20201019 trans

Cao Runxin 曹润鑫

Acknowledgement

I am indebted to the more than 300 students of the Master Course "Introduction to Translation Studies" conducted in the two fall terms 2019/2020 and 2020/2021 at Hunan Normal University, Foreign Studies College. They have enriched this monograph with their ideas, their creativity and the top students even have contributed short passages to this book on single aspects. They have also helped to arrange that the monograph could appear in different languages simultaneously. The Foreign Studies College is one of the top places of Translation and Interpreting Studies in China.

致谢

我衷心感谢在湖南师范大学外国语学院两个秋季学期（2019/2020和2020/2021）开设的“翻译学概论”硕士学位课程的300多名学生。他们用自己的想法和创造力丰富了这本专著的内容，尖子生们甚至还为书中的章节撰写了简短的文章。这些学生还负责将这本专著翻译成不同的语言。湖南师范大学外国语学院在中国翻译与口译研究的顶尖领域具有一席之地。--Cao Runxin (talk) 03:40, 24 October 2020 (UTC)

Chang Huiyue 常慧月

Foreword

Interpretation theories and interpretation studies are as old as human languages, since interpretation practise is not just necessary between full fledged languages, but is practised as soon as two different individuals meet, like a grandmother and her grandchild. The first lay interpreters naturally reflected on their interpreting work and this was the start of theories and studies. As soon as written language was invented, critical reflection also started and with it translation theories and translation studies.

序言

与人类语言一样，口译理论与口译研究也很古老，因为在完全成熟的语言之间，口译实践不仅是必要的，而且只要两个个体相遇，比如祖母和孙子，实践就会产生。最初的外行口译人员很自然地会反思他们的翻译工作，这就是理论和研究的起点。书面语言一经发明，批判反思也就开始了，随之而来的就是翻译理论和翻译研究。--Chang Huiyue (talk) 12:05, 24 October 2020 (UTC)

Chen Han 陈涵

The first thoughts about transponing the meaning of one language into a similar one of another language were prescriptive with precepts and principles, sometimes exaggerated into dogma and people not adhering to them being tortured or murdered.

In the 1960s, the translation studies started to become aware of itself as an academic discipline.

起初，关于将一种语言转化为另一种类似语言的观点是受一定戒律与原则规范的，这种观点有时还被夸大为教条，而不遵循这一约束的人则遭到酷刑或谋杀。

到20世纪60年代，翻译学开始意识到自己是一门学科。--Chen Han (talk) 12:54, 24 October 2020 (UTC)

Chen Hui 陈惠

I. Introduction

Translating sets forth on its journey a long time ago. It has been over 2200 years since Livius Andronicus translated Homer’s Odyssey from Greek into Latin around 250 BC, which is the earliest activity of translating from recorded history. Throughout history, translation is not only involved in politics,culture, religion, language and so forth, but also keeps changing as times and social conditions roll on. On grounds of the changes of targets and contents of translation history, considering the specific periods of people’s apprehension of translation and the roles translation plays in society of different times, researchers divided the history of western translation into 3 parts, translation of religious materials, translation of literary classics and translation of non-literary materials.

Chen Jiangning 陈江宁

The division of western translation history varies from person to person in circles of translation. Generally speaking, from about 250 BC when people translated Septuagint into Greek to the 16th century when the translation of the Bible prevailed, it is the historical period of translating religious materials, followed by period of translation of literature mainly from literary classics and great works of social sciences.(Wu & Shu 2011:76) After the Second World War, however, translation of non-literary and practical materials began to exert influence as a major force.在翻译界，人们对西方翻译史的划分各不相同。一般来说，从大约公元前250年，人们把《圣经旧约》翻译成希腊语，到十六世纪圣经翻译的盛行，这一时期是宗教素材翻译的历史时期，紧随其后的是文学翻译时期，主要以文学经典著作以及社会科学巨著为主。（吴&纾 2011:76）但是，第二次世界大战以后，非文学翻译和实用材料的翻译开始发挥主要作用。--Chen Jiangning (talk) 01:48, 24 October 2020 (UTC)

西方翻译史的划分在翻译界因人而异。一般来说，从公元前250年左右，人们把《圣经旧约》翻译成希腊语，到16世纪圣经翻译开始盛行。这一时期是宗教素材翻译的历史性时期，其次是主要以文学经典和社会科学巨著为素材的翻译时期。(吴淑仪，2011：76)第二次世界大战后，非文学材料和实用材料的翻译开始作为主力产生影响。--Liubo (talk) 07:43, 24 October 2020 (UTC)

Chen Jiaxin 陈佳欣

In the west, studies on translation practices and theories have walked through the recorded history of over two thousand years, which is very close to the one in China. Nevertheless, China had made little progress with translation studies because of closed-door policy. Before years around 1980s, the systematic study on theories of western translation had been left incomplete in China, where few books and papers related were published. And even in the western countries, there existed similar situations. However, studies on theories of western translation has made appreciable development since 1980s, especially the books on history of western translation theory written by Rener, Robinson, etc.

Chen Jingjing 陈静静

These books and materials are indisputably of great value for us to take a closer look at theories of western translation, yet it is very hard for people of Chinese cultures to search, unearth and analyse the history of translation theories in the backgrounds of western cultures. As Tan Zaixi put it in his book The Brief History of Western Translation, “From ancient times, translation in the west has been proceeding for over two thousand years, along with extraordinary translators and divergent theories, which can not be expound within twenty or thirty thousand words.”(Tan 1991:1) And for translation studies as a independent discipline, it is a very meaningful job to study translation and its theories from all over the world, which includes the western translation theories.

在我对西方翻译理论进行更为深入的了解过程中，这些书和材料无疑有着极大的价值，然而对于中国文化背景的人来说，在西方文化背景下查找，挖掘以及分析翻译理论发展历史是非常不容易的。正如谭载喜在《西方翻译简史》中所提到的那样：“从古至今，西方翻译和杰出翻译家及不同翻译理论已经经历了2000多年的历史，仅用2万或是3万字是阐述不清楚的。”（谭 1991:1）翻译学作为一门独立学科对于研究翻译和世界各国翻译理论（包括西方翻译理论）是极具意义的。--Chen Jingjing (talk) 06:40, 23 October 2020 (UTC)Chen Jingjing

这些书籍和资料无疑对我们深入研究西方翻译理论具有重要价值，但对于中国文化界人士来说，在西方文化背景下对翻译理论的历史进行探索、发掘和分析是非常困难的。正如谭载喜在其《西方翻译简史》中所写：“西方翻译从古至今已有两千多年的历史，有着杰出的译者和不同的理论，这不是两三万字就能解释清楚的。”(谭1991:1)翻译研究作为一门独立的学科，研究包括西方翻译理论在内的世界各国的翻译及其理论，是一项非常有意义的工作。--Chen Sha (talk) 01:53, 24 October 2020 (UTC)

Chen Sha 陈莎

Accordingly, while studying the history of western translation theories, we must understand the necessity of describing the development of western translation theories in a proper way and figure out how they are classified, especially for theories of modern and contemporary times. Based on the fundamental way of studying translation or ideologies of various schools, now people would usually divide translation studies into literary school, linguistic school and cultural school.

因此，在研究西方翻译理论的历史时，我们必须认识到正确描述西方翻译理论发展及明确其分类的必要性，尤其是近现代的翻译理论。基于研究翻译或各流派的意识形态的基本方式，现在人们通常会将翻译研究分为文学学派、语言学派和文化学派。--Chen Sha (talk) 01:32, 24 October 2020 (UTC)

因此，我们在研究西方翻译理论发展史时，必须明白合理描述西方翻译理论发展并弄清其分类（尤其是现代西方翻译理论和当代西方翻译理论）的必要性。基于翻译学研究的基本方法和各大学派的意识形态，当今的翻译学研究可分为文学学派、语言学学派和文化学派。--Chen Sunfu (talk) 02:13, 24 October 2020 (UTC)

因此，在研究西方翻译理论发展史的时候，我们必须深谙，用合理方式描述西方翻译理论的发展，弄清楚如何将翻译理论分类，是非常必要的。在研究现代和当代翻译理论的时候，更需要如此。基于各流派研究翻译或者意识形态的基本方式，人们现在通常把翻译研究分为文学学派、语言学派和文化学派。--Yuan Tianyi (talk) 02:27, 24 October 2020 (UTC)

Chen Sunfu 谌孙福

The literary school includes the traditional philological approach and the hermernutic approach; the linguistic school consists of the equivalence approach, the functional approach and the cognitive approach; the cultural school covers translation studies approach, deconstruction approach, feminism approach, post-colonial approach and the integrated approach, of which translation studies approach can be further divided into polysystem theory, the norm theory and the manipulation theory. By contributing new thoughts to this discussion, the study aims to reach more consensus among translation studies scholars in this aspect.

文学学派包括传统的语文学方法和解释学方法；语言学学派包括对等法、功能法和认知学方法；文化学派涵盖翻译学研究方法、解构法、女性主义方法、后殖民主义方法和合成法。其中翻译学研究方法又可再分为多元系统理论、标准理论和控制理论。上述理论为本研究提供了很多新理念。故本研究旨在让翻译学研究者在这一方面达成更多共识。--Chen Sunfu (talk) 02:05, 24 October 2020 (UTC)

文学学派包括传统语文学方法和解释学方法：语言学学派包括对等方法、功能性方法和认知学方法； 文化学派包括翻译学研究、解构法、女性主义法、后殖民方法和整合法，翻译学研究又可再分为多元系统理论，标准理论和操控理论。通过在这个论述中注入更多的新思想，这个研究旨在使更多的翻译学研究学者在这方面达成共识。--Han Haiyang (talk) 14:37, 24 October 2020 (UTC)

Chen Yongxiang 陈永相

II. School Classification

Beyond dispute, it’s practicable that people describe the history of western translation theories by dividing them into different schools in light of theories and ideologies of translation studies. With the modernization and integration of economy in western society, western translation theories also begin to get over the hurdles in the way of mutual development and blur the distinction among nationalities, which makes it harder to owe some ideology or theory of translation to a certain country or area. For instance, Gideon Toury was famous in the west but lived in Israel.

Cheng Yusi 成于思

In contrast, when some ideology or theory is proposed by someone in some place, it can probably be responded to or supported by scholars from all corners of the world. They hold it up totally out of agreement with the points someone makes, not necessarily where the points come from. Another example, Eugene A. Nida, who put forward the idea of “functional equivalence”, is American, but Kade, who is his supporter, comes from German. Therefore, it might be easier to understand the present situation and trends of western translation theories from levels of translation schools and ideologies, especially for theories of contemporary and modern times.

相反，某个地区某位学者提出某种观念或者理论的时候，会受到世界各地学者的回应和支持。他们支持这一观点仅仅是因为认同，而非刻意地关注其来源。再如，提出“功能对等”理论的学者尤金·奈达（Eugene A. Nida）是美国人，而他的支持者凯德（Kade）却来自德国。因此，从翻译流派和意识形态，尤其是现当代理论的层面来理解西方翻译理论的现状和趋势也许会更容易一点。--Cheng Yusi (talk) 11:26, 24 October 2020 (UTC)

Deng Jinxia 邓锦霞

As one would expect, it is just one of the methods to classify western translation theories on the basis of translation schools or ideologies. From a perspective of historical development, it would be a more traditional way to classify western translation theories by times and nations. This diachronic way of studying it helps to organize the historical materials clearly and make profitable comparisons among traditions and characteristics of translation theories among western countries and regions, which enables people to understand the distribution and trends of western translation theories with an open mind. On the other hand, the diachronic way also describes the divergence and amalgamation of western translation theories.

正如人们所期望的那样，它只是根据翻译学派或意识形态对西方翻译理论进行分类的方法之一。 从历史发展的角度来看，将西方翻译理论按时间和国家分类是一种更为传统的方法。 这种历时性的研究方法有助于清晰地整理历史资料，并在西方国家和地区之间对翻译理论的传统和特征进行有益的比较，使人们能够以开放的思想来理解西方翻译理论的分布和趋势。 另一方面，历时性方法也表现了西方翻译理论的分歧和融合。--Deng Jinxia (talk) 05:52, 24 October 2020 (UTC)

Ding Daifeng 丁代凤

To give an example, the debate between free and literal translation never ends during which the eclecticism occurred and then literal translation was overtaken by free translation; the transfer from regarding the words as translation units to viewing sentences, discourses and even the whole passages as translation units... and so on. Despite that, as for studies on western translation theories, it is not the best way to do it only by a certain means. If we completely choose the way of describing the history of western translation theories by dividing them into different schools in light of theories and ideologies of translation studies, the relation between translation theories and specific cultural environment of society may be ambiguous and so is the relation between diachronic and synchronic development of translation.

Fang Jieling 方洁玲

If we only decide on a more traditional way to classify western translation theories by times and nations, our research and description will inevitably be in need of subjects of translation theories. To avoid such deficiencies, we must adopt a way combining both means mentioned above to study western translation theories. In other words, we must take into consideration not only the historical connection between theories and ideas of translation but also the relation of translation theories with the specific social and cultural environment. Only by doing so, our research would be able to describe the whole process of western translation theories from an objective perspective.

Gan Fengyu 甘奉玉

From what we have mentioned above, we view western translation theories from two sides. First, we view it from the respect of historical development steadily. Cicero, was the first translation theorist in the west during times of Roman empire. As a rhetorician and orator, he categorized translation into ones by “ut interpres” and “ut orator” for the first time. Translation by “ut interpres” means translation of no creativity but translation by “ut orator” means translation of creativity which may even rival the original.

根据上诉所言，我们可以从两方面看待翻译理论。首先：我们从历史发展角度来看，西塞罗是罗马帝国时期，第一个西方翻译理论家。西塞罗是个修辞学家，也是个演说家，他第一次把翻译分成“解释员”式和“演说家”式。“解释员”式翻译在翻译过程中没有创造性,而“演说家式”翻译富有创造性，这种译文甚至能媲美原文。--Gan Fengyu (talk) 02:16, 23 October 2020 (UTC)

如上所述，我们可以从两方面看待翻译理论。首先，我们从历史发展角度来看，西塞罗是罗马帝国时期，第一个西方翻译理论家。作为修辞学家，同时也是演说家，西塞罗第一次把翻译分成“解说员”式和“演说家”式。“解说员”式翻译在翻译过程中没有创造性,而“演说家式”翻译富有创造性，甚至可能媲美原文。--Peng YuZhi (talk) 02:12, 24 October 2020 (UTC) 通过如上所述，我们可以从两方面看待西方翻译理论。 首先，从历史稳定发展的角度看，西塞罗是罗马帝国时期的第一位西方翻译理论家。作为一名修辞家和演说家，西塞罗首次将翻译分为“解说员”式和“演说家”式。前者的翻译意味着翻译过程中没有创造性的翻译，而后者的翻译则包含创造性翻译，这样的翻译甚至能与原文相媲美。--Chen Jiangning (talk) 02:30, 24 October 2020 (UTC)

根据上诉所言，我们可以从两方面看待西方翻译理论。首先是历史发展的角度。西塞罗是罗马帝国时期第一个西方翻译理论家。他不仅是个修辞学家，也是个演说家，首次把翻译分成“解释员”式和“演说家”式。“解释员”式翻译在翻译过程中没有创造性,而“演说家式”翻译富有创造性，这种译文甚至能媲美原文。--Kang Haoyu (talk) 02:22, 24 October 2020 (UTC)

Gao Mingzhu 高明珠

As a matter of fact, Cicero put forward two fundamental ways of translating and pioneered the study of theories and methods of translation. Since Cicero’s studies on translation, western translation theories have been dealing with arguments between free translation and literal translation, word-for-word translation and excessively free translation, faithfulness and unfaithfulness and so forth.

实际上，西塞罗提出了两种基本翻译方法，是翻译理论研究和翻译方法研究的先锋。自西塞罗的翻译研究开始，西方翻译理论在意译还是直译、字对字的翻译还是大篇幅意译、遵循忠实原则还是不忠实原则等方面众说纷纭。--Gao Mingzhu (talk) 11:18, 22 October 2020 (UTC)Gao Mingzhu

实际上，西塞罗提出了两种基本翻译方法，率先研究翻译理论和翻译方法。自从西塞罗进行翻译研究后，西方翻译理论就意译与直译、逐字翻译与过度意译、忠实与不忠实等方面一直争论不休。--Gan Fengyu (talk) 01:54, 23 October 2020 (UTC)

事实上，西塞罗提出了两种基本的翻译方法并且率先进行了翻译理论和翻译方法的研究。自从西塞罗进行了翻译的研究以后，西方翻译理论就意译与直译、逐字翻译与过度意译、忠实与不忠等问题一直争论不休。--Han Wanzhen (talk) 07:30, 24 October 2020 (UTC)

Gong Yumian 龚钰冕

Besides Cicero, there are an abundance of excellent translation theorists in western translation history, who have proposed assorted theories and ideas from different angles in different times. In ancient times, aside from Cicero’s categorization of “literal translation” and “free translation”, Marcus Fabius Quintlianus thought that the target ought to compete with the original; St. Jerome believed that people were supposed to follow the rules of literal translation when translating the Bible and use free translation when it came to literary classics; St. Augustine held the view that translation was inspired by God.

