Appropriateness Theory

Creating Approprateness Theory

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• Appropriateness Theory - 易扬帆 殷美达

I need more students here. You can write papers criticizing existing theories here and suggest what needs to be improved to develop a new theory! This is cutting edge research here! I expect the best students to participate and we may try to submit the papers to real academic journals!

我在文章中所举出来的例子会涉及一些人们约定俗成的道德规范，所以我认为您的这个理论是不是表达的是不仅仅只是考虑源文本和目标文本的内容传达，更多的还会去考虑两个文本背后所需要遵循的伦理道德的意思。 可以检查译文可能会不遵循两个entities或者communities之间的伦理道德的关系，最后违背了appropriate theory。 当然我相信人工智能长期来说也会学习道德。 我觉得为了解释appropriateness theory最容易的是用一些已经存在的理论，选择一些例子让读者理解为什么这些理论都有限。 有可能skopos达到了十分，但是翻译还是不对或者不理想。但是用appropriateness theory可以指路怎么提高这个翻译例子的质量。 如果你能找到一些例子，用传统的翻译理论打不到最理想的结果，那我们可以发展自己的Appropriateness Theory想出来一个办法，怎么把这种例子也能翻译的好。 意思就是我们去寻找一些如今还存在着问题亟待解决的译本，然后尝试着用appropriateness theory去解决，而不仅仅只是局限于伦理道德这一个方面。 发展出我们自己的appropriateness theory去提高译文的质量？ 当然appropriateness theory大家都可以做贡献，最后只有一种appropriateness theory，包括你们所提到的解决方法。 所以这个appropriateness theory是一个规模比较大的，它能够修理现在存在翻译理论的一些缺点。 为了找合适的具体的使用例子当然也需要完全懂传统的理论，也要理解它们的限制和缺点。 翻译者一般不按照理论翻译。只是咱们学者用理论。我们只要找一个例子我们觉得翻译的不太好。然后我们看一下按照哪一种传统的理论这个翻译应该还是好的，也没有办法提高质量。比如按照skopos是好的，因为在墓地读者达到跟在原来读者相同的作用。（比如一个假的新闻关于俄国女孩子anna在德国被难民抢劫的在俄国引起反德国的感情，翻译成德文以后在德国也引起从俄国移民到德国的俄国人少数民族的感情。按照appropriateness theory，假的新闻更笨不要翻译成其他语言，引起感情的后果是已经融入德国文化的俄国人开始意识到自己是俄国人，然后他们说他们在德国被压迫并请俄国跟德国打战争。这种例子在美国选举方面也有，在新馆疫情媒体报道方面也有）。然后我们想一想怎么还是可以提高质量（当然这个例子比较敏感，可以加两个词“假的”就提高了质量，但是也会有一些不那么敏感的例子，可以用另外一种方式提高质量）。找到了以后我们就按照这个发展Appropriateness Theory。

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1 Ei Mon Kyaw: Appropriateness Theory in Translation Studies

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Student Name Ei Mon Kyaw, Student No. 202111080021

Abstract

This chapter is on ....This paper is an analysis to the .... of language and translation. Translation has been influenced by many social and intercultural factors. In this paper, ........ will be surveyed.

Key words

Translation Theory, Appropriateness Theory, Translational Studies

Literature Review

Interpreting theories and interpreting studies are as old as human languages. According to Seyed Hossein Heydarian, every language has a specific fingerprint of translation strategies (Woesler 2020, 345). The translation of the Hebrew Bible into Greek in the 3rd century BCE is regarded as the first major translation in the western world. This translation is known as the “Septuagint”, a name that refers to the seventy scholars who were commissioned to translate the Hebrew Bible in Alexandria, Egypt. Each translator worked in solitary confinement in his own cell, and according to legend all seventy versions proved identical.The translator’s role as a bridge for “carrying across” values between cultures has been discussed since Terence, a Roman playwright who translated and adapted Greek comedies into Latin in the 2nd century BCE.Cicero famously cautioned against translating “word for word” (“verbum pro verbo”) in “On the Orator” (“De Oratore”, 55 BCE): “I did not think I ought to count them [the words] out to the reader like coins, but to pay them by weight, as it were.” Cicero, a statesman, orator, lawyer and philosopher, was also a translator from Greek to Latin, and compared the translator to an artist.The debate about sense-for-sense translation vs. word-for-word translation dates back to antiquity. The coiner of the term “sense for sense” is said to be Jerome (commonly known as St. Jerome) in his “Letter to Pammachius” (396). While translating the Bible into Latin (a translation known as the “Vulgate”), Jerome stated that the translator needed to translate “not word for word but sense for sense” (“non verbum e verbo sed sensum de sensu”).

