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==英语笔译 周皓熙 Zhou Haoxi 202170081612 MW== | ==英语笔译 周皓熙 Zhou Haoxi 202170081612 MW== | ||
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| + | <center>'''On the Translation and Spread of Guanzi'''</center> | ||
| − | Abstract | + | |
| + | <center>'''Zhou Haoxi'''</center> | ||
| + | |||
| + | |||
| + | ===Abstract=== | ||
Guanzi is a Chinese classical work covering multiple aspects such as agriculture, economy, commerce, law and etc., which draws the attention of many scholars both at home and abroad. At present, there are two complete English version of Guanzi, one is by American Sinologist W. Allyn Rickett, the other is by Professor Zhai Jiangyue. Thus, this paper attempts to study its transmission in the English world based on the current research situation of its English versions. | Guanzi is a Chinese classical work covering multiple aspects such as agriculture, economy, commerce, law and etc., which draws the attention of many scholars both at home and abroad. At present, there are two complete English version of Guanzi, one is by American Sinologist W. Allyn Rickett, the other is by Professor Zhai Jiangyue. Thus, this paper attempts to study its transmission in the English world based on the current research situation of its English versions. | ||
| − | Keywords | + | ===Keywords=== |
| + | Guanzi; Classic Translation; English World | ||
| − | |||
| − | + | ===I.Introduction=== | |
| − | I.Introduction | ||
The Guanzi is a multifaceted text. | The Guanzi is a multifaceted text. | ||
The study of Guanzi in China focuses on its date of composition, ideas, and contemporary influence, while overseas research on Guanzi focuses on the translation of Guanzi and the influence of the ideas contained therein in the West. The study of Guanzi by Western scholars began in the late nineteenth century and has continued unabated until 1999, when the first complete English translation of Guanzi was published by Li Ke, who published the second part of the text. The publication of the first complete English translation of Guanzi was a landmark for Western readers, creating a new world for Western scholars to understand Guanzi and laying a solid foundation for its dissemination in the Western world. It is of great practical importance to examine the spread of Guanzi in the English-speaking world. | The study of Guanzi in China focuses on its date of composition, ideas, and contemporary influence, while overseas research on Guanzi focuses on the translation of Guanzi and the influence of the ideas contained therein in the West. The study of Guanzi by Western scholars began in the late nineteenth century and has continued unabated until 1999, when the first complete English translation of Guanzi was published by Li Ke, who published the second part of the text. The publication of the first complete English translation of Guanzi was a landmark for Western readers, creating a new world for Western scholars to understand Guanzi and laying a solid foundation for its dissemination in the Western world. It is of great practical importance to examine the spread of Guanzi in the English-speaking world. | ||
| − | II. An Overview of the English translation of the Guanzi | + | ===II. An Overview of the English translation of the Guanzi=== |
(1) | (1) | ||
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A review of the studies on the English translation of Guanzi. The main forms of research on the English translation of Guanzi by domestic and foreign scholars are books and papers. The domestic studies are mainly expressed in the form of dissertations, including Feng Yu's "Evaluation of the English Translation of <Guanzi>" in 1988; Feng Yu's "Major Treatises on the Study of <Guanzi> in Europe and America" in 1988; Song Limin's "The Study and Translation of <Guanzi> (Essays on Early Chinese Political and Economic Philosophy)" in 1989; Li Xia's "Introduction to the Study of <Guanzi> in this Century" in 1993; and The Communication of English Translation of the Linguistic Simplicity Style of <Guanzi> by Chen Jiangning in 2014; Overview of Research on Foreign Translation of <Guanzi> by Li Zongzheng in 2014, etc. The main foreign studies on Guanzi include an article on Guanzi-youguan by the American sinologist Li Ke in Bulletin in 1960; Li Ke's monograph Kuan-tzu: A Repository of Early Chinese Thought published by the University of Hong Kong Press in 1965; in 1988 the American The scholar William G. Boitz published a review of Li Ke's translation of Kuan-tzu (vol. 1) in 1988, and another American scholar, Robin D. S. Yates, wrote a review of Li Ke's translation of Kuan-tzu: A Repository of Ancient Chinese Political, Economic, and Philosophical Essays in 1988. | A review of the studies on the English translation of Guanzi. The main forms of research on the English translation of Guanzi by domestic and foreign scholars are books and papers. The domestic studies are mainly expressed in the form of dissertations, including Feng Yu's "Evaluation of the English Translation of <Guanzi>" in 1988; Feng Yu's "Major Treatises on the Study of <Guanzi> in Europe and America" in 1988; Song Limin's "The Study and Translation of <Guanzi> (Essays on Early Chinese Political and Economic Philosophy)" in 1989; Li Xia's "Introduction to the Study of <Guanzi> in this Century" in 1993; and The Communication of English Translation of the Linguistic Simplicity Style of <Guanzi> by Chen Jiangning in 2014; Overview of Research on Foreign Translation of <Guanzi> by Li Zongzheng in 2014, etc. The main foreign studies on Guanzi include an article on Guanzi-youguan by the American sinologist Li Ke in Bulletin in 1960; Li Ke's monograph Kuan-tzu: A Repository of Early Chinese Thought published by the University of Hong Kong Press in 1965; in 1988 the American The scholar William G. Boitz published a review of Li Ke's translation of Kuan-tzu (vol. 1) in 1988, and another American scholar, Robin D. S. Yates, wrote a review of Li Ke's translation of Kuan-tzu: A Repository of Ancient Chinese Political, Economic, and Philosophical Essays in 1988. | ||
| − | III. Dissemination of the English translation of Guanzi | + | ===III. Dissemination of the English translation of Guanzi=== |
1. | 1. | ||
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When it comes to the spread of the English translation of Guanzi in the West, we must mention the famous American poet of Confucianism and the master of imagism, Pound. Pound became interested in the English translation of Guanzi through the Englishman General Fuller, who introduced it to him. Pound talked about the content of the Guanzi as well as his praise of the Guanzi many times in his Poems from the Imperial Throne published in 1959 (Qian Zhaoming, 2014: 115). Pound's further knowledge of Guanzi occurred in the late 1950s, when he was composing his Poems on the Imperial Throne and reflecting on the ways of governing at St. Elizabeth's Hospital in Washington, D.C., and when Pound had a close personal relationship with a Chinese scholar who had traveled to the United States. Noel Stock, a close friend and biographer of Pound and editor-in-chief of Edge magazine, mentions in a book explaining the Poems that in 1957 a Chinese poet living in the United States, Zhao Ziqiang, sent Pound a copy of an English translation of an excerpt from Guanzi entitled Economic Dialogue in Ancient China, written by Lewis Maverick. -It was published by Lewis Maverick in 1954. Pound sent it to me for publication in The Blade, and it was published in June of that year. Chapter 106 must have been written shortly after this (Stock Noel, 1967:70). In Poems from the Imperial Throne, chapters 98 and 99 focus extensively on the Sixteen Articles of the Imperial Bishops issued by Kangxi in his early years, which Pound envisioned as a well-governed, decent state of social life designed by the Confucian "imperial throne. Throughout the poetry scene in Europe and America in the 1950s, Pound was unique in that he not only drew on certain forms and characteristics of Japanese poetry such as haiku poetry, but also incorporated traditional Chinese canonical works into his poetry, making his own contribution to the understanding of the canonical works such as Guanzi by Western readers and making great efforts to promote cultural exchange between the East and the West. In addition, the English translation of Guanzi not only influenced Pound's poetry, but also made him more profoundly aware of the economic, political, and diplomatic connotations contained in Guanzi, from the traditional ethical perspective of Confucian writings to his own ideas. | When it comes to the spread of the English translation of Guanzi in the West, we must mention the famous American poet of Confucianism and the master of imagism, Pound. Pound became interested in the English translation of Guanzi through the Englishman General Fuller, who introduced it to him. Pound talked about the content of the Guanzi as well as his praise of the Guanzi many times in his Poems from the Imperial Throne published in 1959 (Qian Zhaoming, 2014: 115). Pound's further knowledge of Guanzi occurred in the late 1950s, when he was composing his Poems on the Imperial Throne and reflecting on the ways of governing at St. Elizabeth's Hospital in Washington, D.C., and when Pound had a close personal relationship with a Chinese scholar who had traveled to the United States. Noel Stock, a close friend and biographer of Pound and editor-in-chief of Edge magazine, mentions in a book explaining the Poems that in 1957 a Chinese poet living in the United States, Zhao Ziqiang, sent Pound a copy of an English translation of an excerpt from Guanzi entitled Economic Dialogue in Ancient China, written by Lewis Maverick. -It was published by Lewis Maverick in 1954. Pound sent it to me for publication in The Blade, and it was published in June of that year. Chapter 106 must have been written shortly after this (Stock Noel, 1967:70). In Poems from the Imperial Throne, chapters 98 and 99 focus extensively on the Sixteen Articles of the Imperial Bishops issued by Kangxi in his early years, which Pound envisioned as a well-governed, decent state of social life designed by the Confucian "imperial throne. Throughout the poetry scene in Europe and America in the 1950s, Pound was unique in that he not only drew on certain forms and characteristics of Japanese poetry such as haiku poetry, but also incorporated traditional Chinese canonical works into his poetry, making his own contribution to the understanding of the canonical works such as Guanzi by Western readers and making great efforts to promote cultural exchange between the East and the West. In addition, the English translation of Guanzi not only influenced Pound's poetry, but also made him more profoundly aware of the economic, political, and diplomatic connotations contained in Guanzi, from the traditional ethical perspective of Confucian writings to his own ideas. | ||
| − | IV. An Introduction of Zhai’s version | + | ===IV. An Introduction of Zhai’s version=== |
Guanzi is named after Guan Zhong, a stateman and philosopher lived in the Autumn and Spring Period with Guanzi as his honorific title. This collection believed to have reflected Guan Zhong’s main ideas was translated into modern Chinese and then English by Dr. Zhai Jiangyue and was published by Guangxi Normal University Press in 2005 in four vols with its ISBN: 7563353461. | Guanzi is named after Guan Zhong, a stateman and philosopher lived in the Autumn and Spring Period with Guanzi as his honorific title. This collection believed to have reflected Guan Zhong’s main ideas was translated into modern Chinese and then English by Dr. Zhai Jiangyue and was published by Guangxi Normal University Press in 2005 in four vols with its ISBN: 7563353461. | ||
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| − | V. An Introduction of Rickett, W.A’s version | + | ===V. An Introduction of Rickett, W.A’s version === |
One of the most accomplished American sinologists, Walter Allyn Rickett (1921-) is best known for his translation of the complete works of the pre-Qin Chinese classic, Guanzi. In fact, from 1948, when he began his study of Guanzi at the University of Pennsylvania under Derk Bodde, to 2014, when he accepted a position as advisor and chief senior fellow at the American Academy of Guanzi, Rickett has devoted his academic career to the study, translation, and promotion of Guanzi with his life's work and knowledge, and is thus respected in American sinology circles and worldwide as a leading scholar of Guanzi. It is no exaggeration to say that he is respected as an authority on Guanzi in American sinology and worldwide. Today, at the age of more than ninety, it is necessary to take a look at Professor Li Ke's sixty years of dedicated research and translation of Guanzi, and try to divide it into three research phases, so as to pay tribute to this great sinologist by introducing the research results of different periods, and to call more domestic scholars to pay attention to Li Ke and his representative translation of Guanzi. | One of the most accomplished American sinologists, Walter Allyn Rickett (1921-) is best known for his translation of the complete works of the pre-Qin Chinese classic, Guanzi. In fact, from 1948, when he began his study of Guanzi at the University of Pennsylvania under Derk Bodde, to 2014, when he accepted a position as advisor and chief senior fellow at the American Academy of Guanzi, Rickett has devoted his academic career to the study, translation, and promotion of Guanzi with his life's work and knowledge, and is thus respected in American sinology circles and worldwide as a leading scholar of Guanzi. It is no exaggeration to say that he is respected as an authority on Guanzi in American sinology and worldwide. Today, at the age of more than ninety, it is necessary to take a look at Professor Li Ke's sixty years of dedicated research and translation of Guanzi, and try to divide it into three research phases, so as to pay tribute to this great sinologist by introducing the research results of different periods, and to call more domestic scholars to pay attention to Li Ke and his representative translation of Guanzi. | ||
| − | 1)The Beginning of Li Ke's Study of Guanzi and its First Emergence (1948-1965) | + | |
| + | '''1)The Beginning of Li Ke's Study of Guanzi and its First Emergence (1948-1965)''' | ||
| + | |||
In October 1948, Li Ke and his husband, Adele Austin Rickett (1919-1994), came to Beiping with great ambition under a Fulbright scholarship to study Chinese philosophy at National Tsing Hua University and Yanjing University, where they also worked as English teachers. From this period, Li Ke began his lifelong study of the interpretation and translation of Guanzi under the recommendation of his friends Feng Youlan and Xu Weiyu. | In October 1948, Li Ke and his husband, Adele Austin Rickett (1919-1994), came to Beiping with great ambition under a Fulbright scholarship to study Chinese philosophy at National Tsing Hua University and Yanjing University, where they also worked as English teachers. From this period, Li Ke began his lifelong study of the interpretation and translation of Guanzi under the recommendation of his friends Feng Youlan and Xu Weiyu. | ||
At the beginning of his life in Beiping, Mr. and Mrs. Li Ke had no worries about food and clothing, but only the friendship with scholars such as Qian Zhongshu and Zhouliang, so he should have had a fulfilling and peaceful study career. However, because they were "commissioned" by the U.S. Navy Department to collect intelligence in China before they left, and because they were in the midst of the great historical change in China between the old and the new, Mr. and Mrs. Leek were separated in 1951. | At the beginning of his life in Beiping, Mr. and Mrs. Li Ke had no worries about food and clothing, but only the friendship with scholars such as Qian Zhongshu and Zhouliang, so he should have had a fulfilling and peaceful study career. However, because they were "commissioned" by the U.S. Navy Department to collect intelligence in China before they left, and because they were in the midst of the great historical change in China between the old and the new, Mr. and Mrs. Leek were separated in 1951. | ||
In 1957, Cameron Associates published their memoir Prisoners of Liberation-Four Years in a Chinese-Communist Prison, which describes their time in prison. In 1957, Cameron Associates published their memoir Prisoners of Liberation-Four Years in a Chinese-Communist Prison, which describes their experiences in China and their "ideological rehabilitation" in prison. In fact, for Li Ke, in addition to his "ideological reformation" in prison, this experience was a rare opportunity for him to come into contact with all kinds of people, including intellectuals, peasants, butchers, and Nationalist soldiers, and to experience a completely different world from the one inside the "ivory tower. He experienced a completely different world from that of the ivory tower. At the same time, he also made good use of this period to study Chinese history and philosophy, which laid the foundation for his academic career after returning to the United States. After returning to the United States, he continued his doctoral studies at the University of Pennsylvania and selected eight representative texts from Guanzi for his doctoral dissertation, which was published in 1960 as TheKuan-tzu: An Annotated Translation andStudy o Eight Represen tative Chapters. TheKuan-tzu: An Annotated Translation andStudy o Eight Represenative Chapters In the same year, Li Ke published An Early Chinese Calendar Chart: Kuan-tzu, III, 8, (Yu Kuan) in T'oung ao (Bulletin), Vol. 48, No. 1. (Yu Kuan) (Ancient Chinese Calendar Chart: "Guanzi-Youguan"), a detailed interpretation and translation of the text of "Youguan" in more than 50 pages. On this basis, Li Keqian published Kuan-tzu: A Repository of Early Chinese Thought by the University of Hong Kong Press in 1965, with the exception of "Young Official" which was published separately in the Bulletin, the rest of the articles are "Da Kuang", "Du Di", "Fa Fa", "Q", "Situation", and "Dou Di". Fa Fa Fa", "Q", "Situation", "Solution of the Situation", "Nei Ye", "Xin Shu Shang", "Xin Shu Xia", "Art of War", and "Map", a total of 12 articles, each of which is annotated and examined in greater detail. By carefully examining, studying, and translating the 12 representative texts, Li Ke officially announced to the American sinology community the beginning of a systematic and comprehensive study of Guanzi. One of the English translators of the canonical text Mencius, sinologist W. A. C. H. Dobson, wrote a book review in The Journal of Asian Studies, Vol. 26, No. 2, in 1967, in which he acknowledged the research of sinologist Li Ke and his contribution to the American sinological community. However, Dobson also pointed out that Li Ke's book was influenced by the requirements of his doctoral dissertation, and that he tried to translate word-for-word for the sake of academic rigor, preserving the characteristics of Chinese word order, sentence structure, and thought patterns, which facilitated the understanding of Guanzi's ideas to a large extent by Chinese scholars. However, by taking care of the one and losing the other, this word-for-word translation is more specialized and less literary, thus limiting the reading of non-Chinese scholars. Therefore, he calls on Li Ke and others to add appropriate notes and narrative commentaries for non-Chinese scholars who are unable to read the original work. | In 1957, Cameron Associates published their memoir Prisoners of Liberation-Four Years in a Chinese-Communist Prison, which describes their time in prison. In 1957, Cameron Associates published their memoir Prisoners of Liberation-Four Years in a Chinese-Communist Prison, which describes their experiences in China and their "ideological rehabilitation" in prison. In fact, for Li Ke, in addition to his "ideological reformation" in prison, this experience was a rare opportunity for him to come into contact with all kinds of people, including intellectuals, peasants, butchers, and Nationalist soldiers, and to experience a completely different world from the one inside the "ivory tower. He experienced a completely different world from that of the ivory tower. At the same time, he also made good use of this period to study Chinese history and philosophy, which laid the foundation for his academic career after returning to the United States. After returning to the United States, he continued his doctoral studies at the University of Pennsylvania and selected eight representative texts from Guanzi for his doctoral dissertation, which was published in 1960 as TheKuan-tzu: An Annotated Translation andStudy o Eight Represen tative Chapters. TheKuan-tzu: An Annotated Translation andStudy o Eight Represenative Chapters In the same year, Li Ke published An Early Chinese Calendar Chart: Kuan-tzu, III, 8, (Yu Kuan) in T'oung ao (Bulletin), Vol. 48, No. 1. (Yu Kuan) (Ancient Chinese Calendar Chart: "Guanzi-Youguan"), a detailed interpretation and translation of the text of "Youguan" in more than 50 pages. On this basis, Li Keqian published Kuan-tzu: A Repository of Early Chinese Thought by the University of Hong Kong Press in 1965, with the exception of "Young Official" which was published separately in the Bulletin, the rest of the articles are "Da Kuang", "Du Di", "Fa Fa", "Q", "Situation", and "Dou Di". Fa Fa Fa", "Q", "Situation", "Solution of the Situation", "Nei Ye", "Xin Shu Shang", "Xin Shu Xia", "Art of War", and "Map", a total of 12 articles, each of which is annotated and examined in greater detail. By carefully examining, studying, and translating the 12 representative texts, Li Ke officially announced to the American sinology community the beginning of a systematic and comprehensive study of Guanzi. One of the English translators of the canonical text Mencius, sinologist W. A. C. H. Dobson, wrote a book review in The Journal of Asian Studies, Vol. 26, No. 2, in 1967, in which he acknowledged the research of sinologist Li Ke and his contribution to the American sinological community. However, Dobson also pointed out that Li Ke's book was influenced by the requirements of his doctoral dissertation, and that he tried to translate word-for-word for the sake of academic rigor, preserving the characteristics of Chinese word order, sentence structure, and thought patterns, which facilitated the understanding of Guanzi's ideas to a large extent by Chinese scholars. However, by taking care of the one and losing the other, this word-for-word translation is more specialized and less literary, thus limiting the reading of non-Chinese scholars. Therefore, he calls on Li Ke and others to add appropriate notes and narrative commentaries for non-Chinese scholars who are unable to read the original work. | ||
