction of a harmonious society.

The first thing is to innovate the program content so as to inherit our excellent language and culture. As a kind of mass media, TV has its own artistic variability. This is mainly because television provides a lot of communication channels, and also shows the diversity of traditional cultural content in the process of inheriting traditional language and culture. Therefore, television should be the main channel for inheriting traditional language and culture. When disseminating knowledge, TV cultural programs also choose higher quality traditional language and culture and realize the inheritance of high-quality traditional language and culture through the continuous innovation of communication forms, thus showing the vitality of traditional language and culture and the responsibility of mainstream media. As early as 2016, the State Administration of Radio made a new deployment for the innovation of radio and television programs. At the same time, it also guided radio and television stations at all levels to actively do a good job in building cultural self-confidence, encouraged radio and television stations to actively innovate, so as to lay a good foundation for the prosperity and development of socialism and high-quality traditional language and cultural programs. It also constantly promotes the effective integration between television media and traditional language and culture. The innovation and creation of excellent TV cultural programs can not only realize the inheritance of traditional language and culture, but also guide young people to actively undertake the main task of inheriting traditional language and culture, which provides reliable support for traditional culture education. At the same time, young people can be striven to be the promoter of traditional language and culture. Students have a certain leading ability and exemplary role. They can not only show the cultural confidence of contemporary young people through the program and enhance the educational function of traditional culture, but also accumulate traditional language and culture in the process of continuous exploration.

With the advent of the information age, there has been an ideological collision between various cultures, which has also affected the traditional consumption concept. With the rapid development of modern information technology, television, as an important cultural industry, plays an important role in cultural communication and transmission of Chinese cultural ideas. Under the background of cultural infiltration, China should actively publicize traditional language and culture and take it as the key content of its soft power development. Cultural strength is an important factor for the prosperity of a nation. TV cultural programs should actively enhance their comprehensive strength in the process of its development. At present, the diversified world culture is booming and the culture of various countries are infiltrating each other. The national cultural soft power plays a major role in the world development competition. TV media should actively undertake the task of spreading the traditional language and culture of the Chinese nation, and take TV cultural programs as the main way to enhance the development of national cultural soft power. In addition, the content of traditional language and culture spread by TV media should also have unique characteristics and highlight the advantages of traditional culture. Only by strengthening the dissemination of traditional language and culture can we lay a good foundation for the future development of China. At the same time, we can also spread the high-quality traditional cultural spirit for young people so that 5000 years of brilliant treasures can be inherited and carried forward. As an important carrier of socialist core values, television should realize the arduous task of carrying forward traditional culture, accelerate the popularization and inheritance of Chinese traditional language and culture and guide teenagers to correctly understand excellent traditional language and culture so as to realize the effective penetration of socialist core values. Although the Internet has had a great impact on the media, and also made the cultural communication have a new direction and mode, the television communication media still occupy a dominant position and should take the responsibility of the mainstream media. Therefore, TV cultural programs should take full use of the advantages of TV media, choose innovative communication methods, fully display the characteristics of traditional language and culture through the optimization of communication content. With the assistance of Internet media, we can inherit and carry forward traditional language and culture, and promote the sustainable development of traditional language and culture in the era of new media.

On the other hand, cultural TV programs should enrich their forms and highlight characteristics of Chinese language and culture. TV cultural programs should actively use the interactive mode of all media. Many TV cultural programs in their production process are integrated with variety show forms to attract audience attention. In addition to the traditional on-site interaction, TV programs should also actively mobilize the participation and interaction of off-site audience in the new media era. In addition, we should also actively enrich the stage manifestation of TV programs. Through the effective application of modern data technology, high-tech elements can be added to the broadcast of TV programs, so that the audience can be immersive and close the distance between traditional language and culture and them. Especially with the continuous improvement of people’s aesthetic level, the design of TV cultural programs should actively innovate the stage design, show the charm of cultural programs under the support of high-tech forces, and build a dynamic artistic space.

At the same time, in the new information age, the mainstream TV media should actively take full advantages of new media, increase the dissemination of traditional language and culture through media integration, improve the national cultural soft power, and shoulder the arduous task of inheriting culture. In addition, we should also actively create original program content with our own characteristics. Under the influence of traditional language and culture, we should increase the communication effect through the form of media integration, so that the influence of traditional language and culture can be fully displayed.

Conclusion

In a word, Chinese language and culture has a long history, which has made great contributions to the progress of human civilization. The inheritance of traditional Chinese language and culture needs our continuous efforts. In the new media era, the electronic language is characterized by humor and vague context, which makes it a double-edged sword. Therefore, it will also have an impact on the traditional language and culture in the process of its development, which has both positive and negative sides. This requires the state and society to actively guide the electronic language. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language. It is believed that electronic language can coexist peacefully with traditional language and culture and develop together through continuous efforts of all parties in the near future.

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英语笔译张姣玲 Zhang Jiaoling 202170081607

The comparison of the translations of Li Bai’s poem Changgan Xing(Ezra.Pound's Version and Xu Yuanchong's) Zhang Jiaoling

Abstract

As one of the representatives of Traditional Chinese culture, poetry and its English translation are favored by literati. Li Bai's masterpiece Changgan Xing has been translated by many Chinese and foreign scholars. This paper makes a comparative study of Ezra Pound's and Xu Yuanchong's translations under the guidance of functional equivalence theory, and finally points out the translation steps that should be followed when translating poems under the guidance of this theory.

Key words

Comparison; ChangGanXing; Ezra Pound; Xu Yuanchong; Functional Equivalence

Introduction

As a literary genre, poetry is rich in thoughts, emotions and imagination, with refined language and beautiful rhyme, and particularly strong imagery. The translation of poetry not only requires accurate reflection of the original content and its imagery, but also requires the translation to be consistent with the original in form and style. When it comes to Chinese poetry, especially Romantic poetry, one can easily associate it with the Poet Immortal Li Bai. He wrote more than 1000 poems throughout his life, which occupy an important position in the development of Chinese classical poetry. His poems is wild and unrestrained, dashing and bold, thus leaving a deep impression on readers. Li Bai's life was unusual in that he revered freedom, loathed the worldly officialdom, and lived his own life. His romantic life provided material for his poetry, and he left many masterpieces in the history of Chinese poetry. It is noteworthy that it was his rich life experiences that had a profound influence on his poetic creation. The poem Changgan Xing is a household Yuefu poem written by Li Bai. The whole poem is written in the form of a merchant woman living in Changganli self-talking, recalling her loving past with her husband and expressing her undying love for her husband in another country. The poem mainly describes the merchant woman’s memory of her and her husband’s innocent childhood, then their wonderful married life, and the protagonist’s endless missing of for her husband after his departure.

Xu Yuanchong is a professor at Peking University and a renowned translator. He has been engaged in literary translation for more than 60 years, and his achievements are so high that he was awarded the Aurora Borealis Prize for Outstanding Translation of Literature in 2014, one of the highest awards in the international translation community. He has been publishing his translations since 1956, and his major works include The Songs of Chu, Three Hundred Tang Poems, and Three Hundred Song Lyrics. Mr. Xu Yuanchong's translation works have promoted the exchange between Chinese and Western cultures and brought outstanding Chinese literary works to the world, especially his translations of classical Chinese poems. In addition, he put forward a series of translation theories, which enriched the traditional Chinese translation theory and promoted the development of translation studies. Mr. Xu Yuanchong's translation theory is mainly based on his "Three Beauties" principle, which holds that "the beauty of meaning means that translated poems should touch the reader's heart as much as the original poems do; while the beauty of sound is that they should have pleasant rhythm as the original poems have; and the beauty of form means that the translated ones should maintain the form of the original poem as much as possible.” Mr. Xu once talked about the relationship between the "Three Beauties" in his article on translating poems: "the beauty of meaning" is the most important, "the beauty of sound" the second, and "the beauty of form" is even less important. (Xu Yuanchong, 1979).

Ezra Pound (1885-1972), a leading representative of 20th century imagist poetry, was also a major founder of British and American modernist poetry. Both a poet and a translator, Pound translated many Confucian classics as well as classical Chinese poems. In 1915, Pound published his English translation of an ancient Chinese poetry anthology, Cathay, which was immediately received by Western society as "one of the best ten or so American poems of the 20th century”. Jeff Twitchell says, "Before Pound, China had no literature worthy of her name popular in English-speaking countries." (Jeff Twitchell, 1992) Pound's idea of poetry creation greatly influenced his idea of translation. Pound advocated translation without emphasizing fidelity to the meaning of the original text; what he sought was to reproduce the details and imagery of the original text in the translation. Imagery is the soul of the poetry translation, without which the translation of poetry would be meaningless.

This paper takes Li Bai's Changgan Xing as the object of study and compares and analyzes Pound's translation “TheRiver-Merchant’s Wife: a Letter” and Xu Yuanchong's translation “Ballad of a Trader’s Wife” under the perspective of Eugene Nida’s functional equivalence theory.

Methods and Theories

The term "dynamic equivalence" was first proposed by Eugene Nida in his 1964 book Toward A Science of Translating, emphasizing that "the relationship between receptor and messageIn such a translation (dynamic equivalent translation) one is not so concerned with matching the receptor-language message should be substantially the same as that existed between the original receptors and the message"(1964:159). In The Theory and Practice of Translation, Nida proposed that "Translating consists in reproducing in the receptor language the closest natural equivalence of the source-language message, first in terms of meaning and secondly in terms of style." (Nida & Taber 1982: 74). By the end of the 1980s, Nida replaced "dynamic equivalence" with "functional equivalence" in order to emphasize the concept of "function" and to avoid the misunderstandings of "dynamics" by some people, emphasizing that translation is a form of communication focused on reproducing the original language. Functional equivalence requires "not only the equivalence of the content of the message, but also, as far as possible, the equivalence of the form.” Nida clearly states that "the closest natural equivalence" is used to reproduce the original message. In the early 1990s, "functional equivalence" was further divided into two categories including the maximal level of equivalence and the minimal level of equivalence; the former is defined 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" , which is the highest level pursued by the translation, while the latter is stated as “The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it”.(Nida 1995:224;1993:118) The highest level of functional equivalence is an ideal state, which is rarely achieved in texts other than those with little aesthetic value of factual information. The lowest level of functional equivalence is more realistic, and any translation below this level is unacceptable (Nida, 1993: 118). A good translation always lies somewhere between the two levels (Nida, 1995). The theory of "functional equivalence" is flexible, and there is considerable diversity between the highest and lowest levels. Compared with other translation theories that focus on a single theoretical criterion, the "functional equivalence theory" allows for diversity in the translation process. Translators have more autonomy to "deal with some of the problems of variability in different texts, of significant differences between readers, and of differences in the use of translation for research, for publicity, for pleasure, etc." (Nida, 1996: 114).

On the level of word

First, from the translation of the title, Xu Yuanchong translated it as "Ballad of a Trader's Wife", while Pound translated it as "The River-merchant's Wife: A Letter". Both of them are translated by understanding the whole poem, rather than simply translating it as "Changgan Xing". This is because the whole poem is mainly about the woman's longing for her husband through the description of various imagery. Such a translation is also closely related to the context in which the poem was composed. In the middle and lower reaches of the Yangtze River and the Han River valley, business was flourishing back then, and cities were prosperous with frequent trade contacts, and merchants were running their businesses from region to region. The wives of merchants had to wait and miss their husbands at home. Xu Yuanchong's and Pound's translations are all appropriate in this respect.

Every word in Changgan Xing is carefully chosen as it describes the merchant wife's longing for her husband. As words are the smallest unit in poetry, they are nevertheless the first step in translating poetry. In the first six sentences of this poem, Li Bai described the growth of two children, depicting the happy childhood of a boy and a girl playing merrily, leaving readers a good memory of the protagonist and her husband, and creating a pair of innocent and lively children images.

妾发初覆额，折花门前剧。郎骑竹马来，绕床弄青梅。同居长干里，两小无嫌猜。

Pound’s version: While my hair was still cut straight across my forehead： I played about the front gate：pulling flowers. You came by on bamboo stilts: playing horse. You walked about my seat: playing with blue plums. And we went on living in the village of Chokan. Two small people：without dislike or suspicion.

Xu Yuanchong’s version: My forehead barely covered by my hair： outdoors I plucked and played with flowers fair. On hobby horse you came upon the scene： around the well we played with plums still green. We lived: close neighbors on Riverside Lane： carefree and innocent: we children twain.

Analyzing the translation of these sentences, it is easy for us to see that Pound only tried to express the meaning of the original poem, while Xu tried to make the translation more like the original poem. In the first line, Pound chose the word "still" to emphasize the time and state, making the translation closer to the original. As for the understanding of the two’s playground, Pound translated it literally as "front-gate", while Xu chose "outdoors", the same thing was meant with their different choice of words. Then concerning the understanding and illustrating of an ancient toy made of bamboo, Pound chose "bamboo stilts," which is less faithful but easier for foreigners to understand, while Xu chose the word "hobby horse," which is easy to understand for the Chinese, but not so easy for foreigners. The word "bed" in modern times has a different meaning than it does in ancient times, so Pound chose "seat", while Xu chose "well" according to his understanding. In the last sentence, Li Bai described the friendship between two children, and Pound chose "two small people" to indicate their childhood, while Xu's "children twain" is a further explanation, which is more faithful to the original poem as it shows the happy sporting and innocent friendship between the boy and the girl.

These two lines delicately depict the shyness and sweetness of the newly married.

十四为君妇，羞颜未尝开。低头向暗壁，千唤不一回。

Pound’s version: When I was fourteen: I married my master. I never laughed: and I was shy. I lowered my head and looked at the wall. I had never looked back at one thousand calls.

Xu Yuanchong’s version: When I was fourteen：I became his bride. I often turned my shyness face to the side. I hung my head on the dark wall： and I refused to answer his call.

In the translation of these two sentences, Pound chose to use "my master" to explain the meaning of "husband" to expresses the wife's respect and obedience to her husband, which is very appropriate for the time. Compared with Xu's choice of "he", "my master" seemed to be more appropriate. As for Pound's choice of the phrase "one thousand calls", it clearly showed the girl's shyness and her respect for her husband. Taking the fact that the girl is only 14 years old, and they live in a feudal society, so Pound's choice of words was very appropriate. As for Xu's choice of "dark wall", he actually misunderstood the original meaning, so his choice of words seemed to be inferior.

The following two sentences indicate the wife’s worries about her husband's business trip, showing her genuine concern and love for her husband, creating a heavier atmosphere for the reader.

十六君远行，瞿塘滟滪堆。五月不可触，猿声天上哀。

Pound’s version: At sixteen years old：you leave： you go to a distant place：in a swirling whirlpool. You’ve been away for five months. The monkey made a sad voice on the top of his head.

Xu Yuanchong’s version: When I was sixteen years old： he went far away： through three Canyon covered with rock gray. In the ship crash： when the spring flood was rising： The crying in Gibbons seemed to come from the sky.

Pound chose to translate these two verses indirectly. The biggest problem with his translation is the misunderstanding of five months. In the original poem, Li Bai meant May. While Xu wisely skipped the time marker and used only phrases to express the time.

门前迟行迹，一一生绿苔。苔深不能扫，落叶秋风早。八月蝴蝶来，双飞西园草。感此伤妾心，坐愁红颜老。

Pound’s version: You’ve dragged your feet when you go out. Now：the moss are green： different moss：too deep to clear them! In autumn the leaves fall early in the wind. The pairs of butterflies have turned yellow on the lawn of the Western Garden in August. They hurt me. I’m getting old.

Xu Yuanchong’s version: Now the green moss in front of our door are slight; his footprints：hidden：can no longer be seen. The moss cannot be washed away：the dense leaves will grow： and when the wind blows： the leaves will fall early. The yellow butterflies in the autumn will pass two on the grass on the west side of the garden. The scene would break my heart： and I was afraid to sit alone： and my cheeks would fade.

In these next four lines, in Li Bai's description, the protagonist was touched by the scene she saw and then fell into a constant state of anxiety. The description of the scene gives the reader an immersive experience as well. Pound's translation of these four lines also created a more vivid picture than Xu's. In order to show worry and fear, Pound chose the word "hurt" to imply the double meaning, referring to both psychological and physical injuries. The protagonist's mourning showed her helplessness as a feudal woman. Xu's choosing of "cheeks" and “fade” was even better, because women's cheeks are like roses which only shine their beauty in youth, while fading indicated her growth and fear of growing old.

On the level of sentence

In the translation process, when the translator has decided and embellished the words to be used, they must also take the entire sentence pattern into account.

郎骑竹马来，绕床弄青梅。同居长干里，两小无嫌猜。

Pound’s version: You came by on bamboo stilts: playing horse. You walked about my seat: playing with blue plums. And we went on living in the village of Chokan. Two small people: without dislike or suspicion.

Xu Yuanchong’s version: On hobby horse you came upon the scene： around the wall we played with plums still green. We lived: close neighbors on Riverside Lane： carefree and innocent: we children twain.

Through analysis, it is easy to see that Pound used different syntactic techniques, such as "playing" to express two actions at the same time, while Xu only used simple past tense to imply the time, which is slightly inferior.

The last two lines of the poem express the protagonist's hope and deep love for her husband, and her wishes of him coming home early and promises that she will meet him not far from home.

早晚下三巴，预将书报家。相迎不道远，直至长风沙。

Pound’s version: If you are coming down through the narrows of the river Kiang： please let me know beforehand. And I will come out to meet you as far as Cho-fu-sa.

Xu Yuanchong’s version: O when are you to leave the western land? Do not forget to tell me beforehand! I’ll walk to meet you and would not call it far Even to go to Long Wind Beach where you are.

By comparing the two translations, Pound used "If you are coming down" to express the wife’s longing for her husband; Xu chose direct words to show what the wife wanted to say to her husband, creating a more vivid scene. For readers, Xu's inner monologue is more touching than Pound's.

On the level of culture

1.Translation of Idioms and Allusions. There are two idioms and two allusions in the overall content of Changgan Xing. They are "青梅竹马（Qingmei Zhuma）" and "两小无猜（Liangxiaowucai）"; "抱柱信（Baozhuxin）" and "望夫台（Wangfutai）". The cultural interpretation of "Qingmei Zhuma": Qingmei refers to green plum; Zhuma is a bamboo pole played by children as a symbol of horse. It describes the innocence and playfulness of young children. Now it refers to the intimacy between men and women when they were young. Pound obviously failed to interpret the cultural meaning of it, and mistook it for the boy stepping on bamboo stilts and playing horse, which is a ridiculous mistranslation in Chinese readers’ eyes, but fills English readers with a surprised and fresh feeling and making them impressed on how romantic the young boys and girls in ancient China were! This unintentionally became his punch line. Professor Xu Yuanchong's translation cleverly replaces the "Zhuma" in the original poem with the "hobby horse", a common childhood game tool, so that English readers can easily appreciate the true meaning of the innocent game of boys and girls in the original poem according to their own life experience. This not only preserves the real intention of the original poem, but also makes it easy to be understood by English readers. It may seem to be unfaithful to the original poem in the surface, but in fact it is an evocative interpretation of the classical Chinese culture contained. In addition, "around the well" is even more impressive, vividly depicting the happy scene of boys and girls chasing and playing in the courtyard and by the well.

