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英语笔译 卞王倩 Bian Wangqian 202170081563 CE

Chinese Classics Translation from a Perspective of Translational Communication StudiesBian Wangqian

Abstract

A relatively massive Chinese classics translation can be back to the period during the late Ming dynasty and the early Qing dynasty, when excellent bilingual foreign missionaries in China introduced Chinese Classics abroad and brought them on a world stage, which can be seen as the individual translation activities that brought some Chinese Classics some popularity and fame among foreign countries, especially western ones. In the new era, China has made every effort to promote the “going-out” of Chinese culture with a focus on Chinese classics while strengthening its cultural soft power to build a modernized strong country, in which translational communication is no doubt playing an important role. Translational communication comes out of the application of communication theories to translation research and is an emerging subject that involves many specific fields for further research. And translational communication is a science of researching translational communication phenomena and their laws. A complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, the receiver of target language message, communication channels and translation effect, of which the initiator of communication and translator will be specifically illustrated here to deal with the issues of Chinese Classics Translation.

Key words

Chinese Classics Translation; Translational Communication; Initiator of Communication; Translator

Introduction

This paper includes five parts. The first part is the literature review, telling the relationship between translation and communication, the overview of translational communication studies and current studies from the perspective of translational communication. The second part is about methods and theories, that is, the introduction of translational communication and its six elements, especially the initiator of translational communication and translator. The third part is a detailed introduction of the initiator of translational communication, which has been divided into three types: the subject of the source language, the subject of the target language and the cooperation between the subject of the source language and the subject of the target language, and their application in real life and their aspiration for Chinese classics translation. The fourth part is the introduction of the translator and its subjectivity in different stages of translation in translational communication and their aspiration for Chinese classics translation. The last part is about the conclusion.

Literature Review

To meet the needs of rising translational communication practices, some theories and concepts of the science of communication have been introduced to apply to translation studies. As a result, translational communication studies are emerging. Lu Jun put forward that “the essence of translation is communication” (1997, 39). Xie Ke and Liao Xueru also defined: “in terms of the definition of translation and the nature of communication, communication is the essence of translation” (2016, 15). Tang Weihua franked: “Translation is communication” (2004, 48). And Zhang Shengxiang proposed that “translation and communication are symbionts” (2013, 117). All these have offered inspiration for furthering translational communication studies.

And the overview of translational communication studies is as follows: media, also communication channel or vehicle in translational communication, is the hot subject, and it includes new media, traditional media, mass media, social media and We media. This is in accordance with such an era of “media”. And then it’s translation strategies studies and communication effect. And cultural communication, as one of the types of translational communication, is closely related to a nation’s ideology and the purpose of building a positive international image. And Chinese classics translation and news translation are also playing a major role in foreign publicity. Translation publishing is also an important part, as it relates to the initiator of translational communication or the communication channels. In conclusion, translational communication studies cover not only the essential elements of translational communication but also the basic directions of translation, such as translation strategies and techniques, various text types and so on.

With the keywords “Chinese Classics translation from the perspective of translational communication studies” guided, according to data from CNKI, the most-involved theme is the studies of the strategies of Chinese Classics translation, which is exactly why this paper starts here, but from the perspective of translational communication studies. The rest majority covers external communication of such Chinese culture and classics as A Dream of Red Mansions and The Analects, translators and sinologists, such as English missionary James Legge, and publishing houses. So we can conclude that Chinese classics translation from the perspective of translational communication mainly deals with the object, translator and communication channel or vehicle, these three elements of translational communication. Besides, the papers involved are emerging like spring bamboo over the past five years, totaling five times that of ten years ago, just a single digit. This also proves the rapid development of translational communication studies as a new subject.

However, while “the subject or translator in translational communication” is searched as a subject, there is a few papers related unfolding or a few papers that directly relate to translational communication, but a lot about translation. So we can see that when translational communication is studied, translation from the perspective of communication is actually studied, which is indeed different from what we categorize as a translation but offers us a new direction. Just as Yin Feizhou, Yu Chengfa and Deng Yingling refer to in their co-authored book Ten Chapters of Translational Communication Studies: “The study of the interaction of the six elements of translational communication in translation communication studies can be found in the corresponding or correlated research patterns under translation studies” (2021: 17). That’s how the main body parts are organized here.

