Cult Load Words EN 13

13 程杨 《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in Border Town:A Case Study of Dai Naidie’s English translation

Cult_Load_Words_EN_13

Abstract

With the increasingly frequent cultural exchanges in the world and the increasingly exposed differences between cultures, cultural diversity plays a very important role in national exchanges. Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own language. Language is the carrier of culture, and word is the basic unit of language and the most active part of language. In cross-cultural communication, culture-loaded words are an important part and an important bridge and link between two languages. The study of culture-loaded words is not only an important link in the process of cross-cultural communication, but also an important mean and method for the development of a nation. There are a lot of culture-loaded words in Shen Congwen's Border Town. This paper discusses the translation of culture-loaded words in the translation based on the theory of translator's behavior.

Correction： 1、Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own languages. 2、… , but also an important means…… --Hu Shuqing (talk) 16:43, 14 December 2021 (UTC)

Key Words

Culture-loaded words; Border Town; Gladys Yang; Translator behavior criticism

1.Introduction of Border Town

1.1 Background of Border Town

Border Town was written in the 1930s, when the society was in turmoil and the development of urban civilization collided violently with the traditional agricultural civilization. The whole traditional civilization has been challenged and impacted unprecedentedly, and the traditional society has become fragmented, but on the whole it still exists peacefully. In China at that time, conscientious and thoughtful men of letters had a strong sense of responsibility and perception for the society. They did not want to see the whole nation degenerate in the violent civilization of cities, nor did they want people to lose their way in the vanity of cities. Mr. Shen as a member of the advanced intellectuals, he hoped that through Border Town this work for the impression of Xiangxi, which is similar to the Peach Blossom Land, to the confused people in cities shows the simplicity and purity of traditional culture, but also indicate the direction for them to move forward: there is a pure and natural love in life, and life needs to be converted to the nature of natural life.

Correction： 1、The whole traditional civilization had been challenged and impacted unprecedentedly, and the traditional society had become fragmented, but on the whole it still existed peacefully. --Hu Shuqing (talk) 16:43, 14 December 2021 (UTC)

1.2 Introduction of the Author Shen Congwen

The 1930s was the time when Shen Congwen had a good harvest in love and career, and his wife Zhang Zhaohe had the greatest influence on his creation. After their marriage, Shen Congwen wrote to his wife: "I have crossed many bridges, seen many clouds and tasted many kinds of alchohol, but I have only ever loved a man of the best age." Zhang's comely appearance and dark complexion are traits Mr. Shen used repeatedly in his works. Cuicui in Border Town was also based on her. At the same time, the Border Town also carries Shen Congwen's strong feelings for Xiangxi. Although his description of the stones, water plants, boatmen and other things in the Border Town is almost plain description, a close reading can feel his love for Xiangxi from the heart. Border Town is not only about the life of young men and girls born and raised in this small town, but also a beautiful, healthy, natural and human life form, which is also the original intention of Shen Congwen's creation.(Shen, 2013:104-105)

Correction： 1、Cuicui in Border Town was also modeled on her. --Hu Shuqing (talk) 16:43, 14 December 2021 (UTC)

Shen Congwen's style inclines to romanticism, he asked the poetic novel of effect, integrating realism, recording, symbolism be in harmony an organic whole. He also asked the language style of primitive simplicity, sentence of simple forms, and thick and pure style with rich local color. He highlighted the country unique charm with a twinkle in human nature. Shen Congwen's novels are typical rural culture novels, which not only compare with the modern civilization of the city on the whole, but also pay attention to the way of living, the footprint of life and the historical destiny of the villagers, which are determined by the collision of different cultures during the transformation of the Xiangxi Area to the modern era. The whole work is full of worries about life and philosophical thinking about life, just like his real and tenacious life, giving people lessons and enlightenment.

Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that "beauty lies in life". Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, "In this world, there may be people who build great pavilions on sand or water, but that is not me, I just wanted to build a small Greek temple. Choose a small ground for a foundation and pile it with hard stones. Delicate, solid, symmetrical, small but not slender, it is my ideal building. It is dedicated to humanity." Therefore, it can be said that the "Greek temple" symbolizes a spiritual space full of human beauty and divine love, which transcends the "secular heart and eyes" and radiates the light of holiness. This "small Greek temple" lived those beautification, by the divinity of the ordinary women, such as Cuicui, YaoYao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are "the life form of the border city".(Shen, 1990:234-237)

2. Cultural-loaded Words

2.1 Definition of Cultural-loaded Words

As a complex social phenomenon, culture carries a nation's knowledge, experience, hierarchy, religion and concept of time and space. As a part of culture, language embodies the uniqueness and nationality of culture. Language is created in a nation's long-term productive labor and social practice and serves the society. As the core of language, vocabulary inevitably reflects and is influenced and restricted by national characteristics. At the same time, language can truly reflect the ecological region, material culture, religious belief, customs and habits of a country or a nation. Different languages determine the different ways of thinking, behavior and language expression of different nations. Therefore, there are inevitably huge cultural differences in languages, which produce a certain number of culture-loaded words.

Culture-loaded words are the concentrated expression of a nation's geographical environment, living habits, ideas, perceptions and national psychology in language level. It not only carries profound cultural connotation, but also closely links culture with language. In the language system, culture-loaded words are the words that can best reflect the cultural information carried by language and the social life of human beings. Language is not only a tool for the expression and communication of human thoughts and feelings, but also a carrier and an important part of culture. Therefore, culture-loaded words can best reflect the strong national color and bright cultural personality in language. The translation of culture-loaded words requires translators to accurately and appropriately understand the beliefs, customs, aesthetic values and other aspects of other cultures while faithfully conveying the essence and soul of their own cultures, so as to truly achieve the exchange of different cultures.

2.2 The Necessity of Cultural-loaded Words Study

In 1980, Professor Xu Guozhang published Culturally Loaded Words and English Language Teaching in Modern Foreign Languages, initiating the study of culture-loaded Words. At the same time, more and more attention has been paid to the study of culture-loaded words. Culture-loaded words, as the main bearing object of a national culture, are the embodiment of the most distinctive personality of culture. However, such words reflecting cultural differences have brought great obstacles to cultural communication and translation. The differences in language and culture between ethnic groups contribute to the diversity of ethnic communication, but at the same time bring great difficulties. Due to the incomplete equivalence of the functions and contents of words among different nationalities, many errors or even major errors in translation process are caused, which will not only cause a certain loss to the cultural or commercial activities at that time, but even cause a certain negative impact on the subsequent cultural exchanges. The generation and use of vocabulary is a unique way of activities accumulated by a nation in the long historical process, which is different from other nations. The translation of culture-loaded words is quite difficult. If the translation is improper, cultural loss will occur, that is, cultural differences will be mistaken for cultural common core, and the target language will be forced to adopt the cultural model of the source language, resulting in communication failure; or replacing the cultural image of the source language with the cultural image of the target language. Communication succeeds, but the regret is the cultural loss of the source language.(Qi, 2020: 163-164)

Culture-loaded words usually appear in literary works with ethnic characteristics. The Border Town, Shen Congwen's representative work, is praised as "the purest novel text in the history of modern literature" and "the peak work in the pastoral legend of modern Chinese literature". It shows readers the harmonious life form of the Xiangxi Area. There are a large number of words which reflect the traditional customs and culture and dialect characteristics of the rural areas of Hunan, China. These culture-loaded words increase the difficulty of translation. In Dai Naidie’s translation, the translator also tries to reproduce the cultural characteristics of the original text in a variety of ways, so that the target readers can feel the local characteristics and charm of the Border Town more truly and appropriately.

