Difference between revisions of "Aesthetic Appreciation of Literary Translations"

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=1 朱素珍: Appreciation and criticism of poetry translation ——A Psalm of Life
 
  
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===摘要===
 
  
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It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism of poetry translation based on the comparative analysis of different versions of translation of the same poetry——A Psalm of Life, written by Henry Wordsworth Long Fellow. After the comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.
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=朱素珍: Criticism and Appreciation of Poetry Translation —— Taking ''A Psalm of Life'' as an example=
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[[Aesth_App_EN_1]]
  
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===关键词===
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诗歌翻译批评与鉴赏——以《人生礼赞》为例
  
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朱素珍 Zhu Suzhen, 202120081561,Hunan Normal University, China
  
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===Abstract===
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=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=
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It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism of poetry translation based on the comparative analysis of different versions of translation of the same poetry——A Psalm of Life, written by Henry Wordsworth Long Fellow. After the comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.
 
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===Key words===
 
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poetry translation; appreciation and criticism; comparative analysis
 
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===1.Introduction===
 
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Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc.
 
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According to Aristotle, literature should have the function of education, that is to say, purifying people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry.  And different poets can create different kinds of poetries with rich titles and versatile structures.
 
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Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the differences, one point is true: poetry is a powerful tool for people to know and create the world. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting.
 
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Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance.
 
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===2.The principles of poetry translation appreciation and criticism===
 
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===2.1What is poetry===
 
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First, it is necessary for us to know what is poetry. Poetry is a kind of literary style that summarizes and reflects the social life. Chinese famous writer Cao Wenxuan once said before that different from the novel, poetry expresses people’s feeling, while novelists write novels that reflect people’s experience. Poetry is the synthesis of experience rather than the experience itself. However, novel presents experience itself and leaves the feelings of experience to reader. In other words, readers need to obtain the feelings of experience by themselves after reading the novel thoroughly. But the poetry conveys the feelings directly, and readers can enjoy the wonderful feelings while reading. Here is an interesting comment about the relationship between poetry and novel: novel describes an awesome house, but poetry presents only the feelings and interjective toward the house.
 
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Besides Cao Wenxuan, American poet Frost also has his own unique definition of poetry: Poetry is what has lost in translation. From the perspective of translation, this sentence amply points out the awkwardness and helplessness (Li Ming, 2010: 203).
 
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Second, it is important to know what is poetry translation appreciation and criticism. Before that, poetry translation should be firstly taken into consideration. Poetry is a synthesis of ideational feelings, situational image, rhymical tempo and internal expression style. Translation poetry should consider these aspects. Translators should strive to transmit the rhymical sound and the spiritual aspects of poetry when they are making the translation readable and easy to be understood. (宁会勤，2009：34)
 
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Moreover, the translation of poetry needs the poetic talents of translator. Just as what the famous writer Lao She said:” Translators who have poetic talents should try to translate poetry in the form of poetry, and they also need to make readers not only know the contents of the book but also the way in which how such contents were conveyed.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.
 
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===2.2 principles of poetry translation===
 
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Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.
 
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Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)
 
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Last but not least, poetry translation is a process of recreation. What does it mean? That is to say when translators are translating poetry, they not only need to maintain the original condition in which the poetry is written but also be able to be flexible appropriately（Liao Siping, Zhang Yu, 2007: 53）. As for this point, Song Yinghao professor in Tai Wan, China once said that in the process of translation the translators need to be invisible. And he also supported the principles of “translating poetry with poetry”. Actually, after having a thorough understanding of what is poetry translation and some of the principles of poetry translation, it is not so difficult for us to understand that poetry is an organic synthesis. Poetry itself is a life body. Therefore, the translation of poetry also needs to be a “life body”, and translators have to make the vivid situations that occur in the original poetry reoccurring in the translation versions poetry.
 
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===2.3What is poetry translation appreciation and criticism ===
 
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Now, we can move to what is the appreciation and criticism of poetry translation. Here “criticism” refers to the critical reading of a translation or translations(杨晓荣，2005). Translation criticism is the combination of translation criticism and translation appreciation from the perspective of content, expression, style, language and vividness on the background of cross-cultural communication. Such perspective opens a window for literary appreciation and criticism. Literary works appreciation and criticism is a process in which translators, writers and other critics can make comments on the translation versions based on some important principles. At the same time, because of the different translation experience and cultural background, different translators create disparate versions of translations. Whether the translators have conveyed the original spiritual aspects of poetry or whether they have made the translation versions readable and easy to understand. Translation appreciation and criticism can be done by translators themselves and other people who want to give some suggestions or some significant comments.
 
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===2.4 principles of poetry translation appreciation and criticism===
 
  
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Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translator’s subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized.
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纽马克翻译理论视角下《我是猫》的不同中译本比较研究
  
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===References===
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邹岳丽 Zou Yueli Hunan Normal University, China
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Wang Shidong (2010). On Chinese translations of 'Beloved'. Shanghai: Commerical Press
 
  
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=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=
 
 
[[Aesth_App_EN_2]]
 
[[Aesth_App_EN_2]]
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===摘要===
 
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纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。
 
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===关键词===
 
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语义翻译;交际翻译;表达型文本
 
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===Abstract===
 
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Since its publication, I am a cat has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of "semantic translation and communicative translation" in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the same inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's "semantic translation" and "communicative translation", this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.
 