Methods and Theories

Let’s first get to communication before taking translational communication as the theoretical basis. In 1948, Harold Lasswell, an American communication scientist, put forward the 5W model of communication, that is, through what communication channel (In Which Channel), what communicating message (Says what) is communicated by the communication subject (the initiator of communication) to the communication target (To Whom), and what effect is achieved (With What Effect). But there is no clear definition of communication. In the 1970s, Wilbur Schramm, another American communication scientist reputed as “the father of communication studies”, gave an implicit definition: “Communication serves as a tool. That’s why our society exists.” Until now, there has been a simple definition of communication in the communication circle: the so-called “communication” is to convey the societal message or the operation of the societal message system (Guo Qingguang, 2011: 04). Or communication is the process of message flow (Hu Zhengrong，2017:19).

As for translation, according to Eugene. A. Nida, translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message. And Peter Newmark also gave his definition: “translation is rendering the meaning of a text into another language in the way the author intended the text”. And we can see that communication and translation both involve the exchange or transmission of the message.

From the perspective of language involved in communication, only a kind of language is used in the process of communication, which is called “intralingual communication”, also the general communication, and is the most seen in our daily life, such as the talk between two persons or groups who speak the same language. For another, such a process of communication deals with two or more kinds of language and can only be realized by means of translation or interpretation, which is exactly what we further study “interlingual communication”, and is also how we get translational communication.

So here is the difference between general communication and translational communication: translational communication carries the general characteristics of general communication, and also has a unique characteristic: language shift, which both constitute the essentials of translational communication. At the same time, translational communication studies and translation studies are different, more specifically, translation communication is the result of the development of translation studies towards a more refined and systematic direction. (Zhang Shengxiang, 2013：116). Differing from translation studies, see translation, as mentioned before, is an integral part of the process of translational communication, which is also regarded as an organic whole whose elements are interactive and interdependent.

We can conclude that translation is one of the forms of communication. And translational communication belongs to interlingual communication and can also be categorized as translation. It serves as the bridge for message communication among people. And based on Harold Lasswell’s 5W model of communication, the translator is introduced as one of the six elements of translational communication. As a result, a complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, receptor of target language message, vehicle\communicating channels and translation effect, and they engage in four links respectively, that is, initiation, translation, vehicle and reception, and message and translation effect are covering the whole process of translational communication.

In terms of six elements that contribute to a complete process of translational communication, six elements of translational communication jointly tell how translational communication is unfolding.

As the gatekeeper of translational communication, the subject of translational communication is also the initiator of the translational communication, who determines the communication message, the form of message presentation, translator, communication media and the vehicle, selects the wanted qualified translator and offers necessary material support to ensure the smooth operation of translational communication as well as partly affects the communication effect. This is the subjectivity of the initiator of translational communication. The initiator of translational communication can be an individual, a group, an organization, mass media or a country, which shows its diversity.

As an element that distinguishes translational communication from general communication, the translator is playing an important role in translational communication, that is, translators translate the source language message into the target language message and ensure the quality of the communication message. There will not be translational communication if there is no translator. In translational communication, a translator is a person, a machine, or a combination of both, who performs translation activities in the translational communication process (Yin Feizhou &Yu Chengfa, 2020：170-176). The translator affects the communication effect from two aspects: for one hand, the translator serves as the cooperation partner or stakeholder of the initiator of translational communication or even the initiator himself, along with the initiator or himself alone, exerts influence over the effect; for another, as the gatekeeper of message shift, translator determines the final effect of translational communication by selecting certain kinds of translation strategies or techniques and interacting with other elements of translational communication which deals with the quality of target language message. This is also an illustration of the subjectivity of translators in translational communication.

Source language message and target language message are both the object of translational communication, the object for the subject or initiator and translator of translational communication to recognize and perform and for the receptor to accept and understand. All activities of translational communication start from the perception, understanding and selection of the source language message and result in the target language message. There are three kinds of relationships between source language message and target language message: substitution, symbiosis and competition (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 112).