The allusion "Baozhuxin" is from Zhuangzi, a man named Weisheng made an appointment with a woman to met under a bridge, Weisheng arrived first, and suddenly the water rose, he kept his promise and refused to leave, so as a result, he was drowned while holding to the pillar of the bridge. Since then, people used "Baozhuxin" as a metaphor for keeping faith with love. "Wangfu tai" is taken from the Southern Dynasty Liu Yiqing’s The Book of Ghost Stories: there is a stone resembling a woman in Beishan, Yangxin County, Wuchang; Legend has it that: in the past, there is a chaste woman, her husband joined the army to save their country, so the woman together with their weak son bid farewell to him to this mountain, standing there lookout and turned into a stone, therefore got the name of “Wangfutai”. This is an allusion used to describe a wife missing her husband, or to describe the utmost sincerity. These two lines mainly express the wishes of the merchant woman to her husband, who should remember the vow he made on that day and never leave her and adhere to their love, so that the merchant woman will never have to climb up the mountain to look at her husband’s direction. These two lines contain both the wife to her husband's entrust as well as her hidden worry for him. Pound failed to translate these two allusions, and delivered a weak transformation in the cultural dimension. Xu Yuanchong's translation adopted the domesticating method, as he avoided a direct translation of the allusions but managed to convey the spirit of the allusions: that is men should keep their promises.

2.Translation of rhetorical devices. Figures of speech are used to express the true feelings of the protagonist. Therefore, translators must pay attention to the translation of those devices. The use of simile, metaphor, personification and other figures of speech are prominent features of Li Bai's poems. Both Pound and Xu Yuanchong are flexible in dealing with exaggeration in this poem, which can also reflect the translator's skills in choosing appropriate sentence patterns in translation. The change of words or sentence patterns will affect the feeling of translation, so the artistic conception of the original poem must be taken into consideration by the translator.

Conclusion

This paper mainly studies two translated versions of Changgan Xing. One is Pound's interpretation and translation. , because Pound himself knew little about Chinese as well as about Chinese historical background. Pound, American poet and literary critic, is a representative of the magist. He is one of the leading figures of postsymbolism. From the study of the Chinese classical poetry and the Japanese haiku, he put forward the theory of “poetic imagery”, and made great contributions to the study of Eastern and Western poetry. Pound does not understand Chinese. The Chinese classical poetry can be translated because he got Earnest Fenollosa’s private manuscript. Pound chooses 19 Chinese classical poems and translates them into English, including Li Bai’s Changgan Xing. Pound’s translation of Li Bai’s works has already been the second interpretation, which can cause misunderstanding to the poem. Although Pound’s translated poem has enjoyed a high popularity in the western literature and is named as one of the excellent translations, it has some obvious mistakes, which deserve our attention and discussion. The other translator is Xu Yuanchong, an expert in translation of the classical poetry, who has published numbers of works of translation and translation theories. As a representative of the imagist movement, Pound is very fond of imagist poetry which especially emphasizes the hazy beauty. Therefore, the interpretation of concrete words is not taken very seriously. In order to pursue the creation of hazy beauty, Pound’s interpretation of Li Bai’s poetry damages the poetic mood and rhythmic beauty of the original poem. And Pound himself also explained that he was eager to pursue the image of the poem and did not blindly interpret the meaning of poem but to grasp more details and compress the author’s thoughts and feelings. As the first translator to win the Aurora Borealis Prize for Outstanding Translation of Literature, one of the highest awards in the international translation community, he has made great contributions to Chinese literary translation. In his translation career, Mr. Xu not only translated a large number of Chinese and Western cultural classics, but also wrote several books on translation theory. In particular, his views of "Three Beauties" (beauty of sound, meaning and form) and "Three Perfections" (equalization, simplification and deepening) in poetry translation have been gradually accepted by the translation community. In particular, his principle of "Three Beauties" has been regarded by many scholars as the criterion for judging poetry translation. In Xu Yuanchong’s opinion, “to preserve the beauty in sense we may use the method of ‘paraphrase’ (free or liberal translation); to preserve the beauty in sound, we may use the method of ‘imitation’ (or adaptation); to preserve the beauty in form, we may use the method of ‘metaphrase’ (or literal translation)” (2006: 131). Different translations have distinctive styles. In the process of translation, complete equivalence with the original is not advocated. The translator's aim is to satisfy the needs of readers, not to cater to them. Choosing how to translate the original text is actually a balancing process between the target language and the source language. When translators try to translate some works, they can be guided by functional equivalence in order to be faithful to the original text. For functional equivalence to be achieved in poetry translation, the following steps need to be followed: The first step is to understand not only the literal meaning of the original text, but also the implied meaning of it, so as to achieve functional equivalence in poetry translation. The second step is to use one’s own words to express, to translate the allusion properly, and also to choose the appropriate rhetoric. Only in this way can the translation be easier to understand for its receiver.

Terms and Expressions

Changgan Xing; TheRiver-Merchant’s Wife: a Letter; Ballad of a Trader’s Wife: 《长干行》

"Three Beauties" (beauty of sound, meaning and form)：“三美”（音美，意美，形美）

"Three Perfections" (equalization, simplification and deepening)：“三化”（等化，浅化，深化）

functional equivalence theory：功能对等理论

Eugene Nida：尤金·奈达

Toward A Science of Translating：《翻译科学探索》

The Theory and Practice of Translation：《翻译理论与实践》

Zhuangzi：《庄子》

The Book of Ghost Stories：《幽明录》

the Aurora Borealis Prize for Outstanding Translation of Literature：“北极光”杰出文学翻译奖

poetic imagery: 诗学意象

Questions

1.What are the main methods adopted by Pound in his translation?

2.What are the main methods adopted by Xu Yuanchong in his translation?

3.Since there are many mistranslations in Pound’s version of Chang Gan Xing, is it ok for us to draw the conclusion that Pound’s translation is inferior than Xu’s?

4.Is it possible for us to find the best or a precisly equivalent translation of the original poem?

Answers

1.Free translation and domestication.

2.A combination of literal translation and free translation, domestication and foreignization.

3.No, it’s not. Different translations have distinctive styles. Pound’s translation has its own merits and demerits and so has Xu’s translation.

4.It is almost impoosible for us to find a precisly equivalent translation since there are always something untranslatable because of the cultural differences, and it is also difficult for us to choose the best version that everyone agrees on as each has one’s own standards.

References

Eugene A. Nida. Toward a Science ofTranslating. Leiden: Brill, 1964.

Eugene A. Nida. and C. Taber. The Theory and Practice of Translating. Leiden: Brill,1969.

Wu Min Hua. Xu Yuanchong as a Touchstone for Ezra Pound’s Translation of Tang Poetry[J]. Comparative Literature: East & West,2021,5(1).

Li Xingyuan,李幸原.生态翻译学视域下《长干行》三个英译本比较研究[A Comparative Study of Three English Versions of Changgan Xing from the Perspective of Ecological Transliteration][J].海外英语[Overseas English],2020(08):22-24.

Zhang Yuan,张媛.《长干行》两个英译本的对比赏析[A Contrastive Appreciation of Two English Versions of Changgan Xing][J].延安职业技术学院学报[Journal of Yan 'an Vocational and Technical College],2019,33(06):57-60+73.DOI:10.13775/j.cnki.cn61-1472/g4.2019.06.018.

Xu Yifan,许昳凡.目的论视角下《长干行》文化意象翻译研究——以埃兹拉·庞德译本为例[A Study on the Cultural Image Translation of Changgan Xing from the Perspective of Skopos Theory: A Case Study of Ezra Pound's Translation][J].作家天地[For Writers],2019(19):32-33.

Liao qian, Luo Dijiang, 廖倩,罗迪江.许渊冲“三美”翻译原则和庞德创意翻译理论对比研究——以李白《长干行》为例[A Contrastive Study of Xu Yuanchong's "Three Beauties" Translation Principle and Pound's Creative Translation Theory -- A Case Study of Li Bai's Changgan Xing][J].牡丹江大学学报[Journal of Mudanjiang University],2018,27(12):103-105.DOI:10.15907/j.cnki.23-1450.2018.12.029.

Tian Dong,Xiaolin Lin. Attitude in Appraisal Theory: A Comparative Analysis of English Versions of Changgan Xing[J]. International Journal of Comparative Literature and Translation Studies,2018,6(1).

He Chunfang, Shi Huihui, 何春芳,石慧慧.论庞德对李白《长干行》的文化误译[On Pound's Cultural Mistranslation of Li Bai's Changgan Xing][J].湖北经济学院学报(人文社会科学版)[Journal of Hubei University of Economics:Humanities and Social Sciences][,2017,14(08):110-113.

Zhang Qiaoping, 张巧平.诗学视域下李白《长干行》两英译本的对比研究——以庞德、许渊冲译本为例[A Comparative Study of the Two English Versions of Changgan Xing by Li Bai from the Perspective of Poetics -- A Case Study of the Two Versions by Pound and Xu Yuanchong][J].发展[The Development],2017(01):89-90.

Han Lizhao, 韩立钊.《长干行》三个英译本的对比解读[A Contrastive Interpretation of the Three English Versions of Changgan Xing][J].西藏民族学院学报(哲学社会科学版)[Journal of Xizang Minzu University(Philosophy and Social Sciences Edition)],2015,36(03):138-141.

Yang Meiru, 杨梅如.解析《长干行》的两个英译文本——基于许渊冲的“文化竞赛论”[An Analysis of Two English Translations of Changgan Xing -- Based on Xu Yuanchong's "Cultural Competition Theory"][J].考试周刊[Kao Shi Zhou Kan],2014(78):8-10.

Wang Shanmei, 王善美. 功能对等视角下许渊冲与庞德英译中国古典诗歌之比较研究[A Comparative Study of Xu Yuanchong's and Pound's English Translations of Classical Chinese Poetry from the Perspective of Functional Equivalence][D].青岛大学[Qingdao University],2014.