| − | 2) The Deposition, Full Explosion Phase of Li Ke's Study of Guanzi (1966-2001) | + | '''2) The Deposition, Full Explosion Phase of Li Ke's Study of Guanzi (1966-2001)''' |
| + | |||
After publishing the translation and study of 12 articles in Guanzi in 1965, Li Ke aspired to translate all the 76 existing articles of Guanzi, but due to the influence of teaching and administrative work, it took two full decades before Li Ke finally compiled and published the first volume of Guanzi in English in 1985, Guanzi: Politi-c In the introduction of this book, Li Ke devotes more than forty pages to introduce the layout of Guanzi, the style of the book, and the history of the book. In the introduction to this book, Li Ke devotes more than 40 pages to the layout of Guanzi, the relationship between Guanzi and Guanzhong, the changes in the editions of the various periods, and the translation methods used in the text. The main text contains a total of 34 extant articles, each of which is preceded by an introductory commentary of varying length, focusing on evidence and background material, including the specific history, content, structure, and relationship to other chapters of each article, plus a large number of footnotes and treatment of some rhymes, which shows Li Ke's profound Chinese language skills and rigorous academic attitude. At the same time, in consideration of the connection of contents, the chapters 64, 65, and 66 of "The Situation", "The Nine Defeats of the Establishment", and "The Interpretation of the Edition" are advanced and placed after the corresponding chapters of "The Situation", "The Establishment", and "The Edition". It should be noted that Li Ke has abandoned the previous translation method of Wittoma Pinyin, and has used Hanyu Pinyin to mark the key words directly, such as changing the translation of Guanzi from "Kuan-tzu" to "Guanzi". For example, the translation of Guanzi was changed from "Kuan-tzu" to "Guanzi. This reflects the translator's respect for Chinese culture and helps maintain the exotic accent read by European and American scholars. | After publishing the translation and study of 12 articles in Guanzi in 1965, Li Ke aspired to translate all the 76 existing articles of Guanzi, but due to the influence of teaching and administrative work, it took two full decades before Li Ke finally compiled and published the first volume of Guanzi in English in 1985, Guanzi: Politi-c In the introduction of this book, Li Ke devotes more than forty pages to introduce the layout of Guanzi, the style of the book, and the history of the book. In the introduction to this book, Li Ke devotes more than 40 pages to the layout of Guanzi, the relationship between Guanzi and Guanzhong, the changes in the editions of the various periods, and the translation methods used in the text. The main text contains a total of 34 extant articles, each of which is preceded by an introductory commentary of varying length, focusing on evidence and background material, including the specific history, content, structure, and relationship to other chapters of each article, plus a large number of footnotes and treatment of some rhymes, which shows Li Ke's profound Chinese language skills and rigorous academic attitude. At the same time, in consideration of the connection of contents, the chapters 64, 65, and 66 of "The Situation", "The Nine Defeats of the Establishment", and "The Interpretation of the Edition" are advanced and placed after the corresponding chapters of "The Situation", "The Establishment", and "The Edition". It should be noted that Li Ke has abandoned the previous translation method of Wittoma Pinyin, and has used Hanyu Pinyin to mark the key words directly, such as changing the translation of Guanzi from "Kuan-tzu" to "Guanzi". For example, the translation of Guanzi was changed from "Kuan-tzu" to "Guanzi. This reflects the translator's respect for Chinese culture and helps maintain the exotic accent read by European and American scholars. | ||
In response to the publication of this pioneering work, the Chinese scholar Feng Yu wrote a review in 1988, saying that Li Ke's forty years of dedicated research and the assistance of experts such as Ma Feibai made the translation of high quality and "not the kind of haphazard work that lacks understanding of China. The foreign scholar Robin D. S. Yates also praised the translation highly in The Journal of Asian Studies in 1988, saying that "the importance of the original text and its authenticity can no longer be denied". "This book has made an outstanding contribution to the study of the Guanzi and will be a first-rate authoritative work for many years to come." After the publication of the first volume of Guanzi, Lik was affected by his own advanced age and the death of his wife, Adele Austin Rickett, from cancer, before finally completing the translation and collation of the second volume of Guanzi in 1996 and publishing it in 1998, also at Princeton University Press. Excluding the missing pieces and the three pieces that were brought forward to the first volume, the second volume actually contains 42 pieces. The layout and translation method of the second volume basically follow those of the first volume, but in accordance with the comments and suggestions of Robin D. S. Yates and others mentioned above, many additions to the omitted parts of the original ancient Chinese have been eliminated in order to take care of the readability of the translation without affecting the understanding. At the same time, based on the suggestions of William Boltz and others, Li Ke adopts a more flexible approach to the terms "reason" and "righteousness" in different contexts. After completing and publishing the entire translation of Guanzi, Li Ke did not stop there. He reworked the first volume against the translation style of the second volume, with the most notable changes being the emphasis on rhyme and the addition of Chinese characters to facilitate reader study, and published it in 2001 by Poston Cheng and Cui Dongfang Translation Company. Since then, Li Ke has become the only Western sinologist to have translated all 76 of the 24 extant volumes of Guanzi into English. In 2003, Robin McNeal wrote in Early China The Development of NaturalistThought in Ancient China: A Review of W. Allyn. Allyn Rickett's Guanzi, in 2003, acknowledged the results of Li Ke's long years of research and said that the translation provided scholars with a place to go for frequent consultation, and that many of the historical issues addressed in it played a key role in furthering the understanding of early Chinese society, intellectual structures, and so on. | In response to the publication of this pioneering work, the Chinese scholar Feng Yu wrote a review in 1988, saying that Li Ke's forty years of dedicated research and the assistance of experts such as Ma Feibai made the translation of high quality and "not the kind of haphazard work that lacks understanding of China. The foreign scholar Robin D. S. Yates also praised the translation highly in The Journal of Asian Studies in 1988, saying that "the importance of the original text and its authenticity can no longer be denied". "This book has made an outstanding contribution to the study of the Guanzi and will be a first-rate authoritative work for many years to come." After the publication of the first volume of Guanzi, Lik was affected by his own advanced age and the death of his wife, Adele Austin Rickett, from cancer, before finally completing the translation and collation of the second volume of Guanzi in 1996 and publishing it in 1998, also at Princeton University Press. Excluding the missing pieces and the three pieces that were brought forward to the first volume, the second volume actually contains 42 pieces. The layout and translation method of the second volume basically follow those of the first volume, but in accordance with the comments and suggestions of Robin D. S. Yates and others mentioned above, many additions to the omitted parts of the original ancient Chinese have been eliminated in order to take care of the readability of the translation without affecting the understanding. At the same time, based on the suggestions of William Boltz and others, Li Ke adopts a more flexible approach to the terms "reason" and "righteousness" in different contexts. After completing and publishing the entire translation of Guanzi, Li Ke did not stop there. He reworked the first volume against the translation style of the second volume, with the most notable changes being the emphasis on rhyme and the addition of Chinese characters to facilitate reader study, and published it in 2001 by Poston Cheng and Cui Dongfang Translation Company. Since then, Li Ke has become the only Western sinologist to have translated all 76 of the 24 extant volumes of Guanzi into English. In 2003, Robin McNeal wrote in Early China The Development of NaturalistThought in Ancient China: A Review of W. Allyn. Allyn Rickett's Guanzi, in 2003, acknowledged the results of Li Ke's long years of research and said that the translation provided scholars with a place to go for frequent consultation, and that many of the historical issues addressed in it played a key role in furthering the understanding of early Chinese society, intellectual structures, and so on. | ||
| − | + | ===VI. Conclusion=== | |
| − | VI. Conclusion | ||
The study of the English translation of Guanzi remains mostly academic and has done little to promote the dissemination of Guanzi, but with the successive release of the two complete translations of Guanzi and the continuous exchange of Chinese culture with the world, Guanzi will receive more and more attention from scholars worldwide. In conclusion, the English translation of Guanzi has played a certain role in spreading Chinese culture, attracting the attention of Western readers, and enhancing national pride; however, it should be pointed out that we should try to make the English translation of Guanzi better to attract the attention of Western readers as much as possible, and the translation effect should be more in line with the translation of the incoming language, while expanding the dissemination of its English translation. | The study of the English translation of Guanzi remains mostly academic and has done little to promote the dissemination of Guanzi, but with the successive release of the two complete translations of Guanzi and the continuous exchange of Chinese culture with the world, Guanzi will receive more and more attention from scholars worldwide. In conclusion, the English translation of Guanzi has played a certain role in spreading Chinese culture, attracting the attention of Western readers, and enhancing national pride; however, it should be pointed out that we should try to make the English translation of Guanzi better to attract the attention of Western readers as much as possible, and the translation effect should be more in line with the translation of the incoming language, while expanding the dissemination of its English translation. | ||
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| − | Reference | + | ===Reference=== |
[1]Guanzi:Earliest Masterpiece on Political Economy in Human History[DB/OL].新法家网站,http://www.xinfajia.cn/10275.html. | [1]Guanzi:Earliest Masterpiece on Political Economy in Human History[DB/OL].新法家网站,http://www.xinfajia.cn/10275.html. | ||
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The Peony Pavilion, also known as "The Return of the Soul", is a masterpiece by Tang Xianzu (1550-1616), an outstanding Chinese opera singer of the 16th century. Compared with the script, The Peony Pavilion has not only been greatly changed in terms of plot and description, it has also improved greatly in terms of theme and thought. The Peony Pavilion has also reached an unparalleled artistic level in terms of diction, | The Peony Pavilion, also known as "The Return of the Soul", is a masterpiece by Tang Xianzu (1550-1616), an outstanding Chinese opera singer of the 16th century. Compared with the script, The Peony Pavilion has not only been greatly changed in terms of plot and description, it has also improved greatly in terms of theme and thought. The Peony Pavilion has also reached an unparalleled artistic level in terms of diction, | ||
| − | ==英语笔译 朱丽娟 Zhu Lijuan 202170081614== | + | ==英语笔译 朱丽娟 Zhu Lijuan 202170081614 MW== |
| + | <center>'''The Sinicization of Religion And its Development in China | ||
| + | '''</center> | ||
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| + | <center>Zhu Lijuan</center> | ||
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| + | ===Abstract=== | ||
| + | As a kind of social ideology, religion has been playing an important role in the history of human culture. It is through a deep understanding of Christianity that we can have a comprehensive understanding of Western culture. In the same way, we can deepen our understanding of Chinese culture only through a deep understanding China ancient Chinese religions. The main religions in ancient China are Taoism and Buddhism. Taoism is a native religion. By contrast, Buddhism is a foreign religion. Therefore, this paper mainly discusses the China of Buddhism and its development. | ||
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| + | Since Buddhism was introduced into China, it has gradually embarked on the road of sinicization due to the influence of ancient Chinese economic and political traditional culture. After the Sui and Tang Dynasties, Buddhism merged with China traditional culture and further evolved into Chinese Buddhism. | ||
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| + | ===Key words=== | ||
| + | Buddhism;religion;Daoism | ||
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| + | ===Subtitle 1=== | ||
| + | 1.Ancient Chinese religion is an important part of Chinese Culture | ||
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| + | Ancient Chinese religion has a wide range, from the ancient times of nature worship, totem worship, to the xia, shang and zhou period of day emperor worship, ancestor worship; From the long-standing folk worship of heaven, ancestor worship, worship ghosts and gods, to the Han and Wei dynasties after the spread of Buddhism and Taoism, all of which belong to ancient China religion. | ||
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| + | When it comes to religion, many people can easily associate it with praying to Buddha for help, burning incense and kowtowing. In fact, incense worship, sacrifice to pray as kind of ritual, is a part of religion. However, in addition to these external forms, there is a religion and its more profound inner implication. | ||
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| + | The word religion comes from the Latin religare. The word "religion" means a relationship between man and God. The so-called "god," is a kind of mysterious supernatural power, such as "god" in Christianity, Islam, "god," Buddha and so on. Religion is one of the most important things, and is the officer of a supernatural power of faith and worship, which makes it and the symbol of human civilization. In that case, why do you say religion is also a kind of cultural phenomenon? | ||
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| + | At the beginning of human society, due to the extremely low level of intelligence, the earliest primitive people could not distinguish themselves from the natural world and the animal kingdom. Later, with the gradual development of productivity and the continuous improvement of intelligence level, primitive people were gradually able to distinguish "human" as a "class" from the natural world and the animal kingdom, and then gradually produced "human" consciousness. When the primitive people can distinguish "human" from nature and animals and gradually sprout self-consciousness, they can abstract a "God" opposite to "human" and pray for its blessing and protection. It is in this sense that the Germany philosopher Feuerbach said: "Religion is rooted in the essential difference between man and animal-consciousness. "Feuerbach 's" consciousness "here, is not that some animals and plants which have self-perception or perceptual recognition, but refers to the nature of their own and the nature of the relationship between consciousness.Based on the opinions of Feuerbach,their essential is regarded as an object "of consciousness, and this consciousness is strictly a kind of self-consciousness. This kind of self-consciousness is the product of human thinking development to a certain stage. Therefore, the emergence of religion is the result of human cultural activities, and it is an important association with the history of human culture. | ||
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| + | In the process of its development, religion has eatablished a solid bond with various cultural phenomena. Throughout the history of human development, all of the cultural forms are closely related with religion. Not only those who directly marks the philosophy of human civilization, science, literature, art, calligraphy, painting, sculpture, architecture and so on all marked by profound religious imprint, even those as the core of the superstructure of each era political system, legal thought, ethics, etc., are also deeply restricted by religion. As for religion for each historical period, each nation's life customs, social psychology, the influence of cultural characteristics, is everywhere, it is difficult to say something. | ||
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| + | The most fundamental and central issue of ancient China philosophy is "the study of the relationship between heaven and man, and the understanding of the changes between ancient and modern times." The concept of "heaven" in ancient China philosophy, to a considerable extent, is the continuation and development of the concept of "God" in ancient Chinese religion. It goes without saying that if you know nothing about ancient China religion, if you know nothing about the connotation and origin of the concept of "God" in ancient Chinese religion, it will be difficult to accurately understand and grasp the inherent connotation and basic spirit of ancient Chinese philosophy. | ||
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| + | The traditional China academic thought has always been Confucianism as the mainstream, and Confucianism is a kind of ethical philosophy to a certain extent, its core idea is "filial piety." "Filial piety" includes both support and filial piety to parents who are still alive, as well as filial piety and sacrifice to deceased ancestors and even ancestors. This tradition of "being cautious in the end and pursuing the distant" is actually the continuation and development of ancient China religious ancestor worship. If we lack the basic understanding of totem worship and ancestor worship in ancient China Religion, it is difficult to deeply understand and grasp the Confucian ethical philosophy based on "filial piety." | ||
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| + | The influence of religion on ancient China literature and art can not be ignored. For the history of ancient China literature is the first to encounter a book is the book of songs. The "heaven" in the Book of Songs can be seen everywhere, both praising heaven and complaining and cursing heaven. What does the "heaven" in this mean, what is its meaning, why does it curse heaven, and so on, the readers and researchers of the Book of Songs should at least know a little, and to do this, we must understand the ancient China religion. Some scholars who have long been engaged in the study of China art history know better the importance of understanding ancient Chinese religions. Because in the long-term art practice, they deeply realized that do not understand the ancient China religious activities and related rituals, for many primitive dance, cave wall painting, etc., it is difficult to understand its true meaning and creative motivation. All this shows that many cultural forms in ancient China are affected by the ancient Chinese religion in different degrees, and the ancient Chinese religion has a very close relationship. Therefore, to fully understand the ancient China culture, it is necessary to outline to know about the ancient Chinese religion. | ||
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| + | Like many regions and nations in the world, religion has a long history in our country. As early as in ancient times, our country appeared natural God worship, animal God worship, ghost worship and ancestor worship and other primitive religious forms, especially in the natural God worship and ghost worship is the most popular. | ||
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| + | Apollo worship so will be very popular in the history of China and the world, this is related to the sun has a direct and powerful influence on human life. The sun every day out of the east west, ray, bring light to human, bring warmth, but it is not taste bless people, volts, the scorching hot sun often make people hot, long long early, such as the sun of fire more tan the earth smoke. Extremely low productivity level of the primitive, both need the gift of the sun, and the change feel mysterious and helpless, gradually put it as a kind of mysterious supernatural power, prostrate at the foot of it, the cult of it. In this way, has a close relationship with the human life of the sun, has become the first human object of worship. | ||