Communication channels refer to those media involved in translational communication, including newspaper offices, journals and magazines, book publishing houses, radio and television stations, film studios and networks and so on. In terms of message communication direction, these activities of translational communication can be classified into two types: internal translation communication and external translation communication. There are three main characteristics of communication channels: first, there is a translation link involved; second, communication media must be authorized; third, cross-region or -country cooperation will be made to better communicate.

The receptor of the target language message, the terminal of translational communication activities, accepts the heterogeneous culture from the source language, which means that receptor has to go through a cross-language understanding and cross-cultural reception. There are four characteristics of receptors in translational communication: absorb the heterogeneous culture, transform cognition, witness an impacted social culture and personal philosophy.

Like the effect of general communication, the effect of translational communication can be classified into two types: psychological, attitude and behavioral changes on the target receptor caused by the persuasive translational communication; the other is an intentional or unintentional, direct or indirect, implicit or explicit effect or influence on the general receptor and the society caused by all kinds of translational communication activities, especially those initiated by international radios and televisions, foreign language learning platforms and international message websites and We media.

Section One The Initiator of Translational Communication

As has been mentioned before, the initiator of translational communication is the gatekeeper of translational communication. It monitors other elements of translational communication and the whole process of communication, thus affecting the final effect of communication. According to the language environment, the subject or initiator of translational communication can be divided into the subject of the source language and the subject of the target language, and its control of the communication process can be in the form of control by the subject of the source language, control by the subject of the target language, and joint control by the source language subject and the target language subject. (Yin Feizhou & Li Ying, 2021: 76).

(1) The Subject of Source Language

The subject of source language refers to those individuals or organizations in the source language environment and their advantages in communicating their native or national culture lie in their deep understanding of and great appreciation for the message itself and the quality of Chinese classic works.

China International Literature Press and Foreign Language Press, the publishers of the Panda Books, are the subjects of the source language. As a member of the China International Publishing Group, Foreign Language Press has the responsibility of “introducing China in foreign languages and communicating with the world through books”. And its Panda Books includes a wide range of contemporary Chinese literary works, including masterpieces or collections of famous contemporary Chinese writers such as Wang Meng, Wang Zengqi, Liang Xiaosheng, Jia Pingwa, Feng Jicai, Tie Ning and Wang Anyi and so on, and their works reflect the true spiritual world and daily life of the Chinese people and resonate widely with their changing spiritual life and social environments. As a result, Panda Books has been a great success and has received widespread attention from the literary and Chinese communities in foreign countries such as the United Kingdom and the United States, thus becoming a publishing brand for translating and interpreting contemporary Chinese literature.

This is indeed an excellent example of Chinese classics translation and promotion abroad. Chinese classics such as the Taoist classics represented by Laozi or Tao Te Ching and the Confucian classics represented by the Analects, poems in the Tang, Song and Yuan dynasties, as well as the Ming and Qing novels represented by the Four Great Masterpieces of China have everlasting value and their significance goes beyond the contemporary era, and have gotten popularity in foreign countries during different periods. Therefore, their translation and promotion entail more attention and efforts from national publishers like Foreign Language Press so that Chinese classics can be brought back to life in the modern world.

Some famous Chinese and foreign experts and top-notch translators have worked with the FLP at one time or another, such as Israel Epstein, Sidney Shapiro, Gladys Yang, Denise Ly-Lebreton, and Tatsuko Yokokawa, Betty Chandler, Xiao Qian, Ye Junjian, and Yang Xianyi. Of them, A Dream of Red Mansions, co-translated by Yang Xianyi and his wife Gladys Yang and published by FLP, along with The Story of the Stone by Hawks, the two major English translations of A Dream of the Red Mansions, have been popular in the English-speaking world for nearly half a century, each with its own distinctive features, and have an authoritative status not only in the mainstream book market but also in the international sinology and redology circles. This also offers another solution to Chinese classics translation for China’s publishing houses: to absorb in excellent translation talents and masters and join hands to lay a solid foundation for Chinese classics’ communication with a foreign culture and foreign readers.