在西方翻译史上，除了西塞罗之外，还有许多优秀的翻译理论家，他们在不同时期从不同角度提出了各种各样的理论和思想。在古代，除了西塞罗对“直译”和“意译”的分类外，马库斯·法比尤斯·昆体良（Marcus Fabius Quntinlianus）主张译文应该与原文竞争；圣杰罗姆（St. Jerome）认为人们在翻译圣经时应该遵循直译的原则，而翻译经典文学作品时应该遵循意译的原则；圣奥古斯丁（St. Augustine）认为翻译是凭上帝的启示。--Gong Yumian (talk) 10:58, 24 October 2020 (UTC)

Gu Dongfang 顾东方

In the Middle Ages, Manlius Boethius promoted the literal translation that would rather keep “faithful” than “elegant”; Dante was of the opinion that “works of literature are untranslatable”. During the Renaissance, Desiderius Erasmus believed that translation was not a subjection to authority of religious beliefs and translation of the Bible depended on the language of a translator; Martin Luther held the view of humanism that texts must be rendered in the people’s language; Etienne Dolet reckoned that people translated on “five principles” of understanding the content of the original, being proficient in the original language and the target language, avoiding word-for-word translation, expounding in simple languages and focusing on the style of the target text.

Guan Qinqing 管钦清

From the 17th to 19th century, Charles Batteux was of the opinion that author was the master and translator was the servant, whose work were not allowed to be amplified, to omit and change the wording of the original; John Dryden categorized translating into metaphrase, paraphrase and imitation and he thought translation was some kind of art; Tytler put forward three principles that the target reflected the ideas exactly the original conveyed, the style and skills the target used should be of the same characteristics of the original and the target should be as expressive as the original; Friedrich Schleiermacher made a distinction between translation and interpretation, literal translation and mechanical translation; Humboldt believed his theories that language decided the translatability and untranslatability of the world; Matthew Arnold thought whether a translation was good or not depended on the experts; Francis W. Newman had the idea that it were common readers, not the experts,who determined the criteria of translation.

从17世纪到19世纪，不少翻译家谈到了原作者与译者之间的关系，夏尔·巴托便是其中之一。在他看来，原作者应为主人，译者为仆人。但凡放大译者职能、遗漏或篡改原文文意等行为，都是不被允许的；约翰·德莱顿将翻译分为直译、意译和拟译，他认为翻译是一种艺术；泰特勒推演出翻译的三条原则，即1）译文应当准确反映出原文想表达的意义；2）译文中采用的风格和技巧应当与原文一致；3）译文应当像原文一样具有感染力。弗里德里希·施莱尔马赫将口译和笔译、直译和机翻区别开来；洪保德认为语言决定了可译性或不可译性；马修·阿诺德觉得一篇译文的好坏与否掌握在评判专家手中；而纽曼则认为制定翻译标准的不是专家们，而是普通读者。--Guan Qinqing (talk) 11:20, 22 October 2020 (UTC)

Gui Yizhi 桂一枝

In the 20th century, we have Fedolov’s theories that people should study translation theories from linguistics first and translation theories is categorized into history, introduction and arguments of translation; we have Roman Jakobson’s three classification of interlingual translation, intralingual translation and intersemiotic translation; we have Levy’s thoughts that “translating should make reader have an illusion of the original”, “translating is a deciding process”; we have Gachechiladze’s theories on literary translation that “translation is always a artistic and realistic reflection of the original” and “ translation of literature and art is a artistic work”;

Guo Lu 郭露

we have Carford’s theories of linguistics that translation should reach an equivalence of context; Nida thought “translating is a science”, “translating is communicating” and there exists equivalence between the readers of the original and the target; Mounin’s view of modern linguistics on translation theories; emphasized that the target needed to break the limits of the original. All the thoughts and ideas mentioned above have constituted the most essential parts of western translation theories.

卡福德认为翻译需追求文本对等；奈达认为翻译是一门科学也是一门交际，原文读者和译文读者应获得同样的理解；缪宁认为当代语言学在于翻译理论；保尔•瓦雷里认为译文需打破原文的限制。各翻译家的见解构成了西方翻译主要理论。--Guo Lu (talk) 07:00, 22 October 2020 (UTC)

卡福德的语言学理论认为，翻译需追求文本对等；奈达认为翻译是一门科学也是一门交际，好的译文应当使译文读者与原文读者有同样的反应；缪宁则从现代语言学角度来分析翻译理论；保尔·瓦雷认为译文需打破原文的束缚。上述各见解构成了西方翻译的基本理论。--Li Liqin (talk) 07:14, 22 October 2020 (UTC)

卡福德的语言学理论认为，翻译应文本对等；奈达认为翻译是一门科学也是一门交际，好的译文应当使译文读者与原文读者有同样的反应；缪宁则从现代语言学角度来分析翻译理论；保尔·瓦雷认为译文需打破原文的束缚。上述观点是西方翻译理论的主要观点。--Li LIli (talk) 07:46, 22 October 2020 (UTC)Li Lili

Han Haiyang 韩海洋

Furthermore, we could look at the whole system of western translation theories from the other side, which is the schools of ideology. There are two branches of it: translation theories of literature and art and linguistics theories of translation. The school of translation of literature and art stems from the early drama by Terentius in Ancient Rome, ucceeded by Levy and Gachechiladze in modern times, and continues to thrive in the 21st century.

甚者，我们可以从另一面-也就是理想学派，来整体的看西方翻译理论。其中存在两个分支：文学与艺术翻译理论和翻译的语言学理论。文学与艺术翻译学派起源于早期的戏剧由古罗马泰伦提乌斯提出和现代的 利维和加切奇拉泽继承并且在21世纪继续繁荣发展。--Han Haiyang (talk) 14:24, 24 October 2020 (UTC)

Han Wanzhen 韩宛真

People of this branch perceive translation as a kind of literary art, which draws attention to recreation of literature. Theorists have been discussing the defects and merits between faithfulness and unfaithfulness, word-for-word translation and excessively free translation, literal translation and free translation and so on. Besides, they also foreground the purposes and effects of translation. They stress both the original and the literary attributes of the language of it., as well as the idiomatic expression and tradition of literature of the original that people must respect whiling translating. They not only zero in on the style and literariness of the text very much but the talent of literature a translator or interpreter should possess.

这个分支的人把翻译作为一种文学艺术，引起了人们对文学娱乐的关注。理论家们一直在讨论忠实与不忠、逐字翻译和过度自由翻译、直译和自由翻译之间的缺陷和优点。除此之外，他们也强调翻译的目的和效果。他们也都强调翻译语言的原创性和文学性，以及成语性词语。在翻译时，人们必须尊重原始表达和文学传统。他们不仅非常重视文本的风格和文学性，而且笔译或者口译人员应具备文学才能。--Han Wanzhen (talk) 07:18, 24 October 2020 (UTC)

He Changqi 何长琦

The school of linguistic theories of translation is from Augustine and people of traditional linguistics or philology in Ancient Rome to various schools of modern linguistics in the 20th and 21st century. For this situation, the core lies in language. People of this school, who think that the goal of translating is to reach the equivalence between the original and the target, combine translation theories with analysis of semantic and syntactic functions and talk on issues of translation from the characteristics of structure and sentence-making skills of a language so as to show how the equivalent texts are made from words, grammars and other features of a language.

Hu Baihui 胡百辉

From either branches we can see that they have their own advantages and disadvantages. Translation theories of literature and art give an emphasis to the purposes and results of translating and the artistic effects from a macroscopic view, but neither pay much heed to practical process of translating and skills of using a language nor care about whether the target and the original reach the equivalence of structures. Linguistics theories of translation is also not spotless because some theories don’t stress the aesthetic functions and ignore the recurrences of works of literature and art. They mostly focus on the structure of a language to and theoretically are limited to word, sentence or syntax only, which disregards the main structure of a text and the structure of discourse and the cultural features to a larger extent.

Hu Huifang 胡慧芳

However, no matter it is the branch of translation theories of literature and art or linguistics theories of translation, they are not completely isolated but complement each other. Although either of two branches has its own shortcomings, there is no translation theorist of literature and art who could talk about the artistic value of literary works divorced from linguistic issues; there is no theorist of linguistics who could be immersed in linguistic structures of a text without issues of aesthetics.

Hu Jin 胡瑾

III. About The Translator’s Guide to Chinglish

Joan Pinkham, a professional translator from the U.S., published the book The Translator’s Guide to Chinglish in 2000. She worked for the Foreign Languages Press and Central Compilation and Translation Bureau in China for 8 years from 1980s to 1990s. It is one of the few books by westerners that systematically discuss the “Chinglish” issues in China. In the years working for the Foreign Languages Press and Central Compilation and Translation Bureau, her job was to revise and polish the drafts from Chinese translators, which was inevitably affected by Chinese and mindset of Chinese people. For that reason, Pinkham got to know many English translations with “Chinese characteristics” and wrote this book.

Ji Tiantian 纪甜甜

The Translator’s Guide to Chinglish consists of three parts, Unnecessary Words, Sentence Structure and Supplementary Examples, which reveal lots of mistakes Chinese translators tend to make.

First of all let’s take a look at examples given in the fist chapter:

promoting the cause of peaceful reunification;

reforms in the sphere of economy;

to ensure a relationship of close cooperation between.

Jiang Fengyi 蒋凤仪

Phrases like these can often be seen in some English papers or periodicals and they seem to make sense to English learners or translators in China. But the author regards them as negative examples in the first chapter of the first part, Unnecessary Nouns. The author mentioned that “Many of these nouns are easy to recognize. They are plainly redundant because their sense is already included or implied in some other element of sentence.”(Liu 2002:34) in the book. Here the author perceives nouns like “cause”, “sphere” and “relationship” as “category nouns”, which are the general nouns that sever only to introduce a specific noun to follow.

Jiang Hao 姜好

Let’s take the first phrase as an example. In such constructions, the first noun announces the category of the second; in this case, it tells the readers that “promoting” falls into the category of “cause.” That is something they already know. Accordingly, the first noun should be deleted: “ promoting peaceful reunification.”(Pinkham 2000:16) It is the same for other two examples. What’s more, the first chapter also involves “Unnecessary Verbs.” Examples are as follows:

to bring about a change in this state of affairs;

until China realizes its modernization;

trying to entice the Korean army to launch an attack against them.

Jiang Qiwei 蒋淇玮

“Like unnecessary nouns, most unnecessary verbs in Chinglish occur in phrases. Usually they are combined with nouns (plus the inevitable articles and prepositions that nouns bring with them).”(Pinkham 2000:34) The commonest type is phrases like these. As for “to bring about a change in this state of affairs”, here the verb (“bring about”) is a weak, colorless, all purpose word having no very specific meaning of its own, while the real action is expressed in the noun(“change”). Since the verb is not contributing anything to the sense, it can be edited out: “change this state of affairs.”

“与赘余的名词类似，中式英语中大多数赘余的动词也出现在短语中，且通常和名词同时出现（以及依附于名词又必不可少的冠词和介词）。” （平卡姆 2000:34） 最常见的类型见以下短语。在短语“为这种情况带来改变”中，动词“带来”显得无力、无趣、缺乏具体含义，而名词“改变”传达出了具体的动作。鉴于这个动词没有起到达意的作用，可将其删去得到短语“改变这种情况”。--Jiang Qiwei (talk) 13:42, 22 October 2020 (UTC)

Kang Haoyu 康浩宇

In the second chapter, the author talks about Unnecessary Modifiers, which is not a problem easy to cope with for Chinese translators because it covers the issue of whether they should be used and using the modifiers properly. Five types of unnecessary modifiers are listed, redundant modifiers, self-evident modifiers, intensifiers, qualifiers and cliches. But the author especially points out that it is not appropriate to revise some accepted phrases, which are related to some national policies, even if they have unnecessary modifiers in the sentences, because this may cover political affairs. 作者在第二章中论述了非必要的修饰语。要知道，是否应该使用以及如何正确使用这些修饰语，对中国译者来说并非易事。本章列举了五类非必要修饰语，分别是赘余修饰语，废话（不言而喻）修饰语，加强词，限定词和套话。但作者同时也指出，一些与国家政治有关的短语如果已被认同，即便句子里面有非必要限定词，也不要轻易去修改了，因为这可能涉及政治事务。--Kang Haoyu (talk) 01:48, 24 October 2020 (UTC)

第二章中，作者讨论了不必要的修饰语，由于它包含了是否需要使用修饰语，以及合理使用地问题，所以修饰语的问题对中国译者来说是难以处理的。作者列举了五种不必要的修饰语，包括冗余修饰语、显而易见的修饰语、强调修饰语、限定修饰语以及陈腐的套语。但是作者特别指出，即使句子中存在不必要的修饰语，修改与某些国家政策相关的既定短语也是不合适的，因为这可能涉及政治事务。--Chang Huiyue (talk) 12:42, 24 October 2020 (UTC)

Kang Lingfeng 康灵凤

In the third and forth chapter the author talks on Redundant Twins and Saying the Same Thing Twice. For instance, views and opinions, help and assistance, stir up and incite, sentiments and feelings, prudent and cautious. The author classifies the redundant words into three groups according to the relation between synonyms and clauses and offers corresponding reversion. And she adds that examples of redundant synonyms are too many to list even for native English speakers; for example, rules and regulations, bits and pieces, by leaps and bounds, betwixt and between, by hook or by crook, huffing and puffing.

Kong Xianghui 孔祥慧

After centuries of development, these phrases are now accepted by native English speakers or learners probably because of their jaunty alliteration or rhythm. But the author believes that these phrases unavoidably “exert an influence not only on native speakers of English (including foreign polishers) but on Chinese translators as well, reinforcing the habits of their own language. No doubt this influence contributes to the abundance of twins in Chinglish.”

Kong Yanan 孔亚楠

The first chapter of the second part is mainly about The Noun Plague. Here the author shows a draft: “The prolongation of the existence of this temple is due to the solidity of its construction.” She also gives a revision: “The temple has endured because it was solidly built.” The first version contains four abstract nouns, while the second has none. Not only do the nouns make the statement nearly twice as long, but they also make it pretentious, wooden and hard to understand.(Pinkham 2000:56) Yet, the author doesn’t think that “noun plague” only occurs in Chinglish but in English by native speakers, especially in theses and government documents where abstract nouns can often be seen, because they want their theses or documents to seem more “authoritative” or “scientific.”

Lei Fangyuan 雷方圆

The author thinks this is a dangerous trend which we should all fight against. And she advocates to use more verbs, gerunds or adverbs instead of abstract nouns. From the eighth to the twelfth chapter, the author gives some instruction to tell English learners and translators in China how to get rid of the mindset of Chinglish by putting pronouns and antecedents first, then the adjuncts and its purposes, in a logical way. The eighth chapter discussed the improper collocation of pronouns and antecedents. In this condition, personal pronouns, relative pronouns or demonstrative pronouns show up without antecedents or are too far away from antecedents.

Lei Kuangxi 雷旷溪

This is exactly what the uncertainty and lack of rigor of Chinese has brought about. The ninth chapter mainly talks about where we should set phrases or clause in an English sentence. The author is of the opinion that translators should pay attention to where the phrases or clauses are in a sentence so that the logic is clear and key points are highlighted. She also thinks that the phrases or clauses ought to modify what is close to them, otherwise in the sentence may occur the illogical parts. In addition, to stress the key points, the most important information should be imparted at the end of a sentence.

Li Haiquan 李海泉

IV. Discussion

From Introduction and School Classification, we have leaned that in western translation history, there are traditionally two branches: translation theories of literature and art and linguistics theories of translation. In 1959, the book, On Linguistic Aspects of Translation by Roman Jakobson, analyzed comprehensively the relation bewteen language and translation, the importance of translation and some existing problems of translating from an angle of linguistics, which had made groundbreaking contribution to linguistics theories of translation. Eugene A. Nida put forward a concept of “Translating is science” and he also applied Theory of Communication into translation on the basis of linguistics, believing that translating is communicating.

Li Lili 李丽丽

He proposed the principle of “Dynamic Equivalence” and further submitted “Functional Equivalence” from the perspective of social linguistics and communicative function of language, which was instrumental in modern history of translation theories in the west as well. Nonetheless, Nida’s theories paid too much heed to content rather than form. To make up the deficiency, Peter Newmark put forward “Communicative Translation” and “Semantic Translation.” The former aimed at restructuring the language of the target in order to make it expressive and underline the effects of information; the latter emphasized the formal resemblance between the original and the target.