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| + | In addition to the sun god worship, ancient China also popular luna worship, and in some ethnic minority areas, luna became the main national or tribal worship of gods. For example, the ancestors of the Oroqen nationality lived mainly by hunting, and most wild animals came out at night, which gradually led the Oroqen nationality to regard the moon as their main deity-"Biya." On the tenth day and the twenty-fifth day of the first month, they are to bow down to the moon. If a few days in a row can't hit the beast, the hungry hunter will be held a ceremony, the moon worship, pray for protection. In the event of a lunar eclipse, they are very fear, think disaster is coming, we compete to ring everything can ring, the old people are constantly kowtow to pray. | ||
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| + | In China history, another ancient religion that coexisted with nature worship was ghost worship. The theory of ghost worship is based on the theory that the soul does not die. Ancient primitive because cannot explain the phenomenon such as dreaming, life and death, mistakenly believe that there is a kind of independent of the body or not with the form of death and the disappearance of the spirit of the entity-----soul, because the soul will not die, is not restricted by time and space, has the ability to superman, primitive fear of harm by it already, and hope to be able to get the gift of it, over time, the ghost of the undead has become ancient people common object of worship. Out of instinct, people always think the ghost of their loved ones or the ghost of their tribal leaders can protect themselves most. Slowly, the worship of--like ghosts and gradually transformed into the worship of their ancestors ghosts or the tribal leaders of the ghost, by the gradually evolved ancestor worship. Ancestor worship in ancient China religion occupies a very important position, and later, ancestor worship become one of the most common ancient folk religious activities. | ||
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| + | There are many forms of religion in ancient China, such as totem worship, divination and so on. However, the most representative form is the nature worship and ghost worship, and thus developed day emperor worship and ancestor worship. Because there is no written record before the Three Dynasties, the relationship between ancient religion and ancient culture can only be investigated from the aspects of social folk customs, etc. As for the worship of the emperor of heaven and ancestor worship in the Three Dynasties and later, it has laid a deep imprint in ancient China philosophy, literature, art and so on. | ||
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| + | ===Subtitle 2=== | ||
| + | 2. The basic teachings of Buddhism | ||
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| + | Buddhism is one of the three major religions in the world today. It originated in ancient India in the 6th-5th century BC. Its founder was Siddhartha Gautama. Sakyamuni is a Buddhist addressed to him. He is also known as "Buddha" or "Buddha," meaning "enlightened person" or "wise person who has realized the truth." Reportedly sakyamuni is ancient India and which the wei-guo luo suddhodana king prince, was born in 565 BC, died in 485 BC, and Confucius's era in China. | ||
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| + | According to the relevant data records, Sakyamuni for witnessed the world physical and other suffering, so he became a monk. After 49 days of meditation under a bodhi tree, he realized a "truth" that everything in the world (including life) is formed by the combination of causes and conditions (conditions). Once these conditions change or do not exist, the thing will cease to exist. Therefore, all things are false appearances and illusions arising from causes and conditions, and they have no self-nature and are all "empty." In that case, people for all things (including their own) should not deliberately pursue, struggling to cling to. Since the--cut all have no pursuit. Persistence, and what troubles have! It is said that when Sakyamuni realized this "truth," he "fully understood," removed all worries and realized the Buddha's fruit. | ||
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| + | After Sakyamuni enlightenment Buddhahood, began enlightening the Dharma. He said that there are 84,000 teachings, but if the basic idea is to say, it can be summarized in four words, namely,"bitter collection to destroy the Tao." The term "Four Noble Truths" is also used in Buddhism to refer to "Four Noble Truths." The "four truths" are the four most basic truths or truths of Buddhism. | ||
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| + | (1)The condition of all existence is suffering. | ||
| + | (2)Suffering is caused by sin. | ||
| + | (3)Sin can be exterminated. | ||
| + | (4)Suffering can be alleviated by the right path of understanding, mediation and endeavour. The Buddhist ideas of transmigration and retribution are widely accepted. | ||
| + | (5) the concept of "Emptiness"is another key concept in Buddhism(The Sanskrit word is Sunya). Emptiness is not nothing, but it is the condition of existence of everything. It permeates all phenomena, making their evolution possible. Emptiness is an abstract idea representing impermanence, instability, transience and relativity in the nature of all existence. According to Buddhism, nothing is permanent and everything is dependent on causes and conditions. Whenever the causes and conditions that produce or sustain a phenomenon are removed, that phenomenon will cease to exist. Furthermore, In the Avatamsaka Sutra we can read this gatha:"All things are birthless. All things have no extinction.You are also like that.If you know how to look at things this way, you can see and touch all Buddhas at any time.” | ||
| + | (6)According to the Lotus Sutra, everyone has the Buddhata, and the Buddha is full of compassion, and that is why Shakyamuni Buddha always tries to help. Amitabha is the Sanskrit word, and literally it means boundless light and boundless life.According to Buddhism, people recite or call upon his name by the time of dying will be born in the Land of Ultimate Bliss with the reception by Amitabha.Bodhisattva, who is called Guan Shi Yin or Guan Yin Bodhisattva, is very popular in China.Originally represented as a male, the images are now generally those of a female figure.It is believed that she has the greatest compassion and mercy and rescues all beings by hearing their voices of suffering and cries for help.Guan Yin can transform into many different shapes in order to cross over to the beings. | ||
| + | (7)Eight Precepts, Eight Sufferings,the Winds of the Eight Directions and Eight Right Ways:the Buddhist Eight Precepts, Eight Sufferings, the Winds of the Eight Directions, Eight Right Ways are very important in the practice of Buddhism. The Buddhist Eight Precepts are： | ||
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| + | (1)No killing. | ||
| + | (2)No stealing. | ||
| + | (3)Nosexual misconduct. | ||
| + | (4)No lying. | ||
| + | (5)No alcoholic drink. | ||
| + | (6)No cosmetic, no personal adornments. | ||
| + | (7)No sleeping on fine beds. | ||
| + | (8)No eating after noon. | ||
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| + | According to Buddhism, there are Eight Sufferings for human to be tortured while living. They are： | ||
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| + | (1)Suffering of birth. | ||
| + | (2)Suffering of old age. | ||
| + | (3)Suffering of sickness. | ||
| + | (4)Suffering of death. | ||
| + | (5)Suffering of being apart from the loved ones. | ||
| + | (6)Suffering of being together with the despised ones. | ||
| + | (7)Suffering of not getting what one wants. | ||
| + | (8)Suffering of the flourishing of the five skandhas. | ||
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| + | Most people are usually moved by the Winds of the Eight Directions. They are： | ||
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| + | (1)Praise. | ||
| + | (2)Ridicule. | ||
| + | (3)Suffering. | ||
| + | (4)Happiness. | ||
| + | (5)Benefit. | ||
| + | (6)Destruction. | ||
| + | (7)Gain. | ||
| + | (8)Loss. | ||
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| + | There are Eight Right Ways leading to Nirvana： | ||
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| + | (1)Right view. | ||
| + | (2)Right thought. | ||
| + | (3)Right speech. | ||
| + | (4)Right action. | ||
| + | (5)Right livelihood. | ||
| + | (6)Right effort. | ||
| + | (7)Right rememberance. | ||
| + | (8)Right concentration. | ||
| + | |||
| + | ===Subtitle 3=== | ||
| + | 3. Buddhism in China and its development | ||
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| + | Since the Buddhism was introduced into China, it was influenced by Chinese social and historical conditions. Gradually, it embarked on the road of sinicization. | ||
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| + | In the early days of the spread of Buddhism to the East, the Chinese people at that time used traditional religious concepts to understand and accept Buddhism, resulting in Buddhism becoming a kind of immortal magic. Sakyamuni was described as an immortal who could separate himself and body, walk on fire without burning, and walk on the blade without hurting. Arhat also became an immortal who could fly and change, and "live in heaven and earth"(Forty-two Chapters Sutra). Originally, Buddhism developed from opposition to God's religion, and its theory of "one-cut all empty" also did not allow the existence of immortal gods or eternal immortal spiritual entities, but for a long time after Buddhism was introduced into China,"immortal gods" became the fundamental meaning of Buddhism. | ||
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| + | Buddhism in many ways is in conflict with Chinese cultural tradition. For example, Chinese people usually consider the continuation of the generation line to be of tremendous importance, but Buddhism advocates celibacy. Confucianism holds that the human body is the sacred inheritance from one's parents and so it should be protected from being impaired or injured, but Buddhism adheres to asceticism and selfsacrifice. | ||
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| + | With the development of Daoism in China, Buddhism was gradually accepted by people because they share the naturalistic and nihilistic philosophical thought. In the Tang Dynasty, Buddhism thrived with the support of the emperors. Xuan Zang began his pilgrimage journey to India. After studying in India for 20 years, Xuan Zang returned with volumes of precious Buddhist scriptures, and he, together with other monks and scholars, dedicated all the time and energy to translating the scriptures into Chinese. Xuan Zang made unique contributions to Chinese Buddhism and greatly enriched Chinese culture. | ||
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| + | The two main branches of Buddhism are Theravada and Mahayana, which include Tibetan and Zen Buddhism. Mahayana has been active in Japan, Korea, Nepal, Mongolia, and China, which teaches social concern and universal salvation. Theravada has been the predominant religion of continental Southeast Asia such as Thailand, Myanmar, Cambodia, Laosand Sri Lanka. It is also practiced by some ethnic groups of southwest China. Theravada promotes the concept of self-cultivation and gaining insight from the aspirant's experience, critical investigation, and reasoning instead of by blind faith. | ||
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| + | ===Subtitle 4=== | ||
| + | 4. The influence of Buddhism China | ||
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| + | Generally speaking, China Buddhism is an important part of Chinese culture, which may be difficult for people to understand and agree with. However, if the ancient Chinese culture is embodied in such aspects as philosophy, literature, calligraphy and painting. Sculpture architecture and other cultural forms, the Buddhism for the huge and profound influence of ancient China culture, Chinese Buddhism as an important part of ancient Chinese culture becomes very obvious. | ||
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| + | In philosophy, for example, the ancient China philosophy has been summarized as such a few stages of development, namely the pre-qin scholars, han classics, wei jin metaphysics, sui and tang dynasties Buddhism, neo-confucianism. Temporarily put aside before Buddhism was introduced into China's pre-qin zi and han dynasty classics, since the wei and jin dynasties, ancient Chinese philosophy and Buddhism has forged a bond. For example, the metaphysics of Wei and Jin Dynasties first served as the medium for the dissemination of Prajna, then merged with Prajna, and finally replaced by Prajna. Therefore, do not understand the prajnaparamita, it is difficult to have a comprehensive understanding of metaphysics. As for the sui and tang dynasties, Buddhism has become a great social forces at that time a trend of thought, if when talking about sui and tang dynasties philosophy excluded Buddhism, so, sui and tang dynasties philosophy will become very thin. Therefore, many famous scholars have advocated should be the sui and tang dynasties Buddhism and Confucian philosophy equally, as a direct inheritance of traditional China culture. As for Neo-Confucianism, it is a Neo-Confucianism on the surface, but as many thinkers in history have repeatedly pointed out, Neo-Confucianism is "Yang Confucianism Yin Shi" and "Confucianism is Buddhism." | ||
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| + | Such as poetry, books, paintings. These three have always been known as the crown China ancient Chinese culture. But whether it is poetry, calligraphy, painting, all laid a profound imprint of Buddhism. Take poetry as an example, from the metaphysical poetry of the Wei and Jin Dynasties to the landscape poetry of the Northern and Southern Dynasties, from Tang poetry to Song Ci, all are deeply influenced by Buddhism. Xie Lingyun, as a great master of landscape poetry in Jin Dynasty, was a Buddhist with great attainments in Buddhism. Several great poets of the tang dynasty also involved in Buddhism. Li Bai is famous for his long way, but he also has the sentence of "sitting still in silence, thousands of people entering without a scratch." Although he is a scholar, he also has a chant of "The Seven Ancestors of the Temple of Two Peaks." Bai juyi, Buddhism and Taoism and repair. In his early years, Bai Juyi did not believe in Buddhism or Taoism, but after being demoted from Jiangzhou, he knew that his official career was difficult and dangerous, so he devoted himself to mountains, rivers, poems and wine, used broad-minded and happy days to send himself away, turned to alchemy and took food, and then converted to Buddhism and proclaimed himself "Xiangshan layman." Wang Wei worships Buddhism even more, and his Zen poetry occupies a pivotal position in the history of China poetry. Song Dynasty Su Dongpo, Huang Tingjian, such as CI giant, more in their friends with Zen monk, a teacher in the reward left many masterpieces. As for the novel, painting and calligraphy, sculpture, architecture, etc., are also closely linked with Buddhism. Such as the ancient China novels, its source is from bianwen of Buddhism; And many of the ancient China painting and calligraphy masterpieces, or from Buddhism, a teacher, or with Buddhism as the theme. What is more worth mentioning is that ancient China poetry, books and paintings all pay great attention to "realm," and the poet's "realm" has many similarities with the "Zen" of Buddhism, just as Tang Xianzu said: "Poetry, opportunity and Zen, if there is no beauty." The way of calligraphy and painting is consistent with the Buddhist philosophy and Zen interest. Because of this, the development and change of poetry, calligraphy and painting after Tang and Song Dynasties are often closely related to the development and change of Buddhism. | ||
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| + | ===Conclusion=== | ||
| + | Buddhism has been playing the mainstream role in Chinese religious life and it has exerted tremendous influence on Chinese culture together with its process of localization.It provides a new approach to the development of Chinese philosophy, and the translation of Buddhist scriptures has added something unique to the classic Chinese literature, commencing the field of translation study.The Buddhist influence on the Chinese painting, architecture and even dancing is also of considerable value. | ||
| + | ===References=== | ||
| + | *Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp. | ||
| − | ==英语口译 段小蝶 Duan Xiaodie 202170081615== | + | ==英语口译 段小蝶 Duan Xiaodie 202170081615 CE== |
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英语笔译 赵宇翔 Zhao Yuxiang 202170081609 CE
Abstract
The translation of Chinese classics into foreign languages has lasted for more than a century. From the cultural exchanges along the ancient Silk Road to the "One Belt and One Road" initiative to spread Chinese classics to the West, the translation of Chinese classics into foreign languages has always played an important role in the process of Chinese culture going out. This paper analyzes the purpose of the translation of Chinese classics into foreign languages, discusses the current situation and problems of the translation of Chinese classics into foreign languages, and looks forward to the new future of the translation of Chinese classics into foreign languages under the background of the "Belt and Road" initiative in the new era. In the new century and new era, to tell Chinese stories well, it is necessary to vigorously promote the process of translation and dissemination of Chinese classics and accelerate the pace of "going out" of Chinese culture.
Key words
Chinese Classics Translation; Purpose; Situation; Future
Introduction
This paper discusses the purpose, current situation and problems of the translation of Chinese classics into foreign languages, and looks forward to the future of the translation of Chinese classics into foreign languages under the background of the "Belt and Road Initiative." Chinese cultural classics are the crystallization of the Chinese nation's inheritance and conclusion for more than 5000 years. Under the background of economic globalization and the impact of various cultures, it is necessary for citizens to have a clear understanding of Chinese cultural classics and their current situation, which is also necessary to improve the soft power of Chinese culture. The translation of Chinese classics is the main way to spread Chinese culture. Translation is an effective way to spread the excellent culture of Chinese classics. The quality of translation also determines whether Chinese classics culture can go out and be deeply understood by western readers. Similarly, it also affects China's impression and status in the eyes of all countries in the world. Therefore, the quality of translation is very important. At present, the quality of Chinese classics translation is not uniform, and there are still many problems.
Literature Review
Methods and Theories
1.The Purpose of Translating Chinese Classics into Foreign Languages
Although all translation activities are purposeful activities, the purposes of translation activities in different fields are different. For example, the translation of machine operation manuals is to enable the translated language operators to operate according to the chapters without accidents; Therefore, the translation of any text will be directed to specific audiences, and the translated text produced must first meet the needs of these specific audiences. The translation of Chinese classics into foreign languages has a special purpose in contemporary China. From the introduction of western learning to the east in the late Qing Dynasty and the early Republic of China to the active participation of domestic scholars in the western spread of middle schools today, the time span has reached as long as one hundred years. It has been a hundred years since Chinese intellectuals translated a large number of western works from seeking the truth of saving the country and the people from foreign countries to today's translation of excellent Chinese literature and classics to foreigners in order to spread and carry forward Chinese culture and tell Chinese stories well. Although the western translation of Chinese classics is the main text channel, it has a strong direction of cultural communication to the outside world, with the direct purpose of "telling a good Chinese story" and the ultimate purpose of "promoting emotion with culture, promoting emotion with culture and building trust with culture", so as to let the world understand China, let the world understand China, let the world accept China, and jointly build and maintain a peaceful and prosperous new world. But for now, it seems that there is still a long way to go to achieve this goal. So there is such a situation: In this sense, the direct purpose of translating Chinese classics into foreign languages is probably to give priority to the translation of those parts of Chinese traditional culture that best reflect the universally recognized beauty of human nature and nature and are unique to China and easy to arouse the interest and resonance of foreign readers in ways and means easily accepted by the people of the target language countries, so as to have an impact among those readers and spread them. In other words, we need to find the greatest common divisor between Chinese culture and civilization and its evolution and western culture and civilization, and try our best to explore and translate.