Kumārajīva, a Buddhist monk and scholar, was a prolific translator into Chinese of Buddhist texts written in Sanskrit, a monumental work he carried out in the late 4th century. Kumārajīva’s clear and straightforward translations focused more on conveying the meaning than on precise literal rendering. They had a deep influence on Chinese Buddhism, and are still more popular than later, more literal translations.

The spread of Buddhism led to large-scale translation efforts spanning more than a thousand years throughout Asia. Major works were sometimes translated in a rather short time. The Tanguts for example took mere decades to translate works that had taken the Chinese centuries to translate, with contemporary sources describing the Emperor and his mother personally contributing to the translation, alongside sages of various nationalities.

Large-scale translation efforts were also undertaken by the Arabs after they conquered the Byzantine Empire, in order to offer Arabic versions of all major Greek philosophical and scientific works.

Roger Bacon, a 13th-century English scholar, was the first to assess that a translator should have a thorough knowledge of both the source language and the target language to produce a good translation, and that he should also be well versed in the discipline of the work he was translating.

The first “fine” translations into English were produced by Geoffrey Chaucer in the 14th century. Chaucer founded an English poetic tradition based on translations or adaptations of literary works in Latin and French, two languages that were more established than English at the time. The “finest” religious translation was the “Wycliffe’s Bible” (1382-84), named after John Wycliffe, the theologian who translated the Bible from Latin to English.

The linguistic-oriented 'science’of translation has continued strongly in Germany and the concept of equivalence associated the ling. approach has declined.The rise of theories centered around text types (Reiss;) and text purpose (the skopos theory of Reiss and Vermeer). Contrastive analysis has fallen by the wayside.Translation is a form of interhuman communication. Jakobson said it has three ways:intralingual, interlingual, and intersemiotic.Translation linguistics - equivalency theory (lists of equivalent terms - prescriptive) – styistique compare (Vinay/Darbelnet, Malblanc) – Eugene Nida (sense/style/function equivalent bible translator – has overcome linguistic simplification by looking at function).They could not explain validity/correctness of different translations. 1970s finetuning of equivalency Koller 1992.leaving equivalency.translatological text linguistics and pragmatism – descriptive translation studies considered text as a whole, author, translator. Profited from contemporanian speech act theory. “situation adequacy of the target text is more important than semantic, syntactic or formal equivalency”. Hönig/Kußmaul: “text bound communication between translator and identifiable target readers” (communication function). 4 pragmatic basic types: 1. target readers of source and target text are similar => target text must fit expectations of target readers (functional, target-reader-directed) 2. source text is directed to source readers => translation documentary-alienating 3. target directed texts (texts which should be interpreted) => interpreter/translator can use source text freely to achieve function in target text

descriptive translation studies (target text is most important). Interdisciplinary stratification model (Snell-Hornby 1988): situative translation – functional translatology: scopos theory (Reiß/Vermeer 1984/²1991) translation is complex, intercultural communicative act of translator (finally valued important), translation order defines if target text shall be functional adequate or inadequate.

References

Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. Medicine and Ethics in Times of Corona Muenster: LIT

Ei Mon Kyaw

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--EIMONKYAW (talk) 13:18, 7 November 2021 (UTC)Ei Mon Kyaw -Ei Mon Kyaw-EIMONKYAW (talk) 13:18, 7 November 2021 (UTC)

2 Asep Budiman: Appropriateness in Translation: A Critical Evaluation

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3 Yi Yangfan: Appropriateness in Lyrics Translation -- A Case Study of Lana Del Rey's Lyrics Translation in QQ Music

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Abstract

In today's diverse society, the aesthetic demand for foreign music is gradually growing. Among the various genres of music, English pop music is the most widely circulated. However, there is little research on the translation of lyrics in China, and the translation works are of varying quality, which is worthy of further discussion and research. Lana Del Rey is a popular American singer, widely known for her retro lyrical style and cinematic sound. This article uses appropriateness theory as a guide to study the translation of Lana Del Ray's lyrics in QQ Music, in the hope that it will have some reference value for the translation of lyrics.