他提出了“动态对等”原则，并从社会语言学和语言交际功能的角度提出了“功能对等”，这在西方现代翻译理论史上也具有重要意义。尽管如此，奈达的理论过于注重内容而非形式。为了弥补这一不足，纽马克提出了“交际翻译”和“语义翻译”，交际翻译旨在重构目标语的语言，使之具有表现力，突出信息的作用；而语义翻译强调原文与译文形式上的相似性。--Li LIli (talk) 01:21, 21 October 2020 (UTC)Li Lili

他提出了“动态对等”原则，并从社会语言学和交际功能的角度进一步发展提出了“功能对等”原则，这在西方现代翻译理论史上也具有指导意义。然而，奈达的理论过于注重内容而非形式。为了弥补这一不足，纽马克提出了“交际翻译”和“语义翻译”，交际翻译旨在重构目标语的语言，使之具有表现力，突出信息的作用；而语义翻译强调原文与译文形式上的相似性。--Xu Pengfei (talk) 09:20, 21 October 2020 (UTC)Xu Pengfei

他提出了“动态对等”原则，并从社会语言学和语言交际功能的角度提出了“功能对等”的原则，这在西方现代翻译理论史上也具有重要意义。尽管如此，奈达的理论过于注重内容而非形式。为了弥补这一不足，纽马克提出了“交际翻译”和“语义翻译”，前者旨在重构目标语的语言，使之具有表现力，突出信息的作用；后者强调原文与译文形式上的相似性。--Xiao yining (talk) 12:22, 21 October 2020 (UTC)Xiao Yining

Li Lingyue 李凌月

From theories and ideas above, the core issue they care about is how the source language is transferred into the target language and “equivalence” is what they have in common. Katharina Reiss, Hans Vermeer, Justa Holz-Manttari and Christiane Nord from Germany started to use communicative theories, theories of communication, discourse linguistics and ideology of aesthetics to switch the focus of their studies from source texts to target texts, which made it an influential school in international translation circles.

Li Liqin 李丽琴

In 1971 in the book Translation and Limitations in Translation Criticism, Reiss’s functional theories of translation was in embryonic state, where she believed that translation should reach equivalence in respects of conceptual content, forms of language and communication and name it “integral communicative performance.” In practice, however, she realized that the equivalence was not what people expected so relation between function of the original and the target was the priority.

在1971年出版的《翻译批评的可能性与局限性》一书中，赖斯的翻译功能理论暂处于萌芽状态。在此书中，他提出翻译应当在思想内容、语言形式和交际功能等方面达到对等，这样的翻译才可以称为“完整的交际行为”。然而，她意识到在实践中，人们并不期待这种对等状态，因此应该把源语与目的语功能之间的关系放在首位。--Li Liqin (talk) 07:43, 22 October 2020 (UTC)

在1971年出版的《翻译批评：潜力与制约》一书中，赖斯的翻译功能派理论思想暂处于萌芽状态。在此书中，她提出翻译在概念性的内容、语言形式和交际功能上与原文对等，她称这种翻译为“综合性交际翻译”。然而，在实践中，她意识到这种对等并不是人们所期待的那样，因此应该把源语与目的语功能之间的关系放在首位。--Zhang Yu (talk) 12:25, 23 October 2020 (UTC)

Li Luyi 李璐伊

Hans Vermeer proposed skopos theory for that matter, which looked on translating as a process with purposes and results of the original. The skopos theory has three rules: skopos rule, coherence rule and fidelity rule. Skopos rule is considered as the primary one. It means that in the context and culture of target language, translation ought to work in a way exactly the recipient of target language expects and the purpose of translation actions determines the whole process of translating, that is, “the end justifies the means.”

Li Meng 李梦

Coherence rule is that translation must accord with the standard of intratextual coherence, which means that translation has readability and acceptability to the recipient and makes sense in communicative context and culture of the target language. The fidelity rule means that there exists intertextual coherence between the original and the target. This is actually what other theories have talked about faithfulness in translation but the faithfulness depends on the purpose of the target and how translator understand the original.

Li Yongshan 李泳珊

Here we also have talked about the book The Translator’s Guide to Chinglish. This book has discussed some problems English learners and translators in China have in grammar and vocabulary. For discourse and semantics, there also exits some issues. And the author is American who has the typical mindset of the west and is able to find out some problems of translation by Chinese translators. And the author tends to revise those translations in an aspect of linguistics theories of translation.

Li Yu 李玉

For example:

the editorial calls on the Chinese people to fully implement the CPC’s basic line, deepen reform and further opening to the outside, so as to further push forward the political, economic and social development of the country in a steady way;

The author revises it into:

the editorial calls on the Chinese people to implement the CPC’s basic line, deepen the reform, and promote the opening to the outside, so as to steadily push forward the political, economic and social development of the country.

Lin Min 林敏

In this sentence, “fully” is deleted because the author thinks it is unnecessary for its sense can be taken for granted: policies should always be fully carried out. If the word conveys something more specific in Chinese, that must be spelled out for the reader of English. We must say, for example, “to implement CPC’s basic line in all its aspects,” or “in every respect.”

Lin Xin 林鑫

As for “further”, it is obvious that at this point in history any push given to development will be a “further” push. The repetition of “further” in the draft is particularly undesirable because the word is used in two different senses. It appears first as a verb (“to further opening”), then immediately after as an adverb (“to further push ahead”), so that the reader is obliged to go back and read the sentence again in order to make sense of it.(Pinkham 2000:74)

Ling Zijin 凌子瑾

Even though the author doesn’t talk on any translation theories directly in her book, her discussion on Chinglish and the revision she offers do involve some translation criteria, for example, domestication and foreignization. Translating is the transfer process from one language to another, during which it carries wide backgrounds of culture. To be specific, it is also the process of transferring cultures among each one. In general, there are two ways when it comes to this process: domestication and foreignization.

Liu Bo 刘博

Domestication is that features of the original are abandoned, that is to say, characteristics of translation follow ones of the target, which would, to some degree, make it easier to understand for recipients of the target language and contributory to culture exchanges. Foreignization is that translator translates in a way the original does, translation remaining characteristics of the original language. 归化就是摒弃原文的特征，即翻译的特征遵循译文的特点，这在一定程度上使译文的读者更容易理解，也有助于文化交流。异化是指译者以原文的方式进行翻译，保留原文的特征--Liubo (talk) 07:36, 24 October 2020 (UTC)。

Liu Jinxingqi 刘金惺琦

The author defines “Chinglish” as “Chinglish, of course, is that misshapen, hybrid language that is neither English nor Chinese but that might be described as ‘English with Chinese characteristics’”in the book. And she also points out that “this book is intended to help them turn their work into real English such as might have been written by an educated native English speaker of the language.” It means that the author is in favor of domestication during the process of translating.

Liu Liu 刘柳

Here’s an another example:

we should draw up correct development and construction plans for all these zones;

The author revises it into:

we should draw up correct plans for the development of all these zones.

The author thinks that two large abstractions plainly used here mean the same thing. And to avoid using the noun “development” as an adjective, we should say: “ for the development of all these zones.” That would be the simplest, most natural word order in English.(Pinkham 2000:87)

再举一个例子：我们应该为所有这些区域制定正确的开发建设规划。作者将其修改为：我们应该为所有这些区域的发展制定正确的规划。作者认为这里所使用的两个大的抽象概念是一个意思。为了避免把名词“发展”用作形容词，我们应该说：“为了所有这些区域的发展”。这是英语中最简单、最自然的词序。--Liu Liu (talk) 12:29, 22 October 2020 (UTC)

再举一个例子：我们应该为所有区域拟订正确的开发建设的计划。作者将其修改为：我们应该为所有区域的发展拟订正确的计划。作者认为这里所使用的两个大的抽象概念意思相同，为了避免把名词“发展”用作形容词，我们应该说：“为了所有区域的发展”，这才是英语中最简单、最自然的词序。--Jiang Qiwei (talk) 13:58, 22 October 2020 (UTC)

Liu Ou 刘欧

V. Conclusion

In summary, A Brief History of Western Translation Theories by Tan Zaixi recounts the history of western translation theories from ancient times by introducing main characters, translation works, translation schools and other events in the west in historical stages. The book also takes preliminary analysis and discussion into development between theories and practices of translation. There are two different directions in terms of translation theories in the west: translation theories of literature and art and linguistics theories of translation.

简而言之，谭载喜所著的《西方翻译理论简史》一书，通过介绍主要的翻译人物、翻译作品、翻译流派以及西方历史舞台上的翻译事件的方式，记录了西方翻译历史。此书还对翻译理论和实践的发展作了初步的分析和讨论。在西方，翻译理论研究分为两个方向，一是文学艺术翻译理论，一是语言学翻译理论。--Liu Ou (talk) 14:56, 24 October 2020 (UTC)

Liu Yangnuo 刘洋诺

The former one extends from the ancient dramas to modern translations. In this regard, translation is considered as literary art, which focuses on recreation of the original. Theorist mostly emphasize culture, style and literariness of the target and the literary talent of the translator. The latter direction is linguistics theories of translation, which combine theories with semantics and syntax, and believe that translating should reach semantic equivalence between the original and the target through vocabulary, grammar and skills of using a language.

Liu Yi 刘艺

In the long term, linguistics theories of translation has had predominance of studies of modern translation theories. Theorists hold the view that translation studies ranges from applied linguistics and contrastive linguistics and is closely related to semantics, along with literature and art studies, sociology, anthropology, psychology, theories of communication and so forth.

长期以来，语言学的翻译理论在现代翻译理论的研究中占有主导地位。理论家认为，翻译研究的范围包括应用语言学和对比语言学，与语义学以及文学艺术研究、社会学、人类学、心理学、传播理论等密切相关。--Liu Yi (talk) 14:16, 23 October 2020 (UTC)

从长远来看，翻译语言学理论在现代翻译理论研究中占主导地位。理论家认为，翻译研究不仅涉及应用语言学和对比语言学，而且还与语义学以及文学和艺术研究，社会学，人类学，心理学，传播理论等密切相关。--Deng Jinxia (talk) 05:59, 24 October 2020 (UTC)

长期以来，语言学理论在现代翻译理论中占有主导地位。理论学家认为翻译研究包含应用语言学和对比语言学，同时也与语义学、文学艺术研究、社会学、人类学、心理学、传播理论等相关联。--Liu Zhiwei (talk) 07:20, 24 October 2020 (UTC)

Liu Yiyu 刘怡瑜

The Translator’s Guide to Chinglish by Joan Pinkham summarizes the evidence of the common issues in English translation, which are ones translators in China are usually neglectful of. As Jacques Barzun, Dean of the Graduate Faculties of Columbia University, put it, “The clarity of her explanation is equaled only by the deftness with which she states the point of the English usages and the simplicity of the revisions made in faulty sentences.

琼·平卡姆所著的《中式英语之鉴》总结了中国翻译常见问题的例证，这些问题是中国译者常常所忽略的。哥伦比亚大学研究生院院长雅克·巴尔赞表示，“琼的论证清晰明了，灵活熟练，在阐述英语用法要点和指出错误句修订的简洁性方面也是如此。”--Liu Yiyu (talk) 08:57, 23 October 2020 (UTC)Liu Yiyu

琼·平卡姆所著的《中式英语之鉴》总结了英语翻译中常见的问题的例证，而这些问题正是中国的翻译者通常所忽视的。正如哥伦比亚大学研究生院院长雅克·巴尔赞所言："她的解释之清晰，只有她对英语用法的阐述之灵巧和对错误句子的修改之简洁才能与之媲美。--Liu Yi (talk) 14:19, 23 October 2020 (UTC)

Liu Zhiwei 刘智伟

I know of no books as well adapted as hers to the needs of clumsy writers.” Even though the author doesn’t talk on any translation theories directly in her book, her discussion on Chinglish and the revision she offers do involve some translation criteria and the author tends to uphold domestication in this book. And we can’t deny that as a professional translator from America, with the typical western mindset, the author is inevitably influenced in the spectacular background of western translation history.More importantly, the two books this article refers to have demonstrated that theories must be applied into practice, guide practice and reveal the objective patters inside translating, otherwise theories would lose its vitality.

据我所知，没有一本书能像她的书那样，满足一些笨拙作家的需求。”虽然本书作者没有在书里直接谈及翻译理论，但她对于中式英语的讨论及修订中就涉及了一些翻译原则，同时她在书中也倾向于支持归化。我们不得不承认，作为一名具有西式典型谦逊特点的美籍专业译者，这个作者难免受到西方翻译史背景的影响。而更为重要的是这本杂志提及到的两本书都提出：理论必须付诸实践、指导实践并揭示翻译的客观模式，否则理论将失去生机活力。--Liu Zhiwei (talk) 07:44, 24 October 2020 (UTC)

References:

[1]巫阿苗,束学军.西方翻译理论流派划分探索.[J].合肥工业大学学报.2011.12.25

[2]谭载喜.西方翻译简史.[M].北京.商务印书馆.1991.05

[3]刘银燕.中式英语, 你在使用吗?——《中式英语之鉴》评介.[J].外语教学.2002.09.30

[4]-[8] Joan Pinkham.The Translator’s Guide to Chinglish. [M].北京。外语教学与研究出版社.2000.05

主要参考书目:《西方翻译简史》、《中式英语之鉴》

Lou Cancan 娄灿灿

Derrida and Benjamin

Comparison of Derrida’s and Benjamin’s Translation View

1.Pure Language and Difference

In its essence, translation is a kind of linguistic activity. Therefore, all translation theories involve linguistic issues. Benjamin has presumed a perfect original language as the origin of subsistent languages in real world after summarizing the deflects of subsistent languages. This original language is from God, and has full creativity and cognition, in which, language and spirit, meaning and form, signifier and signified have been united to show the truth through self-manifestation.

“德里达和本杰明。”

"德里达和本雅明翻译观的比较"

"纯粹的语言和差异"

翻译本质上是一种语言活动。因此，所有的翻译理论都涉及到语言问题。本雅明在总结现存语言偏差的基础上，假设有一种完美的原始语言作为现实世界中现存语言的起源。这种原始的语言来自上帝，具有充分的创造性和认知能力，其中，语言与精神、意义与形式、能指与所指有机地结合在一起，通过表现自我以展现真理。--Lou Cancan (talk) 07:54, 23 October 2020 (UTC) 德里达和本杰明 德里达和本杰明翻译观的比较 纯语言与差异 翻译本质上是一种语言活动。因此，所有的翻译理论都涉及到语言问题。本杰明在总结现存语言偏差的基础上，假设有一种完美的原始语言作为现实世界中现存语言的起源。这种原始的语言来自上帝，具有充分的创造性和认知能力，其中，语言与精神、意义与形式、能指与所指有机地结合在一起，通过表现自我以展现真理。--Mashuya (talk) 07:30, 24 October 2020 (UTC)MaShuya

Luo Weijia 罗维嘉

Benjamin has pointed out that with the corruption of human, the language has no longer been one but multiple. Naming language has corrupted into the abstract conceptual language. (Cao Danhong 6) In this way, it descended to instrumental signs. It refers to things in various manual systems but it can never covey the universality through self-manifestation, so the relationship between the human and world has changed from the intersubjectivity into subject-object dichotomy where human dominates.(Wei Jiangang & Sun Yingchun 75)

本雅明指出，由于人类进化，语言已不再只有一种，而是多种多样。命名语言遭到破坏，成为抽象概念性语言。（曹丹红）这样，语言就从命名语言降为符号语言，指各种人工系统中的事物，但永远不能通过自我表现来追求普遍性，因此人与世界的关系从主体间性转变为由人主导的主客体二分法。（魏建刚，孙迎春）--Luo Weijia (talk) 07:55, 22 October 2020 (UTC)

本杰明指出，由于人类的堕落，语言已不再只有一种，而是多种多样的。命名语言遭到破坏，成为抽象概念性语言。（曹丹红）这样，语言就降为指示符号，指各种人工系统中的事物，但永远不能通过自我表现来追求普遍性，因此人与世界的关系从主体间性转变为由人主导的主客体二分法。（魏建刚，孙迎春）--Qu Miao (talk) 02:41, 23 October 2020 (UTC)

Luo Yuqing 罗雨晴

In another word, due to language descended from the original “being” into lower “having”. Therefore, it has become the synonyms of “abstract”, “judgement” and “meaning”. Language has never been a medium but a kind of means used in communication of “subjects” (Wohlfarth 27). As a result, meaning has been the external reference out of sign itself, instead of spirits of self-manifestation of pure language.