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+*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612
-*[[20220630_Culture_6]] papers 51-60
+*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622
-*[[20220630_Culture_7]] papers 61-70
+*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632
-*[[20220630_Culture_8]] papers 71-80
+*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301
-*[[20220630_Culture_9]] papers 81-90
-*[[20220630_Culture_10]] papers 91-100
+==英语笔译	颜媛	Yan Yuan	202170081603==
+ <center>'''Interpreting Chinese and Western Language Humor'''</center>
+<center>Yan Yuan</center>
+===Abstract===
+Intercultural communication is currently a cutting-edge topic in the international academic community.Intercultural communication refers to communication activities between people with different cultural backgrounds.It studies the relationship between cultural and communication,with a particular focus on the cultural factors that interfere with communication.At present, English language teaching in universities competence, and neglects social meaning.Multidisciplinary by nature,the study of humor has been approached from various perspectives,such as philosophy ,psychology,linguistics ,literature,sociology and anthropology.However,the previous research ,though somewhat comprehensive ,hasn't yet generated systematic and thus convincing theories concerning the definition,the working mechanism of humor as well as its linguistic expressions.The study of humor language in different cultures is not only limited to the linguistic level,but also rises to the level of intercultural communication. The ultimate goal of cultural communication and integration is the overall development of human beings and their harmonious coexistence.
+===Key words===
+Chinese and western humor ;Cross-cultural communication; Humor;Culture
+===Introduction===
+Humor has always been an interesting topic in both ancient and modern times, and many people have studied the phenomenon from different perspectives,such as aesthetics,sociology ,psychology,linguistics,philosophy,etc.Theories about humor can also be described as a lot.Humor can be expressed in many different ways, in a dramatic way(comedy),in a pictorial way(cartoons), in a musical way, etc.Language, as a vehicle for the expression of human thought and ideas, is of course an important way and factor in constituting humor, and thus linguistic humor.Language is a complex system in which everything is based on relationships, and there is no such thing as a system of language system.The complexity of the language system is ,of course , a resource that can often used for humorous language. Humorous language is generated under certain conditions through certain linguistic elements and their relationships with each other.The current research on humor language in China is very one-sided and inadequate,mostly staying in the area of rhetorical patterns, words and the techniques of humor language formation,without a comprehensive, three-dimensional and explanatory study.In view of this,in this thesis we are interested in finding out the connection between the elements of the language system and their interrelationships with humor,i.e.,what forms or relationships are humorous?What forms or relationships are humorous and under what circumstances?In this way, we break the one-sidedness of the original research and think further about the study of humor language, deepen our understanding of the "surface structure"and "deep structure"of humor language , and identify some patterns between linguistic forms and humor language. It is an important reference for us to further understand the mechanism of humor language production and even the application of humor language.
+===Literature Review===
+As we are known,language is the most important communication tool for human being , though which people known the world and perceive it."The act of language , though not the whole state of human existence,is the basic state of human existence."(Qian Guanlian.2005) Heidegger said,"Man dwells in the dwelling built by language.Humor is also distinguishing feature of human beings (Nash,1985).Human beings mostly express humor through language, which can be divided into two man categories:oral language and written language. The spoken language is the basis of the written language, and the written language is only the expression of the spoken language.Therefore,humor can also be related to language through these two media,and the specific product is the general form of oral language humor,such as comedy ,skits and so on(Of course,they also include the body language of certain performs).Another form of expression is to record humorous scenes or stories in the form of words to make readers laugh,such as humorous stories in newspaper and magazines, humorous novels and so on. From this point of view, we can say that the relationship between language and humor is that language is the basis and the tool og humor.And without language, there would be no humor(except silent behavioral humor). This close relationship can be seen from the research history of language and humor.The research on the relationship between them has a long history and rich achievements.The study of humor has traditionally been concentrated and dominated within the disciplines of psychology,philosophy,and sociology. It was not until the the late 1970s that the study of humor in linguistics took its place and gained attention.Traditional linguistic studies of humor point out that humorous elements in oral jokes are more stable and explicit in phonological terms than in written jokes, and that linguistic humor arises when the first level of linguistic symbols(i.e., phonological or written units) moves to the second level(i.e.,the communicative system).This has led to a number of research approaches , such as ambiguity, which is prevalent in many humorous texts and can be divided into phonological-lexical ambiguity, semantic-pragmatic ambiguity,etc.
+Since the publication of the first academic book titled ''Humor Linguistics'' in China, the study of humor linguistics in China has been exciting.Chinese scholars have studied humorous language,especially Chinese humor language, from perspectives.Mr.Hu Fanzhu's ''Humor Linguistics'' is the first linguistic book in China that systematically studies humor.Starting from a review of the history of laugh and the theory of "laugh" in China and the west.The book proposes that humor is a spiritual phenomenon with three levels,namely:humor in the broad sense is comparable to ludicrousness, humor in the normal sense refers to ludicrousness that appeals to reason,and the humor in the narrow sense specifically refers to humor that contains intellectual lightning and generosity, a sense of spirituality and life.The book was published and had a great impact on the academic world.A large number of similar books have been published, but it can be said that they basically do not deviate from the technical lines and research ideas outlined by Mr. Hu in that book.
+According to incomplete statistics , in terms of published papers, we searched for 22 articles on the Chinese journals with the keywords "humor language"; 5 articles with the keyword " language humor";15 articles with the keywords "speech humor" ;9187 articles were searched by the keyword "humor". In terms of published monographs , in addition to "Humor linguistics", subsequent monographs on humor language or humor include Gua Tian's ''Humor Language Operations''
+'',Gong Weicai's ''Humor Language Art'', Li Junhua's ''Humor Language'',Sun Shaozhen's ''Fundamentals of Humor'' and ''Fifty Methods of Humor Defense'' and so on. In terms of outstanding master's theses on China Journal Online, there are 15 master's theses with humor language as the topic or keywords.
+===The Definition of Humor and Humor Language===
+What is “humor”？There are many different answers to this question.People have interpreted and explained humor form a variety of perspectives, each with their own insights.However , it is a little known fact that the word “金数”is a foreign word in Chinese .The word “humor” in Chinese can be traced back to more than 200 years ago to the“Where silence and quietude reign” in  “Longing for Changsha , The Nine Elegies，The Song of Chu”.Wang Yi notes，“Confucius is very good.As poetry written,“Confucius interpreted the word "默" as silence.The mountains in the south of the Yangtze River are high and the wild is very clean, and there is no voice in the desert.”In ''Shih Chi'',“默”（silence) is protrayed as "墨"(Chinese ink).It can be seen that at that time,the word "默"（humor） meant silence.Since then,the basic meaning of "默"(Humor) has not changed for more than 2,000 years.For example, Li Bai,a great romantic poet in Tang Dynasty,wrote in Song of River in Farewell to Cen zhengjun ,"And yet it is worrying to live alone in such a lonely place ."If we consider the meaning of the word "humor", that is , as an aesthetic category we want to study.It is an exotic and a foreign transliteration word in Chinese.In the last century,Mr.Lin Yutang was transliterated from English "Humor" .The reason why Mr.Lin transliterates "幽默" with the word "humor" is to consider their implied meaning(or instant impression meaning) and morpheme association color.Therefore, we can say that humorous words are both transliterated words and free translated words.Since then,the word "幽默" in modern Chinese has gradually deviated from its original meaning， that is , it no longer means "silent", but points to the meaning of humor.According to the related works published in China, there are definitions of humor as follows:
+Humorous style is one of the key rhetoric style in Chinese......Humor is the use of language conditions to show the humorous interest in things.It is characterized by a light-heartedness and cheerfulness.It is based on " truth"
+Humor is a rhetorical technique.
+Humor is a spiritual phenomenon. This spiritual phenomenon has a broad sense,a common sense. There are three levels of humor.Humor in the broad sense is comparable to ridiculousness ,such as comic, witty ,gagging,funny......Humor in the narrow sense refers to the layer of spiritual phenomenon that is most aesthetically valuable.Humor in the conventional sense is a mental phenomenon that has an appeal to the "ridiculousness " of reason.
+From the above definition of humor,we ca know how complicated its definition is, different viewpoint are different.This in itself shows its complexity as an object of study , and we can simplify it without getting entangled in the complexity of the definition.Based on the above viewpoints, we are more inclined to Hu Fanzhu's understanding and definition of humor in his monograph  ''Humor Linguistic'' , that is , humor is a spiritual phenomenon, which can be divided into three levels:broad sense,ordinary sense and narrow sense.To sum up, in this paper we can define humor as laughable, that is, having the effect of inducing laughter.
+'''1.1.1 The definition of humor language'''
+From the above definition of humor, we know that humor is a multidisciplinary research topic,people from philosophy,psychology,sociology,linguistics,literature and many other aspects of the phenomenon of humor research.This thesis mainly studies the humor language, and the so-called humor language is "created by the use of various elements of language variation humor.In dynamic terms, it is the atmosphere in which language is used,or a style of language;in static terms, it is a fuzzy collection of linguistic variants, or an aggregation of ways.”（Hu,1987)From this definition,we can draw the following two conclusions:firstly,humor language must be related to linguistic symbols,humor that dose not use linguistic symbols as a carrier is not within the scope of this study,such as Ding Cong's cartoons and mime act are certainly funny, but they are not humor language; second , humor language should be created by the variation of linguistic elements, not just by the narration of language of language symbols.It is necessary to distinguish between humor expressed in language and humor created by language:in verbal humor, language is used only as a tool , and laughter is triggered by the recorded situation, while language itself may not be funny.From this definition, we can see that in fact, the humor expressed by language is to describe a ridiculous situation or thing by using language as a tool to express idea,so that the listener or reader will find the situation or thing ridiculous after appreciating it.It's like expressing a humorous situation in the form of a cartoon,except one is in the form of a cartoon and the other is in the form of language.Like this one:
+午餐会发言人匆忙赶来赴约会，当他坐在第一 张桌子前时，他突然意识到了他忘了带他的假牙。
+The luncheon speaker was in a hurry to get his appointment,and as he sat down at the first table,he suddenly realized he had forgotten his dentures.
+他转向他旁边位男士， 说:“我忘了 带假牙了。”
+He turns to the man to hin and says，“I forgot my dentures.”
+男士说:“没问题。”说着他手伸进口袋里并取出一-副假牙。“试试这一副。”他说。
+The man said, “No problem.”He reaches into his pocket and takes out a pair of dentures.“Try this one.”He said.
+发言人试了试。“太松，”他说。
+“They’re too loose,”the speaker said.
+男士接着说:“我还有一副....试试。 ”
+The man said, “I have another pair...Try it .”
+发言人试了试。说:“太紧。”
+The speaker tries them on, says, “Too tight.”
+男士根本不感到惊讶，他接着说:“我还有一副.....试试。”
+Not surprised at all, the man continued, “I have another pair of ...Try them on.”
+发言人说:“正合适。”他带着这副假牙吃饭，讲话。
+“It fits.”The spokesman said.He ate and spoke with this pair of dentures.
+午餐会结束后，发言人走过来，向那位帮助他的男上道谢。“我想谢谢您给我的帮助。您的办公室在哪里?我正在找一位好牙医。”
+After the luncheon,the speaker came up to the man who had helped him and thanked him. “I wanted to thank you for the help you gave me.Where is your office?I am looking for a good dentist.”
+男士回答:“我不是牙医。我是本地的殡仪员。”
+The man replied, “I’m not a dentist.I’m a local mortician.”
+===  Chinese and Western Humor ===
+'''4.1 The Evolution of Chinese and Western Humor'''
+Humor comes from the Latin word “humor”, a physiological term referring to “ fluids”.According to Hippocrates, the person’s health and different type of temperament depends on the human body fluid mixing proportion.Therefore, the original meaning of “humor” in human body is the proportion of four kinds of fluids to the people’s minds,constitution,the tendency of the habit,temperament,or the heart,mood.The first person to introduce humor into literature was the famous English dramatist Ben Jonson.At the end of the 17th  century , humor took on its present meaning;in the 18th century , there were literary writers and artists who used  humor as a creative style.When the form of humor spread around the world ,it became a symbol of wisdom.Mr.Lin Yutang introduced humor into China for the first time.Although humor is a foreign word,humor culture is as old as the history of the Chinese nation.Ancient Chinese contains profound philosophy and ingenious speculation.The contemporary works of Mr.Lin Yutang and Mr.Qian Zhongshu. They are full of humorous wisdom.
+'''4.2 The Difference of Chinese and Western Humor'''
+The difference between Chinese and Western humor is mainly due to the differences in many aspects of Chinese and western culture and way of thinking.Chinese people shaped typical introverted mainland farming culture,which aims to seek peace and contentment,forming a capitalist type of divergent thinking,ritualistic and subtle;while the Westerners are  the outward-looking marine commercial culture that seeks only wealth and strength,forming a linear thinking of brush sketch type,spontaneous and open.The formation of Chinese and Western humor is the projection of their own cultures.In such a cultural atmosphere characterized by self-sufficient, China has formed a thinking pattern of “still letting,not fighting,still retreating, not moving”.Because of this cultural mindset , an intuitive way of thinking has been formed. This mindset and way of thinking determines that humor is expressed in an intuitive way.For example, in order to explain a person’s stupidity, we should focus on describing how stupid he is when he speaks and does things,so that people can draw an intuitive conclusion immediately after reading it.However,western culture belongs to extroverted marine culture and advocates  innovation. Therefore westerners have formed a speculative thinking that emphasizes creation.In humor,it is embodied in the use of restrained statements, so that people can understand humor itself by understanding litotes.The differences between Chinese and Western humor are very obvious in many aspects, but people’s love and recognition of humor are surprisingly similar.
+===The Different Characteristics of Chinese and Western Humor ===
+Generally speaking,humor is not only the carrier of culture, but also the embodiment of different national cultures.The differences between the two cultures lead to the different interpretation and application of humor in China and West.Under the nourishment of different cultural systems,Chinese and Western humor has formed the characteristics of different cultural styles.Western humor is so profound that there is a saying that can explain this situation to the fullest,that is, “you can not be a good person, but you can never be a person who does not know humor.Western humor is mostly humor full of wisdom,subtle and thoughtful.They know how to self-deprecating,good at using self-deprecating methods to show humor , and at the same time trying to win each other’s affection.After thousands of years of feudal system in China,people have a strong sense of self-restraint and too many concerns. They prefer to show their perfect selves in communication with others , and it is difficult to laugh at themselves. Therefore , humor is mostly aimed at the third party,which is simple and direct.
+'''5.1 The Different Content and Function of Humor'''
+Humor is a kind of human aesthetic pursuit, is a reflection of the real life , the first in its theme and content reflects the national unique customs and cultural concept.The traditional Chinese Confucian thoughts influence deeply rooted, people talk about “sex” color changing, therefore, the traditional eastern humor neutral theme is the box.And this kind of theme in western humor but make up a large proportion.The functions of humor can be divided into: negative humor(is critical to life,shortcoming and negative phenomenon to negative),affirmative(to life advantages and positive phenomenon be sure and pure humor(neither contains sure, also does not contain negative,it is just for daily phenomena are abound of appeal reflects).Humor is more purely entertaining in the west,which is formed from the initial state oh humor.However,Chinese humor seems to have a heavier historical mission to serve politics.The traditional cross talk spread to the present, and the satirical jokes are mostly of this kind.Western humor culture is profound, the Russian literary scholar Chekhov said, “Do not know how to joke, is a hopeless person..”What's more, westerners are more open than Chinese, with a large proportion of pure entertainment humor. Therefore, they can have a quiet moment with anyone on any occasion, such as an American joke:A young man went to an old man’s birthday party.When he saw the old man, he sighed, “I’m sorry.I do not know whether I can come to your birthday party next year.”And the old man smiled and said : “Why not? You seem very healthy.”This is typical western humor, they play more of a function of relieving mental stress and establishing a sense of superiority, but also reflects their willingness to share and enjoy life by gathering together.
+Due to the differences between Chinese and Western thinking and cultural heritage,there are obvious differences in the expressions of Chinese and Western humor.Chinese humor is typically expressed through the use of language and words, most typically in comedy,where the artist’s mouth borrows from the profound Chinese language to talk about heaven and earth and comment on the past and present.There are many examples of this in Guo Degang’s comedies.Western humor,on the other hand, focuses on action interpretation. The most representative one is the humorist Chaplin,a series of silent movies that brought a lot of joy to the world.And then the later animated blockbuster Cat and Mouse also won the applause the world with its unique American way.
+'''5.2The Different Ideologies and Aims'''
+An ideology is a set of ideas that constitutes one’s goals,expressions,and actions. An ideology can be through of as a comprehensive vision, as a way of looking at things, as in common sense and several philosophical tendencies, or a set of ideas proposed by the dominant class of a society to all members of this society.Compared with Chinese long history, the history of western countries is comparably short.Take America for example,it is only more 230 years since it was founded . So their awareness doesn’t have much time to develop.Their awareness consists of instant fragments so they are not as passionate about political matters as Chinese citizens.China has a cultural tradition with a five-thousand-year-long history.Chinese people have been influenced by systematic and strong political idea for a long time. Influenced by those ideas and Chinese traditional system,Chinese people show a strong political tendency when dealing with the daily affairs.So the content and characteristics of Chinese humor is influenced a lot by this politic system.
+In China, literature works are closely related to education. So humor,as a popular culture, is aimed to satirize people with bad behavior and educate them and make them a good citizen. Although satire is one of the purpose of humor , the main purpose is to develop people’s sense of humor.Because humor is considered to be an important quality in western country,many leaders and scholar with a sense of humor are respected by people.This is because humor adds color to their personal charm and shows their wisdom.
+'''5.3 The Different Grasp and Skills of Sense of Propriety'''
+Chinese and Western humor has different styles and techniques due to their different cultural traditions and ideas.From the perspective of humor creation,China and Western countries develop in two different directions in the pursuit of implicature. On the macro level, humor in Western countries strives to combine subtlety with condensation and philosophizing, so that there is more room for humorous evocations. As for Chinese humor it is good at mastering the scale of subtlety and clarity.Chinese and Western humor is far less explicit in technique than in content. It is often rooted in the long-standing cultural traditions and psychological qualities of the nation, and is also very subtle and hidden. Chinese humor deliberately pursues consistent and progressive taste, and contains many “baggage” from beginning to end,which makes the audience always have strong interest , from nervous expectation to relaxed satisfaction, and then jump to new expectation and new satisfaction. However, western humor often has only suspense , but due to the requirements of the integrity and coherence of the story , there are many restriction on the use of “burden”.
+===The Change and Integration of Chinese and Western Humor===
+Cultural	differences are neither superior or inferior, but rather compatible,complementary and gentle with world civilization.Various cultures coexist in the midst of exchange and conflict.Exchange and conflict are the driving force of cultural development ;coexistence is the guarantee of cultural integration.Culture autonomy and cultural self-awareness can be the way to dissolve the clash of cultures or civilizations. The future direction of cultural  conflicts will be the gradual expansion of the field of human consensus, the gradual reduction of barriers to cultural exchange and integration, and the evolution of a mutually existing multicultural system in the context of globalization. Humor is a symbol of civilization and wisdom, and it brings people of different nationalities in a multicultural system , making people realize the power of humor in communication. It prompts national characteristics, express the historical accumulation of national cultural development, and reflects the appearance and status of the times from a unique perspective and in various fields. Humor’s mood and charm can only be understood by the members of the group who share the same culture.Therefore , whether we are analyzing humor techniques or studying its linguistic art, we need to first examine the cultural connotations on which it is based.In this way,humor can be better understood and cross-cultural communication can be successfully realized.The culture of humor reflects the development of the times , the progress of science and the change in social and cultural integration. It can  be used from variety of starting points, and through the use of a variety of techniques, it is subtle but not revealing , light-hearted but not subversive, and subtly reflects the splendor of the culture of the times.This is the charm of humor.Humor is the words,actions and expressions that can make people laugh in the process of human communication, which is rich in content and diverse in forms .With the rapid  development of information technology , the cost of transportation and communication has been greatly reduced , which makes the whole world more closely connected than ever before, and the humor between China and the West is gradually merging.While Chinese and Western humor merges gradually,we should keep national humor, at the same time, we should broaden our horizons and consider the problem as a whole,so as to keep national humor and boldly admit some commonalities and produce new humor ways.
+===Conclusion===
+Humor is a linguistic art that permeates every corner of life. It plays an immeasurable role in life with its unique artistic style, full of amusing and intriguing contexts, humor is a symbol of civilization and wisdom, bridging people of different nationalities under a multicultural system, and making people realize the power of humor in communication. Although the differences between Chinese and Western humor are obvious in many aspects, people's love and recognition of humor are surprisingly similar. In today's era of globalization, various cultures coexist in exchange and conflict, and cultures from different regions gain a certain consensus through cross-cultural communication, and Chinese and Western humor are gradually integrating. This cross-cultural integration of Chinese and Western humor is conducive to the successful communication between China and the West, as well as to the harmonious development of the world.
+Globalization is an inherent requirement for the development of human society.Human development is in collision and conflict advance,human development is spiraling upward.Cultures from different regions have reached a certain consensus through cross-cultural communication , and human culture needs to be integrated through differences .With the strengthening of the interaction between China and foreign countries will reach an unprecedented level,and cross-cultural study of Chinese and Western humor is conducive to the successful communication between China and the United States, and more conducive to the harmonious development of the world.
+===References===
+[1]Freud,Sigmund.Joke and Their Relation to the Unconscious [M]. New York:Penguin,1976.
+[2] Attardo,Salvatoreet.Script Oppositions and Logical Mechanisms Incongruities and Their Resolution [J]. Humor:International Journal of Humor Research,2000.
+[3] Fauc Onnier,G&M. The Way We Think[M]. New York :Basic Book, 2002.
+[4] 林大津，谢朝群[Lin Dajin,Xie Zhaoqun]. 跨文化交际学：理论与实践[M]. 福建: 福建人民出版社, 2005.
+[5] 贾玉新[Jia Yuxin]. 跨文化交际学[M]. 上海: 上海外语教育出版社, 2003.
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+[7] 万晓艳[Wan Xiaoyan]. 从跨文化交际的角度解读中西方酒文化[J]. 甘肃科技纵横, 2009（03）.
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+==英语笔译	杨心怡	Yang Xinyi	202170081604==
+<center>'''Gendering History on Chinese Movie'''</center>
+<center>Yang Xinyi</center>
+===Abstract===
+Since the new period, with the vigorous development of Chinese movies, there have been many excellent movies.And the female image in the movie, it is very compelling.China movie culture is deeply influenced by traditional cultural ideas, and the idea of "male superiority over female inferiority" is deeply rooted.Therefore, the female images created in this period were restricted to a great extent.In this paper, the new era of Chinese women's image in the movie type analysis, on the one hand through the image of women focus on women's development and progress, the other side through the image of women reflect their shortcomings. In the survival of male hegemony of women is difficult to tell their true inner thoughts, women's own right to speak was ruthlessly deprived of, they are always a "second sex" identity in the men behind. the real equality between men and women, In the cultural media platform has not been achieved. I hope that through the analysis of the image of women in the movie, build an equal platform for dialogue between the sexes, so that more exciting images of women appear in front of everyone.
+===Key words===
+chinese movie； feminism；female character
+===Introduction===
+The famous French movie artist francois truffaut said: movie is the art of women.This is particularly evident in Chinese movies.In view of the development history of the movies in the new period and even the whole Chinese movies, the female images cannot be ignored in the character gallery of Chinese movies.
+It should be noticed that the Chinese movie in the new era is gradually getting rid of the shackles of the original political discourse, turning to the artistic vision and new movie language to shape the image of women.With the opening of social culture and the awakening of gender consciousness, the female images in the new era of the movie presents a diversified trend, which makes the female image with greater charm.The first representative female image in the new period movies is the wife and mother image represented by Feng Qinglan in Xie Jin's Legend of Tianyun Mountain.They like men, also suffered the political disaster of the past, but they can with their own sacrifice to save the suffering of men.Therefore, this kind of female image has the brilliance of "Virgin Mary." In the movies of the "fifth generation directors,” whether it is Zhang Yimou's Red Sorghum, Ju Dou, Qiu Ju's Lawsuit or Chen Kaige's Yellow Earth, the female image is also worthy of praise. Different from Xie Jin, the wife and mother position familiar to critics in the past has been replaced by lover, such as Jiu Er in Red Sorghum. This is the gradual opening up of the cultural environment and economic system has a direct relationship. In the nineties, under the coercion of consumer culture, women who mean more and more heavy consumption, their bodies have become the spectacle of being stared at. Of course, women become the focus of the movie performance of the object is not just the above two reasons. In the feminist movie criticism of the vision, the male gaze for the female body is one of the determinants of movie-like state.（Li,1988:76)All in all, the image of women in the new era of transformation, we can not only see the development trajectory of Chinese movies, the same can also see the Chinese social and cultural and ideological concepts of the rheological process. This is the reason for this study, but also the value of this study.