Key Words

Appropriateness;English Songs;Lyric Translation

Introduction

Due to the rapid development of the Internet and multimedia, many English songs have been translated into various versions upon their release. However, due to a number of factors, the quality of the translations is generally not high. However, as people's aesthetic standards improving, the translation of lyrics is gradually being taken seriously. This is evident from the fact that Bob Dylan won the Nobel Prize for Literature in 2016. Lyrics have their origins in poetry, and many lyricists still write words using imagery, rhetoric and rhyme to create poetry, so many translators unconsciously translate lyrics in the same way they translate poetry. But because the lyrics, when set to an arrangement, are more emotionally focused than poetry that focuses not only on form but also on emotion, the lyrics are sometimes even without a fixed form. This is why translators can experience emotional discontinuity in the translation process, i.e. some words in the translation are chosen more to fit the form than the emotion, and there is a disconnect between the emotions above and below. This paper examines the translation of the lyrics of Lana Del Rey's song in QQ Music as an example of a work that adequately conveys the singer's lyrical content but neglects the consistency of emotion, and attempts to address this phenomenon using appropriateness theory.

1.Xu Yuanchong's Translation Theory in Lyric Translation

1.1 Three beauties Theory

It is well known that Mr. Xu Yuanchong is an accomplished translator of poetry. He has been engaged in literary translation for more than 60 years, and his translations cover Chinese, English and French languages. In the second half of the 20th century, Mr Xu Yuanchong proposed the "Three Beauties Theory", based on Lu Xun's "A History of Chinese Literature", in which he said that "beauty of meaning touches the heart, beauty of sound the ear, and beauty of form the eye". "In other words, poetry should not only be faithful to the original text, but also "beautiful in meaning, beautiful in sound" and "beautiful in form". He said that the beauty of meaning should reproduce the beauty of the context of the original text, such as symbolic meaning, punning meaning, deeper meaning, meaning beyond words, etc.; the beauty of sound mainly refers to the rhyme, rhythm and double sound of the original text; and the beauty of form requires the translation to maintain the form of the original text as far as possible (e.g. length, counterpoint, etc.). The translation should not only convey the original meaning of the original text, but also the rhythm and charm of the original text. The "Three Beauties" theory plays an important role in guiding the translation of poetry. The three beauties are likeness of meaning, likeness of sound and likeness of form. The pursuit of likeness means conveying the content of the original text, without mistranslation, omission or over-translation. In Mr Xu's view, the translation of poetry must reflect rhyme and meter. "If the original poem uses rhyme but the translation does not, then the imagery, mood and atmosphere of the original poem cannot be transplanted in any way, because the content and form of the poem are inseparable". As for the beauty of form, this refers mainly to the 'length' and 'symmetry' of the poem. "It is best to achieve similarity of form, or at least 'general neatness'." Mr Xu also believes that the three beauties are not juxtaposed, but rather have a priority and order of importance. "Of the three beauties, beauty of meaning is the most important, beauty of sound is secondary, and beauty of form is even less important. We need to achieve all three beauties as much as possible while still conveying a beautiful meaning. If we cannot have all three, then we may not require similarity of form or sound in the first place; but we must convey the beauty of sound and form of the original text as far as possible.

1.2 Triple Transformation Theory

The "Triple Transformation Theory" (lightening, equating and deepening) is a theory of translation further summarized by Mr. Xu Yuanchong based on the "Theory of Three Beauties". In literary translation, especially poetry translation, the "Three Beauties Theory" has been accepted by the public as a kind of translation aim theory. The "Triple Transformation" is the method to achieve the "Three Beauties". "Beauty" is easy to understand, but what is "transformation"? Qian Zhongshu once proposed that the highest level of translation is to "transform the realm", and the so-called "transforming the realm" means "not only not to involve the traces of rigid and far-fetched because of language habits, but also to completely ensure the rhythm of the original work ", Xu Yuanchong believes that the "three transformations" include equivalence, but not reciprocity, but creation. The so-called "lightening" means abstracting some specific nouns, generalizing special nouns or proper nouns, or cutting out some words that are redundant to the translation, in order to convey the "beauty of meaning" of the original. By "equating", he means that adjusting the syntax and syntactic structure of the translation to make it more uniform in style and to make it read more naturally and fluently, provided that its meaning and context are basically the same as the original. The so-called deepening, as opposed to lightening, is to make abstract nouns concrete and general nouns special, using allusions and special imagery when necessary, to evoke deeper emotional resonance in the reader.