3. Analysis of Translation of Cultural-loaded Words in Border Town:A Case Study of Dai Naidie’s English translation

3.1 The Introduction to Gladys Yang

Gladys Yang (1919-1999) was born Gladys B.Tayler in 1919 to a British missionary family in Beijing. At the age of seven, she returned to England to receive education. She initially studied French language and literature, but in the later switched to Chinese language and literature because of her love for traditional Chinese culture. After marrying Yang Xianyi in 1940, she settled down in China, where she and her husband hosted and translated many Chinese classics. The translated works range from pre-Qin prose to A Dream of red Mansions of more than 100 kinds. In their early works, Yang Xianyi presided over the completion of the first draft, while Gladys Yang was responsible for proofreading and correcting the English expression. "Yang Xianyi actually translated the Chinese into English, and I turned it into a narrative antithesis," she later recalled. With the continuous improvement of her Chinese and English translation skills, she began to try to independently translate Chinese literary works into English books, and contributed a large number of classic English translation literary works. The Border Town is one of the representative translations of Gladys Yang's independent translation period. The translation of Chinese classic literature works by Gladys Yang and her husband Yang Xianyi not only promoted the cultural exchange between China and English-speaking countries, but also promoted the development of literary translation, promoted the translation process of Chinese classical novels, and contributed a huge force that cannot be ignored for Chinese culture to go out.(Song, 2017:24-27)

In the process of translating Border Town, Gladys Yang was inevitably influenced by the social ideology of China at that time. As a foreigner herself, she was restricted and oppressed to a large extent, so her translation works mainly catered to the mainstream ideas of Chinese society at that time. At the same time, the powerful cultural countries represented by Britain and the United States at that time generally preferred the stereotyped works that fit their imagination in the weak culture. However, Shen Congwen's description of the backwardness and occlusion of the small town in Xiangxi was just in line with the imagination of the British and American society for the distant China, so it was once very popular in The British and American countries.(Sun, 2013: 49-50)

On the basis of being faithful to the original text, Gladys Yang's translation fully conveys the tendency of female translators' choice of translation strategies, which is reflected in the particularity of female translators' behavior in the process of translation.(Liu, 2017: 91-94)

Correction： 1、Meanwhile, the powerful cultural…… 2、……the British and American countries…… 3、…… female translators' choices…… --Hu Shuqing (talk) 16:43, 14 December 2021 (UTC)

3.2 Analysis on Cultural-loaded Words

Each language has its own unique features in pronunciation, vocabulary and syntax. Due to the differences in language and culture, the translatability of the expression forms of these languages will be limited when they are conveyed as information content in communicative language. If we do not understand the language and cultural characteristics of the original language, it is bound to produce ambiguity and mis-understanding. Meanwhile, translators of different identities have different approaches to translation. As a female translator, Gladys Yang was deeply aware of Shen Congwen's attitude and view when she read his work Border Town. Therefore, when dealing with the problems encountered in translation, especially some words with the color of feminism, she carefully and rigorously screened the original author Shen Congwen's own attitude, avoiding unreasonable and inappropriate translation of words, thus improving the accuracy and readability of the translation.(Song, 2017:25)

3.2.1 Analysis on Ecological Words

Ecology is a branch of biology that refers to the study of the relationship between organisms and their surroundings, especially their connections with their living environments. The diversity of ecological culture is naturally caused by the differences of geographical environment and natural conditions in various countries. The difference of ecological conditions will inevitably lead to the difference of national culture, so that culture shows a distinct regional.

The Border Town is a novel with the background of Xiangxi, which involves a lot of local customs and characteristic vocabulary. Gladys Yang followed the characteristics of Chinese culture and retained the cultural characteristics of Western Hunan in his translation. In Gladys Yang's translation, all place names are transliterated. For example, “四川”Sichuan、“秀山”Xiushan、“茶峒”Chatong, etc. Gladys Yang used pinyin system with Chinese characteristics to transliterate place names, conveying Chinese characteristics and displaying the unique charm of Chinese culture to western readers.