+===Literature Review===
+Chinese movie since the birth of a hundred years, there have been a large number of excellent movies, but also created a large number of rich connotation of the role of women, so for these roles of historical research and comparative study has become an academic research entry point.Zhang Xuqing believes that feminist movie is a part of contemporary movie art that must be valued.Feminist movie theory has been distinguished by philosophical concepts such as Marxism, Freudian theory, post-structuralism, etc., which have been popular since the 1970s, and a series of concepts such as "the other" and "deconstruction" originally belong to these theories.Reading was transplanted into feminism.They use these theories for the image of women in the movie and in the ideology of women's consciousness has been criticized, pointed out that women are patriarchal culture and distorted repression one side. These criticism beyond the past simple image analysis and the appearance of social and cultural analysis, is astute.Laura Mulvey's Visual Pleasure and Narrative movie is a classic of this analysis. In the thesis, the most important manifestation of the alienation of women in movies is the materialization of women as carriers of male desires, which, in Mulvey's words, is "women in movies as images and men as bearers of voyeurism."Feminist theory was introduced into Chinese movie criticism since the 1990s.In this process, Yang Yuanying played a more important role.In the context of "feminism and China women's movie," Old time women in ancient China is a history, in which women's consciousness melted away in a male-dominated society and individual families. Yang Yuanying took the movies directed by female directors as the research object, and made a detailed analysis of the narrative characteristics and spiritual structure of female movies.Yang Yuanying believes that female movies are very different from male movies from narrative to internal logic, reflecting women's own emotions, and that "Ghost Love" will become a living fable of feminism.This analysis is very in place, so far scholars for the "ghost" analysis and research did not go beyond this thesis.Xie Xiaoxia believes that women's directors are basically the topics of women's lives, emotions and so on as the subject matter. Although the performance style and narrative techniques vary, but the basic theme can be summed up in three points: Growth, reincarnation and temptation. For example, Xu Jinglei's mental maturity shown in Me and Dad and the maturity of women in emotion and social life experience shown in many works. Samsara is manifested as a change of mother and daughter's fate, that is, the commonality of mother and daughter's fate. Generally speaking, such expressions are historical, showing the influence of times and society on women through the change of mother and daughter's fate. Wu Xiaoli believes in her paper that, With the implementation of the market economy, women directors work in the infiltration of the market and ideological factors are becoming more and more obvious. In other words, that is, the works of the female consciousness gradually reduced, began to compromise and surrender to the patriarchal society. In the past, women write in some works there is still, but in a way that can be male audience and the market access women's movie is struggling in this difficult to move forward.Through the above-mentioned image of women in Chinese movies, we can see that the researchers provide a more fruitful results, they are not tightly satisfied with the theoretical analysis, but also to creative practice and case studies in the form of exposing the existence of the movie text of gender, culture and power differences. As Foucault has pointed out, like the movie also exists in the discourse of the struggle field. On the other hand, these studies also have some shortcomings, which is this article to work on.
+=== 1 The diversity of female image===
+The new era for the creation of movie art provides a great social and cultural space, with the trend of cultural diversity. The development of female image also presents a diversified trend. In the 17 years of the movie, women are expressed as with the same group of men, so in which their sex is destroyed by mud.The so-called independence, but in fact is wiped to the female consciousness and in another identity into the ideological discourse. After entering the new period, the female body gradually be restored. But as a result of 17 years and the cultural revolution caused by the fracture between traditional and modern, China's female sex there is no way to find out the survival of self-awareness in modern society, so only to the history to find, so inn the early period of the new era, the image of women in the movie is mostly based on the image of his wife, mother and other inclusive, they are full enough to heal and moral expectations of people's desire.With the promotion of market economy and the change of women's economic status change, women’s desires and requirements to be publicized, women for their own positioning also gradually clear. In the eight or nine
+ten years of the movie, there are two types of female image is noteworthy, one is the image of independent women, two categories is the image of the lover on behalf of desire. Into the century, the influence of consumerism gradually penetrate. Cosumer characteristics become increasingly apparent, which is the emergence of consumer images of women. As the new era of movie works very much, and the limited space of this article, so can only select some representative works and image.This paper discusses the process and overall context of social change in the new era.
+.1Wife and Mother
+At the beginning of the new period, with the rise of scar literature and reflective literature, women were placed in the historical context to write. In the movie, women have the double identity of the strong and the weak. In the narrative discourse of the fourth generation of directors, women and men have experienced the cultural revolution, famine and other political and natural disaster damage, in front of the suffering of the irresistible, their nature is weak, but they also to the selfless and sacrifice aroused men around, from this perspective they are strong. As a result, this
+The image is also known as the "Mother of the Wife" image.The appearance of these women not only changed the narrative of integration in the period of seventeen years, but also completed the transcendence of the traditional moral women.The typical representative of this aspect is the Feng Qinglan in the Legend of Tianyun Mountain and Li Xiuzhi in the Wrangler. Xie Jin's 'Legend of Tianyun Mountain' can be regarded as the image of this wife and mother of the movie, because of its work shown women's great tolerance and moral sense, this kind of women is also known as the image of the earth mother.In the day yunshan legend, the hero's identity is down and out scholar, although they were born in a scholarly family, has a very good culture, but the cruelty of political struggle but let them suddenly had nothing.In their down and out, xie jin arranged for a woman to save them. Xie Jin's arrangement, let the emergence of women with a strong sense of mission.In Xie Jin's works, women are not only lovers and wives, but also protectors of men.Their forbearance, strength, tolerance and generosity have established a harbor of expectation for men.Despite the storm or political struggle outside, but when the door was closed at that moment, everything is insignificant, The warmth of family removed everything.In fact, the emergence of this image is actually a male expectations, contains men in frequent complex political struggle after the exhaustion of seeking spiritual comfort and the idea of sustenance.
+As we can see, in the day yunshan legend, when Feng Qing Luo Qun take back with a scooter, actually like a mother, accepted his son abandoned by society.And when Luo Qun was political recognition, Feng Qing years old has passed away.Therefore, Xie Jin with his deep lens language constantly shooting Feng Qing When I was young photos, rags vest, small wooden bridge, etc., line sent his praise for Feng Qingwei. Xu Lingjun in The Wrangler, like Luo Qun, is also a political exile.In xiu-zhi li appeared later, Xu Lingjun re-ignited hope for life. Xu Lingjun and Li Xiuzhi married and had children, Li Xiuzhi also Xu Lingjun's life is taken care of meticulously.  Li Xiuzhi also has the characteristics of Mother Earth. She is not only diligent in keeping the house, but also dissolves Xu Lingjun's unhappy mood with her gentleness.
+At the same time, it should be noted that Li Xiuzhi appears as a positive role in the movie, which also implies the affirmation of a mainstream discourse. Therefore, Li Xiuzhi said,"I have settled the rebellion for him since the day of marriage." After the vindication, Xu Ling has the qualification to inherit the property of his father. But he flatly refused. This is the thought that she has been in Li Xiuzhi's body to find the position of mother and father, so his break with his father is not only a moral break, but also means that the psychological level of break. In addition, there were many similar roles appear. They and men together, as men in different periods of different needs of the materialization, bear different historical functions. In short, in the affirmation of these women, their connotation and value of the image at the same time, need to see their value is based on the men and show her perseverance and suffering is to forgive men and happiness. Obviously, this woman's reversion was revealed. Women were banished to a history. In years later, these images gradually launched the screen, and with the fifth with the rise of acting directors, some new female images began to appear in people's vision.
+.2 Independent Female
+In the late nineties, China appeared to work hot and hot to go abroad, a group of women in the era of inspiration get out of your home and find your place in society.They like men, the success of the career as the my value realization scale. At the time of the TV series, this theme is very common, but in the movie such female image is less.In this kind of female image of the movie, a warm to listen to the "sand bird" and huang shu sequence of "ghost" is a typical representative.
+Movie sand hired is about the China women's volleyball team's main players sand step due to illness failed to participate First Volleyball International Championship.This is full of ideal sand is not acceptable, so the sand better constantly training hard, hope to be able to take part in the game.Sata was finally allowed to compete and won the silver medal, but she not relegated to this. Still want to try to win the championship. The image of Shahe not only reflects the charm of the individual, but also perfectly combines with the spirit of the times in the 1980s. In the movie, Sha Juan's boyfriend Shen Wei was killed in the process of climbing Mount Everest. Under this blow, Sha Ta chose to cheer up and eventually became the coach of the women's volleyball team.For the sand cuckoo, this choice is not only personal, but also national.In the preface to Huang Shu's Ghost Love, the actress Qiu Yun is also an artistic image worth mentioning. Huang Shuxu in the movie created the actress Qiuyun this independent, spicy, firm actor image.In the movie, Qiu Yun is a career pursuers. Qiu Yun from an early age to learn drama, the purpose is to seek their own self-help. His father did not allow Qiu Yun to learn drama, but was eventually moved by Qiu Yun, personally taught her, so that her career has a good start. Indeed, the movie showed the pressure faced by Qiu Yun, but Huang Shu Xu stressed that this movie focuses on Qiu Yun for their own destiny of the active choice.
+For the emergence of independent female images during this period, Dai Jinhua(2000) said,"If we say that in contemporary literary circles, many women writers pursue and create their works of women’s style or become a deliberate, or not to do the women's strategy; In the movie world, the emergence of female style has become a mark of historical progress and a step in the difficult emergence of invisible women. Interestingly, most of their movies share the same cultural and social themes as the male directors of the same generation, but because of the selection of female stories and the unexpected entry and disclosure of female life experiences, they have translated and rewritten them into a female version. "This sentence affirms the efforts of female directors in creation. Pointed out that the previous works of women into the social stage when the neglect of their own gender identity. We admit this period of independent female image reflects the women in the process of entering society, the pressures and obstacles faced, but also concerned about their adherence to their own values. This makes their image three-dimensional up.
+===2 Female consciousness in Chinese movie===
+After combing the female images in the movies of the new period, the process of female images gradually becoming full is actually the process of female consciousness awakening. As far as the relationship between female consciousness and female image is concerned, the deeper female consciousness is, the fuller female image will be the image of women in the movie in the new era, although different from the past, but both are grown in China culture. However, in the new era, some new values and elements also take on new connotations. The new period movie began to women's self in-depth table.
+Now, women's self-reliance, self-esteem and self-respect side was presented in front of the audience. And women are beginning to realize that since reputation and achievement, try to get rid of the influence of patriarchal consciousness, with their own efforts.
+.1 Female Identity Consciousness
+In Second Sex, Beauvoir pointed out that women are not naturally occurring, but by social construuction. In the Chinese calendar history, the influence of patriarchy is very long, women in history is far away from the political and cultural center, is suddenly depending on the secondary. In Macro view, the center of the history of discourse is mastered by men, they become history set, women tend to appear in the image of the foil, is absent on the stage of history. At home family environment, the male is also the core of the family and the family, women became a reproductive tools. After her death, women still have no right to speak, as the so-called "husband died from the child."If we want to understand the relationship between men and women, we must discuss the concept of "home."It is well known that the family is made up of men and women, and that the history of the family constitutes the history of the nation and of mankind.In China traditional culture, the family is the foundation of the country and has an equally important position.Home country is regarded as a world expression of the whole and put forward by the power discourse, it is not only the basic form of China traditional social structure, but also the root of China culture and national psychology.In a family, women's identity is generally wife, mother and daughter, which is a kind of orientation of women's identity.Because men struggle outside, when men struggle frustrated, back home, women will assume the role of the soother.And if men are facing the test of life and death, so women are the saviors.From the perspective of this division of labor and role orientation, women were imprisoned in the home and became the victim of the patriarchal system.In the new period of the movie, women also play the role of the savior, but should see the female of this period sex rescuer role is in the context of ideological emancipation, is the identity and status of women are covered after complex.Now under the background of the movie, this rescue directly against the damage caused by the Cultural Revolution, it has distinct characteristics of the times.As the analysis of this article before, as this period of women's salvation is not pure the essence is to return to the traditional, they show is mainly a kind of personal spiritual pursuit and choice.In Legend of Tianyun Mountain, Feng Qingjian's love for Luo Qun comes from her worship of intellectuals, while in Horse Shepherd, Li Xiuzhi’s extreme rescue of Xu Lingjun is also because Xu Lingjun is the person she really likes. Therefore, this kind of salvation can not be simply understood as the virtue of traditional women, because this idea can only appear in the specific context of the new era. Although the two image is art, but certainly at the time China's hundreds of millions of people, must have a large number of women like set feng and xiu-zhi li, and these women in the previous era is difficult to appear. The ultimate significance of the emergence of this image is that in the past, they are not described as a single revolutionary role, but through this identity they have returned to the position of women, to find their own female identity. In other words, that is, as this section emphasizes, save the ideas and consciousness of female identity with the confluence. In Dai Jinhua's words, it is "if we say that women originally did not have their own language, always struggling the control of male culture and language. " If we say,"Hua Mulan type situation," is the modern female common face of gender, self predicament; In order to get out of the predicament of "Hua Mulan," women return to their families and become mothers, wives and daughters, which actually indicates the awakening of women's identity consciousness. Of course, we should see the strategy of this expression.In fact, after the end of the Cultural Revolution, in the continuous development of society, women are considered to be weak by society, and thus they do not have to struggle outside, it should be back to the family Xiangfujiaozi. It is through this description, women from the family to find their own value. As the analysis of this article before, in Xie Jin's movie , as the officer of the heroine eventually return to the family, became the mother and wife, it is also a scratch to save a representation of the fusion of knowledge and female identity consciousness.
+.2 Independent consciousness
+The development of the new era has given people to change the reality of expectations and opportunities, so women are increasingly willing to seize this opportunity. So when the background of the whole narrative with society to replace the family, women want to be able to prove that they can because of a place in social affairs and qualified in the family as well as men.For example, in Middle Age, Liu Wenting shoulders the pressure of family and career, not only to face up to the plight of women, but also to safeguard the role of wife and mother.Lu Wenting's image profoundly shows the double confusion faced by women in life and work.In Zhou Xiaowen's "Second Aunt," the significance of the second aunt is that she has been eager to get rid of the influence of male values, and the television has become the most distinctive symbol in the movie.At the same time two aunts also has another identity--the lover of the blind.In the pursuit of mother, family, career identity, the pressure faced by the second aunt is palpable.And the same wavelength of the final outcome, though helpless, but her pursuit is valuable from the new era of the movie as a whole, for the discussion of these issues has become a mainstream in the field of movie.The words.Using art to reflect society has also become the pursuit of some directors.At the same time, women also open beginning for some reflection and analysis of their own.The reflection of women have a very distinct personality, also to have their own skills, to be able to live independently and from the bondage of men, so as to realize the value of self.
+For example, in the ghost, autumn non-success in order to escape the fate of women and play men, as the doors, this became a classic metaphor for women to escape. In the 'sand raven', the sand is also faced with career and family dilemma. In addition,Daughter House,Childhood Friends,Youth Festival and other movies, women are faced with the pressure of this dual force, so their struggle also appears to be extremely decisive.In general, this period of women in the process of moving towards society to strengthen self-awareness, self-realization and value has become a driving force for their struggle. Although most of their struggles have experienced great hardships and pain, and most of the struggle is also a failure as the outcome, but their pursuit of the spirit and enthusiasm has never changed. It can be seen that the new era of movie from the original in accordance with the standards of men to express the awakening of women to women's consciousness, body reveal the process of women's pursuit of self-improvement, the expression of women's consciousness in the movie in the new era to a new situation.
+===Conclusion===
+Before the New Age, the most characteristic feature of the portrayal of women in Chinese cinema was the integration of a single "revolutionary" woman as the classic representative of subjectivity. The single 'revolutionary' image of women became the classic representation of subjectivity. These images embodied the gender consciousness of "gender equality".But in the call of the times for 'equality', women lost their gender identity and became masculine images. These images reflect the existence of a gender consciousness of 'equality between men and women', but in the call of the times for 'equality' women lose their gender identity and become masculine.Since the beginning of the new era, the portrayal of women in Chinese cinema has undergone a historical transformation. The image of women and gender narratives gradually reveal gender. The difference between the sexes gradually emerged in the portrayal of women and gender narratives. The first is the emergence of the 'Madonna' image, which began in the 1930s.The image of the Madonna has a strong sense of relief and salvation, as she uses her body and mind to save men from the suffering of history. The connotation of this giving is not a replication of traditional virtues, but rather an autonomous identification and choice of the object of their giving. They have the autonomy to identify and choose their own objects of giving.After a new period of transformation in the image of women and their consciousness, new gender relations are being constructed and positioned in Chinese cinema, especially with regard to the definition of women, which is entering the world of thought at an unprecedented pace. There is every reason to believe that with the development of the times, the image of women and women in Chinese cinema will certainly make greater progress.
+===References===
+*Li Ercang(1988).Zhangyimou’s saying.Liaoning:Chunfeng Literature and Art Press,76
+*Yangyuanyin(1990).Feminism and Chinese Women's Films: Communication University of Chin Press,23-25
+*Dai Jinhua(2000).Chnese Movie Culture(1978-1998):Peking University Press
+*Li Bin(2007).Recent research on female-themed films:Movie Art Press,121-123
+==英语笔译	杨紫微	Yang Ziwei	202170081605==
+<center>'''Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theory of "San Hua"'''</center>
+<center>Yang Ziwei</center>
+===Abstract===
+Classical Chinese poetry is a gem of Chinese traditional culture. As for the translation of classical Chinese poetry, Mr. Xu Yuanchong is one of the most influential translator of classical Chinese poetry, and his translated works have been unanimously recognized and highly praised by many people at home and abroad. With more than 60 years of translation experience, he has summed up a set of translation theories of his own, which can be summed up in ten words in Chinese as “美化之艺术，创优似竞赛”. This paper mainly focuses on the analysis of the application and embodiment of the mainly translation theories-- the method of "San Hua" (equalization, deepenization and generalization) in Xu Yuanchong's translation of Tang poetry.
+===Key words===
+Xu Yuanchong; “San Hua” ; Tang poetry
+===Introduction===
+For a long time, translation has been playing an important role as one of the means to promote cultural communication and communication. The translation of many literary works has also achieved high achievements, but the translation of poetry has been mediocre, and it is difficult to produce high-quality translations, especially for the translation of ancient Chinese poetry. Mr. Xu Yuanchong, a modern translation master, has been engaged in literary translation for more than 60 years and has translated numerous works. His focuses on the English translation of ancient Chinese poems and has formed the method and theory of poem translation in rhyme form. In translation, he emphasized the subjectivity of the translator, the creativity and artistry of translation, and innovated and developed the translation theories of his predecessors. He believed that the translated works could not only convey the beauty of the original text, but even surpass it. In particular, his translation theory of "the art of beautification" has proved to be successful in the English translation of ancient Chinese poems. This paper focuses on the application of Xu Yuanchong's theory of "San Hua" in the translation of Tang poetry, and analyzes and explores its role and expression effect in the translation of ancient Chinese poetry into English. This thesis consists of four main parts, we will learn a lot about the previous study of translation of Tang poetry, the introduction and application of the method of "San Hua" in the translation of Tang poetry as well as the value and influence of Xu Yuanchong's translation theories. The purpose of the thesis is to search for realizing the beauty in form, sense and sound as well as making readers and translators themselves comprehend, enjoy and take delight in reading translation of Chinese classical poetry.
+===Literature Review===
+In the past research, people focused on the analysis and exploration of the three aspects of beauty of Xu Yuanchong, therefore, the analysis and research of another theory-- "San Hua" is a field that few people pay attention to. In this thesis, I focus on the analysis and application of the method of "San Hua" in the translation of Tang Poetry. Then in the dissertation of A Study On Xu Yuanchong As A Translator （2006）written by Chen Youyang, he introduce the source and definition of the method of "San Hua" which originates from Qian Zhongshu's "the realm of sublimation". In the Literature and Translation (2016) of Xu Yuanchong, it explains the method of "San Hua" in details and gives some examples to demonstrate its application of equalization（等化）、generalization（浅化） and deepenization（深化）. In addition, it analyzes the relationship between the method of "San Hua" and the three aspects of beauty as well as the "San Zhi". "San Hua" is the method to achieve beauty in sound, sense and form, what's more, it produces the translation works that bring joy and pleasure to readers. Now that my thesis stresses on the analysis of Tang poetry through the method of "San Hua", then I should learn clear about the features and categories of Tang poetry. In the article The Discussion of English Translation of Tang Poetry (1994), Gao Yukun analyzes the characteristics and development of Tang poetry translation and he holds that Chinese classical poetry are translatable. Academic journals of Su Lin and Wang Chengcheng, both of them analyze the significance of the expression of the beauty in sense through the method of "San Hua". Since there are culture–laden words and allusions that are difficult to translate, the proper application of "San Hua" cam help us deal with it well. Then I introduce several Tang poems translated by Xu Yuanchong to illustrate the detailed application and appreciation through the method of "San Hua".
+In conclusion, the method of "San Hua” is applied in literary and poem translation frequently and many translators praise it. Although sometimes in order to realize the three aspects of beauty, it causes some disputes in the accuracy and faithfulness of translation works, it makes great contributions to the translation field and spread of Chinese culture. Thus, the thesis will pay more attention to the analysis, application and appreciation of translation of Tang poetry through "San Hua" to get a clearer and deeper understanding of the translation method.
+===Methods and Theories===
+Research method: Literature analysis.
+By reading journal articles data online and entity books such as "beautiful suffocation of tang poetry", the selection of classic poetry translation works explore the analysis theory of "three concrete application as well as the significance of the translation method, to explore the untranslatability phenomenon in ancient Chinese poetry and the translator's clever translation method in Chinese and English is how to build a bridge; At the same time, it studies the value and function of the "three Modernizations" translation theory in translation and cultural transmission.
+Theories: "San Hua"--Equalization,deepenization and generalization.
+===Subtitle 1===
+The Previous Study on Translation of Tang Poetry at Home and Abroad
+The Tang dynasty is one of the most prosper dynasties in Chinese history. At that time, the development of Tang poetry has reached the highest level and left Chinese people a large number of valuable assets. Tang poetry possesses a very significant position in Chinese culture.
+The ancient poetry of the Tang Dynasty are mainly five–or–seven–character regulated verse（五言或七言诗）. There are also two kinds of modern poetry, one is called quatrains（绝句） and the other is called metrical verse（律诗）. What's more, the quatrains and the metrical verse have five characters and seven characters respectively, so there are basically six basic forms of Tang poetry: five-character ancient style poem, seven-character ancient style poem, five-character quatrains, seven-character quatrains, five-character metrical verse, and seven-character metrical verse. Ancient poetry requires a wide range of rhymes: in a poem, the number of sentences can be more or less, the chapter can be long or short, and the rhyme can be changed. However, modern poetry has strict requirements on rhyme and disciplines of metre: a poem has a limited number of sentences, that is, the quatrains consist of four sentences while the metrical verse of eight sentences. The rhyme schemes or level and oblique tone of the words in each line has a certain regularity, and rhyme cannot be converted. It also requires the middle four lines to be antitheses. The style of ancient poetry is handed down from previous generations, so it is also called gufeng or ancient style. And modern poetry has a strict meter, so some people call it metrical poetry.