Ma Juan 马娟

And the relationship between signified and signifier is actually external instead of being original, direct and internal. Paul De Man has said that we think we use our language freely. We feel comfortable and familiar with the dwelling place within our language, in which we thought we weren’t alienated, but we don’t notice that this kind of alienation has been shown strongly in our relationship with our original language. It has been disintegrated already, which bring a special alienation, a peculiar pain. (Paul De Man, 99)

Ma Shuya 马淑雅

Benjamin has set the transcendental existence of pure language in order to make the path of salvation to human clear, that’s to say to find the lost pure language is to unite the world together. Benjamin thinks that, all practical languages have a common origin and among themselves a kind of affinity that goes beyond the history. As, Benjamin once said, “The reference of pure language just like each language that exists as an entirety, is identical. 本杰明为了使人类的救赎之路更明晰而设定了纯语言的先验存在，这就是说，找到遗失的纯语言是将整个世界统一。 本杰明认为，所有实用语言都有一个共同的渊源，并且彼此之间有着超越历史的紧密关联。 正如本杰明曾经说过的：“纯语言的引用就像实体存在的某种语言一样。--Mashuya (talk) 07:25, 24 October 2020 (UTC)MaShuya

Ma Zhixing 马智星

However, this reference cannot be achieved through one single language, but through the complement of various languages” (Benjamin 61) That’s to say, if we want to reconstruct pure language, we have to eliminated the external relationship of linguistic reference and restore the identical relationship between spirit and language, which means to promote the linguistic reference of all languages to form an integral complementary, which call duty on translation.

Meng Ying 孟莹

Only through translation can the mode of reference of source language enter into the target language. Therefore, to Benjamin, the significance of translation is not to covey the basic meaning and content of source language but the changes to both languages after translation, thereby translation can make us to know more about the differences and complementation of each language.

Mo Ling 莫玲

What is different between Benjamin and Derrida is that Derrida has invented the concept of “la differánce", which uses infinitely flowing stream of meaning to overthrow the western logocentrism. Thereout, it has assured the translation view that advocates difference and opposes the identity. Derrida has pointed out that la differánce is the precondition of possibility of multiple meanings so that meaning is the result of its moving. While meaning cannot precedes la differánce, there would be no existence of pure and completely identical origin of meaning, just like what the Babel story reminds us. (Davis 10)

班杰明与德里达的不同之处在于，后者提出了“差异”这一概念，它以无限变换的意义流来推翻了西方的逻各斯中心主义。由此，提倡差异、反对同一性的翻译观得以确立。德里达指出:差异是多义可能性的前提，意义是多义运动的结果。虽然意义不能凌驾于差异，但也不会存在纯粹的、完全相同的意义起源，正如圣经故事所示的那样。--Mo Ling (talk) 04:28, 23 October 2020 (UTC)Mo Ling

班杰明与德里达的不同之处在于，后者提出了“差异”这一概念，它以意义是无限流动的观点推翻了西方的逻各斯中心主义。由此，提倡差异、反对同一性的翻译观得以确立。德里达指出:差异为多义提供了可能性，意义是多义运动的结果。意义不能凌驾于差异，与此同时，也不会存在纯粹的、完全相同的意义起源，这正如巴别塔的故事所示的那样。（戴维斯，第十页）--Ouyang Ling

本雅明与德里达的不同之处在于，后者提出了“差异”这一概念，它以意义是无限流动的观点推翻了西方逻各斯中心主义。由此，提倡差异、反对同一性的翻译观得以确立。德里达指出:差异是多义的先决条件，因此意义是多义运动的结果。意义不能凌驾于差异，与此同时，也不会存在纯粹的、完全相同的意义起源，这正如巴别塔的故事所示。（戴维斯，第十页）--Luo Weijia (talk) 07:35, 23 October 2020 (UTC)

Mo Nan 莫南

In another word, as meaning is in la differánce so that there cannot be any conceptual or theoretic systems no matter it is in one language or in several languages. Meaning always presents its fluidity, uncertainty and diversity. We cannot make meaning independent of language nor can we make language independent of meaning. On the contrary, meaning is already in language so meaning is the linguistic meaning.

Nie Xiaolou 聂晓楼

Due to the language is so complicated, fickle, ambiguous and different with itself, thus, meaning is also unclear ambiguous and even mysterious. (Cai Xinle 200) What we can discuss is only the relationship of difference instead of the transcendental identity. In Derrida’s view, word is in a dynamic state, we can only understand it, describe it or listen to its voice in such a dynamic condition.

Ou Rong 欧蓉

If we must establish an origin, the difference will be it. Derrida has regarded the difference as the origin, aiming to explain that in the very beginning where meaning formed, that’s to say the source has already had initial difference among meanings. The so-called purity has been contaminated and the source is rather complicated. (Zhu Gang 20)

Ouyang Jinglan 欧阳静兰

Derrida and Benjamin all oppose to structural linguistic view. What is different is that Benjamin opposed the human control and domination of language by emphasizing the identity of language and spirit. We’d rather to say that it’s opposed to structuralism but to the opposite relation between the subject and object. In essence, Benjamin is not against the concepts like structure, order, and center etc. He just opposes the structure, order and center etc. that are based on the interference to language done by the subject-object relationship, emphasizing that language will not be constrained by the fetter of any subject-object relationship.

Ouyang Ling 欧阳玲

If we consider more carefully, he doesn’t disapprove the logocentrism completely as he just emphasizes that logocentrism cannot be constructed and learned by the subject and object relation. It must be built and realized by the way of unintentionality or the “presence” of logos will be delusive. On the contrary, Derrida is refusing any metaphysics during the process of his deconstruction of any conceptual system. In his opinion, Benjamin has not cast off the set pattern of logocentrism because Benjamin’s “Pure language” is still a construction of a concept, no matter how transcendental and absolute identity it is.

通过进一步的思考，我们会发现本雅明并不是完全不认同逻各斯中心主义，他强调不能仅依靠主客体关系来构建和学习逻各斯中心主义，必须通过非目的性的方式建立起逻各斯，否则逻各斯的存在将毫无意义。与之相对的，德里达则反对在概念系统的解构中一切形而上学的观念，他认为本雅明提出的“纯语言”观点是又一形而上学概念的构建，不论此概念体现出了超验主义或是绝对同一性，它都没有丢弃逻各斯中心主义的固定模式。--Ouyang Ling

如果我们更仔细地想想，我们会发现本雅明并非完全反对逻各斯中心主义，他只是强调不能依靠主客体关系来构建和学习该中心主义，我们必须通过非故意的方式建立起逻各斯中心主义，否则它只会迷惑人。相反，德里达在解构任何概念系统的过程中拒绝任何形而上学的观点。他认为本杰明并没有摆脱逻各斯中心主义的模式，因为无论本杰明的"纯语言"达到何种程度的超验性和绝对同一性，它仍然是概念构建。--Wu Qi (talk) 14:48, 22 October 2020 (UTC)

Peng Dan 彭丹

Videlicet, if God were the person who deconstructs, we would see that rationality dominates everything and logos will be the deconstruction in the speaker’s status. It would not be the deconstruction of deconstruction. Once there is an unshakable center, logos will take the domination and everything will obey the authority in the center. Therefore, in order to avoid constructing any central system or structure, Derrida take the difference as the origin of everything.

Peng Juan 彭娟

There will be no identity and everything is constantly reproducing and differentiating, so it presents nothing but difference. At any moment, it’s different from others as well as itself. In this way, the identity doesn’t exist. All we can observe is the dynamic stuff, which constantly changes.

Peng Ruihong 彭锐宏

2. Metaphrase and Relevant Translation

As Benjamin and Derrida has different linguistic view, their comprehension about the translation criterion are also different from each other’s. Benjamin thinks that in various languages, the ultimate essence, pure language, is only relevant to the linguistic factors and its changes. In linguistic works, it bears heavy alien meaning. Translation’s unique function is to make the pure language get rid of this heavy burden, to turn the symbolic action into symbolic objects itself, to make the pure language reoccur during the linguistic transition. (Benjamin, 67)

Peng Xiaoling 彭小玲

In other words, real languages, without exception, refer to things externally. To recover the identity of language and spirit, we must let the language to break the shackle of meaning while the effects of translation are to make the two languages free of the heavy burden by making the modes of reference of the two languages complementary of each other. To judge whether translation of a work is successful is to observe the combination of signifier and signified of language.

换句话说，纯语言全都指代外部事物。要恢复语言和精神的同一性，我们必须让语言打破意义的枷锁，而翻译的作用是通过让两种语言的指代方式互补从而摆脱这种繁重的负担。判断作品的翻译是否成功，就要观察语言能指和所指的组合关系。--Peng Xiaoling (talk) 09:13, 21 October 2020 (UTC)

换句话说，纯语言全都指代外部事物。要恢复语言和精神的同一性，我们必须让语言打破意义的枷锁。翻译所要达到的效果就是利用两种语言之间的互补，让这两种语言从翻译的束缚中解放出来。判断一篇翻译作品是否成功，就是看其语言能指和所指之间的组合关系。--Wang Xuan (talk) 01:46, 22 October 2020 (UTC)Wang Xuan

Peng Yongliang 彭永亮

Benjamin thinks Hölderlin’s translation work is the perfect sample of for instance, his works are almost perfect transition of texts because they are absolutely literal translation and metaphrase but also not readable. It dismembered the sentences, leading to the consequence that meaning is missing. (Paul De Man 104) To Benjamin, the translation that gets the language out of the shackle of meaning, and makes the language manifest itself to covey the spirits is the best translation.

Peng Yuzhi 彭育志

Anyway, translation has to turn back to language itself, to the reference of language, to reach pure language commonly shared by the two languages by complementing the modes of reference of source language and target language. Benjamin declares that the interlinear version of Babel is the prototype of all translation due to the reason that Babel is the words of God, which are so true that language identifies with spirit.

无论如何，翻译必须回归语言本身，回到语言的指称中去，直达纯语言。这种纯语言通过源语和目的语指称模式的互补而由这两种语言所共享。本雅明称，不同文字隔行对照版的巴别，是所有翻译的原型。因为巴别是上帝的语言，它是绝对正确的，因而它即是精神。--Peng YuZhi (talk) 13:00, 21 October 2020 (UTC)

无论如何，翻译必须回归语言本身，回到语言的指称中，去达到所谓的纯语言。这种纯语言就是通过源语和目的语指称模式的互补，并由这两种语言所共有。本雅明认为，隔行对照版的巴别塔就是所有翻译的原型。这是因为巴别塔是上帝的语言，它是绝对正确的， 与精神保持一致。--Wu Yilu (talk) 03:08, 22 October 2020 (UTC)

Qi Kai 漆凯

Derrida is totally different from Benjamin’s proposition that he proposes the relevant translation. In general, “relevant” is the best translation in Derrida’s view, which is also the sort of translation expected by people. It’s a kind of translation that fulfills its duty and finishes its mission. It’s that kind of translation that finds the most comparatively accurate words for the expressions in the source text, that language used is the most correct, appropriate, relevant, direct and apropos…

Qu Miao 瞿淼

Obviously, Derrida is trying to use a series of words to set standard for the best translation or the ideal translation. What’ a pity is that many scholars believe the literal meaning that such is what set by Derrida, ignoring the implication. (Wang Yingchong 15) However, if we reflect on the “relevant”, we can hardly make what it means clear, and Derrida himself has made no ostension on “relevant”, thus, this is actually the word game of Derrida that meaning being not assured makes translation impossible. 很明显，德里达正努力用一系列的词设立一个标准，来鉴定最好的翻译或者最理想的翻译。遗憾的是 ，许多学者都认为德里达所定义的字面意义忽略了暗含意义（王英冲 15）。然而，如果我们仔细考虑“相关性”，就很难弄清楚意思，而德里达本人并未明确定义“相关性”，因此，意义的不确定使翻译不可能，这实际上是德里达的语言游戏。--Qu Miao (talk) 02:33, 23 October 2020 (UTC)

显而易见，德里达在尝试用一些词来设立一个标准，从而来评判出最佳翻译或者最理想的翻译。遗憾的是 ，许多学者都认为德里达所定义的标准在字面意义上忽略了其内在意义。（王英冲 15）。然而，如果我们仔细考虑“相关性”，就很难弄清楚意思。而德里达本人并未明确定义“相关性”，因此，意义的不确定使得翻译不可能存在，这实际上是德里达的文字游戏。--Liu Yiyu (talk) 09:03, 23 October 2020 (UTC)Liu Yiyu

Quan Meixin 全美欣

With the trick of the untranslatability of the word “relevant”, Derrida implies the deconstruction of his standard of translation. What Derrida really wants to express is that if there was a standard of translation, and the standard would work as the same, then would the standard still support itself? The untranslatability of “relevant” has already told us the untranslatability, not mentioning the translation standard. In Derrida’s point of view, meaning is already the delayed presence, leading to the result that translation is a debt that translator can never pay off, a mission that translator can never finish. Therefore, can text really not be translated?

借助“相关性”一词不可翻译性这一诀窍，德里达（Derrida）隐晦地解构了解构了他的翻译标准。德里达真实想表达的是，如果存在一个翻译标准，并且该标准生效，那么这个标准能否继续支撑自己？“相关性”的不可翻译性已经告诉了我们不可翻译性的存在，更不用说翻译标准了。在德里达看来，意义已经是延迟的存在，导致翻译是一种译者永远无法还清的债务和永远无法完成的使命。所以，文本真的不可翻译吗？--Quan Meixin (talk) 15:25, 24 October 2020 (UTC)

Sagara Seydou

Derrida says that we have to know what relevant translation is, what relevant translation means and what the essence of translation is, its mission, ultimate purpose and final mission. On one hand, relevant translation, no matter wrong or right, is generally better than irrelevant translation, and is likely to be viewed as the best translation. The definition of translation skopostheorie and the definition of the essence of realization in translation are contained in the definition of relevant translation. Therefore, the question that what relevant translation is goes back to what translation is or what should the translation be. While what the translation should be seems to be equal to what the possible best translation would be. (Derrida 429)

Shi Diwen 石迪文

Therefore, Derrida’s discussion about the standard of translation goes back to the translatability and untranslatability. Actually, what Derrida wants to prove is that translation itself is a paradox, that is, just in the untranslatability can translation exist and go on. The original text always owes to translation, and constantly summons translation, and in a larger sense, anything meaningful calls for interpretation. (Wang Yingchong 17). Whereas, the good translation or the translation standard can only be discussed in absolute translatability; pursuit of translation in absolute untranslatability will be nonsense, and it can only be infinitely approached but never reached as once it become absolute translatability, which means translation presents the meaning in limitless differánce in presence, the identity occurs, then the translation will be unnecessary.

Shi Haiyao 石海瑶

In short, Derrida and Benjamin have different view on translation. Benjamin worships metaphrase through which two languages can supplement each other’s referential pattern to manifest the pure language, whose spirits are the best translation. While Derrida plays a small fraud that he sets relevant translation as translation criterion but he doesn’t make it clear, in which way he indicates his ideas of untranslatability and that pursuit of translation in absolute untranslatability will be nonsense, and it can only be infinitely approached but never reached.

Si Yu 司妤

3. Afterlife and Rebirth

Benjamin also differs most from Derrida in the insight of the relationship between the original work and translation work. In Benjamin’s perspective, the purpose of translation is to promote the complementation of referential modes of different languages so as to restore the identity. Therefore, translation work is never the copy or reappearance of the original work, but the supplement and succession of the original work and in turn, original work can only rely on its translation work to refresh its vitality and go on its subsistence.

Song Jianru 宋建茹

Various forms of life closely correlate with biological phenomena though it has no great significance to biological phenomena. Translation work grows out of original work or we’d rather say it originates from the afterlife. Due to the fact that original work precedes the translation work, and in the range of world literature, no great works meets a perfect translator when its author is still alive, so translation work only marks the continuity of the original work. (Benjamin 76) Benjamin has regarded the original work as vigorous organism so that translation is viewed as the continuity of original work, which is also the afterlife of original work. Benjamin stresses that life is a historical concept instead of the existential concept. Life doesn’t limit within biological body. Only when we view life as a historical process of organism survival, can the concept of life be understood correctly.

不同的生活方式与生物现象密切相关，尽管前者对后者影响不大。译作源于原作，或者我们可以说译作源于原作的来世。由于原作先于译作而存在，世界文学中的伟大作品在其作者在世时都遇不到完美译员，因此译作仅仅标志着原作在延续。（班杰明76）班杰明把原作看作充满活力的有机体，因而译文视为原作的延续，也就是原作的来世。班杰明强调，生命是一个历史概念，而非存在主义概念。生命不受限于生物体而存在。只有当我们把生命看作有机体存活的历史进程，生命的概念才能得以正确理解。--Song Jianru (talk) 08:15, 24 October 2020 (UTC)

Su Lin 苏琳

With this sense, translation work being the continuity of original work can be comprehended. Those that was flashy will corrupt and those that was fashionable will become old. So does the linguistic form. The linguistic form of the original work will die out with time passing by, but the life of original work will not die with the existential form of original work. With the help of translation work, the life of original work will be continued, updated and expanded, thus being constantly succeeded in its life history. Hence, translation was like the source of rejuvenation. (Kramer 24) 在这个意义下，我们可以理解翻译作品是对原作的延续。那些浮华的终将腐败，那些时尚的也终将落伍。语言学的形式也是如此。原作的语言形式会随着时间的流逝而褪去，但原作的生命却不会因它的存在形式消亡，在翻译这项工作的扶持下，原作的生命得以延续、更新和扩展，从而在其生命史上不断取得成功。因此，翻译就像是复兴的源泉。--Su Lin (talk) 15:10, 23 October 2020 (UTC)

从这个意义上讲，我们可以把译作理解为原作的延续。那些浮华俗丽的译作将会腐化，那些时尚流行的将会落伍。译作的语言形式也是如此。随着时间的流逝，原作的语言形式将会逐渐消失，但原作的生命却不会随其存在形式而消亡。译作使得原作的生命得以延续，得以更新，得以延伸，因而原作能在其生命历程中不断取得成功。因此，翻译就好比是活力之源。--Song Jianru (talk) 08:49, 24 October 2020 (UTC)

Tan Xingyue 谭星越

The final purpose of language is to meet our needs to show that the relation among languages is quite close. Translation cannot reveal or build such hidden relation, but translation can reoccur it by intensification and embryotic appearance. Right through the expression of embryotic form, it makes relation among languages reoccur. (Benjamin,60) Accordingly, translation is not the birth of original work nor the death of original work but the living on of the original. It’s the birth after death and death after birth. In this way, Benjamin has assured the position of the original work which is higher than the translation work, on which the original work depends to continue its life. Translation can never be equal to the original work because only the original language has the vigor to embody the fruit of pure language.