However, the translation of ecological culture-loaded words in the translation of Border Town by Gladys Yang does not show distinct characteristics of culture of Xiangxi in the translation of some words. In the text of translation, “有人带了礼物到碧溪岨。掌水码头的顺顺，当真请了媒人为儿子向渡船的攀亲来了。” The translation of this sentence of Gladys Yang, “Sure enough, someone comes bearing gifts to Green Stream, the go-between sent by Shun Shun to approach the ferryman on behalf of his son.” “碧溪岨” was where the heroin and his grandfather lived, who made a living by a ferry boat. There was a babbling brook in front of their house, and the houses were stacked on top of each other along the zigzagging stream. In the back side of the house, the white tower stood tall and upright, and the surroundings were the winding mountain road. Hence the place was named “碧溪岨”. In her translation, Gladys Yang ignored this rich culture-loaded word and directly translated it into "Green Stream", failing to realize the aesthetic transmission of the original text. In another version of translation, "Green Creek Hill" , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.（Guan, 2014:139-141）

For another example, “初五大清早落了点毛毛雨，河上游且涨了点‘龙船水’，河水已变作豆绿色。” Gladys Yang translated this sentence into “A fine rain sets in at dawn on the fifth, the water upstream has begun to rise, and the whole river turns pea-green.” “龙船水” is a natural phenomenon before and after the Dragon Boat Festival in the South China. The warm and damp air flows in the south of China is active, and the cold air from the north area to the south meet, there will be sustained large-scale heavy precipitation normally. After the intense precipitation, the water level of the river will rise rapidly, providing good site conditions for dragon boat racing. Therefore, people named the heavy precipitation during this period “龙船水”. In traditional Chinese culture, “龙船水” contains the function of warding off evil spirits. Hence, people will bath their feet and play in the water to get rid of bad luck and attain luck when “龙船水” comes. Here, the Gladys Yang’s version translation just simply translated “龙船水” into "water". Although with the help of context, some readers can understand the translation, Gladys Yang’s translation ignored the cultural characteristics and connotation of “龙船水” in the culture of Xiangxi and the influence of ecological environment on translation. Therefore, as a translator, Gladys Yang should not only try to preserve and convey the original characteristics of Chinese culture, but follow the authenticity of the original text.(Yin, 2020: 124-128)

3.2.2 Analysis on Material Words

Material culture refers to a kind of culture between cultural relics and social relations. It involves material processes and material production, and it reflects human emotional costs and material conditions. The cultural carrier vocabulary related to material culture is a mirror image that reflects the unique material and cultural characteristics of a certain language community, including "production of transportation, daily necessities, food, medicine, clothing and measures, etc.". Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.

The word "杜鹃" was textured by Gladys Yang, who translated it into what readers of the target language will know as "Nightingale". Although the nightingale and the cuckoo refer to different things, they both represent sad images in Chinese and Western cultural backgrounds. The nightingale is the incarnation of the ancient Greek tragic woman Procony, and the cuckoo is the reincarnation of Wang Duyu, the General of water control during the war of the Seven Kingdoms -- the nightingale and the cuckoo are endowed with similar emotional images of the traditional eastern and western world respectively. Therefore, the use of nightingale instead of cuckoo not only does not cause the deviation of emotional expression, but helps western readers to comprehend the image in the original text. This approach, on the one hand, takes into account the comprehension ability and scope of the western readers, and at the same time takes into account the traditional eastern cultural color represented by the cuckoo in the original text, which fully demonstrates the excellent female translator's thinking.(Song, 2017:24-27)

“贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。” Gladys Yang translated this sentence into “On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water.” “吊脚楼”, also known as “吊楼”, is a traditional residence of Zhuang, Miao, Dong, Buyi, Tujia and other regions. “吊脚楼” are generally built on the ground by the mountains and rivers. They are supported on flat ground with wooden pillars. They are usually two or three floors. The upper floor is ventilated and dry, and is a living room; the lower floor is closed for animals or piles of debris. Gladys Yang has adopted a free translation method here, translating “吊脚楼” into "houses are built on stilts overhanging the water", which can make the target language readers feel the exotic style of this architecture, but fails to outline the building uniqueness of cultural characteristic in Xiangxi district. It is recommended to change the translation and add footnotes. “吊脚楼”are available in Hunan, Guizhou and other places. The readers are informed that this is a “吊脚楼” building in Xiangxi through foreignized translation strategies, and then the structure and appearance characteristics of the “吊脚楼”are described by adding footnotes, which retains the uniqueness and culture of the term "“吊脚楼”". The connotation makes the target language readers know what it is, and to a certain extent it also spreads Xiangxi culture and Chinese culture.(Yin, 2020: 124-128)

3.2.3 Analysis on Social Words

Social culture refers to folk customs, beliefs, values, traditions, lifestyles, behavior patterns and organizational activities related to a certain society. The words related to social culture are representations of characteristics of the above aspects. In the long-term development of human civilization, these aspects in one society are significantly different from other societies, thus forming different cultural-loaded words of a society.

“……车是车路，马是马路，各有走法。……” Gladys Yang translated the sentence into “Castles and knights have different moves.” The sentence was able to refer to the discipline of chess game, but in Xiangxi, it contains an entirely different meaning. The “车路” and “马路” were related to the marriage custom of Xiangxi. In China, marriage is the command of parents and the good offices of a go-between. Here, “车路” means to entrust one's life events to a go-between. The go-between is invited to persuade the person of one’s heart to marry. The final success in a large part depends on the go-between’s eloquence and the other person's opinion, which is a passive way of proposing marriage. “马路” represents the initiative to take control of one’s own life events in their own hands, and to spend time and energy singing courtship. The final success depends on their own sincerity which belongs to an initiative way. Gladys Yang used the translation strategy of domestication to translate this sentence. Although it was helpful for the target readers to understand, the cultural characteristics of the sentence were not preserved. From my perspectives, we should preserve “车路” as "Che Lu" and “马路” as "Ma Lu" by using foreignizing translation strategy, and then further explain the actual connotation of these two culture-loaded words in this sentence. This not only preserves the cultural connotation of the original text, but also helps the target language readers understand the specific charm of Chinese culture.(Yin, 2020: 124-128)

“由于边地的风俗淳朴，便是作妓女，也永远那么浑厚，遇到不相熟的主顾，做生意时也得先交钱，数目弄清楚后在关门撒野……妓女多靠四川商人维持生活，但恩情所结，则多在水手方面。” Gladys Yang translated it into "Border ways are so simple that even these girls remain honest. Before entertaining a stranger, they ask for their money and count it before closing the door and getting down to business … Whereas most of the women’ s income comes from merchants, it is usually the boatmen who win their hearts."In this example, the word "妓女" appeared twice. In Traditional Chinese values, this word is derogatory, and women in this industry will not be recognized and accepted by the society. In Shen Congwen's Border Town, prostitutes in the closed Xiangxi town described by Shen Congwen still retain a simple and kind quality belonging to Xiangxi women, although they cannot belong to the mainstream group of society. They are waiting for those travelling merchants or sailors ashore, and some innocent women who had never even crossed out of town, hoping to find their true love.