+The forms and styles of Tang poetry are colorful and innovative. It not only inherited the Han and Wei folk songs, Yuefu tradition, and greatly developed the style of free verse; It not only inherited the five and seven ancient poems of the previous generation, but also developed into a long epic narrative; It not only expanded the use of five-character and seven-character forms, but also created modern poetry with a particularly beautiful and neat style. It pushed the artistic characteristics of the harmony of syllables and the refinement of words to an unprecedented height, and found a most typical form for the ancient lyric poetry, which is still particularly popular with the people. However, due to the strict metrical restrictions in modern poetry, the content of the poem is easily fettered and cannot be created and played freely, which is a great defect brought by its advantages and creates troubles for its translation as well.
+It is a hard work to produce high–quality and beautiful translation work of Tang poetry. Since there are not only various themes and styles in Tang poetry, but also allusions, numerals, images, phonetic words, customs, natural scenery, place names and etc. All of these pose greater troubles for translating Tang poetry. Therefore, different translators hold different views in translating Tang poetry and they have their own translation theories.
+Since 80s century, there are lots of English versions of Tang poetry, such as Poetry and Prose of Tang and Song, which is translated by Yang Xianyi and Gladys, Xu Zhongjie's New Translations of Two Hundred Tang Poems, Wu Juntao's Translation of Du Fu's Poetry, Xu Yuanchong's New Translation of Three Hundred Tang Poems and Selective Translation of Li Bai's Poems, Zhang Tingchen and Bruce M.Willson's Translation of One Hundred Tang Poems and Weng Xianliang's Translation of Classical Chinese Poetry. In early times, some people thought that poems can not be translated. P.B.Shelly and R.Frost were supporters. Frost said that poetry is what gets lost in translation (Gao,1994). An Austrian philosopher, R. Jakobson believes that poetry is strictly untranslatable (Gao,1994). Although there were such opinions, most people believed that poems are translatable and many translators have explored and formed new translation theories. In addition, E.A. Nida's equivalent effect and functional equivalence theories support that poems can be translated because of language regularity. Among them, some hold to translate poems with English metrical verse, such as Xu Yuanchong and Wu Juntao; while others use free verse on poetry translation, such as Weng Xianliang and Wang Shouyi. Because of intricate features of Tang poetry, translation work is difficult to realize its original beauty in form, sound and sense at the same time, so the former pays much attention to maintain the beauty in form, sound and sense and pursues to realize the combination of sense and form, and the latter emphasizes the importance of sense and seek to reproduce the meaning of the original poem and convey the true feelings of the poet, but sometimes it lost the original beauty of rhyme and sound. As L. Wittgenstein said, "translating from one language to another is doing a ma-thematic task. And translating an emotional poem into another language is like addressing a ma-thematic problem..., which can be solved but lack of a systematic method" (Gao Yukun,1994,22). The French translator, Le Marquis d'Henvey–Saint–Denys also wrote in the preface of his translation work Collection of Tang Poetry in 1862, "Poem translation is taking great risk and it is also hard and painful, because we found that those true beauties lie in the poetry can not be expressed in any foreign language."
+No matter what translation theories they use, all of them believe that the translation of poetry is an art. Under the guidance of Yan Fu's translating standards--faithfulness, expressiveness and elegance, they have been trying to achieve the beauty in form, sound and sense. Xu Yuanchong, who has been translating Chinese classical poetry for more than 60 years, made great contributions to the translation field and had remarkable achievements.
+===Subtitle 2===
+Main Ideas of Xu Yuanchong’s Literature Translation Theory
+.1 An introduction to Xu Yuanchong
+Xu Yuanchong was born in Nanchang, the capital city of Jiangxi province in 1921. He graduated from the Department of Foreign Languages of Tsinghua University in 1943. He entered the Institute of Foreign Literature of Tsinghua University in 44 years and then went to Europe to study. After returning to China, he served as a professor of English and French in foreign languages schools in Beijing, Zhangjiakou and Luoyang. He has been a professor of international culture at Peking University since 1983. He has been teaching the course Translation and Appreciation of Ancient Chinese Poetry at Tsinghua University since 1999. Xu is a famous translator in our country and is called the only expert in translating classical Chinese poetry into English and French verse. He has been nominated for the Nobel Prize in Literature. Xu's business card reads "the only person who translates poetry into English and French". He advocated "Dare to be the first in translation studies", and was regarded as a crazy talent in the field of translation. "I used to like to go my own way by myself, I still like to go my own way by myself, and I will continue to like to go my own way by myself." This is the last thing Xu said to everyone.
+Xu's 42 works are all translated works, except for a memoir--Remembrance of the Past, and three works on translation theory--The Art of Translation, On Chinese Verse in English Rhyme, and On Literary Translation. These translations can be divided into four categories. One is Chinese-English translation, including 22 titles such as 600 Ancient Chinese Poems, 300 Immortal Chinese Poems, The Book of Songs, Romance of the Western Chamber, and Selected Poems of Mao Zedong. The second is the Chinese translation, which includes 150 Poems of the Tang and Song Dynasties and 100 Selected Lyrics of the Tang and Song Dynasties and so on. The third type is the Chinese-English translation, including Dryden's All for Love, Scott's Quentin Duward and so on. The fourth category is French-Chinese translation, including Hugo's Selected Plays, Stendhal's Red and Black and other eight kinds. Among them, the most striking is that he translated the literary masterpieces of the past 3,000 years into English and French verse and published them one by one, which has initially outlined the development of verse in the history of Chinese literature. It can be called a great feat in the field of translation. Among his works, 300 immortal Chinese poems, published by the British Penguin Publishing Company, is listed in its "Penguin series". Mr. Xu Yuanchong is the first Chinese to publish translated books in this world famous publishing house.
+In 2010, Xu Yuanchong was awarded the "Lifetime Achievement Award in Translation Culture" by the Translators Association of China. On August 2, 2014, Xu Yuanchong won the Northern Lights Award for Outstanding Literary Translation, one of the highest awards in the international translation circle. He is the first Asian translator to win this award.
+.2 A Detailed Introduction to the Method of “San Hua”--Equalization, Deepenization and Generalization
+As we have mentioned that the beauty of sense is hard to reach, and these measures can help us to improve our translation capability and learn to deal with translation problems in a appropriate manner. These three measures are methodologies of translation. Xu was inspired by Qian Zhongshu's theory of " the realm of sublimation" and came up with the free translation methods.
+Equalization aims to achieve the equivalence between the source language and the target language, and it can only be used when the surface meaning and the deep meaning of a poem are the same. It includes word formation, syntactic transfer, affirmation and negation and allusion transplantation, etc. For instance, Xu Yuanchong translates “孤山寺北贾亭西，水面初平云脚低”into " West of Jia Pavilion and north of Lonely Hill, Water brims level with the bank and clouds hang low". The translation of place names is consistent with the original work. This sentence belongs to literal translation and it is easy to understand. Another sentence“树深时见鹿，溪午不闻钟”is translated into " In the thick woods a deer is seen at times, Along the stream I hear no noonday chimes". It also uses the method of equalization and realize the functional equivalence.
+Deepenization refers to the fact that when there are differences between English and Chinese in the process of translation, the expression of the source language and the target language is not consistent, it is necessary to complete the unspoken content in the source language in the translation, so that the target reader can understand it. This method mainly includes amplification, creating something out of nothing, splitting translation or adding some content in the translation that is not explicitly stated in the original text but has this meaning. Here are examples of Xu's translation of Tang poems:
+(1)白雪却嫌春色晚，故穿庭树作飞花。
+But white snow dislikes the late coming vernal breeze,
+It plays the parting flowers flying through the trees.
+In the translation, the words " dislikes, plays and flying" show us the lovely and brisk white snow with the personification. It expresses the poet's avid expectation for spring with the help of flying snowflakes.
+(2)随意春芳歇，王孙自可留。
+Though fragrant spring may pass away,
+Still here's the place for you to stay.
+This translation explicitly convey the deep meaning of the sentence. Although the spring is gone, but the autumn scenery is better. The poet is willing to stay. He likes to return to nature, loves the landscape and advocates quiet and pastoral life. It shows the poet's noble feelings and the pursuit of his ideal life.
+In contrast to " deepenization", there are contents involving different cultures in the two languages. Sometimes it is not easy to translate directly, so we need to use a certain method, such as subtraction, to delete the culture-heavy contents in the original text and replace them with more general and understandable contents.
+(3)相见时难别亦难，东风无力百花残。
+It’s difficult for us to meet and hard to part；
+The east wind is too weak to revive flowers dead.
+In this translation, it omits the word “百”which has no influence on the meaning expression. In this way, Xu also maintains the beauty in form and sound. What's more, the word "flowers" has involved the meaning of hundreds of flowers. This is what we call subtraction, which is one of the methods of generalization.
+Among them, deepenization is the best way to show us the beauty of sense. It is the high standard of literary translation and generally the translation work supersedes the original one. Thus, it is regarded as creation.
+In the translation of Tang poetry, we have to be clear that which method we should use in the process of translation to achieve the three aspects of beauty, especially the beauty in sense. The ultimate goal of translation is to produce high–quality translation works which are better than the original ones.
+===Subtitle 3===
+The Analysis and Appreciation of Xu's Translation of Tang Poetry through the Method of “San Hua”
+In this part, we will study Xu Yuanchong's translation methods of “San Hua” deeply and know more about their use in translation of Tang poetry.
+.1 An analysis of Happy Rain on a Spring Night through the Method of “San Hua”
+春夜喜雨
+（唐）杜甫
+好雨知时节，当春乃发生。
+随风潜入夜，润物细无声。
+野径云俱黑，江船火独明。
+晓看红湿处，花重锦官城。
+Happy Rain on a Spring Night
+Du Fu
+Good rain knows its time right,
+it will fall when comes spring.
+With wind it steals in night;
+mute, it wets everything.
+Over wild lanes dark cloud spreads;
+in boat a lantern looms.
+Dawn sees saturated reds;
+the town's heavy with blooms(Xu Yuanchong,2020,32).
+This poem describes the poet's happy and brisk feelings to see the spring rain. It was written in the spring of 761 (the second year of Shangyuan). After a period of exile, Du Fu finally settled down in Chengdu, Sichuan Province due to the drought in Shaanxi Province and began a relatively stable life in the middle of Sichuan Province. When he wrote this poem, he had been living in a cottage in Chengdu for two years. He personally cultivated, planted vegetables and flowers, and socialized with farmers. He had a deep love for spring rain, so he wrote this beautiful poem describing the rain on a spring night that moistens everything.
+Spring rain knows to adapt to the season. When all things germinate and grow, accompanied by the spring breeze, spring rain secretly in time to come at night to nourish all things silently. The country path and the clouds in the sky hide in the darkness, the lights of the fishing boats on the river are particularly bright. Till dawn, I saw that drizzle had moistened red flowers, which made them more charming. And beautiful flowers are full of Jin Guan City.
+At first, from the perspective of the beauty in three aspects, this is a five–character metrical poem and every sentence is divided into two parts. The first part includes two syllables and the second part includes three syllables. When translated into English, there are five syllables in each sentence and the first part includes two or three syllables and the second part includes three or two syllables. Moreover, the first and second sentences rhyme and so do the third and fourth sentences in both original and translation works. These show the beauty in form and sound. With regard to the expression of beauty in sense, it is not hard to know that the title and the whole poem basically used equalization(等化) so that it is easy for us to understand. In the first sentence, in order to maintain the end rhyme, Xu reversed the order of words "when spring comes" but translated it into "when comes spring". The words "good rain" express the poet's love to spring rain, which sets the general tone for the poem. And in the second sentence, he used "steals" to describe the falling rain which adopted personification and presented us a lively and dramatic picture. He also reversed words in the sentence of "mute, it wets everything", such kind of inverted sentences also seen in the second and third lines. The clouds are spreading the sky gradually indicates the upcoming of the very rain. And "looms" also reveals the carefulness of Xu's word selection. Because of the sullen weather and distance, the light from a lantern in a boat is weak and flickering due to the wind, so he chose the word "looms". Besides, words like "saturated" and "heavy" are appropriate choices. As for “锦官城”, he just translated it into "the town", which is the use of generalization(浅化) that omitted the explanation to allusion.
+As a whole, by means of the “San Hua”, readers can understand the poem without any difficulty and they can also feel the poet’s true feelings. Meanwhile, the choice of words, lengths of sentences and rhymes are pleasing to read and the meaning of the poem as well as the poet's true emotion are showed in the translation work. We can not only feel the poet's excited and surprised mood but also appreciate the musical beauty of the poem through reading it, which means this translation let readers enjoy and love it.
+.2 An analysis of The Sad Zither through the Method of “San Hua”
+锦瑟
+(唐）李商隐
+锦瑟无端五十弦，
+一弦一柱思华年。
+庄生晓梦迷蝴蝶，
+望帝春心托杜鹃。
+沧海月明珠有泪，
+蓝田日暖玉生烟。
+此情可待成追忆，
+只是当时已惘然。
+The Sad Zither
+Li Shangyin
+Why should the sad zither have fifty strings?
+Each string, each strain evokes but vanished springs:
+Dim morning dream to be a butterfly;
+Amorous heart poured out in cuckoo’s cry.
+In moonlit pearls see tears in mermaid’s eyes;
+From sunburnt jade in Blue Field let smoke rise.
+Such feeling cannot be recalled again:
+It seemed lost even when it was felt then(Xu Yuanchong,2020,124).
+It is one of the most significant poems of Li Shangyin. From the title -- the Sad Zither, we can know that the main focus of the poem is "sad".
+This poem has been variously annotated. Some people thought it was a mourning work, some thought it was patriotic, and some thought it was deploring with sighs for all his talent, and others thought it was a description of missing the poet's maid Jin Se. But most people agreed with the first idea.
+In Xu's translation, most poems use the end rhyme and so does this. From the structure of the poem, we can see that forms of the original and translated works are the same. In regard to the full expression of its meaning, we can analyse it one by one sentence. The first couplet expresses the poet mourns for the lost golden years which we can see from words “思华年”, he translated “华年”into "springs" instead of "golden years" for the beauty of sound by means of generalization. Moreover, as the beginning of a year, spring represents vitality, energy and beauty which is like the most valuable years of people and expresses the poet cherish the golden years greatly. And "vanished springs" uses deepenization which told us that his golden years were lost forever and he was very regretful. Going forward, the second and third sentences include many allusions which is the most difficult task to deal with. The second couplet uses an allusion from Zhuangzi. It says that Zhuangzhou dreamed that he was a butterfly when he woke up from his dream, he found that Zhuangzhou was still there and he did not know where the butterfly was going. The poet took this as a metaphor for the beautiful situation he indulged in when he was young. “望帝春心托杜鹃”comes from a legend that in the late Zhou Dynasty, Shu monarch Du Yu abdicated and retired from public life, but he was unfortunately died. After death, his soul into the cuckoo, crying sadly and moving people's hearts. The poet used the story to convey his hatred and also the ardent miss for his wife. In Xu's translation, he did not translated these allusions directly into "Zhuangsheng" or "the emperor Wang", but omitted the subject. This is the adoption of generalization which avoids complicate and unnecessary explanation of allusions. Then he used the word "dim" actually showed the poet's confusion and melancholy, and "amorous heart" indicated the emperor Wang as well as the poet himself and the word "cry" expressed his sorrow  for the vanished golden years and his dead wife directly. In this translation, Xu directly expresses the poet's true feelings which is hid in allusions, it is the method of specification in deepenization. In the third couplet, “沧海月明珠有泪”refers to the tears of mermaids that can turn into pearls. The poet combines the moon beads and tears into a hazy wonderland, expressing a kind of complex feelings of dis-consolation, which includes both the love for its high and clear, and the sadness for its cold and loneliness. And “蓝田日暖玉生烟”refers to the phenomenon that the jade mountain of Blue Field is often illuminated by the sun and the essence of the beautiful jade in it is rising gradually, which is as fine as hair from a distance, but nothing at all from a close look. The poet took advantage of the ideal scenery with high aesthetic meaning to express a kind of regret that can not be close to noble spirits. It is the same as the third allusion. Different from the second couplet, the first half of the third sentence roughly explained what the allusion talked about to readers while the second half used literal translation. If not understand these allusions, it will be hard for us to make it clear that what the poet want to express. Therefore, the proper translation of allusions is really formidable. The last couplet conveys the poet's grief and regrets again but it is much stronger than before. “可待成追忆”was translated into " cannot be recalled again" by Xu Yuanchong, which used negation translation in equalization. In fact, it emphasized that the beautiful days and loved ones were gone for good and it was too late to redeem for him. The word "lost" was tantamount to “惘然”that revealed the inner world of the poet. Xu had not translated“当时”into  "when it was felt then" instead of “at that time”, which also belongs to the specification in deepenization, he described the feelings of the poet in details and made it clear to readers.
+So from this piece of work, we can get to know that how difficult to deal with allusions properly because of the cultural differences between China and foreign countries. In my opinion, Xu did a really remarkable work. Through his translation, we can not only feel the beauty in form, sound and sense of the Chinese version, but also learn to make full use of the method of “San Hua” to help us understand its main idea and the poet's emotions. Particularly the translation of allusions that eliminates the tedious and unnecessary explanation of them which foreigners can not understand, and maintains the original beauty in form and expresses the important things involved in them as well.
+.3 An analysis of The Mourning Day through the Method of “San Hua”
+清明
+（唐）杜牧
+清明时节雨纷纷，
+路上行人欲断魂。
+借问酒家何处有，
+牧童遥指杏花村。
+The Mourning Day
+Du Mu
+A drizzling rain falls like tears on the Mourning Day；
+The mourner' heart is going to break on his way.
+Where can a wine shop be found to drown his sad hours?
+A cowherd points to a cot' mid apricot flowers(Xu YUanchong,2020,160).
+The first line of the poem points to the natural conditions in which the poet is exposed, such as the time and weather. Tomb-sweeping day is one of the big festivals of the tang dynasty on which people will hold family reunion, visit a grave, outing, and attend various activities. Du Mu did not see the sun in the Qingming Festival in Chizhou（池州）, but only drizzle. The second sentence turns from the perspective of objective to the subjective, focusing on the poet's emotional world. He saw passers-by on the road were busy mourning their dead loved ones, and he felt very sad and grieve. In the third sentence, the poet's feelings mingled with scenes. He was very sad when traveled in the rain. The rain wet his clothes and the weather was chilly. Then the poet sought to drown his sorrows in wine, so he asked the way. The last line tells us to whom the poet asks for directions. "A cowherd points to a cot' mid apricot flowers" brings the reader into a completely new realm, which is completely different from the previous melancholy and misery. The cowherd's warm and sweet voice, distant apricot flowers blooming like brocade, the spring is in the air, and the wine flag at the village head is fluttering. The first two lines of the poem create a sad and sentimental picture, while the last two lines show a vivid and lively one, which is contrasted and interlaced with each other. It also shows us the change of emotions of the poet.
+First and foremost, from the three aspects of beauty, Xu still adopts the end rhyme. The number of words in every sentence varies by only one or two, so from the perspective of form, the whole poem is relatively neat after translation.
+Then what matters most is the adoption of the method of “San Hua” in the expression of the beauty in sense. Firstly, the title “清明”was not translated into "Pure Brightness Day" or "the Qingming festival", but "the mourning day" because the poem mainly talks about the scenes and poet's feelings on mourning relatives on this very day. And for target readers, especially foreigners, they do not understand what is the Qingming festival or Pure Brightness Day and what people do on this day. Comparatively speaking, " the mourning day" makes the main idea of the poem clear and it is also in line with the original meaning. Therefore, in this poem, Xu mainly used the method of deepenization. In the first sentence,"a drizzling rain" depicts the features of spring rain which is not thick and fast. "Fall like tears" is not showed in the original work, but it is implicated in the sentence. The falling rain is like mourners' tears on their way to visit their dead loved ones. Xu excavates and expresses the implicit meanings of the original text, which eases the burden to fully understand the poem. Then “路上行人” actually do not "pedestrians" or "travelers", but "mourners". Because on the mourning day, those people were engaged in paying respect to the dead and they hurried on the road due to the rain. Xu translated “欲断魂” into "heart is going to break" which belongs to free translation and expressed the mourner's deep sorrow. In the third line, "wineshop" points out that the poet wants to drink down his sorrow, and "drown his sad hours" makes it clear and touching. In the original text, there is also not the purpose why the poet looks for a wineshop, but Xu's translation reveals everything. It belongs to specification and amplification. The last sentence is the answer to the question before--There is a wineshop mid apricot flowers. If let us translate“杏花村”, it could be "apricot village". But after thinking twice, we will notice that it could not be an apricot village, but a cot hid among the apricot flowers which is more appropriate and beautiful. On the whole, through reading Xu's The Mourning Day, we tapped the implicit meaning of every sentence out. And in this English version, Xu directly expressed the poet's heartfelt sorrow, dis-consolation and gratification. In reading this poem, we sympathize with the poet, mourn with him, and find comfort in the discovery of a wineshop hidden in an apricot flowers.
+In conclusion, through the analysis and appreciation of the three poems translated by Xu Yuanchong, we further understand the use of his translation methods ”San Hua” in poetry. In general, equalization and deepenization are used frequently in poetry while generalization is mostly used to deal with allusions and etc.
+Generally speaking, to reverse the disadvantages of the target language, we can use the generalization method to make readers understand the text. Striving for the same high quality of translation as the original work, we can use the equalization method to make readers appreciate it. Developing the advantage of translation and make it surpass the original text, we can use the deepenization method to make readers admire it. This is Xu's skopos theory of literary translation.
+===Subtitle 4===
+The Influence of Xu's Translation Theories
+As an expert of translation, Xu Yuanchong forms his own systematic translation theories which are applauded by most people. And these theories are clearly showed in every piece of his work. We have to admit that his translation theories indeed shed new lights on translation and make tremendous contributions to the exchange between Chinese and foreign cultures. His translation work not only let Chinese people enjoy the foreign literary works in a fresh manner, but also present the original beauty of Chinese literature to foreigners. Under the guidance of his specific translation theories, we get a clearer map to translate poetry, novel and etc.
+Xu Yuanchong's translation theories “美化之艺术”is combined by extracting one word from predecessors' translation theories. It is based on their experiences and his own translation practice for more than sixty years. He inherited and developed these theories and explained them explicitly. Firstly, He believed that "elegant" no longer means quaint in today's world, but elegance or beauty. Xu said:"According to my own translation practice, I think Yan Fu's 'faithfulness, expressiveness and elegance' can be understood today as 'faithfulness to the original content, smooth translation form and giving play to the linguistic advantages of the translation.' "In my opinion,'faithfulness, expressiveness and elegance' can be understood as 'faithfulness, expressiveness and excellence'. Excellent is to give full play to the advantages of the target language, which is to use the best way of expression of the target language with words of beautiful meaning, sound and form, in other words, 'excellent' is' beautiful '." Secondly, he explains the relationship between science and art, translation words and taste or styles, truth and beauty with simple formulas. Xu says:" Chinese poetry often has multiple meanings with endless aftertaste, while English poetry expresses the literal meaning." Thus, the western science school put forward the theory of "equivalence", "equivalence of function", "equivalence of effect" and literal translation theories. Because the meaning is greater than the words, the Chinese school of art puts forward the theory of free translation and spiritual resemblance, giving play to the advantages of the target language, that is to say, the translator can not only translate all the contents of the original text but also contents are not showed in the original text. Therefore, the formula for literary translation is 1+1>2. Thirdly, he advocates literary translation should create beauty, so he proposes the advantage theory. The translation of cultural allusions is the most difficult. Literal translation cannot preserve beauty even if it can preserve truth. But if we adopt free translation, even if it can be beautiful, it is often hard to avoid distortion. A true translation can make readers comprehend it; a beautiful one can readers enjoy it, and a translation that preserves both truth and beauty will delight the reader. Therefore, the translation of poems should preserve the beauty of the original poems with as little distortion as possible. Since literary translation is an art and literary works are about people, so they have to be fascinating and exciting. If we only pursue truth without paying attention to beauty, it may be not a beautiful work, so the beauty of it is more significant than the truth.
+===Conclusion===
+Xu is a very confident, talented and prolific translator with strong character and innovative spirits in the translation field. He has a special calling card; in it there are two phrases "over sixty books published in China and aboard,the one and only person translated series of Classical Chinese poetry into English and French." In another calling card reads "without the title of academician, but he excels an academician; translated over one thousand classical Chinese poems to Europe and America". His translation theories and practices gained a wide range of recognition at home and abroad. Reading his translation of Tang poetry is an enjoyment. Nowadays, there are still many translators and translation theorists support his translation theories, particularly three aspects of beauty and the method of “San Hua”. Looking at the translation of Tang poetry in history, Xu Yuanchong's translation makes our eyes shine. The beauty of classical Chinese poetry, which is thought could not be translated, came to life in his writing. Under the guidance of the beauty in form, sound and sense, translators adopt approaches of equalization, generalization and deepenization to pursue their goals of letting readers comprehend, appreciate and even admire their translations.
+Although some of his translation theories are still controversial and questioned by some translation staffs, as the saying goes:" There are spots even on the sun", this does neither affect his lofty status in the translation field, nor does it negate his great contribution to the inheritance and dissemination of translation field and culture. Mr. Xu Yuanchong devoted his whole life to the cause of translation and the pursuit of beauty. He spent most of his life summarizing his valuable translation experience and forming his own translation theory system, which is helpful for us to further understand translation and further practice it. His works let us appreciate the local conditions and customs of foreign countries, but also bring foreigners to enjoy the beauty of classical Chinese poetry. In this paper, we studied Xu's mainly translation theories and cited several Tang poems to illustrate his translation methods. Through the analysis of his works, we get a clearer picture on the use of his translation theories, and we also know more about the defects of his translation which casses our reflection. After all, translation theory system can not be completed in one day. It requires us to explore and improve it through trial and error.