(2) The Subject of Target Language

The subject of target language refers to those individuals or organizations in the target language environment and their advantages of communicating with foreign or alien cultures lie in that they have an in-depth understanding of the target receptors and good control of the means of communication in the target language environment. For the subject of the target language, the content of translational communication is often determined by the cultural needs of the environment.

Mai Jia's Decoded is a typical example of a contemporary Chinese literary work that has “gone global” thanks to the subject of the target language. After the work won the Sixth National Book Award and was nominated for the Sixth Mao Dun Award, it was translated into English by a British sinologist Olivia Milburn and Christopher Payne, and co-published by Penguin Publishing Group in the UK and Elite Publishing Group in the US on the recommendation of the sinologist Julia Lovell. Due to their rich experience in marketing, the two publishing groups have made the English version of Decoded an enduring bestseller through various marketing channels, including the production of promotional videos, media coverage, book reviews, and global lecture tours by the author, and has been selected as the only contemporary Chinese literature work in the Penguin Classics.

As the target language subject--the publishing bodies act as the subject of translational communication, their access to the introduced works is mainly through translators and copyright agents, and the works recommended by these two groups are mostly classics from the source language country or region. Chinese classics are classical enough, plus enough exposure and strong publicity, all these make them enter the vision of the subjects of the target language and become their choice. Therefore, from the perspective of translational communication, the translation of Chinese classics depends not only on the discerning eyes of sinologists and subjects of the target language, but also on the classical atmosphere created by the Chinese government, the Chinese media and the Chinese people as the source language subjects. That’s the truth: Blooming flowers will always attract butterflies.

(3) the Subject of Source Language and the Subject of Target Language

Joint control by the source language subject and the target language subject means that two communication subjects in the source language environment and the target language environment are jointly responsible for a translational communication project. In the publishing industry, two publishing houses in the source language and the target language cooperate to complete the whole process of publishing and distribution, including the granting of translation rights, translation, publication, marketing and market feedback. The publication of the English translation of the famous science fiction The Three-Body Problem, written by the Chinese writer Li Cixin, is a typical example of this model.

In 2012, China Educational Publication Import & Export Corporation and Science Fiction World signed a book copyright agreement with Liu Cixin, the author of Three Bodies for the translation rights of its English version, and chose Chinese-American science fiction writer Ken Liu as the translator of the first book. In 2014, the company licensed the English version of Three Bodies to Thor Press in the U.S. for worldwide publication, and in 2015, Thor Press granted back the rights to the company for the English version in Greater China, and thus it was released in mainland China, Hong Kong, Macau, and Taiwan. So we can see that the English version of Three Bodies was jointly published and distributed by Chinese and American publishers who fully captured the content of this masterpiece and made good use of the local distribution advantages of British and American publishers, and finally gained a great success.

So what can Chinese classics translation learn from it? There is no denying that the subject of the source language or Chinese is monitoring the whole process of translational communication. But it will never be a way out while holding excellent classic works in the bosom as it will be difficult for us to have the advantages that the subject of target language does: identify the target receptors, understand their cultural psychology and select the types of classics that will interest the target receptors as well as find the best form of communication. So cooperation will be a win-win choice, especially today when Sino-foreign exchange has been increasingly close.

Section Two Translator in Translational Communication

Translator distinguishes translational communication from general communication, and they have the qualities of general translators and proficient ability to manage cross-cultural issues and, more importantly, the flexibility to interact with other elements to ensure the quality of translation and the communication effect, which are all examples of the subjectivity of translators. In the specific process of translational communication, the subjectivity of translations can be divided into two kinds: intra-translational subjectivity and extra-translational subjectivity (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 88). Extra-translational subjectivity refers to the translator's activeness and passivity in interacting with other elements of translational communication beyond language conversion, and it runs through the process of pre-translation negotiation and post-translation coordination. Intra-translational subjectivity refers to the translator's activeness and passivity in language conversion under the influence of other translational communication elements, and it runs through the process of translation.