2.The Status Quo of Translation of Chinese Classics into Foreign Languages
Cultural exchange is a two-way street. In the process of communication, the two sides are subject and object of each other, and the world culture can develop in the understanding, collision, absorption and fusion of cultures. But the two sides of the cultural exchange is not equal. This is the weak culture and strong culture. According to statistics, every year China imported from abroad as many as tens of thousands of this translation, and introduced to foreign language translation of Chinese culture is only a few hundred poor, this is the obvious cultural asymmetry. According to the Global Survey Report 2019 of China's National Image released by the Foreign Communication Research Center of China Foreign Languages Bureau, Chinese food, traditional Chinese medicine and martial arts are still the most representative elements of Chinese culture considered by overseas respondents (55%,50% and 46% respectively); The report did not translate the classics into Chinese, which is both unexpected and understandable. Because can be called the classics of literature, mostly not ordinary people can easily accept. Its audience, especially the initial readership nature is limited. At the same time, the translation of Chinese classics is actually the reverse flow of the weak culture, resulting in the translation of our classics in China, but it is relatively calm abroad. Taking The Analects of Confucius as an example, The Analects of Confucius is one of the Confucian classics, which mainly embodies Confucius 'political thought, moral principle and educational idea. there have been more than 60 English translation and abridged version of that analects of Confucius since the publication of the first English literal translation by Marshall in 1809. Although it started late, its English versions are numerous and have great influence. The extroversion of Chinese culture is inseparable from the spread of Confucianism, which is based on the English translation of the Analects of Confucius. Therefore, the English translation of The Analects of Confucius is like a "source of flowing water" for the outward dissemination of Chinese cultural classics. We should make full use of its "leading" effect to continuously convey Chinese cultural classics and open the door for the outward dissemination of cultural classics. However, Yin Qing ( 2020) found that the overseas sales of the English versions of The Analects of Confucius, whether as a public reading material or an academic reference, are far from satisfactory, especially the English versions of Chinese translators. The influential English translation of The Analects of Confucius has sold so much, and the situation of other Chinese classics can be imagined. The English versions of Chinese cultural classics are not widely used overseas. There are three main reasons: Another example is the "Guan Ju" in the Book of Songs, where the interpretation of "Guan Ju" has been controversial since ancient times, and its English translation shows more obvious diversity. Li Linbo ( 2011) collected 22 representative English versions of "Guanju" for research. Through analysis of translation structure, text details, semantic differences and cultural words with Chinese characteristics, the 22 texts were divided into three types: traditional translation, modern translation and poetic creation translation. He believes that through the study of the English translation of the poem "Guan Ju," we can see some common problems in the translation of Chinese classics: This means that the translator must have a clear version of the awareness, the annotation of the text should also have a good ability to identify, which is the basis of translation. 2. Positioning: The same classic text has different values for different translators. Some translators attach importance to its cultural nature, some translators attach importance to its literary nature, and some translators have no clear orientation. Different orientation determines different translation strategies. Some translators have definite translation purpose and consistent translation strategies, while some translators choose translation strategies randomly, and the value of their versions is bound to be different. The value of a translation does not necessarily depend on whether it is based on the traditional authoritative annotated version or the modern popular annotated version, because the two versions complement each other, but it inevitably depends on whether there is a clear translation purpose and consistent translation strategies. 3, language problems: There are two kinds of language problems: Regional characteristics of the performance of the dialect, such as the "Book of Songs, Guofeng" language, its geographical characteristics have a lot of untranslatable factors, but still need the attention of the translator, a dialect lost, easy to cause differences in the interpretation of the second dialect with cultural and stylistic characteristics, even if not translated, should also consider whether some compensation. Historicity is manifested in semantic changes, changes in characters, etc. Many of the characters have different meanings from the present, such as "wife" and "civilization," which are easily ignored by translators who are not aware of the classics. The change of characters is mainly manifested in the conversion of traditional characters and simplified characters. Many traditional Chinese characters correspond to simplified yu based on their pronunciation similarity, which has semantic deviation. For the translator, only according to the simplified Chinese version, even today's translation, without studying the traditional Chinese version, mistranslation, missing translation, inadequate translation. 4, cultural issues: cultural issues, including macro and micro aspects of the problem. The difference in the origin of Chinese and Western thoughts determines the unique cultural spirit of Chinese classics, such as Lao Tzu's "Tao" and Confucius '"benevolence." These cultural terms are the core of their thoughts. Different translations of them will cause differences in their overall interpretation, which can be said to have the key to affecting the whole body by pulling one hair, which is a macro issue. Microscopic aspects of the performance of the material culture, such as the "Book of Songs,""Chu Ci" recorded in some animals, plants, clothing names, some due to species evolution or changes in time variation, or even extinct, for the translator not only need rigorous research, but also to face the problem of how to find the counterpart, or how to compensate or deal with transliteration, omission, generalization and other translation methods caused by the loss. To sum up, through a number of researchers on the translation of Chinese classics, the author summed up the current translation of Chinese classics facing three main problems: Although there are many professional translators, few are proficient in translation.
3.Strategies for Translating Chinese Classics into Foreign Languages
The translation of Chinese classics into foreign languages needs to follow some necessary principles if it wants to realize its original intention. This not only refers to the transformation of linguistic signs between the source text and the target text, but also refers to the comprehensive consideration of all aspects of the translation process. For example, how to choose the texts of classics, how to choose publishers, how to examine and approve the quality of target texts, how to select translators, how to determine the printing circulation of translated texts, how to publicize and build momentum in the target countries after publication, and whether it is necessary to carry out readers 'follow-up survey, etc., I'm afraid all need to be discussed so as to establish corresponding regulations. Should we focus on the translation of classics that we think foreigners should know and understand, or on the translation of classics in related fields that foreigners want to know? As for the above-mentioned status quo and problems of translation of Chinese classics, According to the published catalogue of the Great China Library so far, the Great China Library has selected 21 kinds of ideological and academic classics such as the Book of Changes, Lao Zi, the Analects of Confucius and Mencius, 10 kinds of historical classics such as Shangshu, the Biography of Zuo's in the Spring and Autumn Period, Guoyu and Historical Records, and 55 kinds of literary classics such as The Book of Songs, Songs of the South, Three Hundred Tang Poems, The Romance of the West Chamber and A Dream of Red Mansions. At the same time, the second phase of the project will be carried out. The most representative 20 Chinese cultural classics will be selected and translated into 7 languages such as France, Russia, Spain, Arabia, Germany, Japan and Korea, and 9 languages will be introduced to the world. Obviously, among the 110 kinds of literature, literature books accounted for 50%, ideological and academic books accounted for 19.09%, traditional Chinese medicine and technology books accounted for 13.63%, history books accounted for 9.09%, and military books accounted for 8.18%. This reflects the editorial board's principle of focusing on the selection of classics and documents, as well as the principle of "self-centered" in the translation of classics. From the point of publishing library text press, all of them are China's press, and a foreign press. It now seems that when the texts of the classics are completed, they would be better if they were published in the country where the target language is the mother tongue. Therefore, in the publishing and distribution of this link, if we adopt the mode of foreign publishing or joint publishing, the way of transmission will be wider and the effect of transmission will be better. This is the principle of international cooperation in the translation and publication of classics. From the perspective of translators, more than 90% of the 142 published classics are completed by individual translators in China alone, and there are few cooperative translations like Yang Xianyi and Gladys Yang, and even fewer translations by foreign translators. The author believes that in the field of traditional literature, history, and even thought of classics translation work by individual translator is appropriate, but in other fields of strong professional, I'm afraid to set up by the industry experts (preferably know a foreign language) and the translator team to complete. In this way, to a great extent, it can be guaranteed that the translator as a layman will avoid the omission of principles, intellectual errors and layman's words as much as possible when translating the text. This is the principle of cooperation between translators and experts in non-literary, historical and philosophical fields. As a representative of the country's foreign translation of classics, its translation level also represents China's national image. Therefore, it is the most important task to train excellent translators who are proficient in translation, fully understand the historical and cultural characteristics of the target country and the source country (China), and understand the knowledge background of the translated classics. At the same time, in order to improve the quality and speed of translation, the cultivation of machine-assisted translation ability is also an indispensable part. At the same time, minority language talents are scarce. Nowadays, English and Chinese are more and more widely used, so we should turn the steps of translating Chinese classics into other small languages.
Subtitle 4 A New Opportunity for Translating Chinese Classics into Foreign Languages
The long road of cultural exchange between China and foreign countries has been continued up to now, and the translation of Chinese classics has been quietly carried out in different ways. Entering the new era of the 21st century, the Chinese government attaches more importance to cultural exchanges with other countries in the world. In 2014, the "Belt and Road" initiative was put forward, which further demonstrated the determination of Chinese culture to go global. The translation of Chinese classics is the most direct means and way for Chinese culture to go out. The Belt and Road Initiative, as a channel for cultural exchange, provides new opportunities for the translation of Chinese classics into foreign languages, and will directly promote the development of the translation of Chinese classics into foreign languages. Buddhism and Buddhist classics were introduced to China through the ancient Silk Road, and now Chinese Confucianism and Confucian classics will be spread to the world through the "Belt and Road." First, in the construction of the Belt and Road Initiative, Chinese builders sent to various countries and regions along the route will spread Confucianism and Chinese culture in their daily exchanges with local people. In addition, China actively promotes Confucius Institutes along the "Belt and Road" route, which directly promotes the external dissemination of Confucian ideas and classics. Finally, with the help of the construction of the "Belt and Road" economic belt, Xinjiang, Tibet and Taiwan are connected in the Greater China Cultural Circle3, which can not only enhance national identity, but also increase the public's recognition of ethnic classics and promote the development of English translation of ethnic classics. At the same time, the types of translated classics began to diversify. At the "Belt and Road" International Summit Forum, the "Action Plan for Chinese Social Organizations to Promote the" Belt and Road "People's Livelihood ( 2017 - 2020)" was released, and the "Civil Society Organization Cooperation Network along the Silk Road" and the "Belt and Road" think tank cooperation alliance project were launched. At the same time, CDB will also hold "the belt and road initiative" special multilateral exchange training and set up "the belt and road initiative" special scholarship. This has promoted the translation of excellent classics in many fields of Chinese culture. Take the "Greater China Library" project as an example. Since its formal establishment in 1995, the project has selected many most representative classics from the fields of culture, history, philosophy, economy, military affairs, science and technology from the pre-Qin period to modern times in China, translated by experts and published, which has greatly promoted the dissemination of foreign translation of Chinese classics.
Conclusion
The "Greater China Library"-led China Translation and Introduction Project shows us that in the new era of the new century, the pace of translation of Chinese classics has never stopped, and China's determination to make Chinese culture go abroad has never wavered. Although there are still many problems in translating Chinese classics into foreign languages, I believe all these problems will be solved in the near future.
References
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英语笔译 郑冬琴 Zheng Dongqin 202170081610 MW
Abstract
Chinese online literature has had a history of more than 20 years of development, and it has gradually formed a mature development system. In recent years, with the rapid development and popularity of the Internet, online literature has played an increasingly large role in people's daily lives. Among them, online novels play a particularly important role in people's lives. Moreover, the development and dissemination of Chinese online novels overseas has also achieved great success. However, there are still some problems and shortcomings in the field of online fiction that need to be addressed. Therefore, in order to better promote Chinese cultural exports, we need to create our own cultural calling cards and promote Chinese network novels "go globle". In this paper, I will discuss five aspects of Chinese online fiction: definition, development, pros and cons, current situation and overseas dissemination.
Key words
Chinese Network Novels; Development; Dissemination; Value; Adaptation
Introduction
This paper focuses on the history of the development of Chinese online novels and the current state of their dissemination overseas. This essay is divided into five main parts. In the first part , it mainly gives a brief introduction to online novels, which includes three aspects of the definition, creative characteristics and main classifications of online novels. In the second part, it gives a brief overview of the history of the development of Chinese online novels, which includes the exploration stage, the transition stage and the maturity stage. In the third part, it discusses the pros and cons of Chinese online fiction in a dialectical manner. It mainly mentions the influence of online fiction on the younger generation, especially teenagers. In the fourth part, it analyses the current situation and trends of Chinese online novels, and it highlights the phenomenon of product homogenisation and the film and drama adaptations of popular novels. In the fifth part, it introduces the achievements of Chinese online novels in their overseas distribution by discussing two examples, namely The Legend of Zhen Huan and Ten Miles of Peach Blossoms. Finally, the paper provides a brief summary of the issues explored, with a view to offering some suggestions and help for Chinese culture to go global.
1.A Brief Introduction to Network Novels
1.1 Definition of network novels
Network novels are novels published by online writers relying on the web-based platform. It is a new genre of fiction that has emerged with the rapid development of the Internet. It is characterised by a wide variety of styles, unlimited genres, and simple publication and reading methods. Its main genres are fantasy and romance. The language of online novels is more colloquial and full of Internet buzzwords.(Cui Feng 2010) Besides, in addition to differences in textual content, network novels also make use of variations in symbols, patterns and typography compared to general novels. Online fiction is the main form of online literature. Generally speaking, there is a broad and narrow definition of online fiction. Broadly speaking, it can include all fiction published and circulated on the Internet. However, on the narrower level of the origins of online fiction, it mainly refers to forms of fiction written by online writers and first published online, and then circulated. Online novels fall into two main categories. One category is novels read by boys, which are generically referred to as male channel novels(男频), and the other category is novels read by girls, which are generically referred to as female channel novels(女频). Most novels read by boys seek to be powerful from body to power, while most novels read by girls are from the perspective of love. And the influence of these two types of novels depends on the ratio of males to females on the internet.
1.2 Creative characteristics of network novels
There is no doubt that online literature still belongs to the category of literature. Therefore, online novels naturally have the basic characteristics of all literary works. However, due to some characteristics of the Internet and the influence of the commercial model of literary websites, online literature has gradually formed its unique creative and artistic characteristics. The characteristics of online novels are mainly manifested in the following four aspects: Firstly, the length of the network novel is very long. Because an online novel is usually formed in a long serial mode, it has a considerable number of words. Among them, long female channel novels are at least 600,000 words, while long male channel novels are up to millions of words.Secondly, online fiction is highly interactive. Because of the instantaneous nature of the Internet, authors and readers communicate online far more quickly than the previous correspondence. This makes online works naturally a little more interactive. What really determines the interactivity of an online novel, however, is its serial nature. Because online novels are often divided into chapters and sections, presented and completed gradually over a long period of serialisation, readers are able to express their views on the work at any point in its creation, expressing their appreciation or dissatisfaction, and offering suggestions and expectations for subsequent content. These comments will be seen by the author in the first instance. They can then influence the creation of the work to a large extent.Thirdly, the threshold for the creation of online novels is low. Generally speaking, the threshold for the creation of traditional literature is very high, and not any work can be published. However, the editorial and vetting standards for online literature are very low. Anyone who is literate and can tell a story has the opportunity to become an online writer, or even an online author. In other words, in the realm of online fiction, anyone who publishes and gets a certain number of readers can generate income. As a result, more and more people are becoming online writers and the creation of online novels is gradually becoming a way to earn an income.Fourth, online fiction is like a kind of fast food literature. The evaluation criteria of traditional literature are mainly reflected in values, outlook on life, and the author's writing skills. However, the focus of online novels is on entertainment and the reader's pleasure in reading them. In order to cater to the needs of readers, most online writers overly pursue the quantity of novels at the expense of quality. They over-express the reader's desires in their works, which makes them lack artistic and emotional value. Internet novels are like a kind of fast-food literature, which lacks nutrition and is difficult to be remembered and loved in the long run.
1.3 Classification of network novels
Online novels can be broadly classified into the following genres: fantasy novels, martial arts novels, immortal novels, science fiction, urban novels, romantic novels, supernatural novels, historical novels, mystery novels, military novels, sports novels, game novels, fan fiction, boy’s love novels, two-dimensional space novels and etc.According to online reader statistics, the ten most popular online novels are：
1、The Legend of Goku - Now Where 《悟空传》- 今何在
2、Ghost Blows Out the Light - Blogging site 《鬼吹灯》- 天下霸唱
3、Purple River - Old Pig 《紫川》- 老猪
4、Blasphemy - South of the Smoke 《亵渎》- 烟雨江南
5、Nebulous Journey - Potential Flute 《缥缈之旅》- 萧潜
6、How Bad Men Are Made - Six Paths 《坏蛋是怎样炼成的》- 六道
7、Time Raiders - Uncle Three of Southern School 《盗墓笔记》- 南派三叔
8、Kill the Immortals - Pot Flute 《诛仙》- 萧鼎
9、Fights Break Sphere - Silkworm Potato 《斗破苍穹》- 天蚕土豆
10、AutoFull - Wind Blow Strong 《傲风》- 风行烈
2.The Development History of Chinese Network Novels
Chinese online literature has had a history of over 20 years of development. Throughout the history of the development of online literature, we can divide it into three development stages: the exploration stage, the transition stage and the mature stage.
2.1 Exploration stage
During this period, online novels were mainly carried on computers and the payment model was established. In 1998, Riffraff Cai's The First Intimate Contact 《第一次亲密接触》was published on the Bulletin Board System(BBS), which opened the era of Chinese online novels. For the next 10 years, the computer served as the main vehicle for users to disseminate and read online literature. In October 2003, the business model of online literature became clear when the Starting Point Chinese Network Fiction(起点中文网)pioneered the paid online reading model. Some of the so-called "gods" of online fiction began to appear, and online fiction had its own stable, youth-centred and relatively small reading group. Annie Baby, Li Xunhuan and Xing Yusen were also representative online writers of that period.
2.2 Transition stage
From 2008 to 2014, online literature entered a transitional period, when reading behaviour began to penetrate into mobile smart devices. Around 2011, the proportion of users who read online literature on computers declined year by year, while the number of users on mobile smart devices grew rapidly. At the same time, reading platforms in the form of apps also sprang up, and mobile bookstores such as QQ Reading and Palm Reader became increasingly popular. After 2014, smartphones, tablets and other mobile smart devices became popular in China, making mobile phones the largest reading channel for online literature users. Novels in genres such as tomb raiding, mystery and romance have seen rapid development. Representative works of this period include Time Raiders, Tomb of the Gods and Fights Break Sphere.
2.3 Mature stage
As the scale of the online literature market continues to expand, Internet giants have become involved in online literature, and online literature enterprises have embarked on a stage of large-scale group operations. (Zhang Hainan,Han Lei 2021:79-83)In 2013, Tencent and the core team of the former Starting Point Chinese website (起点中文网)cooperated to establish Genesis Chinese Website(创世中文网); Baidu acquired 100% of the equity of Zongheng Chinese Website (纵横中文网)for 191.5 million; In 2014, Zongheng Chinese Website, 91 Panda Book (91熊猫看书)and Baidu Book City (百度书城)merged to form Baidu Literature(百度文学). In 2015, Chinese Online (17K Novel Website) was listed on the A-share GEM board with a $2 billion capital increase to build a pan-entertainment ecology. After Tencent's $5 billion acquisition of Shanda Literature Limited(盛大文学), it merged with Tencent Literature to form China Reading Limited(阅文集团); Ali acquired Shuqi Novel (书旗小说)and UC Book City (UC书城)and merged them with its own mobile reading business to form Ali Literature. At this point, the industry pattern of domestic online literature has basically taken shape.Since 2018, online literature has entered an era of convergence. The IP operation of online literature has gradually matured, film and television dramas and games adapted from online literature are favoured by the market, and free reading has gradually emerged, creating a new model of "free + advertising". Internet literature has established its own unique literary system and has received widespread attention from society. It has also become an important source for film and television adaptations. Nowadays, it seems that many important film and television works have come from online literature, and these super IPs have had a huge impact on the development of film and television culture. Representative works from this period include The Legend of Zhen Huan《甄嬛传》, The Legend of Mi Yue《芈月传》, The Journey of Flower《花千骨》, and Nirvana in Fire《琅琊榜》.