1.3 Triple Transformation Theory in Lyric Translation

Lyrics are a literary form similar to poetry, and in ancient times poetry and lyrics were originally one and the same, only later to become different literary genres due to different tracks of development. A good lyric is no less than a good poem, and therefore the form of translation of lyrics can be very open. The essence of a lyric translation is no different from that of a normal translation. It is characterized by the need to match the tune and to express the emotions that the song itself is intended to convey in its phrasing. In the case of tunes, the translation of lyrics should not be confined to a rigid translation between languages, but should reflect more of the rhythm and spirit of the music. Music, as an art to be appreciated, needs to pay special attention to the beauty of the lyrics themselves, to discover as much as possible the beauty of the original words, and to sublimate the beauty of the song as a whole. Mr Xu Yuanchong's 'Three Transformations' can effectively guide the practice of translating lyrics, through which translators can flexibly translate lyrics in order to bring out the beauty of the lyrics to the fullest.

2.The Specific application of Xu Yuanchong's Translation Theory in Lyric Translation

2.1 Case Study

Lana Del Rey is popular for her retro and cinematic music, especially her song young and beautiful for The Great Gatsby, the lyrics of which have been translated again and again in China, in various versions, but all with great beauty. Lana Del Rey's use of imagery is extremely skilful, similar to Chinese poetry, and the translator is able to borrow the techniques used in translating poetry to convey the beauty the original author intended. In this section, the translations of Lana Del Rey's ride in QQ Music are excerpted to analyse how the translator uses the triple transformation theory to convey the beauty of the original work.

Ride

I’ve been out on that open road 我流浪已久 You can be my full-time daddy white and gold 你就是我的全部 或苍白或绚烂

The translation of these two lines uses a lightening translation strategy. In the first line, the word 'out' means exposed, which is a good expression in the original, but a direct translation would lose the original meaning of the song, and it would be better to use the word wandering than to use an exposed translation, which would be more in keeping with the mood of the original song. In the second sentence, "white and gold" also creates a sense of old and yellowed vintage film, but if translated directly as two colors, not only will the reader be confused, but the beauty of the original will also be lost. Instead, the word 'gorgeous' is used to obscure the specific colour of gold, and at the same time, to create a sense of living a luxury and dissipation life

I’ve been traveling too long 我已经厌倦漂泊不定的生活

The translation of this lyric uses a deepening translation strategy. To say that I've been travelling for too long is to convey what the singer wants to say, but in the context of the song it seems abrupt and pale, so the translator chooses to make 'travelling' figurative, pointing out that it is a life of wandering that makes her bored.

I hear the birds on the summer breeze 夏日的微风拂过我的脸颊 我听见鸟儿悦耳的声音

The translation of this lyric employs the equating strategy. Equating is not merely an equivalence in form or meaning; it favors a flexible form of reciprocity. While the original is translated directly as I hear the birds singing in the summer breeze, the translation separates the imagery of summer, breeze and birds and focuses on the breeze, creating a sense of being in the same car as the author, enjoying the breeze and listening to the birds singing. This is an equivocation of meaning, and such an adaptation not only does not detract from the beauty of the original words, but also sublimates them.