(1) Pre-translation Negotiation

In translational communication of books, translators’ pre-translation negotiation subject is mainly the initiator of translational communication. This means that the translator needs to translate according to the expectations or instructions of the initiator, such as identifying the content of the translation, determining the purpose of translational communication, and proposing specific translation standards or strategies. The translator accepts the commission, agrees on the translation plan and signs a translation contract, and should of course translate according to the subject or initiator’s requirements, and the translation should try to meet his expectations, which reflects its passivity. For another, the translator can also make suggestions to the initiator, communicate and modify the translated text, standards or strategies based on his or her understanding of target readers and target society and culture, which in turn reflects the translator’s activeness.

Before the First China-Africa Economic and Trade Expo, the Secretariat of the Organizing Committee, as the main body of translational communication, commissioned a translation committee composed of experts including Jiang Hongxin and Yin Feizhou from Hunan Normal University to translate the official documents of the Expo. The translation committee initially advised that the Chinese expression “经贸合作” in the title of the book could be translated as “business cooperation”, but the secretariat, taking into account the opinions of the experts, considered that its translation should be “economic and trade cooperation”, and the translation of “经贸” should be “economy and trade”. In fact, the translation committee quoted the official English translation of “China-Europe business cooperation” from Li Keqiang’s keynote speech at the sixth session of the China-Europe Forum Hamburg Summit, stating that the term “economic and trade cooperation” is actually the equivalent of “business cooperation”, which does not need to be translated as the lengthy “economic and trade cooperation”. Despite that, the Secretariat emphasized that the translation of the book title should be consistent with the official English translation of the China-Africa Economic and Trade Expo, and insisted on the version of “economic and trade cooperation”. After understanding the intention of the organizing committee secretariat, the translators expressed their understanding and adopted this translation (Yin Feizhou, 2021: 88).

(2) While-translation Control

It’s what translators must do to timely communicate with the author of the source text or some experts while facing some difficulties or some professional problems in translating. The famous American sinologist Howard Goldblatt once said in an interview: The dialects in Jia Pingwa’s novels are so many that sometimes I fail to understand them while translating and have to communicate with him. Besides, I have translated eleven of Mo Yan’s novels, and we have had many discussions and even arguments about various details in them. Some of the artifacts and cultural backgrounds in Mo Yan's novels have posed considerable challenges for me. There is an artifact in (si shi yi pao) Pow! that I never understood, so I turned to him for help, and Mo Yan made a sketch and sent it to me by fax (Meng Xiangchun, 2014: 26). As a result, under the joint efforts of the translator and the author of the source text, Mo Yan’s works with Chinese characteristics has been a hit in the western and American markets and eventually Mo Yan won the Nobel Prize for Literature thanks to Howard Goldblatt’s translation.

The translator is the most competent and literate member in terms of interlingual communication during the entire translational communication activity (Yin Feizhou, Li Ying: 77). This means that translators should give full play to their roles and be more creative while being loyal to the source text and responsible for the author. As far as the role of translators is concerned, translators should be more creative in their translations to enhance the readability of Chinese classics. The famous translator of A Dream of Red Mansions Gladys Yang once said: “We (she and her husband Yang Xianyi) are not flexible enough. There is one translator whom we admire very much, David Hawks (another famous translator of The Story of The Stone). He was much more creative than we were. We are too rigid and readers don’t like it because we are adopting literal translation wholly. In fact, we should be more creative. Translators should be more or less that way. However, we have been restricted by our past working environment for a long time, and thus more stuck to the source text” (Wang Zuoliang, 1989). As Zhuang Yichuan (2015: 76) has said, the more creative the translator is, the closer his translation will be to the original. And vice versa.

(3) Post-translation Coordination

After the translation is finished, the translated text has to be read and examined by the translator herself and others. Others include readers of the target language, who are responsible for pointing out those expressions that are not accurate, fluent and standard, and initiator of translational communication, who aims to find wherever it is inappropriate for publishing. For the former, as Howard Goldblatt translated Yang Jiang’s Six Chapters from My Life: Downunder, Joseph Lau, a young teacher at the University of Wisconsin at the time, was invited as a reader and offered valuable suggestions for the treatment of background knowledge in the translation (Xu Shiyan, 2016: 90). For the latter, in his translations of Chinese classics, Howard Goldblatt has to abridge some of his translations at the request of editors and publishers, because literary translational communication cannot take place in a vacuum. (Liu Yunhong, 2019: 76) Readers’ acceptance is one of the factors that are necessarily taken into consideration.