Gladys Yang translated the two repetitive words "妓女" in the excerpt as "girl" and "woman" respectively. These two words are neutral words, without any derogatory or discriminatory connotation, and more consistent with the original description of women who are forced to work as prostitutes for a living. In Shen Congwen's description, these women do not take pleasure in it, nor do they indulge in self-degradation. Just because they are in the closed small town of Xiangxi, they have not seen too much of the world, and they have no ability to support themselves, so they have to engage in humble and inferior occupation. These women have their own grievances, some even pitiable. Gladys Yang felt deep sympathy for the suffering of these women and could not bear it. As a woman, she consciously avoided the use of misogynistic words and used neutral words in her translation. On the basis of a full understanding of the original text, Gladys Yang described to the target language readers the innocent and simple characteristics of the women in Xiangxi, and then showed the plain local conditions and customs of the water town in Xiangxi. This way of dealing with these women not only did not become the object of public scorn, but more than a point of innocence color; not only does it not distort the original meaning of the author's writing, but it is helpful for the author to express his hometown -- Xiangxi water town nostalgia and yearning. (Song, 2017:24-27)

3.2.3 Analysis on Religious Words

Religion is the deepest source of all cultures, so differences in religion determine differences in culture. In China, religion is carried out in the daily life of people. In the West, people's daily secular life is carried out in religion. Therefore, in the process of translating vocabulary related to religion between China and the West, the translator will inevitably have a cultural gap. In this case, it is very difficult to fully convey the cultural connotations contained in the source language and make the target language readers have the same reading effect as the source language readers.（Guo, 1998: 12-19）

“老伯伯，你翠翠长得真标志，像个观音样子。再过两年，若我有空闲能留在茶峒照料事情，不必像老鸦到处飞，我一定每夜到这溪边来为翠翠唱歌。”Gladys Yang translated this sentence into “Uncle, your Emerald’s grown into a fine girl, a regular Guan Yin [The Goddess of Mercy]. In a couple of years, if I’m able to roost in Chatong in stead of flying off in all directions. I’ll come to this stream every night to serenade her!” “观音” is a noble and elegant figure in Chinese Buddhism. In Chinese Buddhism, Guanyin Bodhisattva can save all living beings and save people from fire and water. Therefore, it is deeply believed and worshiped by the general public. For the translation of this religious and culturally loaded word, Gladys Yang is faithful to the original work and adopts the translation strategy of "alienation". She translated “观音” into "a regular Guan Yin" and added an endnote to explain it, taking into account the acceptability of the target language readers, and at the same time giving full play to the translator's subjectivity.(Mei, 2018: 157-162)

“过了四七，船总顺顺派人请马兵进城去，商量把翠翠接到他家中去，作为二老的媳妇。” Gladys Yang translated it into “Four weeks after the funeral, the wharf master summons the groom back to the town and proposes again that Emerald should move to his house.” In our country, every seven days after death is an anniversary of death, a memorial ceremony is held. "四七" refers to the fourth anniversary of death. Gladys Yang used the translation strategy of foreignization as “four weeks after the funeral” to express the basic meaning, but is it appropriate to use “week” here? What is special about this "四七"? Why did Cui Cui take over as the second elder's wife after four or seven? Did you miss the cultural factors that are rich in it? In the text, Cui Cui’s grandpa passed away. After the "四七", Cui Cui was a filial child. Gladys Yang only expressed the literal meaning, ignoring the cultural connotation of the original text. It should be translated into “the fourth seven days after the funeral” through the translation strategy of domestication, and the "四七" should be processed by adding footnotes to explain the specific meaning. Because there is a difference between “four weeks after the funeral” and the “fourth seven days after the funeral”, the former is the fifth week after death, that is, the day of death four weeks after death, which is a general term; while the latter refers to the fourth seven days after death, refers specifically to the expression closer to the original text. This helps to attract the target language readers to understand the cultural connotation, so that the target language readers understand and spread Chinese culture.

Conclusion

Translation practice examines not only the translation ability of the translator, but the translator also plays a variety of roles while performing translation activities. With the improvement of women's social discourse power, women have begun to consciously assume the cultural identity of translators. As a special group of translators, in addition to choosing materials related to female growth, female translators have unique translator behavior tendencies. The Border Town translated by Gladys Yang, a female translator, embodies two typical characteristics of female translators: on the one hand, female translators tend to choose neutral words and avoid using negatively discriminatory words; on the other hand, female translators are more keenly aware of the original author’s linguistic information, and thus put more emphasis on emotional communication when choosing words. As an indispensable and important component of the translation community, female translators play an increasingly important role.