Nowadays, Chinese online literature has become an important literary phenomenon that cannot be ignored and has become an indispensable cultural resource for the younger generation. At the same time, from the perspective of world literature, China-centred online literature written in Chinese can be considered a unique phenomenon. Its unique creative characteristics and mode of operation are incomparable. It now seems that Chinese online literature has also gained its own unique status and significance in the development of literature across the globe. The wide distribution of The Three Bodies overseas in recent years is a good example of this.
3.The Pros and Cons of Chinese Network Novels
As a new form of literature, online literature has had a huge impact on people's daily lives. Like a double-edged sword, online fiction has its unique value and significance, but also has many problems and shortcomings. Therefore, we should adopt the right attitude towards it and take the essence and remove the dross.
3.1 The Pros of Chinese Online Fiction
3.1.1 Reading online novels can develop literary literacy
Firstly, there are many excellent works in online fiction that deserve to be read and appreciated with care. Outstanding online novels are characterised by their dramatic storylines, superb writing skills and meaningful themes. By learning from the authors' writing methods, we can develop our imagination and creativity, and thus improve our own writing skills.(Li Xin 2016:172) At the same time, by reading excellent works, we can increase our knowledge, broaden our horizons and improve our literary skills.
3.1.2 Reading online novels can improve reading skills
Secondly, because the online novel is serialized, it is updated very quickly and in very large numbers of words. Readers have something new to read almost every day. This means that in order to keep up with the author's updates, the reader needs to be able to read very quickly. If the reader is reading several online novels at the same time, then he needs to be able to read faster. Thus, by exercising over time, the reader can develop a good habit of reading every day and can improve his or her reading skills and abilities to a great extent.
3.1.3 Reading online novels can relieve stress
Thirdly, online novels can help readers to vent their negative emotions and relieve stress to a certain extent. In today's highly developed economic, political and cultural world, people face a variety of challenges and pressures in their daily lives, such as the pressure of marriage, interpersonal relationships, mortgage repayments, further education and job promotions, and so on. They are reluctant to face the cruelty of reality and need a space where they can forget their worries and keep their mood happy. Therefore, the beautiful virtual worlds created by online novels have gradually become a place for people to vent their emotions, express their desires and seek solace. Moreover, with the rapid development of the Internet, mobile communication devices have become widely popular. Nowadays, almost everyone, young and old, has their own mobile phone, which makes it possible for people to read online novels through various mobile apps and websites anytime and anywhere. We have found that the majority of readers of online novels in China find themselves relieving their stress and gaining a great deal of pleasure from reading online novels. For female readers, they tend to read romance novels and urban novels. For male readers, they prefer to read mystery novels and tomb raiding novels. In short, for those devoted novel lovers, the virtual world constructed by online novels is a perfect, utopian ideal society. As the characters and storylines portrayed in online novels are very close to life, such a setting easily arouses readers' emotional resonance, thus giving them a strong sense of vicariousness. In this virtual world, they can relieve the stress and worries brought about by the real world, allowing them to relax their long-tightened nerves. This is also a form of stress relief for the young generation of today.
3.2 The Cons of Chinese Online Fiction
3.2.1 Adverse effects on people's daily habits
In this highly developed society with the Internet, people can use mobile phone apps to read online novels anytime and anywhere. It is because of this convenience that online novels are having an increasing impact on people's daily lives. Online fiction is like a drug that makes people addicted to them. For adult readers who are addicted to online novels, they read all day and night and do not even feel hungry. As a result of staring at their mobile phone screens for long hours, some suffer from myopia, while others are so addicted to the pleasure and thrill of reading online novels that they miss work. Faced with online novels, they lack self-control and self-discipline, which makes them break the regular routine of life. When reading online novels, they see themselves as the protagonists in the novels, causing them to be unable to distinguish between real life and the virtual world. Over time, this group of people who are obsessed with online novels may suffer from severe procrastination, which then puts their lives in a vicious cycle. While for young readers, the dangers posed by online novels seem to be even more serious. Some online novels are not suitable for teenagers. If young readers are exposed to these novels, it is inevitable that they will become too precocious and may even lead them astray. For example, one of the most iconic Internet classics, The First Intimate Contact, is very popular among secondary school students. The author tells a poignant love story that expresses a common ideal in metropolitan life, namely the desire to make romantic love denied in reality a reality in the virtual world. (Li Xin 2016:172) Many teenagers have admitted that they have imagined or even actually experienced online romance after reading The First Intimate Contact. In addition, many urban and romance novels such as Laugh Slightly Very Bend City, The Left Ear and Fleet of Time also have had an impact on teenagers.
3.2.2 Causing distortion of values
Because of the low threshold for the creation of online novels and the lax regulation of the market, there are many low-quality works on the Internet that contain unhealthy information. These vulgar novels are filled with many contents that are not conducive to the healthy physical and mental development of young people, such as violence, cruelty, pornography, selfishness and so on. In the process of reading online novels, readers will unconsciously accept these wrong values. As the main force of the online novel reading group, teenagers are often more susceptible to the influence of bad values. On the one hand, as the minds and hearts of teenagers are not yet mature, they lack the ability to select works and self-discipline. On the other hand, as teenagers are more curious about the unknown, they are more likely to be attracted to the characters portrayed in online novels and develop a stronger sense of immersion. Moreover, as teenagers are in the process of forming their values and worldview, the harmful information in online novels can have a huge negative impact on their values, and may even cause distortion of values. For example, some reported cases of school bullying, murder and rape are related to the harm caused by vulgar online novels.
3.2.3 Fast food novels waste time
Many online novels are fast food novels. It would be a mistake for people to devote too much time and energy to these online novels. Due to the low threshold for the creation of online novels and the lax regulation of the market, various genres of online novels are springing up in the world today, which makes many online writers see their creation as a way to make profit only, and they devote more time and energy to the quantity rather than the quality of their novels. As a result, most online novels are written with a tumultuous plot to capture the reader's attention and interest. These novels often lack depth of thoughtfulness, and some even contain frequent misspellings, misuse of idioms and grammatical errors. If we fail to spot these errors in time, this can inadvertently deepen our impression of the wrong usage to the extent that these errors may appear in our own writing. In addition, readers tend to read online novels at a very fast pace. Some can even finish reading several online novels in a day. However, these fast-food novels, which lack nutrition and value, do not give readers a great deal to gain. When people are reading these online novels, the content of the novels hardly cause the readers to think. As a result, readers are not impressed with the content of the novels after reading them. This kind of reading behaviour without value and meaning is in essence a waste of time. Instead of wasting our time and energy on these unproductive online novels, it would be better for us to choose a classic work of literature to read and appreciate its connotations and meanings by heart. By reading and appreciating the classics, we can communicate with great souls across time and space. In this way, our literary skills can be improved, our minds can be sublimated and our souls can be purified. So, from now on, please take the time to develop a good habit of reading classics again, which will benefit you for the rest of your life.
4.The Status and Trend of Chinese Network Novels
4.1 Homogenization of products
Although the market is flooded with online novels of various genres and themes, only truly outstanding works are accepted and loved by the public. As a result, there is serious vicious competition in the field of online fiction, which has led to the homogenisation of products in the current online fiction market. When a work becomes successful, there will be many imitations. Many novels have highly similar themes, motifs and plots, and even have very similar backgrounds, characterisations and life settings. Once these popular characterisations have formed a fixed format, they become as similar as industrially produced products. As a result, these similar novels will cause aesthetic fatigue among the audience and their dissemination will be greatly reduced. (Qin Junxiang,Li Ting 2017:38-42)For example, online novelist Qiong Yao publicly reported on Weibo that Yu Zheng's Palace 3:The Lost Daughter《宫锁连城》had copied several plots from her work The Plum Blossoms《梅花烙》. In addition, when the TV series Jade Palace Lock Heart《宫》 started to make a splash on TV screens in 2011, there were many other similarly titled dramas. Some authors ignored historical facts and made a mess of historical adaptations in order to cater to the taste of their audience, which reduced the literary, artistic and aesthetic value of the work itself. Some authors even deliberately make up all sorts of fascinating but unethical plots in order to gain high click-through rates, which has caused a distortion of the values of some works. This series of homogenisation and vicious competition has not only led to infringement and plagiarism, but has also led to monotonous content of works, aesthetic fatigue among readers and an impact on the market order. In short, homogenisation and plagiarism are not conducive to the innovation and development of online literature.The relevant government departments should strengthen the supervision and regulation of the online literature market. They should establish a sound copyright protection mechanism, improve the professionalism and aesthetic level of online authors and film producers, and raise audiences' awareness of copyright protection, so as to promote the healthy and benign development of the online literature market and the film industry.(Liu Yang 2017:95)
4.2 Adaptation of novels into film and TV series
The emergence of film and television adaptations of online novels can be traced back to The First Intimate Contact , an adaptation of the novel of the same name by Chinese Taiwanese author Tsai Chi-hang. This novel was made into a film in 2000 and adapted into a TV series in 2004. This was the first time in the history of Chinese film and television that an online novel was adapted into a film or television production. (Xiao Yudi,Ouyang Changlin 2021:33-38)However, the audience response at the time was poor, with fans who had read the original novel not liking the format and content presented in the TV series very much. Although the audience response did not meet expectations, it made the novel an instant hit. The first trial of a web novel adaptation showed its potential and problems, drawing the attention of some film and television producers. After six years of hibernation, the adaptation of web novels for film and television finally made its official entry onto the television screen in 2010. The first wave of Chinese online novels adapted for film and television was marked by the TV series Beauty's Rival in Palace《美人心计》.Subsequently, costume dramas such as The Legend of Zhen Huan《甄嬛传》, Startling by Each Step《步步惊心》, Princess Dumping World《倾世皇妃》and Jade Palace Lock Heart《宫锁心玉》received high ratings and were unanimously praised and recommended by the public. Soon, with the rise and development of online video platforms, China ushered in a second wave of web novel adaptation dramas. In 2015, there were a number of web novel adaptations represented by The Journey of Flower《花千骨》 and Nirvana in Fire《琅琊榜》, which not only achieved high ratings during their television broadcast, but also reaped superb viewership and buzz on major video platforms. In 2017, the online novel adaptation television series Ten Miles of Peach Blossoms《三生三世十里桃花》began to dominate the public's attention, marking the arrival of the third wave of adaptation boom. The drama took over Weibo's top searches and headlines almost every day, and its original novel, plot, cast, headgear, make-up, costumes and soundtrack became a daily topic of conversation for the public at their leisure. In recent years, popular costume dramas such as East Palace《东宫》, Qing Yu Nian《庆余年》 and The Untamed《陈情令》have brought the craze for web novel adaptations to a peak.In terms of film and TV drama adaptations of novels, costume and romance novels have become the main trends in Chinese online novels.
5.The Overseas Dissemination of Chinese Network Novels
In recent years, Chinese costume novels have become very popular overseas. There are websites dedicated to Chinese novels such as "Wuxia World"(武侠世界) and "Webnovel"(起点国际). There are even people overseas who read serialised novels to kick drug addiction and treat depression. This shows the huge influence of our online novels overseas.
For example, in recent years, Legend of Concubine Zhen Huan has become popular in Japan, South Korea and some countries and regions in Southeast Asia. In addition, the cast of The Legend of Concubine Zhen Huan has joined forces with the American television station HBO to edit the original 76-episode series into six short episodes (each 90 minutes long) for broadcast overseas. The release of Legend of Concubine Zhen Huan on the US pay platform Netflix a few years ago also created a national sensation, and Legend of Chu Qiao《楚乔传》and Ten Miles of Peach Blossoms have long been officially synchronised on Youtube at the time of its launch. This marked the successful spread of Chinese costume novels overseas.
Take Ten Miles of Peach Blossoms as an example, the translator of Ten Miles of Peach Blossoms, Poppy Toland, is a British freelance translator who studied Chinese at the University of Leeds and lived in Beijing, China for four years. She was commissioned by Amazon.com, the copyright holder of the novel, to translate Ten Miles of Peach Blossoms into English before the TV series hit the airwaves.(Ma Xiaoxing,Zhao Mengyuan 2020:59-62) In order to ensure that the translation does not lose the flavour of the original, she insists on using the translation strategy of domestication to deal with the linguistic forms. However, for the cultural elements in the original work (such as mythology, religion and other cultural factors), she introduces Chinese culture directly to Western readers through the method of foreignization. On 23 August 2016, To the Sky Kingdom, the English translation of Ten Miles of Peach Blossoms, was released on Amazon in the United States. Upon its release, the translation reached number three on Amazon's Asian Literature bestseller list and number one in the Asian Literature section of the Kindle Edition bestseller list. The translation was recommended to foreign readers on Amazon.com, along with other famous novels such as Three Bodies《三体》and Wolf Totem《狼图腾》, and was once ranked the third best-selling Chinese novel on Amazon.com.It shows that Chinese online novels have achieved great success in overseas distribution.
Conclusion
After more than two decades of development, Chinese online novels have developed a relatively mature industry system, not only in terms of accumulation in the domestic market, but also in terms of expansion in overseas markets. However, there are still some problems and shortcomings in the process of its domestic development and overseas distribution. Therefore, we need to further improve the quality and value of Chinese online novels and strive to build a unique international cultural brand of our own. We need to help Chinese culture go overseas through cultural branding so that more foreign friends can understand and enjoy traditional Chinese culture. In short, it is the duty of every Chinese to strengthen our cultural soft power and enhance the cultural confidence of the Chinese nation.
References
- Cui Feng 崔冯.(2010).网络小说的文体特征研究[Research on the Genre Characteristics of Online Novels].重庆师范大学Chongqing Normal University.
- Li Xin 李昕.(2016).网络小说利弊纵横谈[The Pros and Cons of Online Novels].西部皮革Western Leather(12):172.
- Liu Yang 刘杨.(2017).中国网络小说改编剧的困境与建议[The Dilemma and Suggestions of Chinese Online Novel Adaptations].参花Participation Flowers(16):95.
- Ma Xiaoxing, Zhao Mengyuan 马孝幸,赵梦源.(2020).中国文化“走出去”背景下的网文出海研究——以《三生三世十里桃花》外译为例[A Study on the Overseas Translation of Chinese Culture in the Context of "Going Global"--The Foreign Translation of "Ten Miles of Peach Blossoms].新阅读New Reading(08):59-62.
- Qin Junxiang,Li Ting 秦俊香,李婷.(2017).网络小说改编剧的同质化现象批评——以权谋宫斗题材古装剧为例[Criticism of the Homogenization Phenomenon of Online Novel Adaptations - Taking Ancient Costume Dramas on the Theme of Power and Palace Combat as An Example].中国电视China TV(06):38-42.
- Xiao Yudi, Ouyang Changlin 肖雨笛,欧阳常林.(2021).网络小说改编剧的狂欢与思考[The Carnival and Reflection on the Adaptation of Online Novels].肇庆学院学报Journal of Zhaoqing College(03):33-38.
- Zhang Hainan, Han Lei 张海楠,韩磊.(2021).网络小说创作主体迅猛发展成因探析[An Analysis of the Causes of the Rapid Development of the Main Body of Network Novel Creation].兰州文理学院学报(社会科学版)Journal of Lanzhou College of Arts and Sciences (Social Science Edition)(03):79-83.
Terms and expressions
- The Legend of Goku 《悟空传》
- Ghost Blows Out the Light 《鬼吹灯》
- Purple River 《紫川》
- Blasphemy 《亵渎》
- Nebulous Journey 《缥缈之旅》
- How Bad Men Are Made 《坏蛋是怎样炼成的》
- Time Raiders 《盗墓笔记》
- Kill the Immortals 《诛仙》
- Fights Break Sphere 《斗破苍穹》
- AutoFull 《傲风》
- Wolf Totem《狼图腾》
- Nirvana in Fire《琅琊榜》
- The Legend of Zhen Huan《甄嬛传》
- The Plum Blossoms《梅花烙》
- Jade Palace Lock Heart《宫》
- Laugh Slightly Very Bend City 《微微一笑很倾城》
- The Left Ear 《左耳》
- Fleet of Time 《匆匆那年》
- Startling by Each Step《步步惊心》
- The Journey of Flower《花千骨》
- East Palace《东宫》
- The Untamed《陈情令》
- Qing Yu Nian《庆余年》
- Legend of Chu Qiao《楚乔传》
- To the Sky Kingdom《三生三世十里桃花》
- The First Intimate Contact 《第一次亲密接触》
- The Legend of Mi Yue《芈月传》
- Palace 3:The Lost Daughter《宫锁连城》
- Princess Dumping World《倾世皇妃》
- Beauty's Rival in Palace《美人心计》
- Men's Channel 男频，即男生频道，是网络小说网中对男生爱看的网络小说的一种称呼。男频以玄幻、推理、盗墓等题材的小说为主。
- Women's Channel 女频，即女生频道，是网络小说网中对女生爱看的网络小说的一种称呼。女频以都市、言情和穿越等题材的小说为主。
Questions
1.Which of the following is a common genre of male channel fiction?
A.Time Travel Fiction
B.Fantasy Novels
C.Romance Fiction
D.Urban Soap Novels
2.When was the online novel The First Intimate Contact published?
A.In 1996
B.In 1997
C.In 1998
D.In 1999
3.How many stages does the author of this article divide the history of Chinese online fiction into?
A.2
B.3
C.4
D.5
4.Which of the following is not a work by Yu Zheng?
A.Jade Palace Lock Heart
B.Palace 3:The Lost Daughter
C.Beauty's Rival in Palace
D.The Plum Blossoms
5.Which of the following novels is a work of transition stage?