语言的最终目的是满足我们的需求，以展示语言之间的关系是非常密切的。翻译不能揭示或建立这种隐藏的关系，但翻译可以通过强化和再生的形式重现这种关系。正是通过再生形式的表达，使语言之间的关系得以重现。（本杰明，60）因此，译作不是原作的诞生，也不是原作的消亡，而是原作生命的延续。译作成为原作永恒的来世。这样，本雅明就确定了原作的地位高于译作，而原作依靠译作得以继续生存。译作不可能等同于原作，因为只有原作才有活力体现纯语言的成果。--Tan Xingyue (talk) 15:20, 21 October 2020 (UTC)

语言的最终目的是满足我们的需求，以展示语言之间的关系是非常密切的。翻译不能揭示或建立这种隐藏的关系，但翻译可以通过强化和再生的形式重现这种关系。正是通过再生形式的表达，使语言之间的关系得以重现。（本杰明，60）因此，译作不是原作的诞生，也不是原作的消亡，而是原作生命的延续。译作是生死的轮回。这样，本杰明就确定了原作的地位高于译作，而原作依靠译作得以继续生存。译作不可能等同于原作，因为只有原作才有活力体现纯语言的成果。--Lou Cancan (talk) 13:20, 23 October 2020 (UTC)

Tan Xinjie 谭鑫洁

Compared to that, Derrida thinks that translation work is the rebirth of the original work and notes that there are two implications in “rebirth”, which are given by “Fortleben and Uberleben” in Benjamin’s The Task of Translator, indicating that life will continue, consistent and survival continues, but it also indicates resurrection after death. Derrida emphasizes that original work has equal and independent position with translation work, which are complementary for each other. If the original text calls for supplement, that’s because it’s not flawless, complete, entire and self-identified. The original texts to be translated fell into exile from the very beginning. (Derrida 2003)

Tan Yuanyuan 谭媛媛

All in all, Derrida and Benjamin have shown their distinctive comprehension about the original work and translation work. Benjamin has claimed that translation work is the afterlife of original work and original work also depends on translation to continue its life. Due to the fact that only the original work can deliver birth to pure language, although the very relations among languages can be reoccurred in translation work, original work ranks first. Derrida holds another opinion that the two, original work and translation work are equal and complementary.

总之，德里达和本杰明对原作和翻译工作表现出了他们独特的理解。本雅明曾说，翻译是原作的来世，原作也要靠翻译来延续其生命。由于只有原作才能表达出纯语言，虽然语言之间的关系可以在翻译工作中重现，但原作是排在第一位的。德里达则持另一种观点，认为原作和翻译工作二者是平等互补的关系。--Tan Yuanyuan (talk) 02:29, 24 October 2020 (UTC)

Tang Bei 汤蓓

Secondly, on the aspect of the author, deconstructivism emphasizes the intertextuality instead of the author, declaring that God was already dead and trying to overthrow the concept that author is the source of meaning from the ground level, so translation views of deconstructivism denies the originality of the author and even the copyright of the author(Jiang Xiaohua & Zhang Jinghua 42). However, Benjamin advocates the originality of the author. Though he has not mentioned the issues about author’s copyright, we can infer from the emphasis of originality of original work and creativity of the author that he should admit the copyright of the author.

Tang Ming 唐铭

Thirdly, on the aspect of translator, translation view of deconstructivism places the translator in the equal position of author, but at the meantime, it denies the creativity and copyright of translator. What Derrida does is to completely ignore the subjectivity of translator but focus on text. On the contrary, Benjamin does not only emphasize the position of translator and consider that translator contributes creativity as well as author, which just differs in the way of wok and he also points it out that the success of translation depends on the ability of translator.

Tang Yiran 汤伊然

Fourthly, on the aspect of translation work, translation view of deconstructivism has eliminated the difference between the original work and translation work, believing that original work and translation work supplements each other and coexists with each other; the original work lives on with the help of translation work while the translation work becomes independent text because it succeeds the semantic differánce of the original work.

Tao Ye 陶冶

Fifthly, on the aspect of translation criterion, translation view of deconstructivism has deconstructed the traditional translation view that seeks loyalty and equivalence and it has deconstructed the comprehension, extraction and transmission proposed by itself. (Wang Yingchong 18) As a result, it has treated the translatability and untranslatability in an equal way, indicating that any text can be translatable and untranslatable. Accordingly, the criterion of translation has been dissolved. Compared to Derrida, Benjamin prefers literal translation, advocating that we should promote the supplement of the referential modes of original work and translation work in the general purpose of realizing pure language.

Wang Meiling 王美玲

Translation Aesthetics Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics Translation, especially literary translation, is a creative activity in nature. Translation is the pursuit of beauty and truth, and it involves philosophical concerns. Aesthetics, the study of beauty, is an eternal theme of Chinese literature. Ever since the emergence of translation, aesthetics and translation have been closely bonded together. Translation Aesthetics is a perfect combination of translation and aesthetics. 翻译美学 从美学角度研究格拉迪斯的译著《边城》 翻译，尤其是文学翻译，其本质上是一种创造性的活动。翻译追求美，向往真理，它还涉及到哲学的有关重点内容。美学，顾名思义，研究美，它是中国文一项永恒的主题。翻译自出现以来，便于美学紧密相连。翻译美学是翻译与美学的一种完美结合。--Wang Meiling (talk) 12:33, 24 October 2020 (UTC)

Wang Xuan 王轩

1 About Translation Aesthetics

翻译美学

Translation Aesthetics is to analyze, explain and solve the aesthetic problems emerging in interlingual conversion. Its main contents are aesthetic subjects, aesthetic objects, the aesthetic subject’s experience of aesthetic objects, the methods of representing beauty in translating process, the criteria of translation aesthetics and so forth.

翻译美学是分析、解读并且解决不同语种对话间出现的问题，主要包括美学主体、美学客体、美学主体的客体经验、翻译过程中传递美的途径、翻译美学标准等等。

1.1 Development of Translation Aesthetics in China

中国的翻译美学发展脉络--Wang Xuan (talk) 01:20, 22 October 2020 (UTC)Wang Xuan

翻译美学是分析、解释和解决语言转换中出现的美学问题。它的主要包括美学主体、美学对象、审美主体的对象经验、翻译过程中表达美的方式以及翻译美学标准等。--Yang Yue (talk) 02:41, 22 October 2020 (UTC)

翻译美学用于分析、解读和解决语言转换中出现的美学问题，主要包括美学主体、美学客体、审美体验、在翻译过程中如何呈现美感以及翻译美学标准等等。--Guan Qinqing (talk) 11:28, 22 October 2020 (UTC)

Wang Yu 王煜

The traditional translation theory in China originated from the translation of Buddhist scriptures more than 1700 years ago. Chinese translation theory has a close relationship with philosophy and aesthetics. In China, aesthetic thoughts have a long history. Confucius, Mencius, Laozi and other famous ancient thinkers put forward their views on aesthetics. In the process of the formation and development of literary translation, ancient aesthetic thoughts provided the ideological basis for it. Classical aesthetic thoughts made subtle influence on Chinese literary translation theories. The translation theories which contain classical aesthetics are naturally different from other countries' translation theories.

中国传统翻译理论起源于1700多年前的佛经翻译。该理论与哲学、美学有着紧密的联系。在中国，美学思想有着悠久的历史。孔子、孟子、老子等古代著名思想家都曾提出自己的美学观。古代美学思想为文学翻译的形成和发展过程提供了思想基础。古典美学思想对中国文学翻译理论产生了潜移默化的影响。这种包含古典美学思想的翻译理论与其他国家的翻译理论有着天然的区别。--Wang Yu (talk) 08:28, 21 October 2020 (UTC)

中国传统翻译理论起源于1700多年前的佛经翻译,而这种翻译理论同哲学、美学有着密切的联系。在中国，美学思想有着悠久的历史。孔子、孟子、老子等古代著名思想家都提出了自己的美学观。并且在文学翻译的形成和发展过程中，古典美学思想为其提供了思想基础，产生了潜移默化的影响。因此，这种包含古典美学思想的翻译理论自然不同于其他国家的翻译理论。--Peng Xiaoling (talk) 09:35, 21 October 2020 (UTC)

Wang Yuan 王源

According to Liu Miqing, “Aesthetic constituents of source text can be classified into two systems: formal aesthetic constituents and non-formal aesthetic constituents.”[4]. Formal aesthetic system include the scope of phonetics, morphology and syntax. While the non-formal aesthetic system is non-material, non-natural sensible. It is an indefinite, non-quantitative system. So it is also called “fuzzy sets” or “sets of fuzziness”. All kinds of beauty in the two systems are aesthetic objects, which we will experience in translation.

基于刘宓庆的翻译理论，“源文本的美学成分可以分为两个系统：正式美学成分和非正式美学成分。”【4】.正式美学系统包括语音学、形态学和句法学的范畴。而非正式美学系统则是非物质、非自然的内容。这是一种不明确，非量化的系统。因此它也被称之为“模糊集”或者“集的模糊性”。在这两个系统中的所有种类的美都是美学目标，而这一体验则会在翻译中体现出来。--Wang Yuan (talk) 14:47, 21 October 2020 (UTC)

刘宓庆认为，“源文本的审美客体可以分为两个系统：形式系统和非形式系统。”【4】.形式系统包括语音学、形态学和句法学的范畴。而非形式系统则包含非物质、非自然的成分，它是一种不明确，非量化的系统。因此它也被称之为“审美模糊集”或者“集的模糊性”。在这两个系统中，不同种类的美都属于审美客体，这也是我们在翻译中将要感受到的。--Tan Xingyue (talk) 15:39, 21 October 2020 (UTC)

Wei Honglang 韦洪朗

Yan Fu, a Chinese scholar, once put forward the theory of faithfulness, expressiveness and elegance, and Qian Zhongshu also put forward the theory of transformation, and so on. All these theories reflect the influence of classical aesthetics on Chinese writers. Reviewing its development, it is not difficult to find that almost all Chinese translation theories have their aesthetic origin.

Wei Yafei 魏亚菲

1.2 Lin Yutang’s theory of Translation Aesthetics

In 1933, Lin Yutang put forward three principles for translation: faithfulness, smoothness and beauty in the article of On Translation. The three principles of translation represent three responsibilities respectively: that toward the original author, that toward the reader, and that toward art. Here, fidelity becomes threefold. It is not only the fidelity to the original author, but also fidelity to the target reader and to art. In Lin Yutang’s opinion, translation is a kind of art. The main difference between art and science is that science is guided by the rule, while art is not. As for the standard of beauty in translation, he thought that “Every writing has its beauty in sound, meaning, spirit and style.”

Wen Sixing 文偲荇

[1] The ideal translator should make his work an art. He should love it with the heart of art, be careful with it and regard translation as fine art. Especially when translating literary works, translator should pay more attention to the beauty of words. Lin Yutang believes that the most important thing in literary translation is to embody the style of the original work. That is, “not only what it says, but also how to say it”. From this point of view, Lin Yutang's translation thought is mainly aimed at literary translation. Among his three translation principles (faithfulness, smoothness and beauty), the third principle--beauty is regarded as the most important point in literary translation. Therefore, Lin Yutang's translation thought is also recognized as “translation of aesthetics” by some scholars.

理想的译者应该使他的翻译成为一种艺术。他应该以一种艺术之心去爱它，小心对待他，并且将翻译当成艺术。尤其是在翻译文学作品的时候，译者应当花更多心思在词汇的优美与否上。林语堂认为在文学作品翻译时最重要的事是体现作品的风格。也就是说，“不仅是看他说了什么，还要看他怎么说的。”从这个角度来看，林语堂的翻译思想主要着眼于文学翻译。在他的三个翻译原则（忠实性，流畅性，和优美程度），第三原则——优美程度，则被看作文学作品翻译中最重要的一点。因此林语堂的翻译思想也被一些学者视为“美学的翻译”。 --Wensixing (talk) 07:34, 21 October 2020 (UTC)

理想的译者应该让自己的译文成为一件艺术作品。他/她应该以一颗艺术之心去爱它，小心照料，并且将翻译当成艺术。尤其是在翻译文学作品的时候，译者应当花更多心思在选词优美上。林语堂认为，文学作品翻译时最重要的事莫过于体现作品的风格。也就是说，“不仅是体现原文的内容，还要体现其表达方式。”从这个角度来看，林语堂的翻译思想主要着眼于文学翻译。在他的三个翻译标准（忠实，通顺，美）中，其中第三条美的标准，便成为文学作品翻译中最重要的一条标准。因此林语堂的翻译思想也被一些学者视为“美学的翻译”。 --Zeng Fangyuan (talk) 08:16, 21 October 2020 (UTC)

Wen Xiaoyi 文晓艺

So in the article of On Translation written by Lin Yutang, the main content is about the discussion on translation standards, and the core idea of the full text is that translation is an art. The most important thing in literary translation is to express the beauty of the original work, and to embody the original author's “how to say” in the translation. At the same time, Lin Yutang also affirmed that translation is creation. The translation with beauty features can make the original work be loved by the readers in the foreign culture, spread widely to the other countries, and achieve its equivalent effect in the source language environment to the greatest extent, which is the greatest responsibility and loyalty to the original text, the author, the readers and the art.

Wu Kai 吴恺

1.3 Liu Miqing’s theory of Translation Aesthetics

In 1995, Liu Miqing offers a theoretical framework of Translation Aesthetics in detail in his book An Introduction to Translation Aesthetics. “Translation Aesthetics refers to the study on aesthetic object (the source text and the target text), the aesthetic subject (translators and readers) and aesthetic activities in translation, such as aesthetic judgments, aesthetic appreciation, and creative aesthetic representation in translation.”[2]

1.3刘宓庆的翻译美学理论

1995年，刘宓庆在其著作《翻译美学理论》中详细介绍了翻译美学的理论框架。“翻译美学是指对翻译中审美对象（原文和译文）、审美主体（译者和读者）以及翻译中的审美活动的研究，如翻译中的审美判断、审美欣赏和创造性的审美表现。”[2]--Wu Kai (talk) 12:26, 23 October 2020 (UTC)

1.3 刘宓庆的翻译美学理论

1995年，刘宓庆在《翻译美学导论》一书中详细阐述了翻译美学的理论框架。“翻译美学是指对翻译中的审美客体(原文和译文)、审美主体(译者和读者)和审美活动的研究，如审美判断、审美欣赏、翻译中的创造性审美表征等。”--Xiao Shuangling (talk) 02:26, 24 October 2020 (UTC)Xiao Shuangling

Wu Qi 吴琪

“Aesthetic object (AO) refers to the objective matters that human's aesthetic activity targets at.[3] However, not everything in the objective world is aesthetic object. For instance, The Book of Songs on the bookshelf is not an aesthetic object until translator buys and translate it. In the aesthetic process, the translator appreciate the beauty in sound, beauty in form and beauty in sense in the book.