2.2 Remaining Deficiencies

In the song Ride, the overall translation is generally in line with Mr. Xu Yuanchong's theory of triple transformation, splitting up the imagery rather than confusing the reader by merely sticking to formal equivalence, turning the erratic wandering into a way of life that is easy for the reader to understand, and blurring some Western expressions and using some flamboyant adjectives to lighten the sense of cultural difference. The song as a whole expresses the singer's constant state of wandering, being lost or tired on the road, feeling hopeless and lonely about the rest of his wandering, and is a rather sad and confused song. However, the translation of the song's chorus turns the singer's emotions upside down：

Been trying hard not to get into trouble 尽一切努力不让自己落入深渊 but I’ve got a war in my mind 可内心还在交战不休 I just ride just ride 所以我不停漂泊 无畏艰难 放荡不羁

It can be seen that the tone of the song before is one of confusion and helplessness, and the singer is tired and weary of this wandering life, but here the translation is suddenly used without fear of hardship and debauchery, which seems to express a positive feeling of still wanting to continue wandering, considering the confusion and helplessness of the present moment to be worthless difficulties, hoping to continue wandering like this tomorrow, and still having hope for tomorrow, which is in contrast to the previous This is the opposite of the tiredness and torment of the previous stanza, which makes the translation of this stanza appear to be emotionally disconnected from the previous one.

And this phenomenon is not only present in this one song. It also occurs in Lana Del Rey's California:

Cause this crazy love I’ll catch you on the flipside 我疯狂地迷恋你 我会再次俘获你的心

California is one of the most frequent images in Lana Del Rey's songs, often with an unspoken meaning of a flower in a mirror. This song was written by Lana Del Rey for her ex-boyfriend, expressing the sentiment that even after parting, I still miss the unattainable beauty of you. The songwriter expresses the lightness of letting go and hoping to meet him again as a friend, but if not, it's okay to wish him all the best. The translation here, on the other hand, expresses a nagging attitude that I want to catch your heart again, which is different from what the song was trying to convey, and there is also an emotional disconnect.

There is also a similar phenomenon with the track white dress included in the recent new album：

When I was a waitress 当我还是位服务生的时候

Wearing a white dress 穿着一袭白色连衣裙

Like look how I do it 来看看我是如何功成名就

Look how I got this 看看我是如何功成名就

In this song, as the title suggests, white dress is a very important image throughout almost the entire song. She continues to refer to being 19 years old, as she did in Hope Is a Dangerous Thing for a Woman like Me to Have - but I Have It, and it is clear that the white dress is a symbol of innocence, just like a 19-year-old girl, innocent and untainted by the world. Even Lana Del Rey herself says that the song will sound grotesque, but at the same time she calls it the saddest song of her songwriting career. What she shows in this song is a nostalgia for her past, a pity for the young girl who didn't know any better, a fondness for a time when things were free and uninhibited, revealing a sense of loss and bitterness that past thing cannot be traced. She really loves the innocent and unaware self that had the most genuine happiness, so she is disappointed that the self that has everything now is no longer able to be happy. When the singer is nostalgic, she is nostalgic for the happiness she had in the past, and that happiness is everything, not the word "功成名就" as used in the translation. “功成名就” means both have fame and fortune, but what fame and fortune did the singer have when she was young? The translation here is therefore inappropriate and makes a big difference to the nostalgic feeling the singer is trying to convey, and there is an emotional disconnect, too.

3.Additional Translation of the Appropriateness Theory

3.1 The Reason of the Deficiencies

The emotional disconnect mentioned above is very common, but why does it occur? This section explores in detail the reasons why this phenomenon occurs.

Firstly, there is the competition between players. With the widespread spread of Western culture and the development of technology in China, more and more music players are appearing on the scene, each with a large number of songs in English, and with Chinese translations so that listeners who do not know English well can grasp the general meaning of the lyrics. However, there are currently many players on the market with their own translations, which are not uniform and of varying quality. This article is based on QQ Music, which has a larger market share than any other player in China, but the translation does not stand up to careful analysis and contains many errors. This is partly due to the fact that the players focus too much on the first release of a song, and once they have the exclusive rights to a song, they are eager to upload it, hoping to attract more listeners and increase the number of plays, without paying much attention to the quality of the lyrics, and sometimes there are even mistakes and omissions, not to mention the quality of the translation.

Secondly, because the player does not require a high level of translation, the translation of songs is often not done by professional translators, but by amateurs who are very fond of the artists and are eventually adopted by the player. This has led to a certain degree of unevenness in the quality of the translations. The translators do not have the benefit or expertise in translation, but rather take it as a hobby, which results in the translators not having high expectations of themselves when translating and not being able to grasp the quality of their own translations, but rather translating according to their own feelings, with predictable results.