A.The First Intimate Contact
B.Nirvana in Fire
C.Time Raiders
D.The Untamed
Answers
1.B
2.C
3.B
4.D
5.C
英语笔译 钟青 Zhong Qing 202170081611 CE
On the Translation and Spread of Three Kingdoms from the Persprvtive of Subtext
Abstract In addition to the two well-known English translations of the Chinese classic Romance of the Three Kingdoms, there are nearly 30 full translations (Brewitt-Taylor and Moss Roberts), and nearly 30 English sections, but few articles have conducted in-depth research on this. This article selects a translation of the Bu Boat Festival of the Romance of The Three Kingdoms、Pan Ziyan section translation、1852The anonymous translator is translated as the research object，By analyzing the translation of the preface, press information, footnotes, translator speech and report of secondary text information, combined with the language characteristics in the translated text, the translation purpose, target readers, mutual relationship between the translation, translation and western literature analogy, to explore the value orientation of writing in the secondary text, explore the role of secondary text in translation research, also provide reference path for the Chinese classical literature translation.The relevant elaboration of the subtext is based on all types of text, and can also be applied in the study of translation works.
Keywords: Three Kingdoms; Subtext: English Translation
Literature Review This article uses the three English translations of The Three Kingdoms,Pan Ziyan, Pu Fangji and an anonymous translator as research objects. By analyzing the translation of the preface、the subtext, such as information and footnotes, combine the language characteristics in the translation text, analyze various translation forms, explore the value orientation and guiding role of writing in the preface, and analyze the target readers and expected vision of the translation.
An Overview of the Three English Translations of the Three Kingdoms The Romance of The Three Kingdoms is one of the four great classical works of Chinese literature. It not only has many domestic readers, but also has been translated into many languages and introduced to foreign countries, including nearly 30 English translations and two full translations. However, compared with other Chinese literary classics, the translation research of the Romance of The Three Kingdoms is scarce both at home and abroad, and focuses on the two aspects. The study of the translation, namely C.H.Brewitt-Taylor's translation (1925) and Moss Roberts' ranslation (1991), very few articles compare the translations with other English sections, and only a few articles outline the early translations in the perspective of translation history. The Romance of The Three Kingdoms " Abroad. This article details the Chinese and foreign versions of the Romance of the Three Kingdoms; the early century of English translation(1820-1921): Addendum of the Romance of The Three Kingdoms abroad.It also reorganized the history of the English translation of The Romance of The Three Kingdoms;2014 Deng Luo's translation of the Romance of The Three Kingdoms published in 2000. Focusing on the translation of the translator, Deng Luo, including his earlier translation; the latest research is his monograph, reciprocity: studies of multiple English translations, published in 2019。 One of the individual cases involved in this paper is that theBuFang ji (Rev.Francis Lister Hawks Pott)Section translation，under the title of《〈The Romance of the Three Kingdoms〉Excerpt " (Selections from the Three Kingdoms ), a surname.It was published in The East of Asia Magazine in 1902.This translation of the romance of The Three Kingdoms of three plots, the first paragraph from zhuge liang grass boat borrow arrow, focuses on the introduction of ancient Chinese military strategy, the second paragraph is selected in the long ban slope battle lady liu bei to save the plot, focusing on the performance of Chinese women selfless and great, the third paragraph is Sun Ce before dying story, focus on describing the fear brought by superstitious thoughts。Another relatively earlier translation was completed by the translator Pan Ziyan (Z.Q.Parker)，a surname 1925 published in 2008, as "The Red Cliff Battle" (The Battle of Red Cliff,), and was published in the The Chinese Journal of Science and Fine Arts. The third translation involved in this paper is not a famous section translation，titled " Historyofthe Three Kingdoms ：Extract from Chap 29，included in the translation collection " (Chinese Conversations：Trans lated from Native Au-thors). In the same，The translation by Mission Pressa published in Shanghai in 2000。The book has a preface, and the translation of the Romance of The Three Kingdoms selects the twenty-ninth edition of the original novel, "the little overlord is angrily beheaded in the east of the river", and makes an almost literal English translation. Due to the limitation of primary data management and translation collection form, the translation has not been known to the academic circle for a long time. There is no review or book comment about the translation, and the book does not indicate the name of the translator. Therefore, this article is temporarily called it1852Section translation.
An Overview of the Subtext: Translation Purpose, Target Reader and Text Relationship Gernette interprets the concept of the subtext (paratext)，The subtext is classified and functional explained in detail，Include internal subtext (peritext) such as the author's name、the title of a book、Publication Information、preface、Postscript et al，And external subtexts (epitext) such as author interviews、The author's diary et al. Scholar Bacheler made the first systematic study of the application of subtext concept in translation research, and re-examined the definition and framework of subtext, further subdivision and supplement, so as to meet the needs of contemporary translation research. The subtext in the translation can be divided into the translator's preface, postscript, translation script, publication page, the translator's biography, speech and other information. Translator or related agencies in the subtext explained their translation strategy and ideology, writing their own values, or clear, or obscure, through the study of the subtext material, can more comprehensively analyze the relationship between the text and the translator, stereo reconstruct the translation of the historical social context, deeply explore the translator's voice and values. The following will make a further analysis of the translation, translator, target reader and other aspects from the perspective of the subtext and combining the language characteristics in the text of the translation.
The Purpose of the Translation in the Subtext Gernet attaches great importance to the relationship between the subtext and the author's intention, "the accurate author's intention is the creed and ideology implied by the subtext" For the translated works, the subtext reflects the translator's translation intention and value orientation。First analysis1902Translation of the Fang Festival。Translator Bu Fangji chose three stories from the Romance of The Three Kingdoms to translate, including the material theme and translation The purpose is highlighted in the subtext. For example, the translator wrote in his translation, "
Taking the second passage from the translation of the Boxing Festival as an example, the text is selected from the 41st edition of the Romance of The Three Kingdoms, which describes the story of Lady Mi committing suicide in a well to save Liu Bei's young son, A Dou. Before the text of the translation, Bu Fang Ji explained: " The next story I chose may be more convincing. It tells of the great power of self-sacrifice that we can see in women all over the worldThis point.”(The next passage which I have chosen is perhaps a more pleasing one ．It illustrates that wonderful power for self －sacrifice which we find in woman all the world over ．)This interpretation is more explicit and shout. According to the purpose of the translator's translation, it is to show the noble character of the Chinese people, eliminate the prejudice of western culture against the Chinese people, find the similarities between Chinese and Western cultures, and also enable the target readers to understand the work more with empathy. The text of the translation from zhaoyun can not find the small master began, deleted the original 40The first half of the time, only oneStatement Overview Background " Liu Pei，ChangFei，and Kua n Kung were bound together to resist until death the machinations of Ts’ao Ts ’a o，andtodelivertheircountryfromthisrule "，The main text focuses on Mrs.MiThe plot of sacrifice to save Adou highlights the greatness and sacrifice of this female character.
At the same time, we can find that another important purpose of the festival translation is to guide English readers to a better understanding of their own history and literary works. Bu Fangji translated the Romance of the Three Kingdoms and the British writer Thackeray( Thackeray )Written by《The History of the Four King George》(History of the Four Georges) and the analogy of historical novels by Sir Walter Scott (British author), from the two examples, it can also be inferred that the target readers were British readers at the time. Bu Fangji believes that the Romance of The Three Kingdoms is an important material to understand the Three Kingdoms period in ancient China, and his own translation will also lead western readers to understand the history of the country from another level. Bu Fangji compared the Romance of the Three Kingdoms with Scott's historical novel. The relationship between the novel narrative and the true history. Bu Fangji believes that the "Romance of The Three Kingdoms" is undoubtedly the most popular and popular novels, even children are familiar with the stories of the Three Kingdoms, just as western children are familiar with Scott's historical novels. The fragment of The Romance of The Three Kingdoms, selectively translated by Bu Fangji, is designed to explain to the Western readers how Scott used his imagination to bring British history to the readers alive. From this point of view, Bu Fangji believes that the historical novels of the Romance of The Three Kingdoms are similar to the works of the British writer Scott Scott.
Target Readers in the Subtext Secondly, the subtext shows the target reader that the translation is facing. Through the translator clarifying the target reader of the translation in the preface and other materials, we can more clearly explore the style and language characteristics of the translation。In1852In the preface of the unnamed translation of Mr，The author of the preface discusses the target audience and the purpose of the whole translation, namely "to help those foreigners who want to learn spoken Chinese". The second paragraph of the preface introduces the original text of the story of The Three Kingdoms and the meaning of the translation, giving a brief introduction to the influence of the novel of "The Three Kingdoms", saying that "its popularity in China is almost equivalent to the thought of Confucius". Moreover, the preface to the translation holds that the language style of The Three Kingdoms is "not less loose and casual than the modern conversational language, but still very useful for foreign learners". Some comments reflect the translator's understanding of the language style of the original work, and fully affirm that the selected original work is of great significance for the target readers to learn Chinese.
The preface of the annual translation also analyzes the language difficulty of the original text of The Three Kingdoms，Apart from those names, what the reader learns from the work is not too difficult"O 2 oneself. This also shows that the translator tries to make the readers better understand and accept the translation on the basis of fully displaying the Chinese language characteristics and style. However, it should be pointed out that the preface to the translation mistakenly confused the Annals of the Three Kingdoms and the Romance of the Three Kingdoms, saying that the original text was selected by the Three Kingdoms. In fact, the main text of the translation is exactly the same as the 29th edition of the Romance of the Three Kingdoms, which reflects that the subtext sometimes misled the target readers.
In1852,the text of the translation is not only in the form of a Chinese and English control，In addition, Chinese pinyin is marked in a line by line way in English translation. This translation style is very special. This is the only case in the whole history of the Romance of The Three Kingdoms, and it is also relatively rare in the English translation process of other Chinese classical works. This style just confirms the interpretation of the target readers in the preface of the translation. In order to accommodate foreign readers to learn spoken Chinese expression, the translation takes the form of comparing pinyin and translation, which is more convenient for the target readers to learn and master the meaning and pronunciation of each word in the Some comments reflect the translator's understanding of the language style of the original work, and fully affirm that the selected original work is of great significance for the target readers to learn Chinese.
The Translation Relationship in the Subtext As Gennet said, the subtext "revolves around the text to extend it, just to make the 'presentation' of the work, just to make the work appear". In the translation case of this article, the subtext not only shows the attached translation an appearance, but also implies the intertextual relationship between different translations. The classic Romance of The Three Kingdoms has a large number of English section translations, various forms and a long translation process. There is a complex intertextual relationship between multiple section translations oneselfAnd we can trace this intertextual relationship in the subtext. Take Pan's translation as an example, pan's translation is accompanied by a very short editor's preface, The preface mentions another earlier translation translated by a translator signed X. Z，The selected translation part is the first ten times of the original book，It was published in the journal Chinese Studies in 1874. The article also mentions the review of the original work once done by the translator Deng Luo. And Pan ziyan's translation is a continuation of the X.Z. translation，Selected and translated the relevant chapters of the Battle of the Red Cliff。From the preface，You can interpret the relationship between the translation and other early translations and translators, and Pan ziyan's translation has received another early one.
Other Textual Relations in the Subtext From the subtext of the translated work, it can also be traced back to the relationship between the translation and the text outside it, further extending the intertextual relationship, which can be investigated either through the translator's own order, or by other comments published by the translator.Translator Bu Fangji once gave a speech，later published in the North China Express (North China Herald ). The speech specifically discussed the novel "The Romance of The Three Kingdoms," which discussed the background, plot, characters and other characteristics of the work, and summarized the literature Value and meaning. In his speech, Bu Fangji presented the Romance of the Three Kingdoms and related Western literary works.
Although many English translators compare The Romance of The Three Kingdoms to a Greek Homeric epic, Bu Fang Ji does not agree with this contrast. He believes that the Romance of The Three Kingdoms is not a myth or a novel, but a work of Chinese history. Not only compared the work to real British historical events, he also argued that "like studying four King George historians need to read Thackeray, and a full understanding of early New England history requires Hawthorne's work."The Romance of the Three Kingdoms is related and compared with the western historical works, showing the relationship between the original work and other texts, and the translation value of the Romance of the Three Kingdoms is further explained in the form of a subtext. However, Bu Fangji's cognition of the Romance of The Three Kingdoms is biased, after all, the work is "seven points of practical work, three points of fiction", However, it can be seen that Bu Fangji fully realized the historical value of the Romance of The Three Kingdoms, and gave a high evaluation to this work.
In1902,translated in Chinese，Bu Fangji once again summarized the characteristics of the Romance of The Three Kingdoms，He talked about his original feelings of reading, explained his original intention of translation, and once again made a comparative analysis of Chinese and Western literature，Extended himself in the1894Analogies in speech，The Romance of The Three Kingdoms is compared with two Western works，one is the writer Thackeray (History of the four Georges), the other is the historical novel of Sir Walter Scott), which is appropriate or not, but they produce a kind of interwriting in the hearts of the readers, which can shorten the distance between the work and the Western readers, so that the western readers can more effectively understand and appreciate this classical Chinese literature work. Whether it is footnote or preface, the translated subtext plays a similar function to the original subtext. For the target readers who do not understand the source language, the translated subtext has a guiding role in understanding and accepting the original text.
Conclusion Scholar Venuti once in2004In this paper, I discussed the writing of the values in the phenomenon of retranslation, which mentioned that the subtext plays an important role in the retranslation research, and can be more explicit. To reveal the value of the translation. Admittedly, according to the subtext of the three sections of the Romance of the Three Kingdoms,combined with the specific analysis and the language characteristics of the expression of the translation text, we can indeed find the dominant role of the subtext in the translation research, which can provide a more macro and comprehensive perspective for the translation analysis and translator investigation, such as Bu Fang Ji translation and Pan Ziyan translation. On the other hand, the subtext is also likely to strengthen the misleading of translation readers and translation researchers, and obscure the process of translation generation. Therefore, to attach importance to the significance of subtexts in the study of translation, especially in the study of translation history, we can better explore the value orientation of translators, editors and publishers, and explore the relationship between translation and the influence of translation. At the same time, researchers should carefully compare the translation, deeply investigate the subtext materials, deeply analyze the target readers of the translation and the historical and cultural context, and truly understand and grasp the whole picture of the translation and the translation process. In addition, the subtext can affect the acceptance and dissemination of the text. It can be found from the analysis of the subtext of the above three English translations that the interpretation and interpretation in the subtext fully reflect the translator's value orientation and guiding role for the target readers. Therefore, we can "base on the Chinese context, actively think and explore the significance of translating the subtext to Chinese literature going out"
Reference Genette，G．Paratexts：Thresholds of Interpretation．Translated by Jane E．Lewin．London：Cambridge University Press，1997 ，cover，p．408 ，p．1。
Parker，Z．Q．“The Battle of the Red Cliff”，The China Journal of Science＆ Arts，VolumeIII ，Shanghai：The North－China Daily News and Herald． Ltd．1925 ，p．1，p．250 ，p．253 ，p．253．
王丽娜：《〈三国演义〉在国外》，《文献》1982 年第 12 期 。
王丽娜、杜维沫：《〈三国演义〉的外文译文》，《明清小说研究》2006 年第 4 期。 Q 郭昱：《邓罗对〈三国演义〉的译介》，《中国翻译》2014 年第 1 期 。
彭文青：《互文性：〈三国演义〉多个英译本研究》，上 海：上 海外语教育出版社，2019 年，第 1 、12 页。
英语笔译 周皓熙 Zhou Haoxi 202170081612 MW
Abstract
Guanzi is a Chinese classical work covering multiple aspects such as agriculture, economy, commerce, law and etc., which draws the attention of many scholars both at home and abroad. At present, there are two complete English version of Guanzi, one is by American Sinologist W. Allyn Rickett, the other is by Professor Zhai Jiangyue. Thus, this paper attempts to study its transmission in the English world based on the current research situation of its English versions.
Keywords
Guanzi; Classic Translation; English World
I.Introduction
The Guanzi is a multifaceted text. The study of Guanzi in China focuses on its date of composition, ideas, and contemporary influence, while overseas research on Guanzi focuses on the translation of Guanzi and the influence of the ideas contained therein in the West. The study of Guanzi by Western scholars began in the late nineteenth century and has continued unabated until 1999, when the first complete English translation of Guanzi was published by Li Ke, who published the second part of the text. The publication of the first complete English translation of Guanzi was a landmark for Western readers, creating a new world for Western scholars to understand Guanzi and laying a solid foundation for its dissemination in the Western world. It is of great practical importance to examine the spread of Guanzi in the English-speaking world.
II. An Overview of the English translation of the Guanzi
(1) Foreign English translations of Guanzi. The translation and study of the Guanzi by Western scholars began at the end of the nineteenth century. During this period, scholars such as Gabelentz, Wilhelm Grube and Edward Parker introduced and translated Guanzi, but they only introduced Guanzi. It was not until the late 1920s that the study of Guanzi really began in the West, with the emergence of such scholars as Forke The study of the Pipe did not really begin until the late 1920s, when researchers such as Forke, Henri Maspero, Bernhard Karlgren, Piet Van Delon, Hughes ), they discussed whether the Guanzi was a "forgery" or "pseudoscript" and each made a detailed examination and study (Li Zongzheng: 2014). In the 1950s, the first monograph on Guanzi appeared in the West, Economic Dialogue in Ancient China: Selections from Guanzi, which was translated and published by Chinese American scholars Tan Bofu and Wen Gongwen, mainly in abridged and selected translations (Chen Shuyi: 1996). In the late twentieth century, H. Roth also explored the ideas contained in the chapters on the mind and inner work of Guanzi in his publication Original Tao. Princeton University Press published the first volume of GUANZI-Political, Economic, and Philosophical Essays from Early China, translated by American sinologist W. Allyn Rickett, in 1985, and the second volume was published by the same publisher in 1998. The second volume of the book was published by the same publisher in 1998. This is the first complete and authoritative translation of Guanzi into English in the West. (2) The English translation of Guanzi in China. The English translation of Guanzi by domestic scholars is quite rare. The main translations are those published by Li Xuejun on the New Legalist website and Zhai Jiangyue's version published by the Greater China Library. "Li Xuejun's translation of Guanzi: Earliest Masterpiece on Political Economy in Human History is serialized on the New Legalist website, and this series of articles is an abridged translation of the representative political and economic views of Guanzi. This series of articles, which are mainly abridged translations of the representative political and economic views of Guanzi, has been published by Li in 15 consecutive articles, which laid a solid foundation for further research on the English translation of Guanzi (New Legalist website), and has been published one after another in the Greater China Library series since 1995, among which Guanzi has been translated into modern and English by Professor Zhai Jiangyue of Ludong Normal University, and was first published by Guangxi Normal University in 2005. (3) A review of the studies on the English translation of Guanzi. The main forms of research on the English translation of Guanzi by domestic and foreign scholars are books and papers. The domestic studies are mainly expressed in the form of dissertations, including Feng Yu's "Evaluation of the English Translation of <Guanzi>" in 1988; Feng Yu's "Major Treatises on the Study of <Guanzi> in Europe and America" in 1988; Song Limin's "The Study and Translation of <Guanzi> (Essays on Early Chinese Political and Economic Philosophy)" in 1989; Li Xia's "Introduction to the Study of <Guanzi> in this Century" in 1993; and The Communication of English Translation of the Linguistic Simplicity Style of <Guanzi> by Chen Jiangning in 2014; Overview of Research on Foreign Translation of <Guanzi> by Li Zongzheng in 2014, etc. The main foreign studies on Guanzi include an article on Guanzi-youguan by the American sinologist Li Ke in Bulletin in 1960; Li Ke's monograph Kuan-tzu: A Repository of Early Chinese Thought published by the University of Hong Kong Press in 1965; in 1988 the American The scholar William G. Boitz published a review of Li Ke's translation of Kuan-tzu (vol. 1) in 1988, and another American scholar, Robin D. S. Yates, wrote a review of Li Ke's translation of Kuan-tzu: A Repository of Ancient Chinese Political, Economic, and Philosophical Essays in 1988.