At the same time, although there are many existing articles on the comparison of translations of The Border Town, there are not many reference translations that can be given after the comparison. There is no definite method in translation, and there is no limit to translation, and the road to translation is long. As a translator, you must dare to make breakthroughs in the process of translation and introduce new ones. When translating culturally loaded words, you must not only take into account the dissemination and acceptance of culture, the culture of the target language reader and the correct dissemination of Chinese culture, but also the loyal original language and the correct dissemination of Chinese culture. The fluent expression of the target language, flexible use of domestication and foreignization translation strategies, transliteration, and footnote methods will enable the target readers to better understand and appreciate Chinese culture in terms of vocabulary and text, and ultimately achieve the purpose of spreading Chinese culture. So as to truly realize the "going out" of Chinese culture.(Yin, 2020: 124-128)

Reference

Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著(2013). 边城 [M] The Border Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.

Guo Jianzhong郭建中 (1998). 翻译中的文化因素:异化与归化[J]. Cultural Factors in Translation: Foreignization and Domestication. 外国语 Journal of Foreign Languages, 2:12-19.

Guan Xia官霞 (2014). 试论《边城》中文化负载词的翻译——兼议《边城》两英译本[J] On the Translation of Culture – Loaded Expressions in Biancheng. 海外英语 Overseas English, 17:139-141.

Liu Minxia刘霞敏(2007). 翻译中的性别差异及女性身份认同[J] The Gender Difference and Identification in Translation. 外语教学 Foreign Language Education, 2: 91-94.

Mei Qing梅晴(2018). 译者主体性视角下《边城》三个英译本的比较研究[J] A Comparative Study of Three English Versions of The Border Town from the Perspective of Translator's Subjectivity. 兰州教育学院学报Journal of Lanzhou Vocational Technical College, 10:157-162.

Qi Qi祁琦(2020). 戴乃迭、杨宪益《边城》译本中文化负载词的翻译策略及启示[J] The Translation Strategies and Enlightenment of Culturally Loaded Words in the Translation of "Border City" by Gladys Dai and Yang Xianyi. 海外英语 Overseas English, 9:163-164.

Shen Congwen 沈从文(1990). 从文小说习作选. [M]. 上海：上海书店出版社Shanghai: Shanghai Bookstore Publishing House, 1990, 234-237.

Shen Congwen 沈从文(2003). 湘行散记. [M]. 山西：北岳文艺出版社Shanxi: Beiyue Literature and Art Publishing House, 2003. 01, 104-105.

Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲(2017). 从翻译行为到译者行为:戴乃迭女性译者文化身份[J] From Translation Act to Translator Act: The Cultural Identity of Gladys Female Translators. 文学教育(下) Literature Education, 8:24-27.

Sun Ningning孙宁宁,刘亦伟(2013). 流散理论观照下译者文化身份研究:戴乃迭《边城》译本个案分析[J].语文建设Language Planning, 21:49-50.

Yin Lucheng, Liu Rurong尹泸程,刘汝荣(2020). 传播学视角下中国文化负载词的英译——以杨宪益和戴乃迭的《边城》译本为例[J] On the Translation of Culture-loaded Words from the Communication Perspective: A Case Study of The Border Town Translated by Yang Hsien-yi and Gladys Yang. 湖南第一师范学院学报 Journal of Hunan First Normal University, 01:124-128.

Zhou Na周娜(2021).跨文化视域下英汉文化负载词中概念隐喻翻译现象分析[J] An Analysis of the Translation Phenomenon of Conceptual Metaphors in Culturally Loaded Words in English and Chinese from a Cross-cultural Perspective. 今古文创 JinGu Creative Literature, 42:125-126.