Thirdly, the first thing that translators feel about the lyrics, because of their own culture, is the beauty of the form and diction that is expressed in them. For example, Lana Del Rey's lyrics are extremely beautiful, using a lot of imagery such as summer, breezes, wine, sunshine, gems, luxury cars, bustling fairs and old-fashioned blues to create a sense of luxury as if one were in America in the last century, enjoying a life of glamour and luxury. So translators have mostly focused on bringing out this beauty in her lyrics, often ignoring the real emotions she was trying to convey behind them. As a Chinese translator, it is true that there are many instances in Chinese poetry where the emotion is not expressed directly but is all piled up with imagery, but the lyrics, as mentioned above, are different from poetry and are more emotionally focused. The song is more about the empathy of the listener and the singer than about creating a beautiful picture of the scene you are in, and whether the listener would understand the emotion the singer is trying to express if they were in that situation.

After all this analysis, translators often ignore the third aspect of emotion when translating the original text, thus creating an emotional gap. Perhaps listeners do not pay attention to the lyrics of a song when they listen to it, but when they want to savour the lyrics, they will adopt the same approach as in poetry, analyzing the form and context and then start to explore the emotions that the original text is trying to express, and emotions are what listeners pay more attention to, so it is necessary to analyse and correct the translation of the lyrics appropriately.

3.2 Additional Translation Guided by Appropriateness Theory

3.2.1 Appropraiteness Theory

Having explored the reasons for this phenomenon in the previous section, this section uses appropriateness theory to examine how translations of lyrics can be adapted to improve their quality. It can be seen that Xu Yuanchong's translation theory is no longer fully applicable to the translation of lyrics, so we need to find some other guiding theory to guide the translation of lyrics. Here I would like to refer to the theory of appropriateness. Appropriateness theory is a new theory that has been proposed to guide translations, and it is based on all the previous theories. The question of appropriateness may be answered differently in different times, in different roles, from different perspectives, in different disciplines, etc. The evaluation of translation appropriateness can only be relative, not absolute. It is therefore necessary to establish a system of evaluation that assesses different aspects such as the function of the text, fidelity to the author, the concept of direct translation/translation and the extent to which the translation 'works' in the language into which it is translated. The principle of appropriateness has been discussed and used more often in relation to ethical, moral and ideological translations, for example, Should you report things you overheard from the foreign negotiation team to your own team to enhance your own team’s chances? Is it appropriate to tell a standard joke in the target language when the country’s leader has told a racist joke? What implications does it have about the foreign country’s leader, when he laughs at your standard joke? The country’s leader may think he laughed at his (racist) joke. Is it appropriate to take over the role of a negotiation participant when you are hired for interpreting? (See the contribution in this volume.) When you are a wartime interpreter: Is it appropriate to translate propaganda and to interpret for a dictator? Is it appropriate to translate the German order “Feuer!” [Shoot!] by the German commander into French if the collaborating French soldiers would commit a crime against humanity when they understood and executed the order? However, the author believes that since this theory is a development of all translation theories, it should be biased towards the shortcomings of all translation theories in practical guidance, rather than just a few aspects. Therefore, when the translation of lyrics can no longer be guided only by Xu Yuanchong's theory, a new theoretical system should be sought to guide and correct the translation of lyrics.

3.2.2 The ways to adapt translations through appropriateness theory

And how to embellish is the next specific question that the author explores. The author believes that the processing and treatment in embellishment can be referred to some techniques of expressing emotions when writing. Although we are in different times, have different identities and perspectives, and speak different languages, we all feel the joy of getting a high score in an exam, the anger when something we like is maliciously damaged by someone else, and the sadness when a loved one dies. There are many different ways of expressing our feelings, but we all end up describing them in much the same way. So here we need to take into account both the cultural differences between the two countries when translating, and the similarities and differences in the way emotions are received. For example, white is a symbol of purity and innocence in the West, and is often used at weddings to express the purity and innocence of the bride, or the sincerity and purity of the feelings, but in the East, especially China, white is often a symbol of sadness, and is often used at funerals to express the grief and sorrow for the passing of the ancients, and all the glories of the past are eventually left as a pale sadness.