In a word, at the stage when the foreign translation of Chinese literature was not yet in full swing, Howard Goldblatt gave full play to his initiative, actively communicated with editors, publishers and scholars, and jointly made suggestions for the translation, publication and promotion of the works, thus achieving the success of foreign translation of Chinese literature. This is exactly the kind of translator that Chinese classics translation asks for. In fact, Howard Goldblatt came into sight of Chinese and became the hot subject of the research of Chinese translation circles after Mo Yan’s winning the prize. That’s the reality: the translator is often invisible. But for Chinese classics translation, translators are increasingly visible. This inspires us in terms of two aspects. One is such translation masters as Howard Goldblatt who makes great contributions to Chinese literature and Chinese culture deserves Chinese attention and recognition when the Chinese government or the initiator of Chinese classics translation should be open and clever enough to cooperate with such talents to serve this event. Second, Chinese translators should never be excluded, although it is always a better choice for a target language translator to have this job. But the ability speaks aloud.

So what can Chinese classics translation learn from the translator with subjectivity and creativity from the perspective of translational communication? It must be a lot to learn from.

First, Chinese classics translation needs modern excellent translators as inheritors to inject them with new vitality. This needs translators’ activeness. For example, although the version of Roman of Three Kingdoms translated by the English sinologist C.H. Brewitt Taylor is no longer popular now because of the passage of time, it is still very influential in sinological circles. For example, the American sinologist Moss Roberts referred to his version when he re-translated this classic in 1983. The Australian sinologist Rafe de Crespigny became interested in Chinese history when he saw Taylor’s translation and later wrote at least five full-length monographs on the late Han and Three Kingdoms periods, and a 500-page biography of Cao Cao, which is perhaps the only biography of Cao Cao in the English-speaking world. This is exactly where the charming of excellent translation lies in: despite being difficult to translate due to its rich content and impressive cultural marks, real responsible translators should be rising to challenges, trying to challenge their predecessors and be creative to re-illustrate the Chinese classics while standing on the shoulders of those who came before us.

Second, the cultivation of translation talents for Chinese classics translation should be valued at a national level. In the past, the training of foreign language talents and translators focused on learning foreign literature, language and culture, and a certain degree of Chinese cultural aphasia has occurred. That is, Chinese translation talents may be familiar with English and American literature and its popular culture, but know little about the Four Books and Five Classics and the national culture. Here the problem comes: if they do not know their own cultural traditions and ideology, how can they take up the important task of translating and interpreting China? Therefore, in the current training of translation talents, it is urgent to make up for the shortage of local cultural nourishment and strengthen the education of local history, culture and intellectual concepts. Throughout the twentieth century, China was good at translating from foreign culture but poor at translating Chinese culture abroad, but there was a translation master in Chinese cultural promotion abroad, and it was Lin Yutang, one of the best-known Chinese writers of the twentieth century in the world. His Moment in Peking, My Country and My People, and The Importance of Living and so on all tells China and Chinese culture to the world. At this time when Chinese culture is being exported on a large scale, and when Chinese culture has to go out and is going to have benign communication with other cultures, Lin Yutang, who is undoubtedly a model of cultural communication, is worth studying and emulating both at present and in the future.

Conclusion

The significance of Chinese classics translation from the perspective of translational communication studies lies in the fact that it’s the right time for the strategies of Chinese cultural communication to upgrade while facing a lingering pandemic. At the same time, from translating the world to translating China, China itself has been increasingly stressing the foreign communication of our culture, so translational communication as a new subject will be a good approach to related studies. As has been illustrated above, the initiator of translational communication and translator, as two of the six elements of translational communication, are playing an important role in this process and this importance can be seen everywhere in book publication and promotion worldwide or by means of other media. In conclusion, translational communication studies indeed provide the theory and methodology for promoting Chinese classics abroad and “telling the Chinese story well”.