III. Dissemination of the English translation of Guanzi
1. Amazon Books website reader reviews. As of January 15, 2016, the National Amazon.com has two main reader reviews for the English translation of The Pipe, the first of which was posted by Lenny Lendon on July 9, 2006, in which the reader argues that Leek's English translation is too scholarly and not suitable for every reader. The book does not work on editing, so the whole book is not as interesting to read, and Li Ke's first edition does not fully translate the best parts of Guanzi, whereas Li Ke's various commentaries in the translation are more welcome, and the Chinese canonical works should be able to win more attention. Another review was posted by Matthias Richter on August 18, 2008, in which the reader felt that Li Ke's translation made a great contribution to Western readers, adding a great deal of detailed and accurate commentary to make it easier to read. This may be related to some obscure phrases in the original text and translation of Guanzi, but given the comments of the two readers mentioned above and the achievements of scholars who have studied Guanzi, it can be seen that the English translation of Guanzi has remained at the academic level in the Western world, and if it needs to be disseminated to a wide audience, it may need further efforts from scholars. If it needs to be disseminated to a wide audience, further efforts by scholars may be needed. 2. Citations and comments on the English translation of Guanzi on academic websites. As of January 15, 2016, according to the statistics of Google Scholar, the English translation by the American sinologist Li Ke was cited 138 times during the 27 years from 1987 to 2014, and the topics of the cited articles covered Chinese traditional culture, Chinese prehistoric civilization, ancient economy, comparison between the ancient cultures of East and West, and the study of Taoist thought. The English translation of Guanzi and the English translation of Li Ke's text have provided a better and more comprehensive understanding of Chinese traditional culture for Western scholars, and also provided a certain medium for the dissemination of Guanzi in the West. 3. The influence of the English translation of Guanzi on Pound When it comes to the spread of the English translation of Guanzi in the West, we must mention the famous American poet of Confucianism and the master of imagism, Pound. Pound became interested in the English translation of Guanzi through the Englishman General Fuller, who introduced it to him. Pound talked about the content of the Guanzi as well as his praise of the Guanzi many times in his Poems from the Imperial Throne published in 1959 (Qian Zhaoming, 2014: 115). Pound's further knowledge of Guanzi occurred in the late 1950s, when he was composing his Poems on the Imperial Throne and reflecting on the ways of governing at St. Elizabeth's Hospital in Washington, D.C., and when Pound had a close personal relationship with a Chinese scholar who had traveled to the United States. Noel Stock, a close friend and biographer of Pound and editor-in-chief of Edge magazine, mentions in a book explaining the Poems that in 1957 a Chinese poet living in the United States, Zhao Ziqiang, sent Pound a copy of an English translation of an excerpt from Guanzi entitled Economic Dialogue in Ancient China, written by Lewis Maverick. -It was published by Lewis Maverick in 1954. Pound sent it to me for publication in The Blade, and it was published in June of that year. Chapter 106 must have been written shortly after this (Stock Noel, 1967:70). In Poems from the Imperial Throne, chapters 98 and 99 focus extensively on the Sixteen Articles of the Imperial Bishops issued by Kangxi in his early years, which Pound envisioned as a well-governed, decent state of social life designed by the Confucian "imperial throne. Throughout the poetry scene in Europe and America in the 1950s, Pound was unique in that he not only drew on certain forms and characteristics of Japanese poetry such as haiku poetry, but also incorporated traditional Chinese canonical works into his poetry, making his own contribution to the understanding of the canonical works such as Guanzi by Western readers and making great efforts to promote cultural exchange between the East and the West. In addition, the English translation of Guanzi not only influenced Pound's poetry, but also made him more profoundly aware of the economic, political, and diplomatic connotations contained in Guanzi, from the traditional ethical perspective of Confucian writings to his own ideas.
IV. An Introduction of Zhai’s version
Guanzi is named after Guan Zhong, a stateman and philosopher lived in the Autumn and Spring Period with Guanzi as his honorific title. This collection believed to have reflected Guan Zhong’s main ideas was translated into modern Chinese and then English by Dr. Zhai Jiangyue and was published by Guangxi Normal University Press in 2005 in four vols with its ISBN: 7563353461. Guanzi is a collection of essays and comments authored Guan Zhong or under his name. Regulated by Liu Xiang in the Western Han Dynasty, the collection included 86 essays after filtering out the repeated among 564 essays. The ideas of the collection were regarded as that of Taoism in Han Dynasty and as that of Legalists after Sui Dynasty. Only 76 essays are preserved until this day. Guanzi discussed politics, economics, military matters, education and other aspects with ideas of Taoism, Confucianism and other schools and knowledges on yin-yang and five elements, astronomy, calendar, education edaphology, etc. It’s an eclectic collection that is unique among Chinese cultural classics and worthy of studying. Western studies on Guanzi emerged in late 19th century but meaningful translation of it didn’t appear until mid-20th century, yet with many pretermissions and mistranslations. In 1950s, ethnic-Chinese Tʻan Po-fu and Wen Kung-wen co-published the first monography on Guanzi in the west, in which they translated Guanzi with selection and abridgement. In 1954, American sinologist Dr. Walter Allyn Rickett began translating Guanzi and published two volumes one after another and a revised bound volume in 2001. Chinese studies on Guanzi are also flourishing. Li Xuejun published 15 essays in succession on Xinfajia.net with abridged translations of Guanzi’s ideas on economics and politics. Dr. Zhai finished the translation of Guanzi after the launch of Library of Chinese Classics (李宗政, 2014). By far, there are only two completely translated versions, one by Dr. Rickett and another by Dr. Zhai. Until January, 2022, by the statistic of World Cat, Rickett’s version was collected by 254 foreign libraries and Zhai’s by 77. While on Goodreads, Rickett’s version had only a few marks and comments and Zhai’s had neither. This shows that the western knowledge on Guanzi is mainly at academic level. Zhai Jiangyue, the translator of Guanzi, the Library of Chinese Classics version, is professor of the Academy of Chinese of Ludong University and distinguished professor for International Sinological Research Center of Shandong University. She masters pre-Qin Dynasty literature as well as English and German, which enabled her to devote herself to the translating and publishing of book series of Library of Chinese Classics (English-Chinese Version) with fruitful publications, including The Spring and Antumn of Lu Buwei, Guanzi, Records on the Warring States Period, Huainan Zi, and Selections from Classified Conversations of Zhu Xi. Ren Qiang (任强, 2019) noted that the skopos of Zhai’s version was to tell Chinese stories which resulted in her adaptation of foreignization to achieve a translation that is generally acceptable. Moreover, Ren thought Zhai’s two phases of translation, intralingual translation (from ancient to modern) and interlingual translation (from Chinese to English), kept consistency and interactivity for her version. Li Zongzheng (李宗政, 2014) commented that Zhai kept the version’s enjoyment at the cost of the concision of ancient Chinese.
V. An Introduction of Rickett, W.A’s version
One of the most accomplished American sinologists, Walter Allyn Rickett (1921-) is best known for his translation of the complete works of the pre-Qin Chinese classic, Guanzi. In fact, from 1948, when he began his study of Guanzi at the University of Pennsylvania under Derk Bodde, to 2014, when he accepted a position as advisor and chief senior fellow at the American Academy of Guanzi, Rickett has devoted his academic career to the study, translation, and promotion of Guanzi with his life's work and knowledge, and is thus respected in American sinology circles and worldwide as a leading scholar of Guanzi. It is no exaggeration to say that he is respected as an authority on Guanzi in American sinology and worldwide. Today, at the age of more than ninety, it is necessary to take a look at Professor Li Ke's sixty years of dedicated research and translation of Guanzi, and try to divide it into three research phases, so as to pay tribute to this great sinologist by introducing the research results of different periods, and to call more domestic scholars to pay attention to Li Ke and his representative translation of Guanzi.
1)The Beginning of Li Ke's Study of Guanzi and its First Emergence (1948-1965) In October 1948, Li Ke and his husband, Adele Austin Rickett (1919-1994), came to Beiping with great ambition under a Fulbright scholarship to study Chinese philosophy at National Tsing Hua University and Yanjing University, where they also worked as English teachers. From this period, Li Ke began his lifelong study of the interpretation and translation of Guanzi under the recommendation of his friends Feng Youlan and Xu Weiyu. At the beginning of his life in Beiping, Mr. and Mrs. Li Ke had no worries about food and clothing, but only the friendship with scholars such as Qian Zhongshu and Zhouliang, so he should have had a fulfilling and peaceful study career. However, because they were "commissioned" by the U.S. Navy Department to collect intelligence in China before they left, and because they were in the midst of the great historical change in China between the old and the new, Mr. and Mrs. Leek were separated in 1951. In 1957, Cameron Associates published their memoir Prisoners of Liberation-Four Years in a Chinese-Communist Prison, which describes their time in prison. In 1957, Cameron Associates published their memoir Prisoners of Liberation-Four Years in a Chinese-Communist Prison, which describes their experiences in China and their "ideological rehabilitation" in prison. In fact, for Li Ke, in addition to his "ideological reformation" in prison, this experience was a rare opportunity for him to come into contact with all kinds of people, including intellectuals, peasants, butchers, and Nationalist soldiers, and to experience a completely different world from the one inside the "ivory tower. He experienced a completely different world from that of the ivory tower. At the same time, he also made good use of this period to study Chinese history and philosophy, which laid the foundation for his academic career after returning to the United States. After returning to the United States, he continued his doctoral studies at the University of Pennsylvania and selected eight representative texts from Guanzi for his doctoral dissertation, which was published in 1960 as TheKuan-tzu: An Annotated Translation andStudy o Eight Represen tative Chapters. TheKuan-tzu: An Annotated Translation andStudy o Eight Represenative Chapters In the same year, Li Ke published An Early Chinese Calendar Chart: Kuan-tzu, III, 8, (Yu Kuan) in T'oung ao (Bulletin), Vol. 48, No. 1. (Yu Kuan) (Ancient Chinese Calendar Chart: "Guanzi-Youguan"), a detailed interpretation and translation of the text of "Youguan" in more than 50 pages. On this basis, Li Keqian published Kuan-tzu: A Repository of Early Chinese Thought by the University of Hong Kong Press in 1965, with the exception of "Young Official" which was published separately in the Bulletin, the rest of the articles are "Da Kuang", "Du Di", "Fa Fa", "Q", "Situation", and "Dou Di". Fa Fa Fa", "Q", "Situation", "Solution of the Situation", "Nei Ye", "Xin Shu Shang", "Xin Shu Xia", "Art of War", and "Map", a total of 12 articles, each of which is annotated and examined in greater detail. By carefully examining, studying, and translating the 12 representative texts, Li Ke officially announced to the American sinology community the beginning of a systematic and comprehensive study of Guanzi. One of the English translators of the canonical text Mencius, sinologist W. A. C. H. Dobson, wrote a book review in The Journal of Asian Studies, Vol. 26, No. 2, in 1967, in which he acknowledged the research of sinologist Li Ke and his contribution to the American sinological community. However, Dobson also pointed out that Li Ke's book was influenced by the requirements of his doctoral dissertation, and that he tried to translate word-for-word for the sake of academic rigor, preserving the characteristics of Chinese word order, sentence structure, and thought patterns, which facilitated the understanding of Guanzi's ideas to a large extent by Chinese scholars. However, by taking care of the one and losing the other, this word-for-word translation is more specialized and less literary, thus limiting the reading of non-Chinese scholars. Therefore, he calls on Li Ke and others to add appropriate notes and narrative commentaries for non-Chinese scholars who are unable to read the original work. 2) The Deposition, Full Explosion Phase of Li Ke's Study of Guanzi (1966-2001)
After publishing the translation and study of 12 articles in Guanzi in 1965, Li Ke aspired to translate all the 76 existing articles of Guanzi, but due to the influence of teaching and administrative work, it took two full decades before Li Ke finally compiled and published the first volume of Guanzi in English in 1985, Guanzi: Politi-c In the introduction of this book, Li Ke devotes more than forty pages to introduce the layout of Guanzi, the style of the book, and the history of the book. In the introduction to this book, Li Ke devotes more than 40 pages to the layout of Guanzi, the relationship between Guanzi and Guanzhong, the changes in the editions of the various periods, and the translation methods used in the text. The main text contains a total of 34 extant articles, each of which is preceded by an introductory commentary of varying length, focusing on evidence and background material, including the specific history, content, structure, and relationship to other chapters of each article, plus a large number of footnotes and treatment of some rhymes, which shows Li Ke's profound Chinese language skills and rigorous academic attitude. At the same time, in consideration of the connection of contents, the chapters 64, 65, and 66 of "The Situation", "The Nine Defeats of the Establishment", and "The Interpretation of the Edition" are advanced and placed after the corresponding chapters of "The Situation", "The Establishment", and "The Edition". It should be noted that Li Ke has abandoned the previous translation method of Wittoma Pinyin, and has used Hanyu Pinyin to mark the key words directly, such as changing the translation of Guanzi from "Kuan-tzu" to "Guanzi". For example, the translation of Guanzi was changed from "Kuan-tzu" to "Guanzi. This reflects the translator's respect for Chinese culture and helps maintain the exotic accent read by European and American scholars. In response to the publication of this pioneering work, the Chinese scholar Feng Yu wrote a review in 1988, saying that Li Ke's forty years of dedicated research and the assistance of experts such as Ma Feibai made the translation of high quality and "not the kind of haphazard work that lacks understanding of China. The foreign scholar Robin D. S. Yates also praised the translation highly in The Journal of Asian Studies in 1988, saying that "the importance of the original text and its authenticity can no longer be denied". "This book has made an outstanding contribution to the study of the Guanzi and will be a first-rate authoritative work for many years to come." After the publication of the first volume of Guanzi, Lik was affected by his own advanced age and the death of his wife, Adele Austin Rickett, from cancer, before finally completing the translation and collation of the second volume of Guanzi in 1996 and publishing it in 1998, also at Princeton University Press. Excluding the missing pieces and the three pieces that were brought forward to the first volume, the second volume actually contains 42 pieces. The layout and translation method of the second volume basically follow those of the first volume, but in accordance with the comments and suggestions of Robin D. S. Yates and others mentioned above, many additions to the omitted parts of the original ancient Chinese have been eliminated in order to take care of the readability of the translation without affecting the understanding. At the same time, based on the suggestions of William Boltz and others, Li Ke adopts a more flexible approach to the terms "reason" and "righteousness" in different contexts. After completing and publishing the entire translation of Guanzi, Li Ke did not stop there. He reworked the first volume against the translation style of the second volume, with the most notable changes being the emphasis on rhyme and the addition of Chinese characters to facilitate reader study, and published it in 2001 by Poston Cheng and Cui Dongfang Translation Company. Since then, Li Ke has become the only Western sinologist to have translated all 76 of the 24 extant volumes of Guanzi into English. In 2003, Robin McNeal wrote in Early China The Development of NaturalistThought in Ancient China: A Review of W. Allyn. Allyn Rickett's Guanzi, in 2003, acknowledged the results of Li Ke's long years of research and said that the translation provided scholars with a place to go for frequent consultation, and that many of the historical issues addressed in it played a key role in furthering the understanding of early Chinese society, intellectual structures, and so on.
VI. Conclusion
The study of the English translation of Guanzi remains mostly academic and has done little to promote the dissemination of Guanzi, but with the successive release of the two complete translations of Guanzi and the continuous exchange of Chinese culture with the world, Guanzi will receive more and more attention from scholars worldwide. In conclusion, the English translation of Guanzi has played a certain role in spreading Chinese culture, attracting the attention of Western readers, and enhancing national pride; however, it should be pointed out that we should try to make the English translation of Guanzi better to attract the attention of Western readers as much as possible, and the translation effect should be more in line with the translation of the incoming language, while expanding the dissemination of its English translation.
Reference
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英语笔译 周哲 Zhou Zhe 202170081613 CE
Abstract
The Peony Pavilion, also known as "The Return of the Soul", is a masterpiece by Tang Xianzu (1550-1616), an outstanding Chinese opera singer of the 16th century. Compared with the script, The Peony Pavilion has not only been greatly changed in terms of plot and description, it has also improved greatly in terms of theme and thought. The Peony Pavilion has also reached an unparalleled artistic level in terms of diction,
英语笔译 朱丽娟 Zhu Lijuan 202170081614 MW
Abstract
As a kind of social ideology, religion has been playing an important role in the history of human culture. It is through a deep understanding of Christianity that we can have a comprehensive understanding of Western culture. In the same way, we can deepen our understanding of Chinese culture only through a deep understanding China ancient Chinese religions. The main religions in ancient China are Taoism and Buddhism. Taoism is a native religion. By contrast, Buddhism is a foreign religion. Therefore, this paper mainly discusses the China of Buddhism and its development.