+===References===
+*Chen Youyang(2006). A Study On Xu Yuanchong As A Translator. Fuzhou University.
+*Duan Min(2003). A Study On Xu Yuanchong As A Translator. Sichuan University.
+*Hu Xiaoyin(2003). On the Translation and Reception of Tang Poetry in Britain and The United States. Sichuan University.
+*Wang Peng(2008). A Study of Xu Yuanchong's Poetry Translation Thoughts. China University of Petroleum.
+*Xu Xiufeng(2006). On the Aesthetic Transference of Poem Translation (From Chinese to English)––Xu Yuanchong's Thought on Poem Translation. Ocean University of China.
+*Zhu Lin(2004). A Study of Xu Yuanchong’s Translation Theories and Practice. Guangxi Normal University.
+*Gao Yukun 高玉昆(1994).论唐诗英译[On the English translation of Tang Poetry].国际关系学院学报[Journal of the Institute of International Relations],(4).
+*Lu Su, Xu Yuanchong 陆苏,许渊冲(2020).美得窒息的唐诗[Suffocating Tang Poetry].湖北：长江文艺出版社[Hubei:Changjiang Literature and Art Publishing House].
+*Su Lin 苏琳(2020).“变通”译唐典音美意深远——从“三化论”角度看唐诗中典故的英译[The Translation of Allusions in Tang Poetry from the Perspective of "San Hua"].四川职业技术学院学报[Journal of Sichuan Vocational and Technical College],30(2):73~77.
+*Qian Zhongshu 钱钟书(1981).林纾的翻译[Translation by Lin Shu].北京：商务印书馆出版社[Beijing: The Commercial Press].
+*Xu Yuanchong 许渊冲(2016).文学与翻译[Literature and Translation].北京：北京大学出版社[Beijing: Peking University Press].
+*Xu Yuanchong 许渊冲(2006).翻译的艺术[The art of translation].北京：亚洲传播出版社[Beijing: Asia Communication Press].
+==英语笔译	张国浩	Zhang Guohao	202170081606==
+<center>'''The Influence of Electronic Language on Chinese Language and Culture in the Internet Age'''</center>
+<center>Zhang Guohao</center>
+===Abstract===
+Language is the most important communication tool and the carrier of culture. Language itself is also a cultural phenomenon. The Chinese nation has a long history of thousands of years, and its language and culture are an indispensable part of Chinese traditional culture. With the development of electronic network and information technology, electronic language is also booming under this background. Electronic language is the product of the times. It has both positive and negative effects on Chinese language and culture. Starting with the analysis of the emergence and characteristics of electronic language, this paper focuses on the positive and negative impact of electronic language on Chinese traditional language and culture in the new media era, and further puts forward a series of measures to protect Chinese traditional language and culture.
+===Key words===
+New media; Electronic language; Language culture
+===Introduction===
+With the development of current information technology and network technology, a large number of electronic languages, also known as network languages, have appeared on the Internet. And they have increasingly penetrated into people’s daily life with the development of the Internet. Electronic languages reflect the current hot social issues, and have the characteristics of simplicity. With the increase of electronic languages, it is bound to have a certain impact on Chinese traditional language and culture. Electronic languages have both positive and negative effects on Chinese traditional language and culture. While expanding the vocabulary of modern Chinese, some vulgar and malicious electronic languages are eroding the traditional Chinese language and culture. How to make electronic language and Chinese traditional language and culture coexist harmoniously in the new media era is a topic that is worth studying and discussing. This paper will introduce the background of electronic languages, the characteristics of electronic languages and the impact of electronic languages on Chinese traditional language and culture, and explore measures to protect Chinese traditional culture in the new media era.
+===The Electronic Language in the New Media Era===
+'''1.1. The Emergence of Electronic Language in the New Media Era'''
+After three technological revolutions, the new media era has finally arrived. With the rapid development of the Internet, the momentum of new media in people’s lives is also growing. And the electronic language that followed became one of the most important parts of it. Today, under the circumstance of the new media era, electronic language has developed with the development of the network. The continuous development of society has made the traditional language unable to meet people’s spiritual needs. People are now facing a colorful language world on the computer screen. While lamenting people’s strong adaptability, we have to say that this is the result of the transformation of the media. The media carrier has to decide the trend of culture. When we look at the characteristics of electronic language in the era of fresh media, it is not difficult for us to have  such results.
+'''1.2. The Definition of the Electronic Language'''
+Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on. It was born in the electronic media and developed with the popularity of the network. Electronic language is participated by the public and can not be separated from the carrier of electronic media. It passes between the instructors of electronic media. Compared with the traditional language, there is no classical version of the electronic language because the electronic media has only appeared for a few decades. Therefore,  the grammar and word order of it do not seem to conform to the traditional language norms.
+'''1.3. The Characteristics of Electronic Language in the New Media Era'''
+.3.1 Electronic language is the combination of written language and spoken language.
+According to different media, language can be divided into written language and spoken language. Written language has very restrictive grammar rules, a standard punctuation system and a very strong logic. With no intuitive feeling like spoken language, written language has a deterrent to people and help to form people’s rigorous rational thinking. However, spoken language is very flexible, and is not stick to one pattern. It has the characteristics of immediacy and transience, which makes spoken language not as easy to store and popularize as written language. There is a confrontation between written language and spoken language inadvertently, and this confrontation has been eased in today’s new media era. Electronic language acts as such a bridge. Electronic language not only has the expression environment of written language, but also has an obvious tendency of colloquialism. Whether it is online chat, forum post or mobile phone short message, it is not completely the same as the traditional expression. Since electronic language requires users to type what they want to say on the screen, and requires the receiver to browse the information through their eyes, so it has obvious characteristics of written style in this way. However, it is also influenced by the colloquial style, so there is obvious mutual penetration from both sides. Generally speaking, electronic language is a kind of colloquial written language, which fully integrates the two types to serve its own needs.
+.3.2 Electronic language is pictorial and vivid.
+In the new media era, the recipients of electronic media can not learn the rich body language of the communicator from the electronic screen, but they can get some information by some vivid dynamic expressions sent by the messenger. People often use various symbols on the keyboard to create a lot of very vivid and humorous facial expressions to express their body language at that time, in which there is almost no difference between happiness and sadness in real life. These electronic languages are very interesting on the electronic screen and often make people laugh, which instantly shorten the distance between the information sender and the receiver. Through these vivid cartoon symbols which are different from words, the communicator penetrates parts of the meaning he wants to convey, making the virtual electronic media full of reality and  immediacy. As a result, many relaxing and humorous electronic languages have emerged. They are not only humorous, but also easy to understand. This kind of relaxing and humorous style caters to the needs of modern people to relax their body and mind, so that the tense young generation can speak freely. When facing a boring topic, they can also discuss with each other in a humorous tone, which undoubtedly brings an unparalleled happy experience to the users of new media.
+.3.3 The expression of electronic language depends on the context and its meaning is vague.
+Context refers to the speech environment, which includes both linguistic factors and non-linguistic factors. Contextual factors such as context, time, space, situation, object, and discourse premise,  are all related to the use of words. Context includes specific time, specific space, specific scenes, specific characters and so on. Electronic context mainly refers to some new media such as electronic bulletin boards and e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Electronic context mainly refers to some new media such as e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Therefore, electronic language is bound to be misunderstood without a big context. The context of electronic language has always been open, allowing everyone to join freely. Different media will produce different languages. Electronic language is generated with the arrival of the new media era and will develop with the continuous development of the new media. The characteristics of electronic language are inseparable from the convenience of transmission, fast replication and various presentations of new media. Therefore, with the continuous development of new media, the era of electronic language has come.
+.3.4 Electronic language is highly dependent on network information technology media.
+The intelligent terminals represented by computer, electronic information technology and Internet technology have created electronic language and the unique paralanguage of electronic language such as emoji, which not only makes up for the lack of body language such as expressions, movements and moods of language users, but also makes electronic language form multiple forms of expression, such as structured, semi-structured and unstructured forms. At the same time, network information technology has built a platform for the use of electronic languages, such as various forums, QQ groups, micro-blogs, We Chat and other virtual spaces, so that spoken or written languages and other different types of languages and dialects communicate with each other. Without the network information technology, the electronic language cannot exist. This  technology also breaks the limitation of traditional spoken and written language, making the electronic language a super language without the limitation of time, space and region. Therefore, the modern information technology with computer, communication, network and electronic technology as the core is the material basis for the generation and use of electronic language.
+===The Influence of Electronic Language on Chinese Traditional Language Culture===
+The new media era is a multilingual society, so there is an obvious language-mixing phenomenon in electronic language. In electronic language, there is no absolute authority and anyone can speak freely, which makes the electronic language have a strong vitality and a huge impact on the traditional Chinese language and culture.
+'''2.1 The Positive Influence'''
+.1.1 It can promote the development of Chinese language and culture
+The electronic language has a variety of changes. Its simple, fast and vivid features not only meet the needs of the new media era, but also give people a fresh and lively feeling. Any language in the world is constantly updated and developed in use. Language innovation is an extremely important factor and a manifestation of vitality of a language. Without innovation, there is no development of language. Denying innovation and resisting innovation are equal to killing the vitality of a language. With the continuous development of electronic language, a large number of new words have emerged and the number of loanwords have increased. And with the extensive use of lettered words and numerals, Chinese vocabulary has been greatly enriched and developed. In the aspect of pronunciation, we use some homophonies to replace some Chinese words. For example, now we use “酱紫”to replace “这样子”. In terms of grammar, electronic language does not adhere to traditional grammar, which enriches and transforms the grammar system, and distorts conventions. In addition, electronic language has accelerated the demise of some old words. This series of characteristics makes the Chinese language fully nourished and breaks the barriers to knowledge. As a result, Chinese language spreads rapidly. At the same time, it adds the fun and color of people’s lives, making cultural exchanges unprecedentedly free and prosperous.
+.1.2 It can promote the transformation of reading methods.
+In the era of new media, electronic language is constantly innovating and changing. With the continuous progress of technology, people’s reading methods are changing. Today’s electronic media reading is basically replaced by “hypertext” and “hyperlink”. People can read everything related to the text by clicking on links one by one, which is much more convenient than before. This way also satisfies people’s psychology of seeking knowledge and curiosity. In addition, with the popularization of high-tech products such as mobile phones and tablet PCs, mobile reading begins to prevail. People’s reading is no longer confined to a place. Through these new media, people can easily read anytime and anywhere, which generally improves the reading efficiency.
+'''2.2 The Negative Influence'''
+Firstly, the emergence of electronic language may make Chinese traditional language and culture be in danger of dating. Chinese traditional language and culture is the summary of experience of the continuous development of the Chinese nation. And it is also the national spirit gradually condensed in the long-term social practice. The language culture full of the fine tradition of the Chinese nation not only provided great power for the development of the Chinese nation in the past, but also will play an important role in the future of the Chinese nation. However, in today’s new media era, young students are the main users of electronic media. Since they are particularly sensitive to new things and electronic language has the characteristics of convenience, rapidity and image, it has a fatal attraction for young students who like to pursue new things. While they continue to create electronic language, they also continue to penetrate electronic language into their own lives, which makes Chinese traditional language and culture more and more distant from them. If things go on like this, it will inevitably lead to the dating of Chinese traditional language and culture, and make the future of traditional language and culture bleak.
+Secondly, the trend of vulgarization of some electronic language has produced cultural garbage. In the new media era, electronic language constantly pursues individuality and innovation. However,  there are also some shortcomings. The virtuality and obscurity of the network make it easy for both sides of the dialogue to relax or even unbridled in their communication, which results in the  uncivilized electronic language. Some electronic languages abuse other people or even carry out personal attacks with rude words and dirty words, losing the minimum civilization. And information surplus will produce information garbage, making people consume more time to filter the information. This is a manifestation of information pollution. All these phenomena will seriously affect people’s normal life order. Nowadays, the vulgarization trend of electronic language is becoming more and more serious, and it begins to penetrate into the traditional media. If it is not guided as soon as possible, our traditional language and culture will be destroyed.
+Thirdly, electronic language does not conform to grammatical norms. Since electronic language does not conform to grammatical norms and blindly pursues novelty and convenience, it violates Chinese language norms in many ways. Some typos and words and phrases with misinterpreted meanings will have a negative impact on the education of Chinese language. Although these nondescript languages are novel, their damages to Chinese or other languages are obvious. Adolescents are extremely sensitive groups and are willing to accept new things. However, their ability to generally distinguish between right and wrong is not strong. Therefore, in the process of learning, it is easy for them to be affected by these electronic languages, which makes them easy to develop bad habits of not using standard words and standard expressions. As a result, it is detrimental to the learning of traditional language and culture, and their appreciation ability will be decreased.
+Fourthly, electronic language can form linguistic generation gap and cause communication difficulties. Electronic language represents a certain type of language and culture in the new media era, and has been widely used in the new media era. It continues to penetrate into the life of the young generation pursuing fashion. In this specific new media language environment, electronic language has its significance. However, when it leaves this specific environment, it will no longer become a tool for people to communicate with each other. If people do not understand it, it will hinder normal communication between people. In terms of the communication effect of a language, this generation gap misleads the communication between the communicator and the receiver, and has a great impact on the traditional language and culture. Many electronic languages cause generation gap between parents and children. Due to the non-standard use of language, parents often don’t know what their children mean. The gap between the two generations is hard to erase. Now, coupled with the novel electronic language, the generation gap between the two generations is bound to deepen and the communication between them will become more and more difficult.
+===The Measures to Protect Chinese Traditional Language and Culture===
+First of all, the government should introduce relevant laws and regulations to regulate electronic language. The support of the government is like a beacon, which can guide Chinese traditional language and culture to a bright road. In this aspect, China has also made some attempts, such as  popularizing Mandarin Chinese nationwide, which is not only the necessary measures to facilitate communication, but also can effectively regulate the Chinese language so as to promote effective dissemination of Chinese language and culture. In addition, in the aspect of creating a good new media environment, the role of national laws and regulations cannot be replaced by other methods. This kind of compelling force can guide the development of electronic language towards the right path. While standardizing itself, it will also promote the traditional language and culture and electronic language to absorb the advantages of each other, learn from each other, and finally achieve a win-win situation.
+Secondly, the government should popularize the education of Chinese traditional language and culture. Education has always been the foundation of people’s livelihood. Improving education has no harm to the spread of traditional language and culture. In order to strengthen the proportion of Chinese studies and standardized the use of Chinese language in compulsory education, teachers should pay attention to the cultivation of students’ traditional language accomplishment. High school period can’t pay more attention to the science education but to grasp both sides. In addition, it is necessary to popularize quality education and improve the overall quality of students from all aspects in order to lay a good foundation for entering university. In the university curriculum, we should add the curriculum of Chinese traditional language and culture and the comparative appreciation of Chinese language and culture with other countries, especially in western countries. In this way, we can increase students’ appreciation ability, so that the majority of students can feel the charm of Chinese traditional language and culture, deepen the understanding of Chinese traditional language and culture in the process of comparison with other countries, and make more efforts to protect our traditional language and culture. Many attempts have been made in folk such as the rise of modern private school. Although there is a conflict with the law of compulsory education, but its spirit of exploration should be affirmed and supported.
+Thirdly, we need greater efforts to enhance the development of traditional media. Under the pressure of new media, traditional media has a trend of decline. Newspapers are in danger of dying out in the new media age; book sales are also declining year by year. Although journals have entered the digital age, the cultural capacity of them is not high and the transmission channel is not unblocked. If all of these are not solved in time, the consequences will be serious. Moreover, traditional media is an excellent way to spread traditional language and culture. Therefore, it is necessary to continuously explore the new advantages of traditional media and learn advantages from other media, so as to make the traditional language and culture flourish in the traditional media.
+Fourthly, The media should hold more programs about traditional culture. The traditional language and culture should be consciously or unconsciously integrated into the program, so that the audience can get spiritual sublimation. Traditional cultural programs may have low viewing rate  due to their monotony and slow rhythms. This requires the media director to find a way. In this regard, CCTV’s Lecture Room is a good example. It integrates traditional language and culture into the program in a novel and unique way. It not only spreads Chinese traditional language and culture to the audience, but also leads to an active atmosphere and increase the attraction. As a result, the viewing rate will naturally be higher. In recent years, the film about traditional language and culture is also very popular. The film Confucius and Sacrifice have achieved good earnings. These films show the charm of Chinese traditional style to the world, and have a great significance for the inheritance and development of traditional language and culture. The media therefore has a long way to go in this regard.
+Fifthly, we need to speed up the construction of websites that can inherit Chinese traditional language and culture. In the new media era, with the rapid development of science and technology, electronic language is also sweeping the whole network. How to open up a new world of Chinese traditional language and culture in this new field has attracted more and more attention. From my perspective, it is very important for us to adhere to our own principles in the virtual network. In order to protect the traditional language and culture and resist the invasion of electronic language, we must first make the traditional language itself become strong. It is a good choice to run a website that can inherit Chinese traditional language and culture. The website we want is not a pile of meaningless electronic language, but to carry forward the development of Chinese traditional language and culture. This is a spirit that needs to be firmly observed. There is no doubt that if all of these are truly achieved, it will be of great significance to the standardization of language.
+===Inheritance and Innovation of Chinese Traditional Language and Culture through New Media Means===
+The above measures are general protection measures for Chinese traditional language and culture. With the continuous development of the new media era and the continuous innovation of science and technology, we need to learn to use the means of new media to protect and inherit Chinese traditional language and culture. This part takes cultural TV programs as an example to discuss how to use TV cultural programs to effectively inherit traditional language and culture.
+In recent years, TV cultural programs have become increasingly popular. Under this background, many TV media have participated in the creation of traditional cultural TV programs. The explosive and hot broadcast of TV cultural programs can not only give full play to the communication function of TV programs, but also realize the role of TV program communication in promoting traditional language and cultural spirit. Therefore, how to maintain the original intention of traditional cultural heritage of TV cultural programs is the main purpose of its development. At the same time, through the continuous optimization of the content of the program, it realizes the effective dissemination of traditional language and culture, and thus plays a good role in promoting the construction of a harmonious society.
+The first thing is to innovate the program content so as to inherit our excellent language and culture. As a kind of mass media, TV has its own artistic variability. This is mainly because television provides a lot of communication channels, and also shows the diversity of traditional cultural content in the process of inheriting traditional language and culture. Therefore, television should be the main channel for inheriting traditional language and culture. When disseminating knowledge, TV cultural programs also choose higher quality traditional language and culture and realize the inheritance of high-quality traditional language and culture through the continuous innovation of communication forms, thus showing the vitality of traditional language and culture and the responsibility of mainstream media. As early as 2016, the State Administration of Radio made a new deployment for the innovation of radio and television programs. At the same time, it also guided radio and television stations at all levels to actively do a good job in building cultural self-confidence, encouraged radio and television stations to actively innovate, so as to lay a good foundation for the prosperity and development of socialism and high-quality traditional language and cultural programs. It also constantly promotes the effective integration between television media and traditional language and culture. The innovation and creation of excellent TV cultural programs can not only realize the inheritance of traditional language and culture, but also guide young people to actively undertake the main task of inheriting traditional language and culture, which provides reliable support for traditional culture education. At the same time, young people can be striven to be the promoter of traditional language and culture. Students have a certain leading ability and exemplary role. They can not only show the cultural confidence of contemporary young people through the program and enhance the educational function of traditional culture, but also accumulate traditional language and culture in the process of continuous exploration.
+With the advent of the information age, there has been an ideological collision between various cultures, which has also affected the traditional consumption concept. With the rapid development of modern information technology, television, as an important cultural industry, plays an important role in cultural communication and transmission of Chinese cultural ideas. Under the background of cultural infiltration, China should actively publicize traditional language and culture and take it as the key content of its soft power development. Cultural strength is an important factor for the prosperity of a nation. TV cultural programs should actively enhance their comprehensive strength in the process of its development. At present, the diversified world culture is booming and the culture of various countries are infiltrating each other. The national cultural soft power plays a major role in the world development competition. TV media should actively undertake the task of spreading the traditional language and culture of the Chinese nation, and take TV cultural programs as the main way to enhance the development of national cultural soft power. In addition, the content of traditional language and culture spread by TV media should also have unique characteristics and highlight the advantages of traditional culture. Only by strengthening the dissemination of traditional language and culture can we lay a good foundation for the future development of China. At the same time, we can also spread the high-quality traditional cultural spirit for young people so that 5000 years of brilliant treasures can be inherited and carried forward. As an important carrier of socialist core values, television should realize the arduous task of carrying forward traditional culture, accelerate the popularization and inheritance of Chinese traditional language and culture and guide teenagers to correctly understand excellent traditional language and culture so as to realize the effective penetration of socialist core values. Although the Internet has had a great impact on the media, and also made the cultural communication have a new direction and mode, the television communication media still occupy a dominant position and should take the responsibility of the mainstream media. Therefore, TV cultural programs should take full use of the advantages of TV media, choose innovative communication methods, fully display the characteristics of traditional language and culture through the optimization of communication content. With the assistance of Internet media, we can inherit and carry forward traditional language and culture, and promote the sustainable development of traditional language and culture in the era of new media.
+On the other hand, cultural TV programs should enrich their forms and highlight characteristics of Chinese language and culture. TV cultural programs should actively use the interactive mode of all media. Many TV cultural programs in their production process are integrated with variety show forms to attract audience attention. In addition to the traditional on-site interaction, TV programs should also actively mobilize the participation and interaction of off-site audience in the new media era. In addition, we should also actively enrich the stage manifestation of TV programs. Through the effective application of modern data technology, high-tech elements can be added to the broadcast of TV programs, so that the audience can be immersive and close the distance between traditional language and culture and them. Especially with the continuous improvement of people’s aesthetic level, the design of TV cultural programs should actively innovate the stage design, show the charm of cultural programs under the support of high-tech forces, and build a dynamic artistic space.