审美客体（AO）是指人们审美活动所针对的客观事物。【3】然而，在客观世界里，并非所有事物都是审美对象。例如，书架上的诗经只有被译者买下并翻译了，才是一个审美对象。再审美过程中，译者欣赏到了这本书的音美、形美、意美。--Wu Qi (talk) 14:42, 21 October 2020 (UTC)

审美对象（AO）是指人们在审美活动中所针对的客观事物。【3】然而，在客观世界里并非所有事物均是审美对象。比如，书架上的诗经只有在被译者买下并翻译之后才能称之为审美对象。在审美过程中，译者体会到了这本书的音美，形美和意美。--Wang Yuan (talk) 14:58, 21 October 2020 (UTC)

Wu Qiong 吴琼

It clings to the aesthetic constituents and the aesthetic effects of the ST. If one pursues or analyzes the beauty in translation without adequate consideration of the ST, it equals to fish in the air and yields nothing but vainness. The attribute of TAO is different from the attribute of AO. On the one hand, it is attached to the aesthetic composition of SL. That is to say, translator cannot add something that is not in the aesthetic constituents of ST. 审美客体与源语翻译的审美因素及其效果紧密相关。如果一个人追求或分析翻译之美而未曾妥当考虑结构化文本，那就像是鱼在天空那样颗粒无收、徒劳无功。翻译的审美客体因素与审美客体因素是不同的。一方面，翻译审美客体要考虑到源语的审美组成。即译者不能凭空添加不符合结构化文本审美组成的成分--WuQiong (talk) 01:46, 23 October 2020 (UTC)。

Wu Xiang 邬香

According to Liu Miqing, “Aesthetic constituents of source text can be classified into two systems: formal aesthetic constituents and non-formal aesthetic constituents.”[4]. Formal aesthetic system include the scope of phonetics, morphology and syntax. While the non-formal aesthetic system is non-material, non-natural sensible. It is an indefinite, non-quantitative system. So it is also called “fuzzy sets” or “sets of fuzziness”. All kinds of beauty in the two systems are aesthetic objects, which we will experience in translation.

Wu Yilu 吴一露

The aesthetic subject (AS) refers to people who carry out aesthetic appreciation activity on the aesthetic object; and translation aesthetic subject (TAS) refers to the translator. When translating, translator plays a dual role. For one thing, he is the recipient of the SL text who should first decode the aesthetic information in the SL text. In this process, his role is both passive and subjective. For another, he is identified as the creator of the target text. Being so, he undertakes the task of aesthetic representation to the target text readers. Hence he ought to play his dynamic role as the aesthetic subject.

审美主体是指对审美客体进行审美欣赏活动的人;翻译审美主体则指的是译者。在翻译中，译者扮演着双重角色。一方面，他作为文本的接受者，首先要对文本中的美学信息进行解码。在这个过程中，他的角色既是被动的，也是主观的。另一方面，他也是目标文本的创造者。所以，他承担着对目标文本读者进行审美再现这一任务。因此，他应该发挥自己作为审美主体的能动作用。--Wu Yilu (talk) 02:47, 22 October 2020 (UTC)

审美主体是指对审美客体进行审美欣赏活动的人;翻译审美主体则指的是译者。在翻译中，译者扮演着双重角色。一方面，他作为文本的接受者，首先要对文本中的美学信息进行解码。在这个过程中，他的角色既是被动的，也是主观的。另一方面，他也是目标文本的创造者。所以，他承担着对目标文本读者进行审美再现这一任务。因此，译者应该发挥自己作为审美主体的能动作用。--Xu Jing (talk) 09:52, 22 October 2020 (UTC)

Wu Zijia 吴子佳

Comparing Lin Yutang’s theory with Liu Miqin’s theory, we can find that their thoughts have something in common. They both agree that Translation Aesthetics plays a significant role in translation, especially literary translation. Lin Yutang believes that literary translation is a creative art with beauty as its soul, so translators should always keep a heart of beauty-pursuit during the process of translating. While Liu Miqing offers a theoretical framework of Translation Aesthetics in detail. He regards source language and target language as aesthetic objects, treats translators as aesthetic subjects, and constructs basic framework of Translation Aesthetics in a dynamic role of subject and object.

Xiao Shuangling 肖双玲

2 A case study of The Border Town from the perspective of Translation Aesthetics

The Border Town is Shen Congwen’s masterpiece, which is also the supporting pillar for him to construct Xiangxi. He adopted a pristine love story to display the pursuit of his ideal life. The love story set in a town of Hunan province which is beside Sichuan province. In the 1930s, it is a quite tranquil place without lots of people in rural area. People there live a simple and honest life. The language of the novel is simple, deep, implicit and subtle, and it is in harmony with the content. It contains rich poetic feelings and produces a beautiful and graceful beauty.

2.从翻译美学的角度看《边城》个案研究

《边城》是沈从文的代表作，也是他建设湘西的支柱。他通过一个纯朴的爱情故事来表现他对理想生活的追求。这个爱情故事发生在湖南省的一个小镇，与四川省相邻。在20世纪30年代，由于没有什么人住在农村，这是一个相当安静的地方。那里的人过着简单而又实在的生活。小说的语言简单，深邃，含蓄而又微妙，与内容融为一体。它给人以诗情画意般的感受，产生了一种优雅美。--Xiao Shuangling (talk) 02:17, 24 October 2020 (UTC)Xiao Shuangling

2.从翻译美学的角度看《边城》个案研究 《边城》是沈从文的代表作，也是他建设湘西的主要作品。他通过一个纯朴的爱情故事表现了他对理想生活的追求。这个爱情故事发生在与四川省交界的一个湖南小镇。那是20世纪30年代里的一个人少宁静的乡村地区，村里的人过着简单而又实在的生活。小说的语言朴实，深邃，含蓄而又微妙，与其内容相得益彰。它给人以诗情画意般的感受，散发着一种优雅美。--Xiao Ting (talk) 04:10, 24 October 2020 (UTC)Xiao Ting

Xiao Ting 肖婷

Literary translation is a very important part in translation studies, and it’s a complicated process that requires many different skills. On the one hand, the aesthetic style and aesthetic feeling are very necessary for the author to compose his work. Therefore, the translator should pick up the literary words to transform the aesthetic sense of the source text in the process of translation. On the other hand, literary translation is the representations of all-round artistic quality which can make the target reader get the similar appreciation of the original beauty in the context of the target language. In this part, a case study is conducted in detail based on Gladys Yang’s English translation of The Border Town from the perspective of Translation Aesthetics.

文学翻译是翻译研究中非常重要的一个环节，它也是一个复杂的过程，需要很多不同的技巧。 一方面，作者在创作过程中，审美风格和审美感受的揉入是非常必要的。 因此，译者在翻译的过程中，要拾掇好文学词汇，转化源文本的美感。 另一方面，文学翻译是全方位艺术品质的表现，它可以使目标读者在目标语言的语境中得到类似于原作美感的欣赏体验。 在这部分，从翻译美学的角度，以格莱迪 杨的英译版《边城》为基础，进行了详细的分析。--Xiao Ting (talk) 03:05, 22 October 2020 (UTC)Xiao Ting

文学翻译是翻译研究中非常重要的一部分，这是一个复杂的过程，需要运用很多不同的技巧。 一方面，作者在创作过程中，审美风格和审美感受的揉入是非常必要的。 因此，译者在翻译的过程中，要精心挑选文学词汇来转化源文本的美感。 另一方面，文学翻译是全方位艺术品质的表现，它可以使目标读者在目标语言的语境中也能欣赏到类似于原作的美感。 在这方面有一个专题研究：从翻译美学的角度，以格莱迪杨的英译版《边城》为基础，对其进行了详尽的分析。--Mo Ling (talk) 04:41, 23 October 2020 (UTC)Mo Ling

Xiao Xi 肖茜

The combination of translation theory and aesthetics is traditional Chinese feature, and Translation Aesthetics carry forward traditional translation theory. With the increasingly close communication between China and other countries, Chinese classical aesthetics and Western aesthetics have developed a certain degree of integration, which is also a special form of mutual learning between China and the West in a sense. This kind of reference promotes the development and application of Translation Aesthetics.

Xiao Yining 肖伊宁

The aesthetic subject (AS) refers to people who carry out aesthetic appreciation activity on the aesthetic object; and translation aesthetic subject (TAS) refers to the translator. When translating, translator plays a dual role. For one thing, he is the recipient of the SL text who should first decode the aesthetic information in the SL text. In this process, his role is both passive and subjective. For another, he is identified as the creator of the target text. Being so, he undertakes the task of aesthetic representation to the target text readers. Hence he ought to play his dynamic role as the aesthetic subject. 审美主体是指对审美客体进行审美欣赏活动的人;翻译审美主体指的是译者。在翻译中，译者扮演着双重角色。一方面，作为文本的接受者，他首先要对文本中的审美信息进行解码。在这个过程中，他的角色既有被动的，也有主观的。另一方面，他被认为是目标文本的创造者。因此，他承担着对目标文本读者进行审美再现的任务。因此，他应该发挥自己作为审美主体的能动作用。--Xiao yining (talk) 12:17, 21 October 2020 (UTC)Xiao Yining

审美主体指的是审美活动的执行者；所以翻译审美主体就是译者。译者在翻译中有着双重角色。其一，作为原文文本的接收者，他首先需要解码原文中的审美信息。在这个过程中，他同时扮演主观和被动的角色。其二，人们认为他是目标文本的创作者。因此，他承担了为目标读者实现审美再现的任务。所以，作为审美主体，译者的角色是能动的。--Xu Mengdie (talk) 12:47, 21 October 2020 (UTC)Xu Mengdie

Xie Fan 解帆

There is a doubt that why Benjamin insists that the fruit of pure language is on the original work’s side, as we mentioned in the beginning that Benjamin want to realize the identity of language and spirit through exhausting all the referential modes of all languages, and making them melt with each other. Though translation is the living-on of original work which just like the baby from a mother, affiliated to the original. Why the final result will be on the original side still needs our attention. During the differánce of texts, original text can become the translation of former text while the translation can be the original text of later text, thus the chain of textual differánce are built.

Xie Ziyi 谢子熠

However, in Benjamin’s points, translation work is the afterlife of original work doesn’t mean it’s the end of original work’s life nor that translation work replaces the original one to be an independent organism. Benjamin stresses that continuity of life doesn’t pay much attention to the survival of organism, which means that translation is a medium that pushes the original’s life process, a medium that provides a chance for the continuity of original’s life instead of substitution. The mission of translation is to promote the original work’s linguistic life growing until it ripens and fruit the pure language.

Xu Jia 徐佳

The relationship of the two can only be understood in the whole purpose of realizing pure language. What Benjamin expects is through constant translation, we can make the referential modes of original work and translation work interflow until we exhaust all the referential modes to realize the final identity of language and spirit in entity. To the relationship of original work and translation work, Benjamin interprets from the perspective of organism and survival.

Xu Jing 许晶

Whereas, Benjamin stresses that translation is the continuity and supplement of original life but at the same time, he disapproves the independence of translation work as the effect of translation work is only to promote the growth of “pure language” existing in original work and translation itself contains no organism of pure language so translation work has not been equipped with translatability.

但是，本杰明强调翻译是对原作的延续和补充，与此同时，他不认可译作的独立性，因为译作的作用仅仅是促进原作中“纯语言”的成长，并且，翻译本身不包含纯语言有机体，因此译作不具有可译性。--Xu Jing2 (talk) 11:29, 24 October 2020 (UTC)

Xu Jing 许静

Except for paying attention to the elements of translation, translation aims to find out the ways to produce wonderful works and principles in assessing the quality of translation. Generally speaking, Translation Aesthetics does research on translation theory and practice from the perspective of aesthetics. Its major task is to analyze and elucidate the aesthetic principles, with which we can guide translation practices and assess the literary translation. Moreover, a satisfying version needs some other elements, such as the aesthetic experience of a translator, comprehension of source text, and evaluation and reproduction of beauty.

翻译除了关注翻译要素外，还要弄清楚用什么方法可以创造出精彩的作品，有哪些原则可以用来评价翻译作品的质量。 一般来说，翻译美学是从美学的角度对翻译理论和实践进行研究的。 它的主要任务是分析和阐明美学原则，用这些原则来指导翻译实践，评价文学翻译。 此外，一个满意的翻译版本还需要一些其他要素，如译者的审美体验、对源文本的理解、对美的评价和再现等。--Xu Jing (talk) 09:44, 22 October 2020 (UTC)

Xu Mengdie 徐梦蝶

In aesthetics, aesthetic subject and aesthetic object are two concepts and two categories that cannot be separated. There is a dialectical relationship between them. Therefore, a qualified translator should possess the dual characters as the translation aesthetic subject: objectivity and subjectivity. 在美学中，审美主体和审美客体是两个不可分割的概念和范畴。两者之间存在一种辩证关系。因此，一名合格的译者应该具备翻译审美主体的双重特征：主观性和客观性。--Xu Mengdie (talk) 12:29, 21 October 2020 (UTC)Xu Mengdie

在美学范畴中，审美主体和客体是两个不可分割的概念。主体和客体之间存在一种辩证关系。因此，一名合格的译者应具备翻译审美主体的双重特征：主观性和客观性。--Guo Lu (talk) 07:03, 22 October 2020 (UTC)

Xu Pengfei 许鹏飞

If there are no rhymes in the original, translators should not add rhymes. If there is no irony in the original, translator should not add irony. If there is no hyperbole, translator should not add hyperbole, and so on. On the other hand, it has flexibility for aesthetic subject. In some circumstances, we can’t find an appropriate word to translate which is in line with the ST. Under these circumstances, we should translate it in a flexible way.

如果原文中没有押韵，译者不应自己添加；如果原文中没有讽刺，译者不应自己添加；如果原文中没有夸张，译者也不应自己添加，以此类推。另一方面，出于美学考虑翻译具有灵活性。在某些情况下，我们无法找到合适的与原文相符的词来翻译。在这些情况下，我们应当用灵活的方式来翻译。--Xu Pengfei (talk) 09:21, 21 October 2020 (UTC)Xu Pengfei

如果原文中没有押韵，译者不应该添加押韵；如果原文中没有反语，译者不应该添加反语；如果原文中没有夸张，译者（也）不应该自行添加夸张，等等。另一方面，美学主体具有灵活性。在某些情况下，我们无法找到某个合适的与原文相符的词来翻译。在这些情况下，我们（就）应当用灵活的方式来翻译。 --Wensixing (talk) 07:40, 21 October 2020 (UTC)

Yang Chenting 杨晨婷

These beauty in various forms is called “aesthetic object”. Translation aesthetic object (TAO) is the source text (ST) which the translator is about to translate. But not every source text can be TAO. For example, if the source text is inconsistent, empty and has no value to translate, it cannot be translation aesthetic object. TAO possesses aesthetic values and is designed to satisfy human's aesthetic needs.

不同形式的美都是“美学对象”。翻译美学对象（TAO）就是译者需要进行翻译的原文（ST）。但并不是所有的原文都是翻译审美对象。例如，如果原文自相矛盾，语言空洞，没有翻译的价值的话，它就不是一个翻译美学对象。翻译美学对象不仅需要具备美学价值，还需要迎合人类的美学需要。--Yang chenting (talk) 02:37, 23 October 2020 (UTC)Yang Chenting

这些形式各异的美被称为“审美对象”。翻译审美对象（TAO）就是译者需要进行翻译的原文（ST）。但并不是所有的原文都是翻译审美对象。例如，如果原文自相矛盾，语言空洞，没有翻译的价值的话，它就不是一个翻译审美对象。翻译审美对象不仅需要具备美学价值，还需要旨在满足人类的审美需要。--Wu Kai (talk) 12:33, 23 October 2020 (UTC)

Yang Hairong 杨海容

2.1 Beauty in sound

Sound is one of the fundamental forms which carries the aesthetic information of language, either in poetry, drama or fiction. Guided by the principle of preserving the beauty on the phonetic beauty as much as possible without hindering readers’ understanding, Gladys Yang not only reproduces the original rhyme but also tries to preserve the original sound effect of the onomatopoeias.

2.1声美

声音是承载诗歌，戏剧或小说中语言美感信息的基本形式之一。 在不妨碍读者理解的前提下，和尽可能在语音美中保留美的原则指导下，杨韵诗不仅再现了原韵，而且还试图保留拟声词的原声效果。--Yang Hairong (talk) 01:48, 22 October 2020 (UTC)

在诗歌，戏剧或小说中，声音是承载着语言审美信息的基本形式之一。在不妨碍读者理解的前提下，格拉迪斯·杨（Gladys Yang）原则上尽可能保持语音的美感，不仅再现了原韵，而且还设法保留了拟声词的原声效果。--Yuan Yuchen (talk) 15:27, 22 October 2020 (UTC)

无论是在诗歌、喜剧还是小说中，声音都是传递语言美的信息的基本形式之一。在遵循尽可能保留语音美且不影响读者理解原文的原则上，戴乃迭（Gladys Yang）不仅还原了原本的韵律，还设法保留了原稳重拟声词的声音效果。--WuQiong (talk) 01:55, 23 October 2020 (UTC)

Yang Hui 阳慧

2.1.1 Rhyme

Generally speaking, rhymes are applied into songs and poems. However, it doesn't mean there is no rhyme in fictions. Technical fiction writers also attempt to select word and phrase patterns so as to make their works imbued with a regular beat. In regard to fiction, rhyme refers to the general way in which a passage moves and flows. “Rhythm, the beauty in sound, often takes the form of wave movement in prose”[5].