Since Buddhism was introduced into China, it has gradually embarked on the road of sinicization due to the influence of ancient Chinese economic and political traditional culture. After the Sui and Tang Dynasties, Buddhism merged with China traditional culture and further evolved into Chinese Buddhism.
Key words
Buddhism;religion;Daoism
Subtitle 1
1.Ancient Chinese religion is an important part of Chinese Culture
Ancient Chinese religion has a wide range, from the ancient times of nature worship, totem worship, to the xia, shang and zhou period of day emperor worship, ancestor worship; From the long-standing folk worship of heaven, ancestor worship, worship ghosts and gods, to the Han and Wei dynasties after the spread of Buddhism and Taoism, all of which belong to ancient China religion.
When it comes to religion, many people can easily associate it with praying to Buddha for help, burning incense and kowtowing. In fact, incense worship, sacrifice to pray as kind of ritual, is a part of religion. However, in addition to these external forms, there is a religion and its more profound inner implication.
The word religion comes from the Latin religare. The word "religion" means a relationship between man and God. The so-called "god," is a kind of mysterious supernatural power, such as "god" in Christianity, Islam, "god," Buddha and so on. Religion is one of the most important things, and is the officer of a supernatural power of faith and worship, which makes it and the symbol of human civilization. In that case, why do you say religion is also a kind of cultural phenomenon?
At the beginning of human society, due to the extremely low level of intelligence, the earliest primitive people could not distinguish themselves from the natural world and the animal kingdom. Later, with the gradual development of productivity and the continuous improvement of intelligence level, primitive people were gradually able to distinguish "human" as a "class" from the natural world and the animal kingdom, and then gradually produced "human" consciousness. When the primitive people can distinguish "human" from nature and animals and gradually sprout self-consciousness, they can abstract a "God" opposite to "human" and pray for its blessing and protection. It is in this sense that the Germany philosopher Feuerbach said: "Religion is rooted in the essential difference between man and animal-consciousness. "Feuerbach 's" consciousness "here, is not that some animals and plants which have self-perception or perceptual recognition, but refers to the nature of their own and the nature of the relationship between consciousness.Based on the opinions of Feuerbach,their essential is regarded as an object "of consciousness, and this consciousness is strictly a kind of self-consciousness. This kind of self-consciousness is the product of human thinking development to a certain stage. Therefore, the emergence of religion is the result of human cultural activities, and it is an important association with the history of human culture.
In the process of its development, religion has eatablished a solid bond with various cultural phenomena. Throughout the history of human development, all of the cultural forms are closely related with religion. Not only those who directly marks the philosophy of human civilization, science, literature, art, calligraphy, painting, sculpture, architecture and so on all marked by profound religious imprint, even those as the core of the superstructure of each era political system, legal thought, ethics, etc., are also deeply restricted by religion. As for religion for each historical period, each nation's life customs, social psychology, the influence of cultural characteristics, is everywhere, it is difficult to say something.
The most fundamental and central issue of ancient China philosophy is "the study of the relationship between heaven and man, and the understanding of the changes between ancient and modern times." The concept of "heaven" in ancient China philosophy, to a considerable extent, is the continuation and development of the concept of "God" in ancient Chinese religion. It goes without saying that if you know nothing about ancient China religion, if you know nothing about the connotation and origin of the concept of "God" in ancient Chinese religion, it will be difficult to accurately understand and grasp the inherent connotation and basic spirit of ancient Chinese philosophy.
The traditional China academic thought has always been Confucianism as the mainstream, and Confucianism is a kind of ethical philosophy to a certain extent, its core idea is "filial piety." "Filial piety" includes both support and filial piety to parents who are still alive, as well as filial piety and sacrifice to deceased ancestors and even ancestors. This tradition of "being cautious in the end and pursuing the distant" is actually the continuation and development of ancient China religious ancestor worship. If we lack the basic understanding of totem worship and ancestor worship in ancient China Religion, it is difficult to deeply understand and grasp the Confucian ethical philosophy based on "filial piety."
The influence of religion on ancient China literature and art can not be ignored. For the history of ancient China literature is the first to encounter a book is the book of songs. The "heaven" in the Book of Songs can be seen everywhere, both praising heaven and complaining and cursing heaven. What does the "heaven" in this mean, what is its meaning, why does it curse heaven, and so on, the readers and researchers of the Book of Songs should at least know a little, and to do this, we must understand the ancient China religion. Some scholars who have long been engaged in the study of China art history know better the importance of understanding ancient Chinese religions. Because in the long-term art practice, they deeply realized that do not understand the ancient China religious activities and related rituals, for many primitive dance, cave wall painting, etc., it is difficult to understand its true meaning and creative motivation. All this shows that many cultural forms in ancient China are affected by the ancient Chinese religion in different degrees, and the ancient Chinese religion has a very close relationship. Therefore, to fully understand the ancient China culture, it is necessary to outline to know about the ancient Chinese religion.
Like many regions and nations in the world, religion has a long history in our country. As early as in ancient times, our country appeared natural God worship, animal God worship, ghost worship and ancestor worship and other primitive religious forms, especially in the natural God worship and ghost worship is the most popular.
Apollo worship so will be very popular in the history of China and the world, this is related to the sun has a direct and powerful influence on human life. The sun every day out of the east west, ray, bring light to human, bring warmth, but it is not taste bless people, volts, the scorching hot sun often make people hot, long long early, such as the sun of fire more tan the earth smoke. Extremely low productivity level of the primitive, both need the gift of the sun, and the change feel mysterious and helpless, gradually put it as a kind of mysterious supernatural power, prostrate at the foot of it, the cult of it. In this way, has a close relationship with the human life of the sun, has become the first human object of worship.
In addition to the sun god worship, ancient China also popular luna worship, and in some ethnic minority areas, luna became the main national or tribal worship of gods. For example, the ancestors of the Oroqen nationality lived mainly by hunting, and most wild animals came out at night, which gradually led the Oroqen nationality to regard the moon as their main deity-"Biya." On the tenth day and the twenty-fifth day of the first month, they are to bow down to the moon. If a few days in a row can't hit the beast, the hungry hunter will be held a ceremony, the moon worship, pray for protection. In the event of a lunar eclipse, they are very fear, think disaster is coming, we compete to ring everything can ring, the old people are constantly kowtow to pray.
In China history, another ancient religion that coexisted with nature worship was ghost worship. The theory of ghost worship is based on the theory that the soul does not die. Ancient primitive because cannot explain the phenomenon such as dreaming, life and death, mistakenly believe that there is a kind of independent of the body or not with the form of death and the disappearance of the spirit of the entity-----soul, because the soul will not die, is not restricted by time and space, has the ability to superman, primitive fear of harm by it already, and hope to be able to get the gift of it, over time, the ghost of the undead has become ancient people common object of worship. Out of instinct, people always think the ghost of their loved ones or the ghost of their tribal leaders can protect themselves most. Slowly, the worship of--like ghosts and gradually transformed into the worship of their ancestors ghosts or the tribal leaders of the ghost, by the gradually evolved ancestor worship. Ancestor worship in ancient China religion occupies a very important position, and later, ancestor worship become one of the most common ancient folk religious activities.
There are many forms of religion in ancient China, such as totem worship, divination and so on. However, the most representative form is the nature worship and ghost worship, and thus developed day emperor worship and ancestor worship. Because there is no written record before the Three Dynasties, the relationship between ancient religion and ancient culture can only be investigated from the aspects of social folk customs, etc. As for the worship of the emperor of heaven and ancestor worship in the Three Dynasties and later, it has laid a deep imprint in ancient China philosophy, literature, art and so on.
Subtitle 2
2. The basic teachings of Buddhism
Buddhism is one of the three major religions in the world today. It originated in ancient India in the 6th-5th century BC. Its founder was Siddhartha Gautama. Sakyamuni is a Buddhist addressed to him. He is also known as "Buddha" or "Buddha," meaning "enlightened person" or "wise person who has realized the truth." Reportedly sakyamuni is ancient India and which the wei-guo luo suddhodana king prince, was born in 565 BC, died in 485 BC, and Confucius's era in China.
According to the relevant data records, Sakyamuni for witnessed the world physical and other suffering, so he became a monk. After 49 days of meditation under a bodhi tree, he realized a "truth" that everything in the world (including life) is formed by the combination of causes and conditions (conditions). Once these conditions change or do not exist, the thing will cease to exist. Therefore, all things are false appearances and illusions arising from causes and conditions, and they have no self-nature and are all "empty." In that case, people for all things (including their own) should not deliberately pursue, struggling to cling to. Since the--cut all have no pursuit. Persistence, and what troubles have! It is said that when Sakyamuni realized this "truth," he "fully understood," removed all worries and realized the Buddha's fruit.
After Sakyamuni enlightenment Buddhahood, began enlightening the Dharma. He said that there are 84,000 teachings, but if the basic idea is to say, it can be summarized in four words, namely,"bitter collection to destroy the Tao." The term "Four Noble Truths" is also used in Buddhism to refer to "Four Noble Truths." The "four truths" are the four most basic truths or truths of Buddhism.
(1)The condition of all existence is suffering. (2)Suffering is caused by sin. (3)Sin can be exterminated. (4)Suffering can be alleviated by the right path of understanding, mediation and endeavour. The Buddhist ideas of transmigration and retribution are widely accepted. (5) the concept of "Emptiness"is another key concept in Buddhism(The Sanskrit word is Sunya). Emptiness is not nothing, but it is the condition of existence of everything. It permeates all phenomena, making their evolution possible. Emptiness is an abstract idea representing impermanence, instability, transience and relativity in the nature of all existence. According to Buddhism, nothing is permanent and everything is dependent on causes and conditions. Whenever the causes and conditions that produce or sustain a phenomenon are removed, that phenomenon will cease to exist. Furthermore, In the Avatamsaka Sutra we can read this gatha:"All things are birthless. All things have no extinction.You are also like that.If you know how to look at things this way, you can see and touch all Buddhas at any time.” (6)According to the Lotus Sutra, everyone has the Buddhata, and the Buddha is full of compassion, and that is why Shakyamuni Buddha always tries to help. Amitabha is the Sanskrit word, and literally it means boundless light and boundless life.According to Buddhism, people recite or call upon his name by the time of dying will be born in the Land of Ultimate Bliss with the reception by Amitabha.Bodhisattva, who is called Guan Shi Yin or Guan Yin Bodhisattva, is very popular in China.Originally represented as a male, the images are now generally those of a female figure.It is believed that she has the greatest compassion and mercy and rescues all beings by hearing their voices of suffering and cries for help.Guan Yin can transform into many different shapes in order to cross over to the beings. (7)Eight Precepts, Eight Sufferings,the Winds of the Eight Directions and Eight Right Ways:the Buddhist Eight Precepts, Eight Sufferings, the Winds of the Eight Directions, Eight Right Ways are very important in the practice of Buddhism. The Buddhist Eight Precepts are：
(1)No killing. (2)No stealing. (3)Nosexual misconduct. (4)No lying. (5)No alcoholic drink. (6)No cosmetic, no personal adornments. (7)No sleeping on fine beds. (8)No eating after noon.
According to Buddhism, there are Eight Sufferings for human to be tortured while living. They are：
(1)Suffering of birth. (2)Suffering of old age. (3)Suffering of sickness. (4)Suffering of death. (5)Suffering of being apart from the loved ones. (6)Suffering of being together with the despised ones. (7)Suffering of not getting what one wants. (8)Suffering of the flourishing of the five skandhas.
Most people are usually moved by the Winds of the Eight Directions. They are：
(1)Praise. (2)Ridicule. (3)Suffering. (4)Happiness. (5)Benefit. (6)Destruction. (7)Gain. (8)Loss.
There are Eight Right Ways leading to Nirvana：
(1)Right view. (2)Right thought. (3)Right speech. (4)Right action. (5)Right livelihood. (6)Right effort. (7)Right rememberance. (8)Right concentration.
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3. Buddhism in China and its development
Since the Buddhism was introduced into China, it was influenced by Chinese social and historical conditions. Gradually, it embarked on the road of sinicization.
In the early days of the spread of Buddhism to the East, the Chinese people at that time used traditional religious concepts to understand and accept Buddhism, resulting in Buddhism becoming a kind of immortal magic. Sakyamuni was described as an immortal who could separate himself and body, walk on fire without burning, and walk on the blade without hurting. Arhat also became an immortal who could fly and change, and "live in heaven and earth"(Forty-two Chapters Sutra). Originally, Buddhism developed from opposition to God's religion, and its theory of "one-cut all empty" also did not allow the existence of immortal gods or eternal immortal spiritual entities, but for a long time after Buddhism was introduced into China,"immortal gods" became the fundamental meaning of Buddhism.
Buddhism in many ways is in conflict with Chinese cultural tradition. For example, Chinese people usually consider the continuation of the generation line to be of tremendous importance, but Buddhism advocates celibacy. Confucianism holds that the human body is the sacred inheritance from one's parents and so it should be protected from being impaired or injured, but Buddhism adheres to asceticism and selfsacrifice.
With the development of Daoism in China, Buddhism was gradually accepted by people because they share the naturalistic and nihilistic philosophical thought. In the Tang Dynasty, Buddhism thrived with the support of the emperors. Xuan Zang began his pilgrimage journey to India. After studying in India for 20 years, Xuan Zang returned with volumes of precious Buddhist scriptures, and he, together with other monks and scholars, dedicated all the time and energy to translating the scriptures into Chinese. Xuan Zang made unique contributions to Chinese Buddhism and greatly enriched Chinese culture.
The two main branches of Buddhism are Theravada and Mahayana, which include Tibetan and Zen Buddhism. Mahayana has been active in Japan, Korea, Nepal, Mongolia, and China, which teaches social concern and universal salvation. Theravada has been the predominant religion of continental Southeast Asia such as Thailand, Myanmar, Cambodia, Laosand Sri Lanka. It is also practiced by some ethnic groups of southwest China. Theravada promotes the concept of self-cultivation and gaining insight from the aspirant's experience, critical investigation, and reasoning instead of by blind faith.
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4. The influence of Buddhism China
Generally speaking, China Buddhism is an important part of Chinese culture, which may be difficult for people to understand and agree with. However, if the ancient Chinese culture is embodied in such aspects as philosophy, literature, calligraphy and painting. Sculpture architecture and other cultural forms, the Buddhism for the huge and profound influence of ancient China culture, Chinese Buddhism as an important part of ancient Chinese culture becomes very obvious.
In philosophy, for example, the ancient China philosophy has been summarized as such a few stages of development, namely the pre-qin scholars, han classics, wei jin metaphysics, sui and tang dynasties Buddhism, neo-confucianism. Temporarily put aside before Buddhism was introduced into China's pre-qin zi and han dynasty classics, since the wei and jin dynasties, ancient Chinese philosophy and Buddhism has forged a bond. For example, the metaphysics of Wei and Jin Dynasties first served as the medium for the dissemination of Prajna, then merged with Prajna, and finally replaced by Prajna. Therefore, do not understand the prajnaparamita, it is difficult to have a comprehensive understanding of metaphysics. As for the sui and tang dynasties, Buddhism has become a great social forces at that time a trend of thought, if when talking about sui and tang dynasties philosophy excluded Buddhism, so, sui and tang dynasties philosophy will become very thin. Therefore, many famous scholars have advocated should be the sui and tang dynasties Buddhism and Confucian philosophy equally, as a direct inheritance of traditional China culture. As for Neo-Confucianism, it is a Neo-Confucianism on the surface, but as many thinkers in history have repeatedly pointed out, Neo-Confucianism is "Yang Confucianism Yin Shi" and "Confucianism is Buddhism."
Such as poetry, books, paintings. These three have always been known as the crown China ancient Chinese culture. But whether it is poetry, calligraphy, painting, all laid a profound imprint of Buddhism. Take poetry as an example, from the metaphysical poetry of the Wei and Jin Dynasties to the landscape poetry of the Northern and Southern Dynasties, from Tang poetry to Song Ci, all are deeply influenced by Buddhism. Xie Lingyun, as a great master of landscape poetry in Jin Dynasty, was a Buddhist with great attainments in Buddhism. Several great poets of the tang dynasty also involved in Buddhism. Li Bai is famous for his long way, but he also has the sentence of "sitting still in silence, thousands of people entering without a scratch." Although he is a scholar, he also has a chant of "The Seven Ancestors of the Temple of Two Peaks." Bai juyi, Buddhism and Taoism and repair. In his early years, Bai Juyi did not believe in Buddhism or Taoism, but after being demoted from Jiangzhou, he knew that his official career was difficult and dangerous, so he devoted himself to mountains, rivers, poems and wine, used broad-minded and happy days to send himself away, turned to alchemy and took food, and then converted to Buddhism and proclaimed himself "Xiangshan layman." Wang Wei worships Buddhism even more, and his Zen poetry occupies a pivotal position in the history of China poetry. Song Dynasty Su Dongpo, Huang Tingjian, such as CI giant, more in their friends with Zen monk, a teacher in the reward left many masterpieces. As for the novel, painting and calligraphy, sculpture, architecture, etc., are also closely linked with Buddhism. Such as the ancient China novels, its source is from bianwen of Buddhism; And many of the ancient China painting and calligraphy masterpieces, or from Buddhism, a teacher, or with Buddhism as the theme. What is more worth mentioning is that ancient China poetry, books and paintings all pay great attention to "realm," and the poet's "realm" has many similarities with the "Zen" of Buddhism, just as Tang Xianzu said: "Poetry, opportunity and Zen, if there is no beauty." The way of calligraphy and painting is consistent with the Buddhist philosophy and Zen interest. Because of this, the development and change of poetry, calligraphy and painting after Tang and Song Dynasties are often closely related to the development and change of Buddhism.
Conclusion
Buddhism has been playing the mainstream role in Chinese religious life and it has exerted tremendous influence on Chinese culture together with its process of localization.It provides a new approach to the development of Chinese philosophy, and the translation of Buddhist scriptures has added something unique to the classic Chinese literature, commencing the field of translation study.The Buddhist influence on the Chinese painting, architecture and even dancing is also of considerable value.
References
- Wang Jianhua (2021). The Reception of Liu Cixin's Three Body Problem in Europe. Oxford: Oxford University Press, 450 pp.