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===Keywords===
 
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semantic translation; Communicative translation; Expressive text
 
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===Introduction===
 
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This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.
 
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====Research meaning ====
 
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Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published "I am a cat", which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.
 
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Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.
 
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====Research method====
 
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This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and I am a cat, the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of I am a cat, collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method is used to make a comparative analysis of the translation.
 
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====Composition of the paper====
 
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This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.
 
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===An introduction to Newmark 's translation theory===
 
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Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of "literal translation" and "free translation".
 
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After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.
 
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====Language function and text type====
 
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Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.
 
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====Newmark’s Translation Theory--semantic translation and communicative translation====
 
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Peter Newmark defined communicative translation and semantic translation in his approachesto translation. "Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow." semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: "the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible".
 
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Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most "expressiveness" translation. However, if "the original text is important", we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.
 
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===The selection of the three versions and the introduction of the translator and the background of their translation===
 
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====Introduction to Natsume Soseki and I'm a cat====
 
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Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the "national writer". He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.
 
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Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.
 
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====A study on the original works and translation of I am a cat====
 
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In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.
 
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According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.
 
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====Selection of the translation of I am a cat====
 
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The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.
 
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Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.
 
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Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.
 
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It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.
 
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In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.
 
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====The authors of the three translations====
 
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Translator Liu Zhenying
 
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Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.
 
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Translator Yu Lei
 
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Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.
 
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Translator Liu Ziqian
 
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Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.
 
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====Translation background and purpose of the three versions====
 
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Translation background and purpose of Liu Zhenying's version
 
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China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.
 
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Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and you bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.
 
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Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.
 
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Translation background and purpose of Liu Ziqia's version
 
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In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.
 
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===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of "semantic translation" and "communicative translation===
 
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====character description====
 
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Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of "cat", it reflects the bad behavior and ugly form of human beings. Therefore, in the process of "vilifying" the characters, the exquisite portrait description also plays a great role.
 
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Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（From I'm a cat ’s Chapter 9）
 
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Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。
 
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Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。
 
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Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。
 
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Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word "报应(retribution)" makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word "战果(fruits of war)" in Yu Lei's translation generally reminds people of the feeling of "fruits of victory, good results", while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.
 
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====treatment methods of cultural phenomena====
 
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Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.
 
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Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（From I'm a cat ’s Chapter 5）
 
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Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。
 
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Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。
 
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Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。
 
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The Quantifier "畳" is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of
 
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"六畳の間". According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of "六畳の間" not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.
 
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====translation of Proverbs====
 
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As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.
 
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例 3：「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（From I'm a cat ’s Chapter 5）
 
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Liu Zhenying ’s translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老 鼠”。
 
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Yu Lei ’s translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。
 
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Liu Ziqian ’s translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。
 
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“女賢しゅうして” ’s the original sentence “女さかしゅうして牛売りそこなう”，It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into "女子无才便是德", and translated the latter half of the sentence "猫賢しゅうして鼠捕り損なう" into“猫捕不到鼠便是德". Although this maintains the content and form of the original text, the phrase "女子无才便是德" means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as "女子无才便是德". In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.
 
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===conclusion===
 
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This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.
 
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===Reference===
 
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[1] (英)杰里米·芒迪.翻译学导论———理论与实践[M].李德凤,译.北京:商务印书馆,2007.
 
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[2] 俞真.从纽马克翻译理论的发展谈直译与意译[J].汕头大学学报,2000(2):72-76.
 
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[3] 王政.语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J].黄河大学 学报,2007(1):89-91.
 
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[4] 线展.论纽马克理论在中日文学作品翻译中的适用性[J].文学语言学研究,2011(8)：41-42.
 
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[5] 竺家荣.漫谈日本文学翻译[N].文艺报外国文艺, 2012-04-16(11).
 
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[6] Peter Newmark Approaches to Translation [M].上海：上海外语教育出版社，2001.
 
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[7] 夏目漱石著 于雷译《我是猫》南京：译林出版社,2010-11.
 
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[8] 夏目漱石著 刘振瀛译《我是猫》上海：上海译文出版社,2011-01.
 
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[9] 夏目漱石著 刘子倩译《我是猫》台湾：大牌出版,2015-6.
 
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[10] 张晓敏 非语言（表情）表达文翻译研究一《我是猫》两中译本为中心南京：南京航空航天大学,2015:21
 
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=邱婷婷：On Xu Yuanchong’s poetry translation from the theory of  “Three Beauties” -- Taking ''Three Hundred Tang Poems'' as an example =
 
=邱婷婷：On Xu Yuanchong’s poetry translation from the theory of  “Three Beauties” -- Taking ''Three Hundred Tang Poems'' as an example =
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=吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics =
 
=吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics =
 
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朱素珍: Criticism and Appreciation of Poetry Translation —— Taking A Psalm of Life as an example

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诗歌翻译批评与鉴赏——以《人生礼赞》为例

朱素珍 Zhu Suzhen, 202120081561,Hunan Normal University, China

邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory

纽马克翻译理论视角下《我是猫》的不同中译本比较研究

邹岳丽 Zou Yueli Hunan Normal University, China

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邱婷婷：On Xu Yuanchong’s poetry translation from the theory of “Three Beauties” -- Taking Three Hundred Tang Poems as an example

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吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics

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