韵律 一般说来，韵脚被应用到歌曲和诗歌中。然而，这并不意味着小说中没有押韵。技术小说作家也试图选择词语和短语模式，以使他们的作品充满规律的节拍。在小说方面，韵脚指的是一篇文章移动和流动的一般方式。“节奏，声音中的美，常以散文中的波浪运动的形式” [5]--YangHui (talk) 11:57, 23 October 2020 (UTC)

2.1.1 韵律

一般来说，歌曲和诗歌中会有韵律。但这并不意味着小说中没有韵律。技法小说作家也试图选择词句模式，使作品充满规律的节拍。就小说而言，韵律指的是段落迁移和流动的一般方式。"节奏，是声音中的美，在散文中往往以波浪运动的形式出现"。--Tan Yuanyuan (talk) 02:49, 24 October 2020 (UTC)

Yang Yi 杨逸

To be specific, rhyme is a linguistic phenomenon referring to the repetition of the same or similar syllable sounds. It is achieved by the means of repetition, phrase structure, sentence structure and pause. The function of rhyme is mainly of the aesthetic aspect and the semantic meaning. On the one hand, the use of rhyme adds musicality to the literary .On the other hand, it arouses the readers' resonance and satisfaction. Since the rhythmic features contribute greatly to the aesthetic flavor, translators should take them into consideration and try to present the rhyme in the source text.

（中英举例不用翻译）

Example 1: 无人过渡时，等着祖父又不来，便尽只反复温习这些女孩子的神气，且轻轻的无所谓的唱着：“白鸡关出老虎咬人，不咬别人，团总的小姐派第一……大姐戴副金簪子，二姐戴副银钏子，只有我三妹没得什么戴，耳朵上长年蜜条豆芽菜。”[6]

Translation: When no one comes she waits for her grandfather, and when he fails to come she compares the looks of the girls and chants softly: The tiger eats the captain’s daughter first; Most girls have gold and silver for their hair; Poor Emerald is the one who comes off worst-No trinkets, nothing but beansprouts to wear![7]

Yang Yue 杨悦

This folk song sings Cuicui’s heart at that moment. The density of the rhythm contributes a lot to the reflection of Cuicui’s mood. Owing to the poor condition in her family, she could only admire the landlord's daughter's dress and ornaments. The sound / i / and / ai / repeat five times and emerge in different positions of the original text.

那时，这首民歌唱出了翠翠的心声。紧密的节奏有助于反映翠翠的情绪。由于家庭条件恶劣，她只能羡慕地主家女儿的衣服和饰品呢。/ i / and / ai / 音重复了五次，并出现在了原始文本的不同位置。--Yang Yue (talk) 02:30, 22 October 2020 (UTC)

这首民歌唱出了翠翠那时的心声。紧密的节奏有助于反映翠翠的情绪。由于家庭条件差，她只能羡慕地主家女儿的衣服和饰品呢。/ i / and / ai / 音重复了五次，并出现在了原始文本的不同位置。--Chen Jingjing (talk) 13:07, 24 October 2020 (UTC)Chen Jingjing

Yang Ziling 杨子泠

When singing, people should open and narrow their mouths forming a beautiful rhythmical meter. In Chinese the sound / i / vividly imitates the sound of weeping, and / ai / is like the sound of sighing. So the shift of the rhyme produces a sort of self-mockery effect to the audience, meanwhile arouses deep sympathy toward the pure girl in the readers’ heart.

Yao Cheng 姚诚

2.1.2 Onomatopoeia

Onomatopoeia means that an object or something is related to some actions which can be imitated by some vivid words. It is one of the rhetorical devices that are widely used in literary works, which makes great efforts to let speech sound vivid and lifelike. There are plenty of onomatopoeias in English and Chinese, though they have different expression forms, they are all used to imitate the sound. Onomatopoetic words can add interest to the work, which also can create aesthetic effect in literary works.

2.1.2 拟声 拟声指与能用生动词语来模仿的动作相关的对象或物体。它是文学作品中广泛使用的修辞手段之一，通过不懈努力，让声音听起来生动逼真。 中英文中有许多拟声词，虽然表达形式不同，但都用来模仿声音。 拟声词可以增加作品的趣味性，也可以在文学作品中创造美学效果。--Yao Cheng (talk) 14:45, 21 October 2020 (UTC)

拟声是指用一些生动的词汇来模仿某个对象或与动作相关的物体。拟声是在文学作品中广泛运用的修辞手法之一，尽其所能地让演讲听起来更加生动形象。在英语和中文中都有大量的拟声词，尽管它们的表达方式不同，但都用来模仿声音。拟声词能让作品更具趣味性，也可以在文学作品中创造美学效果。--WuQiong (talk) 02:06, 23 October 2020 (UTC)

Yao Jia 姚佳

The onomatopoeias in The Border Town demonstrate readers with a lively picture and put them in the scene by themselves. Meanwhile, the use of the onomatopoeias also enhances the aesthetic effect of Shen’s literal expressions. It is fortunate that in many cases English and Chinese onomatopoeias can be inter-translated. 《边城》中的拟声词将栩栩如生的画面呈于读者眼前，而且能让读者置身其中。同时，拟声词的运用也增强了沈从文文字表达的审美效果。幸运的是，在很多情况下，英语和汉语的拟声词可以互译。--Yao Jia (talk) 13:45, 21 October 2020 (UTC)

通过使用拟声词，《边城》将栩栩如生的画面呈现在读者眼前，让读者仿佛置身其中。同时，运用拟声词也增强了沈氏文学表达中的美学效果。英汉拟声词在很多情况下可以互译，这实属大幸。--Yao Cheng (talk) 14:54, 21 October 2020 (UTC)

Yi Huan 易欢

However, sometimes it is impossible to achieve. So it is often hard for aesthetic subjects to render the onomatopoeias accurately and appropriately. In some translations, Gladys Yang has selected appropriate onomatopoeias of other appropriate words not only to imitate the sound but also to denote the original meanings. In the end, the description becomes more concrete and vivid, as it is showed in examples.

（中英文举例不用翻译）

Example 2: 那黄狗汪汪的吠着，受了惊似的绕屋乱走，有人过渡时，便随船渡过东岸且跑到那小山头向城里一方面大吠。[8]

Translation: Barking wildly, he dashes round the house. Next time, passengers are ferried across he follows them up the east bank and races up the hill overlooking town, yapping frantically.[9] 然而，有时也很难实现拟声词的英汉互译。因此，对审美主体来说，将拟声词译得精准无误而又恰到好处，这是十分困难的。在戴乃迭的一些翻译中，他会在合适的词语中挑选出合适的拟声词，这不仅模仿了声音形象还传达了原意。最后，这段描写就会更加明确具体，栩栩如生。正如下面例子所示，--Yi Huan (talk) 09:35, 22 October 2020 (UTC)

Yi Zichu 义子楚

（中英文举例不用翻译）

Example 3: 黄狗为了表示同主人的意见一致，也在翠翠身边汪汪的吠着。[10]

Translation: To show his agreement, Brownie sets up a furious barking.[11]

In the two examples, there are three “吠”(fèi, meaning bark)，which is as a modifier of the verb “叫”. In the first translation, Gladys uses “barking wildly” to show the dog’s scare. And the second one is translated into “yapping frantically”, which shows that it’s on duty. And the third one is “furious barking” to show its anger. In Chinese, we can only use different adverbs to modify the same verb. However, the same character in Chinese is translated into three different expressions. In this way, the target readers can understand the original clearly.

You Yuting 游雨婷

2.2 Beauty in lexis

Beauty in lexis is associated with word choice, register, and collocation, and there are many rhetorical devices that contribute to the formal beauty on the lexical level, such as euphemism, zeugma, oxymoron, etc. Shen Congwen, with deep affection to his hometown, writes his fiction in a language as genuine and beautiful as the frontier folk songs in his hometown. His language, which has also enriched the modern vernacularism in China, is imbued with metaphors, local jokes and ballads.

词汇美与词的选择、语域和搭配有关，词汇层面的形式美有许多修辞手段，如委婉表达、对格法、矛盾修饰法等。沈从文怀着对家乡的深厚感情，用家乡边塞民歌一样真挚美丽的语言，撰写了自己的小说。他的语言中充满了隐喻、地方笑话和民谣，也丰富了中国的现代白话文化。--You Yuting (talk) 01:35, 23 October 2020 (UTC)

词汇美

词美与词的选择、配位、搭配有关，在词汇层面上，委婉语、理喻、矛盾修辞等修辞手段对形式美有很大贡献。沈从文对家乡有着深厚的感情，他的小说创作语言真实而优美，就像他家乡的边民歌曲。他的语言，也丰富了中国的现代魔术，充满了隐喻，地方笑话和歌谣。--YangHui (talk) 12:00, 23 October 2020 (UTC)

Yu Ni 余妮

As for the aesthetic representation on the lexical level, Yang’s English translation have done a satisfactory job in that she attempts to retain the aesthetic features of original lexis as much as possible, though when it comes to the lexis loaded with heavy cultural connotations, due to the cultural untranslatability, the translator has employed domestication to avoid misunderstanding.

（中英文举例不用翻译）

Example 4: 翠翠在风日里长着，故把皮肤变得黑黑的，触目为青山绿水，故眸子清明如水晶。自然既长养她且教育她，为人天真活泼，处处俨然如一只小怪兽。人又那么乖，如山头黄麂一样，从不想到残忍事情，从不发愁，从不动气。[12]

Translation: Wind and sun have tanned this growing girl’s skin，her eyes rest on green hills are as clear as crystal. Nature is her mother and teacher, making her innocent, lively and untamed as some small wild creature. She has the gentleness of a fawn and seems not to know the meaning of cruelty, anxiety or anger.[13]

Yuan Shiqi 袁诗琦

Shen Congwen's description of Cuicui is based on the perfect combination of a pure little girl and nature. Shen Congwen used “dark black” to describe the natural and healthy skin color of Cuicui. She described the clear and bright eyes of Cuicui as “as clear as crystal”. Only through the description of skin and eyes, the youthful image of Cuicui was vivid. In translation, like “small wild creature” and “fawn”, it shows the lively side of Cuicui.

沈从文对翠翠的描写是基于单纯小女孩与自然的完美结合。沈从文用“黑”来形容翠翠自然健康的肤色。他形容翠翠清澈明亮的眼睛“像水晶一样清澈”。只有通过对皮肤和眼睛的描写，翠翠青春的形象才显得生动。在翻译中，“小野兽”和“小鹿”这样的词，展现了翠翠活泼的一面。--Yuan SHiqi (talk) 08:59, 21 October 2020 (UTC)

沈从文对翠翠的描写是基于单纯小女孩与自然的完美结合。他用“黝黑”一词来形容翠翠自然健康的肤色，用“像水晶一样清澈”来形容翠翠清澈明亮的眼睛。也只有通过对皮肤和眼睛的描写，翠翠青春的形象才显得生动。在译本中，像“小野兽”和“小鹿”这样的表达也展现了翠翠活泼可爱的一面。--Zhou Yiwen (talk) 09:25, 21 October 2020 (UTC)

Yuan Tianyi 袁天翼

Therefore, whether or not the aesthetic value of the source language image can be reproduced in the translation becomes the key to the reader's ability to understand Cuicui’s character. For example, “dark black” Gladys Yang uses “tanned” to indicate that her skin is a natural and healthy beauty after the sun has shined.

因此，译文中源语言形象的美学价值是否能重现，成为了读者理解翠翠性格的关键。比如，格拉迪斯·杨（Gladys Yang）使用“晒黑的”（tanned）这个词来表示自己的皮肤经过阳光的照射以后产生了一种自然美与健康美。--Yuan Tianyi (talk) 09:57, 21 October 2020 (UTC)

因此，原文中的美学价值能否在译文中再现成为了读者能否理解翠翠性格的关键。例如，格拉迪斯·杨（Gladys Yang）使用 “tanned”一词来表示“dark black"（晒黑的），以描述她的皮肤经过太阳照射后，是一种健康自然的美。--Yang chenting (talk) 02:42, 23 October 2020 (UTC)Yang Chenting

Yuan Yuchen 袁雨晨

2.3 Beauty in form

Like sound and lexis transmitting beauty, syntax and paragraphs also carry lots of aesthetic information. There are many differences existing in Chinese and English sentence structures. Chinese sentence is like a bamboo that all structures come out from the base, while English sentence is like a grape tree with branches from the stem and twigs from the branches and the clauses are strictly arranged by the grammatical rules.

2.3形式美 就像传达美的声音和词语一样，句法和段落也携带着大量的审美信息。汉语和英语在句子结构上存在很大的差异。汉语句子就像竹子一样，所有结构是从地底冒出来。而英语句子就像一棵葡萄树，无论是从枝干到主干，还是从主干到枝干，从句严格按照语法规则整合而成。--Yuan Yuchen (talk) 15:25, 22 October 2020 (UTC)

2.3形式美 正如声音和词汇传递美感一样，句法和段落也携带着大量的美学信息。汉语和英语在句子结构上存在许多差异。汉语句子结构如竹子从其根基长出来一般，而英语句子结构则像是葡萄的主干连着枝干，枝干又连着小分支一样，从句严格按照语法规则整合而成。--Xu Jing2 (talk) 12:12, 24 October 2020 (UTC)

Zeng Fangyuan 曾芳缘

Sentences can express a comprehensive meaning and carries certain aesthetic information. The successful translation is always with a figure, and most works have their own way of using figures of speech to form their own characteristic style. Thus the beauty in form came into being.

句子可以表达一个完整的意思，并带有一定的美学信息。成功的翻译常常具有一个轮廓，而且大多数作品都有各自运用修辞手法的方式，从而形成其独有的风格。因此，形式美变应运而生了。--Zeng Fangyuan (talk) 07:52, 21 October 2020 (UTC)

句子可以表意完整，并带有一定的美学信息。成功的翻译通常会运用修辞，大多数作品都有自己适用的修辞手法，从而形成其独有风格。因此，形式美变应运而生。--Yao Jia (talk) 14:15, 21 October 2020 (UTC)

Zeng Liang 曾良

Structural balance and harmony is one of the basic aesthetic principles, and it is obtained with the use of right rhetorical devices. Here the author chooses three typical rhetorical devices: antithesis, parallelism and repetition to express the beauty of sentences in translation. What’s more, the three rhetorical devices have been used in Shen’s The Border Town.

结构平衡与和谐是基本的美学原则之一，它是通过正确使用修辞手法而获得的。在此，作者选择三种典型的修辞手法：对比、排比和反复来表达翻译中的句子之美。此外，这三种修辞手法已经在沈从文的《边城》中得以使用。--Zeng Liang (talk) 02:58, 23 October 2020 (UTC)

结构的平衡与和谐是美学的基本原则之一，它是通过正确的修辞手法来实现的。在翻译中，为了表达句子之美，作者选择了三种典型的修辞手法:对偶、排比和重复。此外，这三种修辞手法在《边城》中也有所运用。--Su Lin (talk) 07:45, 24 October 2020 (UTC)

Zeng Xinyuan 曾心媛

2.3.1 Parallelism

Parallelism is to use repetition in equivalent positions to enhance language expression and pay attention to emphasis, clarity and coherence of opinions. In parallel construction, it is necessary for writers to balance word with word, phrase with phrase, clause with clause, and sentence with sentence. At the same time, importance of grammar should be concerned to strengthen coherence of the sentence. In terms of the syntactic level, parallelism is a sprightly succinct rhetorical device.

Zeng Yanhu 曾雁湖

The identical meaning, structure or tone appeals to the readers’ eyes and ears, and heightens the readers’ aesthetic experience. It is one of the valid ways to satisfy aesthetic demands of language: balance and concordance in structure, while rhythm and harmony in tonality. The aesthetic information in parallelism is largely showed in the reoccurrence of a specific pattern, which carries lots of aesthetic value to make the original more lively and impressive. So it is widely employed in literary works. There’s no exception in The Border Town.

Zhang Hu 张虎

（中英举例不用翻译）

Look at the example:

Example 5: 这事情在本地人并不希奇，边地俗语说：“火是各处可烧的，水是各处可流的，日月是各处可照的，爱情是可各处可到的。”[14]

Translation: There is nothing strange in these parts, where folk have a saying, “There is no place on earth where fire cannot spread, water flow, sun and moon shine, or love make its way.”[15]

In this example, the same concise and symmetric sentence structure reoccurred many times. The repetition “各处可”(meaning everywhere) produces rhythm, making the sentence read like a song. By comparing love to fire, water, the sun and the moon, it vividly depicts the honesty, and straightforwardness of the local people.

Zhang Hui 张慧

In Gladys’ version, she transforms the original parallel structure into a simple sentence and an attributive clause. Concise as it is, it isn’t in line with the writer’s intention and obviously disobeys the style of the original. Although it has transmitted the meaning of the original sentences, it fails to render the aesthetic features of this local saying.