+At the same time, in the new information age, the mainstream TV media should actively take full advantages of new media, increase the dissemination of traditional language and culture through media integration, improve the national cultural soft power, and shoulder the arduous task of inheriting culture. In addition, we should also actively create original program content with our own characteristics. Under the influence of traditional language and culture, we should increase the communication effect through the form of media integration, so that the influence of traditional language and culture can be fully displayed.
+===Conclusion===
+In a word, Chinese language and culture has a long history, which has made great contributions to the progress of human civilization. The inheritance of traditional Chinese language and culture needs our continuous efforts. In the new media era, the electronic language is characterized by humor and vague context, which makes it a double-edged sword. Therefore, it will also have an impact on the traditional language and culture in the process of its development, which has both positive and negative sides. This requires the state and society to actively guide the electronic language. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language. It is believed that electronic language can coexist peacefully with traditional language and culture and develop together through continuous efforts of all parties in the near future.
+===Reference===
+*Cheng Liang, Yan Fuping. 程亮，颜复萍. (2010). 新媒体时代传统文化的传播特征与对策研究 [Research on the Communication Characteristics and Countermeasures of Traditional Culture in the New Media Era]. ''中华文化'' Chinese Culture (04):118-121.
+*Cao Xue. 曹雪. (2008). ''电子传播时代的媒介复古'' [Media Retro in the Era of Electronic Communication]. Linfin: Shanxi Normal University 山西师范大学.
+*Feng Wei. 冯薇. (2012). ''试析网络语言对现代汉语的冲击与影响'' [On the Impact of Network Language on Modern Chinese]. Guangzhou: South China Business College, Guangdong University of Foreign Studies. 广东外贸大学南国商学院.
+*Huang Xiaoqin, Huang Huang. 黄小琴，黄璜. (2011). 中国传统文化传播的绿色传播策略 [Green Communication Strategy of Chinese Traditional Culture Communication]. ''新闻与传播研究'' Journalism & Communication (11): 14-15.
+*Luo Yingxia. 罗英侠. (2007). ''论网络语言对汉语言文化的影响'' [The Influence of Network Language on Chinese Language and Culture]. Luoyang: Henan University of Science and Technology 河南科技大学.
+*Xu Miaomiao. 许苗苗. (2009).电子语言: 创新结构与跨界应用 [Electronic Language : Innovative Structure and Cross-Border Applications]. ''文艺研究'' Literature and Art Studies (10).
+*Yang yingfa, Zhang Ji 杨英法, 张骥.(2017). 中华文化软实力提升与汉语弘扬间关系探讨 [The Discuss on the Relationship Between the Advance of Chinese Cultural Soft Power and the Promotion of Chinese]. ''石家庄学院学报'' Journal of Shijiazhuang University (4)106-110.
+*Zhu Qinghe. 朱清河. (2011). 跨文化传播视角下中国传统文化智慧 [Chinese Traditional Cultural Wisdom from the Perspective of Intercultural Communication]. ''陕西师范大学学报'' Journal of Shaanxi Normal University (03):143-151.
+==英语笔译	张姣玲	Zhang Jiaoling	202170081607==
+<center>'''The comparison of the translations of Li Bai’s poem Changgan Xing(Ezra.Pound's Version and Xu Yuanchong's)'''</center>
+<center>Zhang Jiaoling</center>
+===Abstract===
+As one of the representatives of Traditional Chinese culture, poetry and its English translation are favored by literati. Li Bai's masterpiece Changgan Xing has been translated by many Chinese and foreign scholars. This paper makes a comparative study of Ezra Pound's and Xu Yuanchong's translations under the guidance of functional equivalence theory, and finally points out the translation steps that should be followed when translating poems under the guidance of this theory.
+===Key words===
+Comparison; ChangGanXing; Ezra Pound; Xu Yuanchong; Functional Equivalence
+===Introduction===
+As a literary genre, poetry is rich in thoughts, emotions and imagination, with refined language and beautiful rhyme, and particularly strong imagery. The translation of poetry not only requires accurate reflection of the original content and its imagery, but also requires the translation to be consistent with the original in form and style. When it comes to Chinese poetry, especially Romantic poetry, one can easily associate it with the Poet Immortal Li Bai. He wrote more than 1000 poems throughout his life, which occupy an important position in the development of Chinese classical poetry. His poems is wild and unrestrained, dashing and bold, thus leaving a deep impression on readers. Li Bai's life was unusual in that he revered freedom, loathed the worldly officialdom, and lived his own life. His romantic life provided material for his poetry, and he left many masterpieces in the history of Chinese poetry. It is noteworthy that it was his rich life experiences that had a profound influence on his poetic creation. The poem Changgan Xing is a household Yuefu poem written by Li Bai. The whole poem is written in the form of a merchant woman living in Changganli self-talking, recalling her loving past with her husband and expressing her undying love for her husband in another country. The poem mainly describes the merchant woman’s memory of her and her husband’s innocent childhood, then their wonderful married life, and the protagonist’s endless missing of for her husband after his departure.
+Xu Yuanchong is a professor at Peking University and a renowned translator. He has been engaged in literary translation for more than 60 years, and his achievements are so high that he was awarded the Aurora Borealis Prize for Outstanding Translation of Literature in 2014, one of the highest awards in the international translation community. He has been publishing his translations since 1956, and his major works include The Songs of Chu, Three Hundred Tang Poems, and Three Hundred Song Lyrics. Mr. Xu Yuanchong's translation works have promoted the exchange between Chinese and Western cultures and brought outstanding Chinese literary works to the world, especially his translations of classical Chinese poems. In addition, he put forward a series of translation theories, which enriched the traditional Chinese translation theory and promoted the development of translation studies. Mr. Xu Yuanchong's translation theory is mainly based on his "Three Beauties" principle, which holds that "the beauty of meaning means  that translated poems should touch the reader's heart as much as the original poems do; while  the beauty of sound is that they should have pleasant rhythm as the original poems have; and the beauty of form means that the translated ones should maintain the form of the original poem as much as possible.” Mr. Xu once talked about the relationship between the "Three Beauties" in his article on translating poems: "the beauty of meaning" is the most important, "the beauty of sound" the second, and "the beauty of form" is even less important. (Xu Yuanchong, 1979).
+Ezra Pound (1885-1972), a leading representative of 20th century imagist poetry, was also a major founder of British and American modernist poetry. Both a poet and a translator, Pound translated many Confucian classics as well as classical Chinese poems. In 1915, Pound published his English translation of an ancient Chinese poetry anthology, Cathay, which was immediately received by Western society as "one of the best ten or so American poems of the 20th century”. Jeff Twitchell says, "Before Pound, China had no literature worthy of her name popular in English-speaking countries." (Jeff Twitchell, 1992) Pound's idea of poetry creation greatly influenced his idea of translation. Pound advocated translation without emphasizing fidelity to the meaning of the original text; what he sought was to reproduce the details and imagery of the original text in the translation. Imagery is the soul of the poetry translation, without which the translation of poetry would be meaningless.
+This paper takes Li Bai's Changgan Xing as the object of study and compares and analyzes Pound's translation “TheRiver-Merchant’s Wife: a Letter” and Xu Yuanchong's translation “Ballad of a Trader’s Wife” under the perspective of Eugene Nida’s functional equivalence theory.
+===Methods and Theories===
+The term "dynamic equivalence" was first proposed by Eugene Nida in his 1964 book Toward A Science of Translating, emphasizing that "the relationship between receptor and messageIn such a translation (dynamic equivalent translation) one is not so concerned with matching the receptor-language message should be substantially the same as that existed between the original receptors and the message"(1964:159). In The Theory and Practice of Translation, Nida proposed that "Translating consists in reproducing in the receptor language the closest natural equivalence of the source-language message, first in terms of meaning and secondly in terms of style." (Nida & Taber 1982: 74). By the end of the 1980s, Nida replaced "dynamic equivalence" with "functional equivalence" in order to emphasize the concept of "function" and to avoid the misunderstandings of "dynamics" by some people, emphasizing that translation is a form of communication focused on reproducing the original language. Functional equivalence requires "not only the equivalence of the content of the message, but also, as far as possible, the equivalence of the form.” Nida clearly states that "the closest natural equivalence" is used to reproduce the original message. In the early 1990s, "functional equivalence" was further divided into two categories including the maximal level of equivalence and the minimal level of equivalence; the former is defined 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" , which is the highest level pursued by the translation, while the latter is stated as “The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it”.(Nida 1995:224;1993:118)  The highest level of functional equivalence is an ideal state, which is rarely achieved in texts other than those with little aesthetic value of factual information. The lowest level of functional equivalence is more realistic, and any translation below this level is unacceptable (Nida, 1993: 118). A good translation always lies somewhere between the two levels (Nida, 1995). The theory of "functional equivalence" is flexible, and there is considerable diversity between the highest and lowest levels. Compared with other translation theories that focus on a single theoretical criterion, the "functional equivalence theory" allows for diversity in the translation process. Translators have more autonomy to "deal with some of the problems of variability in different texts, of significant differences between readers, and of differences in the use of translation for research, for publicity, for pleasure, etc." (Nida, 1996: 114).
+===On the level of word===
+First, from the translation of the title, Xu Yuanchong translated it as "Ballad of a Trader's Wife", while Pound translated it as "The River-merchant's Wife: A Letter". Both of them are translated by understanding the whole poem, rather than simply translating it as "Changgan Xing". This is because the whole poem is mainly about the woman's longing for her husband through the description of various imagery. Such a translation is also closely related to the context in which the poem was composed. In the middle and lower reaches of the Yangtze River and the Han River valley, business was flourishing back then, and cities were prosperous with frequent trade contacts, and merchants were running their businesses from region to region. The wives of merchants had to wait and miss their husbands at home. Xu Yuanchong's and Pound's translations are all appropriate in this respect.
+Every word in Changgan Xing is carefully chosen as it describes the merchant wife's longing for her husband. As words are the smallest unit in poetry, they are nevertheless the first step in translating poetry. In the first six sentences of this poem, Li Bai described the growth of two children, depicting the happy childhood of a boy and a girl playing merrily, leaving readers a good memory of the protagonist and her husband, and creating a pair of innocent and lively children images.
+妾发初覆额，折花门前剧。
+郎骑竹马来，绕床弄青梅。
+同居长干里，两小无嫌猜。
+Pound’s version: While my hair was still cut straight across my forehead：
+I played about the front gate：pulling flowers.
+You came by on bamboo stilts: playing horse.
+You walked about my seat: playing with blue plums.
+And we went on living in the village of Chokan.
+Two small people：without dislike or suspicion.
+Xu Yuanchong’s version: My forehead barely covered by my hair：
+outdoors I plucked and played with flowers fair.
+On hobby horse you came upon the scene：
+around the well we played with plums still green.
+We lived: close neighbors on Riverside Lane：
+carefree and innocent: we children twain.
+Analyzing the translation of these sentences, it is easy for us to see that Pound only tried to express the meaning of the original poem, while Xu tried to make the translation more like the original poem. In the first line, Pound chose the word "still" to emphasize the time and state, making the translation closer to the original. As for the understanding of the two’s playground, Pound translated it literally as "front-gate", while Xu chose "outdoors", the same thing was meant with their different choice of words. Then concerning the understanding and illustrating of an ancient toy made of bamboo, Pound chose "bamboo stilts," which is less faithful but easier for foreigners to understand, while Xu chose the word "hobby horse," which is easy to understand for the Chinese, but not so easy for foreigners. The word "bed" in modern times has a different meaning than it does in ancient times, so Pound chose "seat", while Xu chose "well" according  to his understanding. In the last sentence, Li Bai described the friendship between two children, and Pound chose "two small people" to indicate their childhood, while Xu's "children twain" is a further explanation, which is more faithful to the original poem as it shows the happy sporting and innocent friendship between the boy and the girl.
+These two lines delicately depict the shyness and sweetness of the newly married.
+十四为君妇，羞颜未尝开。
+低头向暗壁，千唤不一回。
+Pound’s version: When I was fourteen: I married my master.
+I never laughed: and I was shy.
+I lowered my head and looked at the wall.
+I had never looked back at one thousand calls.
+Xu Yuanchong’s version: When I was fourteen：I became his bride.
+I often turned my shyness face to the side.
+I hung my head on the dark wall：
+and I refused to answer his call.
+In the translation of these two sentences, Pound chose to use "my master" to explain the meaning of "husband" to expresses the wife's respect and obedience to her husband, which is very appropriate for the time. Compared with Xu's choice of "he", "my master" seemed to be more appropriate. As for Pound's choice of the phrase "one thousand calls", it clearly showed the girl's shyness and her respect for her husband. Taking the fact that the girl is only 14 years old, and they live in a feudal society, so Pound's choice of words was very appropriate. As for Xu's choice of "dark wall", he actually misunderstood the original meaning, so his choice of words seemed to be inferior.
+The following two sentences indicate the wife’s worries about her husband's business trip,  showing her genuine concern and love for her husband, creating a heavier atmosphere for the reader.
+十六君远行，瞿塘滟滪堆。
+五月不可触，猿声天上哀。
+Pound’s version: At sixteen years old：you leave：
+you go to a distant place：in a swirling whirlpool.
+You’ve been away for five months.
+The monkey made a sad voice on the top of his head.
+Xu Yuanchong’s version: When I was sixteen years old： he went far away：
+through three Canyon covered with rock gray.
+In the ship crash： when the spring flood was rising：
+The crying in Gibbons seemed to come from the sky.
+Pound chose to translate these two verses indirectly. The biggest problem with his translation is the misunderstanding of five months. In the original poem, Li Bai meant May. While Xu wisely skipped the time marker and used only phrases to express the time.
+门前迟行迹，一一生绿苔。
+苔深不能扫，落叶秋风早。
+八月蝴蝶来，双飞西园草。
+感此伤妾心，坐愁红颜老。
+Pound’s version: You’ve dragged your feet when you go out.
+Now：the moss are green：
+different moss：too deep to clear them!
+In autumn the leaves fall early in the wind.
+The pairs of butterflies have turned yellow on
+the lawn of the Western Garden in August.
+They hurt me. I’m getting old.
+Xu Yuanchong’s version: Now the green moss in front of our door are slight;
+his footprints：hidden：can no longer be seen.
+The moss cannot be washed away：the dense leaves will grow：
+and when the wind blows： the leaves will fall early.
+The yellow butterflies in the autumn will pass two on the
+grass on the west side of the garden.
+The scene would break my heart：
+and I was afraid to sit alone：
+and my cheeks would fade.
+In these next four lines, in Li Bai's description, the protagonist was touched by the scene she saw and then fell into a constant state of anxiety. The description of the scene gives the reader an immersive experience as well. Pound's translation of these four lines also created a more vivid picture than Xu's. In order to show worry and fear, Pound chose the word "hurt" to imply the double meaning, referring to both psychological and physical injuries. The protagonist's mourning showed her helplessness as a feudal woman. Xu's choosing of "cheeks" and “fade” was even better, because women's cheeks are like roses which only shine their beauty in youth, while fading indicated her growth and fear of growing old.
+===On the level of sentence===
+In the translation process, when the translator has decided and embellished the words to be used, they must also take the entire sentence pattern into account.
+郎骑竹马来，绕床弄青梅。
+同居长干里，两小无嫌猜。
+Pound’s version: You came by on bamboo stilts: playing horse.
+You walked about my seat: playing with blue plums.
+And we went on living in the village of Chokan.
+Two small people: without dislike or suspicion.
+Xu Yuanchong’s version: On hobby horse you came upon the scene：
+around the wall we played with plums still green.
+We lived: close neighbors on Riverside Lane：
+carefree and innocent: we children twain.
+Through analysis, it is easy to see that Pound used different syntactic techniques, such as "playing" to express two actions at the same time, while Xu only used simple past tense to imply the time, which is slightly inferior.
+The last two lines of the poem express the protagonist's hope and deep love for her husband, and her wishes of him coming home early and promises that she will meet him not far from home.
+早晚下三巴，预将书报家。
+相迎不道远，直至长风沙。
+Pound’s version: If you are coming down through the narrows of the river Kiang：
+please let me know beforehand.
+And I will come out to meet you as far as Cho-fu-sa.
+Xu Yuanchong’s version: O when are you to leave the western land?
+Do not forget to tell me beforehand!
+I’ll walk to meet you and would not call it far
+Even to go to Long Wind Beach where you are.
+By comparing the two translations, Pound used "If you are coming down" to express the wife’s longing for her husband; Xu chose direct words to show what the wife wanted to say to her husband, creating a more vivid scene. For readers, Xu's inner monologue is more touching than Pound's.
+===On the level of culture===
+.Translation of Idioms and Allusions. There are two idioms and two allusions in the overall content of Changgan Xing. They are "青梅竹马（Qingmei Zhuma）" and "两小无猜（Liangxiaowucai）"; "抱柱信（Baozhuxin）" and "望夫台（Wangfutai）". The cultural interpretation of "Qingmei Zhuma": Qingmei refers to green plum; Zhuma is a bamboo pole played by children as a symbol of horse. It describes the innocence and playfulness of young children. Now it refers to the intimacy between men and women when they were young. Pound obviously failed to interpret the cultural meaning of it, and mistook it for the boy stepping on bamboo stilts and playing horse, which is a ridiculous mistranslation in Chinese readers’ eyes, but fills English readers with a surprised and fresh feeling and making them impressed on how romantic the young boys and girls in ancient China were! This unintentionally became his punch line. Professor Xu Yuanchong's translation cleverly replaces the "Zhuma" in the original poem with the "hobby horse", a common childhood game tool, so that English readers can easily appreciate the true meaning of the innocent game of boys and girls in the original poem according to their own life experience. This not only preserves the real intention of the original poem, but also makes it easy to be understood by English readers. It may seem to be unfaithful to the original poem in the surface, but in fact it is an evocative interpretation of the classical Chinese culture contained. In addition, "around the well" is even more impressive, vividly depicting the happy scene of boys and girls chasing and playing in the courtyard and by the well.
+The allusion "Baozhuxin" is from Zhuangzi, a man named Weisheng made an appointment with a woman to met under a bridge, Weisheng arrived first, and suddenly the water rose, he kept his promise and refused to leave, so as a result, he was drowned while holding to the pillar of the bridge. Since then, people used "Baozhuxin" as a metaphor for keeping faith with love. "Wangfu tai" is taken from the Southern Dynasty Liu Yiqing’s The Book of Ghost Stories: there is a stone resembling a woman in Beishan, Yangxin County, Wuchang; Legend has it that: in the past, there is a chaste woman, her husband joined the army to save their country, so the woman together with their weak son bid farewell to him to this mountain, standing there lookout and turned into a stone, therefore got the name of “Wangfutai”. This is an allusion used to describe a wife missing her husband, or to describe the utmost sincerity. These two lines mainly express the wishes of the merchant woman to her husband, who should remember the vow he made on that day and never leave her and adhere to their love, so that the merchant woman will never have to climb up the mountain to look at her husband’s direction. These two lines contain both the wife to her husband's entrust as well as her hidden worry for him. Pound failed to translate these two allusions, and delivered a weak transformation in the cultural dimension. Xu Yuanchong's translation adopted the domesticating method, as he avoided a direct translation of the allusions but managed to convey the spirit of the allusions: that is men should keep their promises.
+.Translation of rhetorical devices. Figures of speech are used to express the true feelings of the protagonist. Therefore, translators must pay attention to the translation of those devices. The use of simile, metaphor, personification and other figures of speech are prominent features of Li Bai's poems. Both Pound and Xu Yuanchong are flexible in dealing with exaggeration in this poem, which can also reflect the translator's skills in choosing appropriate sentence patterns in translation. The change of words or sentence patterns will affect the feeling of translation, so the artistic conception of the original poem must be taken into consideration by the translator.
+===Conclusion===
+This paper mainly studies two translated versions of Changgan Xing. One is Pound's interpretation and translation. , because Pound himself knew little about Chinese as well as about Chinese historical background. Pound, American poet and literary critic, is a representative of the magist. He is one of the leading figures of postsymbolism. From the study of the Chinese classical poetry and the Japanese haiku, he put forward the theory of “poetic imagery”, and made great contributions to the study of Eastern and Western poetry. Pound does not understand Chinese. The Chinese classical poetry can be translated because he got Earnest Fenollosa’s private manuscript. Pound chooses 19 Chinese classical poems and translates them into English, including Li Bai’s Changgan Xing. Pound’s translation of Li Bai’s works has already been the second interpretation, which can cause misunderstanding to the poem. Although Pound’s translated poem has enjoyed a high popularity in the western literature and is named as one of the excellent translations, it has some obvious mistakes, which deserve our attention and discussion. The other translator is Xu Yuanchong, an expert in translation of the classical poetry, who has published numbers of works of translation and translation theories. As a representative of the imagist movement, Pound is very fond of imagist poetry which especially emphasizes the hazy beauty. Therefore, the interpretation of concrete words is not taken very seriously. In order to pursue the creation of hazy beauty, Pound’s interpretation of Li Bai’s poetry damages the poetic mood and rhythmic beauty of the original poem. And Pound himself also explained that he was eager to pursue the image of the poem and did not blindly interpret the meaning of poem but to grasp more details and compress the author’s thoughts and feelings. As the first translator to win the Aurora Borealis Prize for Outstanding Translation of Literature, one of the highest awards in the international translation community, he has made great contributions to Chinese literary translation. In his translation career, Mr. Xu not only translated a large number of Chinese and Western cultural classics, but also wrote several books on translation theory. In particular, his views of "Three Beauties" (beauty of sound, meaning and form) and "Three Perfections" (equalization, simplification and deepening) in poetry translation have been gradually accepted by the translation community. In particular, his principle of "Three Beauties" has been regarded by many scholars as the criterion for judging poetry translation. In Xu Yuanchong’s opinion, “to preserve the beauty in sense we may use the method of ‘paraphrase’ (free or liberal translation); to preserve the beauty in sound, we may use the method of ‘imitation’ (or adaptation); to preserve the beauty in form, we may use the method of ‘metaphrase’ (or literal
+translation)” (2006: 131).
+Different translations have distinctive styles. In the process of translation, complete equivalence with the original is not advocated. The translator's aim is to satisfy the needs of readers, not to cater to them. Choosing how to translate the original text is actually a balancing process between the target language and the source language. When translators try to translate some works, they can be guided by functional equivalence in order to be faithful to the original text. For functional equivalence to be achieved in poetry translation, the following steps need to be followed: The first step is to understand not only the literal meaning of the original text, but also the implied meaning of it, so as to achieve functional equivalence in poetry translation. The second step is to use one’s own words to express, to translate the allusion properly, and also to choose the appropriate rhetoric. Only in this way can the translation be easier to understand for its receiver.
+===Terms and Expressions===
+Changgan Xing; TheRiver-Merchant’s Wife: a Letter; Ballad of a Trader’s Wife: 《长干行》
+"Three Beauties" (beauty of sound, meaning and form)：“三美”（音美，意美，形美）
+"Three Perfections" (equalization, simplification and deepening)：“三化”（等化，浅化，深化）
+functional equivalence theory：功能对等理论
+Eugene Nida：尤金·奈达
+Toward A Science of Translating：《翻译科学探索》
+The Theory and Practice of Translation：《翻译理论与实践》
+Zhuangzi：《庄子》
+The Book of Ghost Stories：《幽明录》
+the Aurora Borealis Prize for Outstanding Translation of Literature：“北极光”杰出文学翻译奖
+poetic imagery: 诗学意象
+===Questions===
+.What are the main methods adopted by Pound in his translation?
+.What are the main methods adopted by Xu Yuanchong in his translation?
+.Since there are many mistranslations in Pound’s version of Chang Gan Xing, is it ok for us to draw the conclusion that Pound’s translation is inferior than Xu’s?
+.Is it possible for us to find the best or a precisly equivalent translation of the original poem?
+===Answers===
+.Free translation and domestication.
+.A combination of literal translation and free translation, domestication and foreignization.
+.No, it’s not. Different translations have distinctive styles. Pound’s translation has its own merits and demerits and so has Xu’s translation.
+.It is almost impoosible for us to find a precisly equivalent translation since there are always something untranslatable because of the cultural differences, and it is also difficult for us to choose the best version that everyone agrees on as each has one’s own standards.
+===References===
+*Eugene A. Nida. Toward a Science ofTranslating. Leiden: Brill, 1964.
+*Eugene A. Nida. and C. Taber. The Theory and Practice of Translating. Leiden: Brill,1969.
+*Wu Min Hua. Xu Yuanchong as a Touchstone for Ezra Pound’s Translation of Tang Poetry[J]. Comparative Literature: East &amp; West,2021,5(1).
+*Li Xingyuan,李幸原.生态翻译学视域下《长干行》三个英译本比较研究[A Comparative Study of Three English Versions of Changgan Xing from the Perspective of Ecological Transliteration][J].海外英语[Overseas English],2020(08):22-24.
+*Zhang Yuan,张媛.《长干行》两个英译本的对比赏析[A Contrastive Appreciation of Two English Versions of Changgan Xing][J].延安职业技术学院学报[Journal of Yan 'an Vocational and Technical College],2019,33(06):57-60+73.DOI:10.13775/j.cnki.cn61-1472/g4.2019.06.018.
+*Xu Yifan,许昳凡.目的论视角下《长干行》文化意象翻译研究——以埃兹拉·庞德译本为例[A Study on the Cultural Image Translation of Changgan Xing from the Perspective of Skopos Theory: A Case Study of Ezra Pound's Translation][J].作家天地[For Writers],2019(19):32-33.
+*Liao qian, Luo Dijiang, 廖倩,罗迪江.许渊冲“三美”翻译原则和庞德创意翻译理论对比研究——以李白《长干行》为例[A Contrastive Study of Xu Yuanchong's "Three Beauties" Translation Principle and Pound's Creative Translation Theory -- A Case Study of Li Bai's Changgan Xing][J].牡丹江大学学报[Journal of Mudanjiang University],2018,27(12):103-105.DOI:10.15907/j.cnki.23-1450.2018.12.029.
+*Tian Dong,Xiaolin Lin. Attitude in Appraisal Theory: A Comparative Analysis of English Versions of Changgan Xing[J]. International Journal of Comparative Literature and Translation Studies,2018,6(1).
+*He Chunfang, Shi Huihui, 何春芳,石慧慧.论庞德对李白《长干行》的文化误译[On Pound's Cultural Mistranslation of Li Bai's Changgan Xing][J].湖北经济学院学报(人文社会科学版)[Journal of Hubei University of Economics:Humanities and Social Sciences][,2017,14(08):110-113.
+*Zhang Qiaoping, 张巧平.诗学视域下李白《长干行》两英译本的对比研究——以庞德、许渊冲译本为例[A Comparative Study of the Two English Versions of Changgan Xing by Li Bai from the Perspective of Poetics -- A Case Study of the Two Versions by Pound and Xu Yuanchong][J].发展[The Development],2017(01):89-90.
+*Han Lizhao, 韩立钊.《长干行》三个英译本的对比解读[A Contrastive Interpretation of the Three English Versions of Changgan Xing][J].西藏民族学院学报(哲学社会科学版)[Journal of Xizang Minzu University(Philosophy and Social Sciences Edition)],2015,36(03):138-141.
+*Yang Meiru, 杨梅如.解析《长干行》的两个英译文本——基于许渊冲的“文化竞赛论”[An Analysis of Two English Translations of Changgan Xing -- Based on Xu Yuanchong's "Cultural Competition Theory"][J].考试周刊[Kao Shi Zhou Kan],2014(78):8-10.
+*Wang Shanmei, 王善美. 功能对等视角下许渊冲与庞德英译中国古典诗歌之比较研究[A Comparative Study of Xu Yuanchong's and Pound's English Translations of Classical Chinese Poetry from the Perspective of Functional Equivalence][D].青岛大学[Qingdao University],2014.