So when making a translation, it is important to consider what kind of expression will be more acceptable to the reader of the translated text. It is best to translate poetry into a poem, and poetry is often a literary language, which is unfamiliar to the reader, so even if the emotion is expressed, the reader will feel the strangeness of the emotion. Therefore, I think that we can use some more approachable and everyday language to express the emotion. Because if you want to evoke empathy in the reader, you should use descriptions of things or scenes that are familiar to the reader to evoke a sense of empathy. For example, the translation of the song white dress, mentioned above, uses the word '功成名就', which is obviously rarely used in everyday language and is a literary term. Here we can use more common language and change it to "看我如何得到这一切", which reduces the abrupt complacency about fame and fortune brought about by the word "achievement" and also reflects the singer's confidence in the past years that everything in the world was inevitable. It is also an allusion to the innocence that she misses most when she looks back on her time, when she had nothing but joy.

Alternatively, the language may be more 'naturalized', i.e. expressed in a way that is more acceptable to the culture of the reader of the translation. For example, in the translation of the interception of the song California mentioned above, the phrase "I'll capture your heart again" is a very obvious Western expression. In Eastern cultures, the expression of one's love for one's favourite person is often subtle, hidden and not so much known to others. A very famous example of this is when Natsume Soseki said to one of his students in a lecture, "How would a Japanese person express that I like you? He would not say outright that I love you, but rather that the moon is so beautiful tonight. Haruki Murakami also said in his prose, “If I love you and you happen to love me, when your hair is messed up, I will smile and ruffle it for you, and then I will leave my hand on your hair for a few seconds. But if I love you and you don't happen to love me. If your hair is messy, I will only tell you gently that your hair is messy. ”So here I think we can use a more subtle oriental language and change it to "我会与你在故事的另一面相遇", which changes the original translation from expressing the reluctance of wanting to dwell on the ex, to expressing a sense of helplessness that the relationship has passed away, and a sense that if there is a chance we might only meet by some kind of chance. This is in keeping with the emotional tone of the song.

4 Yin Meida

Abstract

We are living in a time when globalization is developing rapidly, where translation serves as an indispensable medium for communication and cooperation between countries and regions. Various translation theories and techniques sprang up to meet the needs of exchanges of different kinds, and conflicts arose as to what type of translation theory and technique should be adopted. However, there is always invisible power influencing the choice of translation strategies and guiding the process of translating, which is ideology. This article will present the relations between translation and ideology, a few cases of how ideology affected translation and its consequences, as well as appropriateness theory which could help ease the tension and to some extent reduce the influence of ideology to translation so as to preserve the value and meaning of translation.

Key Words

ideology, appropriateness, translating,communication and cooperation

Introduction

We have done a pretty good job in introducing and translating foreign works, especially English ones into Chinese. The past decades have seen tremendous influence of English books, songs,films etc on our society and daily life. We embrace their ideas and lifestyles from which we benefit a lot. Yet our achievements and efforts in promoting Chinese culture, books, songs and movies are far from enough. Cooperation and communication are based on mutual understanding. In order to achieve that and contribute to the peaceful development of the world, we shall not only embrace other cultures, but should help others know about Chinese culture and ideas. And Translation plays a significant part in this respect. However, more than a hundred years ago, when British army forced open China's door with advanced weapons, translation activities, under the influence of different ideologies, are biased and serve for the purpose of safeguarding the interests of nations and rulers. The foreign translation of Chinese works then has shaped western people's views on China and Chinese people for over a century. With the development of globalization and the increasing amount of cooperation, China seems to be paid more attention to and be known by more and more countries. However, there are still some deep-rooted prejudices and stereotypes against China, which hinders the smooth communication and cooperation between China and other countries. Translation, when manipulated by ideology, shall lose its value and significance. This article will summarize the relation between translation and ideology, analyze the influence and consequences of translation under the manipulation of ideology through a few cases, and put forward the principle of appropriateness to reduce such influence and preserve the value of translation. On the one hand, we shall not blindly accept others' ideologies, but take the essence and discard the dregs in line with the actual situation of our country. At the same time, we should try our best to spread our essence so that people from different countries shall have a better understanding of China and Chinese people, realize that China has been a peace-loving nation and we respect different cultures for thousands of years, and such shall never be taken as a threat but a friend who strives to work with others to build a community with a shared future for mankind.