在格莱迪斯的版本中，她将原来的并列结构转化为一个简单的句子和一个归属句。虽然简洁，但并不符合作者的意图，显然不符合原文的风格。虽然它传递了原句的意思，但却没有渲染出这个地方俗语的审美特征。--Zhang Hui (talk) 09:15, 21 October 2020 (UTC)

在格莱迪斯的版本中，她将原来的并列结构转化为一个简单的句子和一个从属句。虽然简洁，但并不符合作者的意图，显然违背了原文的风格。虽然它传递了原句的意思，但却没有译出这个地方俗语的审美特征。--Zhao Xiaoyan (talk) 09:18, 21 October 2020 (UTC)

在格莱迪斯的译文中，她将原文的平行结构转换成了一个简单句带从属句的句型结构。尽管译文读来较为简洁，但却不符合作者的意图，并且明显违背了原作的风格。虽然传递出了原文的含义，但却没有译出地方俗语的审美特征。--Zhou Yuanqu (talk) 09:35, 23 October 2020 (UTC)

Zhang Ling 张玲

2.3.2 Antithesis

Antithesis, a rhetoric technique with symmetric form and harmonious tonality, is designed to illustrate different things or aspects of the identical thing by comparison, and the symmetric components can replenish and contrast each other.

2.3.2 对照

对照一种形式对称、语调和谐的修辞手法，旨在通过比较来说明同一事物的不同之处或不同方面，对称的部分可以互相补充和对比。 --Zhang Ling (talk) 01:23, 24 October 2020 (UTC)

Zhang Peiwen 张佩闻

（中英举例不用翻译）

Look at the example below.

Example 6: 轻轻的自言自语：“每只船要有个码头，每只雀儿得有个巢。”[16]

Translation: “Boats have a wharf, birds have a nest.” he murmurs.[17]

In this sentence, “船”(chuán, meaning boat) and “雀儿”(què ér, meaning bird), “码头”(mǎ tóu, meaning wharf ) and “巢”(cháo, meaning nest) in the Chineses version make an antithesis with each other, and it is well balanced in form. The writer expresses the grandpa’s care to Cuicui. Gladys’s version is structurally well-balanced. However, the utilization of the word “have” in English version fails to show the strong sense of belonging, reducing the aesthetic value of the original. If she use “need” to replace it, I think the aesthetic enjoyment could be realized better.

请看下面的例子 例6: 轻轻的自言自语：“每只船要有个码头，每只雀儿得有个巢。”[16]

Translation: “Boats have a wharf, birds have a nest.” he murmurs.[17] 在这个句子中，船”(chuán, meaning boat) and “雀儿”(què ér, meaning bird), “码头”(mǎ tóu, meaning wharf ) and “巢”(cháo, meaning nest) 这几个词都符合对偶的形式，在形式上也非常的平衡。作者用这样一句话体现了爷爷对翠翠的关心。格拉迪斯的版本在结构上很平衡。然而，“have”这个词，在英文中使用时更强调“占有，归属”，这会让句子失去原有的美感。如果作者用“need”一词来代替“have”，橘子便会更赋有美感。--Zhang Peiwen (talk) 11:34, 23 October 2020 (UTC)

Zhang Qi 张琪

2.3.3 Repetition

From the word of repetition, we know that the same word can be used several times in one sentence. The main function of this rhetoric is to emphasize some things or information. It may help to produce strong aesthetic effect. In The Border Town, Shen Congwen employs repetition deliberately to achieve his purpose of emotive intensification. The intensive repetition can be used as a powerful thematic device.

Zhang Weihong 张维虹

（中英举例不用翻译）

Here is an example:

Example 7: 老船夫说：“翠翠我看了个好碾坊，碾盘是新的，水车是新的，屋上稻草也是新的！”[18]

Translation: “Emerald,” he tells her, “I've just seen a fine mill. Brand-new from the millstone and water-wheel to the thatch on the roof.”[19]

This sentence vividly reproduces grandfather's psychological state after he has visited the new mill. The repetition of “是新的”(meaning new) for three times echoes each other to highlight how the mill knocks the breath out of grandpa, and strengthen his envy and longing for the mill. Gladys translates it into “Brand-new from... to...”

这句话生动地再现了爷爷参观完新磨坊后的心理状态。“是新的”三次重复，相互呼应，凸显爷爷看到磨坊后的惊讶，强调其对磨坊的羡慕与憧憬。格拉迪斯（Gladys）将其译成“全新的”。

Zhang Xueyi 张雪仪

Though it fails to keep the symmetric form of the original, it still succeeds in recreating the particular aesthetic effect of the original text. The inverted sentence pattern, the shifted perspective and the emphatic words make up for the loss of the repetition to great extent. Meanwhile, the concise and paralleled sentence structure represents the aesthetic information of the original more appropriately.

Zhang Yinliu 张银柳

2.4 Beauty in image

Image in the literary text refers to the output of the subjective intrinsic emotion of the author and the extrinsic objective substances or the incarnation of emotion produced out of language narration. It is the unity of finity and infinity, the unity of the latent and the outstanding.

2.4 意象美

文学文本中的意象是指作者的主观内在情感和外在客观物质的输出，或者是由语言叙述产生的情感的化身。 它是无限与无限的统一，潜伏与卓越的统一。--Zhang Yinliu (talk) 16:17, 23 October 2020 (UTC)

Zhang Yu 张瑜

（中英举例不用翻译）

Example 8: 翠翠温习着两次过节所见所闻的一切，心中很快乐，好像目前有一个东西，同早间在床上闭了眼睛所看到的那种捉摸不定的黄葵花一样，这东西仿佛明朗地在眼前，却看不准，抓不住。[20]

Translation: Going over two festivals in her mind, happily savoring what she had seen and heard, Emerald has the same sensation as when she closed her eyes in bed in the morning and sees yellow sunflowers just out of reach. Something exciting lies ahead as yet indistinct and intangible, but too lovely to let go.[21]

This sentence is a psychological description of Cuicui. She recalled the days of last two Dragon Boat Festivals when she encountered Nuosong. Her heart was filled with unnamable expectation. She wished to see Nuosong again.

这句话是翠翠的心理描写。当她遇到傩送时，她回忆起前两次端午节。她的心充满不可名状的期待。她希望能再次遇到傩送。--Zhang Yu (talk) 13:25, 21 October 2020 (UTC)

这句话是对翠翠的心理描述。她回忆起前两次端午遇到傩送的日子。她的心里充满了难以形容的期待。她希望能再见到诺宋。--You Yuting (talk) 01:53, 23 October 2020 (UTC)

这句话是对翠翠的心理描写。当她回忆起前两次端午节遇到傩送的情景时，心里满是莫名的期待。她多希望能再次见到傩送啊。--Zhang Yujie (talk) 03:12, 24 October 2020 (UTC)

Zhang Yujie 张毓婕

The above sentence describes the sprout of love in Cuicui’s heart which is implicit but brings her sweetness and dream.

这句话描绘了翠翠心中爱意的萌发，这种爱虽含蓄，却能给她带来甜蜜和希望。--Zhang Yujie (talk) 03:00, 24 October 2020 (UTC)

这句话描述了翠翠心中爱情的萌芽，这萌芽虽然含蓄，却给她带来了甜蜜和憧憬。--Zheng Huajun (talk) 08:05, 24 October 2020 (UTC)

Zhang Yuxing 张宇星

The image “黄葵花”(huáng kuí huā, meaning yellow sunflower) symbolizes that the love has planted its seed in Cuicui’s heart, and is in full blossoms which brings Cuicui happiness and which she would like to pluck. In the translated versions, Yang makes uses of literal translation by preserving the image of “黄葵花”and puts it into “yellow sunflower”.

Zhao Xi 赵茜

With the help of the context, it is easy for the target readers to understand the image of “yellow sunflower” and acquire the implicit aesthetic value in it in Yang’s version.

在语境的帮助下，译文读者理解“黄葵花”的意境以及获取杨的译文中其暗含的审美价值是轻而易举的。--Zhao Xi (talk) 05:43, 21 October 2020 (UTC)

在语境的帮助下，目标读者易于理解“黄葵花”的形象，并获取杨译文中隐含的审美价值。--Yuan SHiqi (talk) 09:08, 21 October 2020 (UTC)

在语境的帮助下，译文读者很容易理解杨的译本中的“黄葵花”形象，并获得其中隐含的审美价值。 --Zhu Suyao (talk) 06:02, 23 October 2020 (UTC)

Zhao Xiaoyan 赵晓燕

It depicts the hope and happiness in Cuicui’s heart and brings the same enjoyment to target readers as it does to the source readers.

这描述了翠翠内心的希望和幸福，也给目标语读者带来和源语读者相同的感受。--Zhao Xiaoyan (talk) 09:12, 21 October 2020 (UTC) 这描写了翠翠心中的希望和幸福，给目标读者带来和源语读者相同的感受。--Zhang Hui (talk) 09:17, 21 October 2020 (UTC) 这体现出了翠翠内心的期望和喜悦，同时也让目标语读者与源语读者有相同的感受。--Zhang Peiwen (talk) 11:38, 23 October 2020 (UTC)

Zheng Huajun 郑华君

2.5 Beauty in ideorealm

Artistic ideorealm is defined as an artistic realm in lyric poetry and other literary works, which is an integration of subjective emotion and objective images and feelings.

2.5意境美 意境是指抒情诗和其他文学作品中主观情感和客观形象、情感结合的一种艺术境界。--Zheng Huajun (talk) 08:01, 24 October 2020 (UTC)

Zhou Luoping 周罗平

It is characterized as beautiful and implicit as a traditional Chinese painting, which can evoke readers’ association and imagination, and surpasses the concrete vision and ascends an extensive artistic space.

Zhou Shiqing 周诗卿

（中英举例不用翻译）

Example 9: 由四川过湖南去，靠东有一条官路。这官路将近湘西边境到了一个地方名为‘茶峒’的小山城时，有一小溪，溪边有座白色小塔，塔下住了一户单独的人家。这人家只一个老人，一个女孩子，一只黄狗。[22]

Translation: The highway running east from Sichuan to Hunan comes, just west of the border, to Chadong, a small town in the hills. Nearby a stream flows past a small pagoda, at the foot of which lives a solitary household: an old man, a girl, and a dog.[23]

This is the first paragraph of the novel. Like telling a story, it is slow and plain. From what Shen Congwen has described, we can see that he has a special writing style which expresses the beauty of nature. 这是小说的第一段。像讲故事一样，娓娓道来、平铺直叙。根据沈从文的描述，我们发现他对于表现自然之美有着独特的写作风格。--Zhou Shiqing (talk) 15:23, 21 October 2020 (UTC)Zhou Shiqing 周诗卿

Zhou Shuyao 周书尧

Here, the writer uses seven “一”(yī, meaning one) in all, and every one describes different images. What’s more, “一”represents Shen’s melancholy aesthetic sentiment and creation view.

Zhou Siqing 周思庆

Shen uses the rhetorical device of anadiplosis which means repeating the ending words of the precedent sentence in the following sentence. This kind of discourse progression mode is not only good for the coherence of narrative and understanding of discourse but also full of interest. 深使用顶针的修辞手法，这种修辞指的是在下一句中重复上一句的尾字。这种语篇推进的模式不仅有利于叙述的连贯和语篇的理解，而且富有趣味。--Zhou Siqing (talk) 02:05, 21 October 2020 (UTC)

沈使用顶针的修辞手法，顶针是指在下一句中重复上一句的尾词。这种语篇推进模式不仅对叙述的连贯性和语篇的理解有益，而且趣味盎然。--Zhao Xi (talk) 05:17, 21 October 2020 (UTC)

Zhou Yiwen 周艺文

Gladys thoroughly adverts to the aesthetic connotation and narrative techniques contain in “一” of the original text and strive for “formal similarity” and “spiritual similarity”. In sentence structure, Gladys retains the anadiplosis rhetorical device like “一”.

格拉迪斯特别注重审美内涵和叙事技巧在原文中包含于一，努力达到“形似”和“神似”。在句子结构上，格拉迪斯也保留了顶真修辞手法。--Zhou Yiwen (talk) 08:52, 21 October 2020 (UTC)

格拉迪斯特别注重原文“一”所蕴含的美学内涵和叙事技巧，力求达到“形似”和“神似”。在句子结构上，格拉迪斯保留了“一”这样的顶真修辞手法。--Zhu Xu (talk) 08:49, 22 October 2020 (UTC)

Zhou Yuanqu 周园曲

More importantly, the static beauty of the original text has been changed into dynamic beauty by the recreation of the translator. To sum up, the whole translation is simple and fluent which correspond to the intangible and solitary artistic conception in the original text.

更值得一提的是，通过译者的再创造，原文的静态美被转换成了动态美。总的说来，整段译文简洁而又流畅，没有破坏原文孤独朦胧的意境。--Zhou Yuanqu (talk) 09:36, 23 October 2020 (UTC)

更重要的是，经过译者的再创造，原文的静态美变成了动态美。总的来说，整个译文简洁流畅，与原文中无形而孤独的意境相对应。 --Zhang Ling (talk) 01:30, 24 October 2020 (UTC)

Zhou Yujuan 周玉娟

（中英举例不用翻译）

Example 10: 那首歌声音既极柔和，快乐中又微带忧郁，唱完了歌，翠翠觉得心上有一丝儿凄凉。她想起秋末酬神还愿时田坪中的火燎同鼓角。远处鼓声已起来了，她知道绘有朱红长线的龙船这时节已下河了。细雨依然落个不止，溪面一片烟.[24]

Translation: This gay, haunting melody has an undertone of sadness, making Emerald feel a pang of loneliness. Her thoughts fly to the bonfires and drumming in the fields to welcome the spirits at the end of autumn. Meanwhile drums sound up in the distance. The long crimson dragon boats will soon be staring their race. A light rain falls steadily, the stream is misted over.[25]

In this example, Gladys’ translation almost reaches the realm of “spirit likeness”. In the wording, she not only carefully uses some expressive words but blends her own aesthetic attitude and aesthetic ideas into translation. Cuicui has stirred her love since she met Nousong two years ago on Dragon Boat Festival.

Zhu Meimei 祝美梅

Henceforth, she has a load in her mind, which is nothing to do with her grandfather. Dragon Boat Festival comes again, and Cuicui sits alone on the ferryboat, waiting for her grandfather. Then she go to see the dragon boat race together with him in town, where she may meet Nuosong again.

因此，她便有了一桩心事，这件事不关祖父。龙舟节再次到了，翠翠一人坐在渡船上，等着祖父。然后他们一起进城去看龙舟比赛，在那里她可能再次碰到挪送。--Zhumeimei (talk) 02:09, 24 October 2020 (UTC)

从此以后，她便有了一桩心事，这事与祖父无关。龙舟节又到了，翠翠一人坐在渡船上等着祖父。然后他们一起进城去看龙舟比赛，或许在那儿，她还能碰到傩送。--Chen Han (talk) 13:06, 24 October 2020 (UTC)

Zhu Suyao 朱素瑶

The example above come about after Cuicui chanted a folk song on the ferryboat. The lonely and gloomy scenic description to some degree symbolizes that Cuicui’s love will end in tragedy. The repetition, though merely a few characters, forms an echo which achieves the artistic effect of inexhaustible sadness and sympathy of the readers toward Cuicui.

上述例子中的事情发生在翠翠在渡船上吟唱起了民谣之后。这冷清孤寂的景象描写在一定程度上象征了翠翠的爱情将以悲剧结尾。尽管只有寥寥几个字，而其重复引起的共鸣就实现了艺术效果，引发了读者对翠翠无尽的悲伤与同情。--Zhu Suyao (talk) 01:48, 23 October 2020 (UTC)

上述例子发生于翠翠在渡筏上吟唱民谣之后。这孤寂阴郁的景象描写在一定程度上象征了翠翠的爱情将以悲剧结尾。尽管寥寥数语，但这重复引起了共鸣，实现了读者对翠翠无尽悲伤与同情的艺术效果。--Zeng Liang (talk) 03:20, 23 October 2020 (UTC)

Zhu Xu 朱旭

3 Conclusion

After the research and analysis, the author has found that Translation Aesthetics can be regarded as a criteria to evaluate literary works. The unique aesthetic characteristics in literature indicate that Translation Aesthetics is an effective and practical theory to analyze literature translation. A good literary translation should fully express the literary features and artistic connotations of literary works, embody the aesthetic value of the works, and make the readers realize the infinite charm of oriental art and the great vitality of literary works.

Zou Xinyu 邹鑫雨

On the one hand, it is necessary to reproduce the linguistic features of literary works in a proper and flexible way. On the other hand, it is necessary to take into account the cognitive level and understanding ability of readers in different countries, so as to maximize the aesthetic charm of literary works.

一来，要用恰到好处，灵活应变的方式再现文学作品的语言特点。再者，要考虑到不同国家读者的认知水平和理解能力，使文学作品的美学魅力发挥到极致。--Zou Xinyu2 (talk) 09:47, 23 October 2020 (UTC)Zou Xinyu

一方面，有必要用恰到好处，灵活应变的方式再现文学作品的语言特征。 另一方面，有必要考虑不同国家读者的认知水平和理解能力，使文学作品的美学魅力发挥到极致。--Zhang Yinliu (talk) 16:21, 23 October 2020 (UTC)