Difference between revisions of "20220630 Culture 9"

Latest revision as of 18:30, 7 July 2022

This is the final exam paper website no. 9

英语笔译 颜媛 Yan Yuan 202170081603

Abstract

Key words

Introduction

Literature Review

The Definition of Humor and Humor Language

Chinese and Western Humor

The Different Characteristics of Chinese and Western Humor

The Change and Integration of Chinese and Western Humor

Conclusion

References

英语笔译 杨心怡 Yang Xinyi 202170081604

Abstract

Key words

Introduction

Literature Review

1 The diversity of female image

2 Female consciousness in Chinese movie

Conclusion

References

英语笔译 杨紫微 Yang Ziwei 202170081605

Abstract

Key words

Introduction

Literature Review

Methods and Theories

Subtitle 1

Subtitle 2

Subtitle 3

Subtitle 4

Conclusion

References

英语笔译 张国浩 Zhang Guohao 202170081606

Abstract

Key words

Introduction

The Electronic Language in the New Media Era

The Influence of Electronic Language on Chinese Traditional Language Culture

The Measures to Protect Chinese Traditional Language and Culture

Inheritance and Innovation of Chinese Traditional Language and Culture through New Media Means

Conclusion

Reference

英语笔译 张姣玲 Zhang Jiaoling 202170081607

Abstract

Key words

Introduction

Methods and Theories

On the level of word

On the level of sentence

On the level of culture

Conclusion

Terms and Expressions

Questions

Answers

References

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英语笔译颜媛 Yan Yuan 202170081603

英语笔译杨心怡 Yang Xinyi 202170081604

英语笔译杨紫微 Yang Ziwei 202170081605

英语笔译张国浩 Zhang Guohao 202170081606

英语笔译张姣玲 Zhang Jiaoling 202170081607