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英语笔译 曹姣 Cao Jiao 202170081564 MW

The Dissemination of The Compendium of Materia Medica Abroad曹姣CaoJiao

Abstract

Introduction

The Compendium of Materia Medica is one of the pharmaceutical classics of China [elaborate].

Since the outbreak of coronavirus pandemic, traditional Chinese medicine has demonstrated its curative effect [evidence based medical study double blind randomized] in prevention and other respects by means of early intervention and 'full participation' [explain], and traditional Chinese medicine has thus re-[do you really mean it?]entered the international visibility [really?].

Structure

This paper takes the overseas dissemination of the Compendium of Materia Medica (Chinese characters) as an example: the first part is about the spread and development of its original text, the second part is about the overseas dissemination of its translation, the third part is about the current acceptance of the book, and the fourth part is about the summary and further analysis of the dissemination of this pharmaceutical classic. The research on the dissemination of Chinese medical classics abroad will better help the Chinese medical classics to go abroad and promote the internationalization of TCM.

Key words

the Compendium of Materia Medica; overseas dissemination; Chinese medical classics;

Introduction

1. On the original

The original classic Compendium of Materia Medica consists of 52 volumes, including 16 parts and 60 categories, which recorded 1892 kinds of herbs, 11096 prescriptions and 1110 attached drawings. Based on traditional Chinese medicine, this book integrated mass disciplines encompassing basic theories of traditional Chinese medicine, medicament, prescription, and clinical application which almost involve all the contents of traditional Chinese medicine, reflecting the comprehensiveness of herbal knowledge and marking the extraordinary significance to the development of traditional Chinese medicine.

2. On the author of the original

Li Shizhen (courtesy name: Li Dongbi, assumed name: Li Binhu; 1518-1593) was from Qizhou (present Qichun County, Hubei Province). He came from a family lineage of physicians. His grandfather, an itinerant healer usually walked the streets to give treatment to poor people, and his father was a famous physician in his hometown. He was brought up and nurtured by his family tradition and he expressed keen interest in medicine.(Min Li, Yongxuan Liang 2015, 215-216)

Literature Review

Methods and Theories

The original edition and the other three popular editions

1. Jinling Edition Li Shizhen has represented a great interest in medicine since he was young. He read previous works extensively, and when he had got some perceptions he would make notes and in this way he accumulated a large amount of knowledge. Meanwhile, he did not stick to the saying of the ancient people and adhered to “seeing is believing”. From the age of 35, that is, the thirty-first year of Jiajing of the Ming Dynasty, Li began to write theCompendium of Materia Medica, and until the age of 62, that is, the sixth year of Wanli of Ming Dynasty, it was completed without manuscript. During this 27 years, after arduous efforts, Compendium of Materia Medica was finally written successfully in 1578. Because this book encompassed the content of the anti-taoist belief of immortals, its publishing process necessitated painstaking efforts. Finally, with the help of Wang Shizhen, a literary giant of that period, it was about to be published. However, Li passed away just as the engraving of his work was complete and was about to be printed. In 1596, the epoch-making Compendium of Materia Medica was published in Nanjing, known as the Jinling Edition.

2. Jiangxi Edition

3. Hangzhou Edition

4. Hefei Edition

Dissemination in different regions

1. In Japan

2. In Korea

3. In Europea

4. In America

Reception in contemporary foreign market

Analysis and enlightment

Conclusion

References

• Min Li, Yongxuan Liang(2015). Li Shizhen and The Grand Compendium of Materia Medica. Journal of Traditional Chinese Medical Sciences 2, 215-216

英语笔译 陈路瑶 Chen Luyao 202170081565 CE

A Study on the Popularity of Tie Ning's The Bathing Women AbroadChen Luyao

Abstract

Tie Ning is an important writer in the history of modern Chinese literature. Her literary creation almost started in the period of reform and opening up. In 1983, her novel Ah, Xiangxue won the national excellent short story award, and Tie Ning quickly entered the center of contemporary literature. The overseas translation and introduction of Tie Ning's novels began in the mid and late 1980s. At first, the number of translations and introductions was small. Then, in the 21st century, relying on the background of China's rise, the scale and volume of overseas communication of Chinese contemporary literature have expanded rapidly. The number and attention of the overseas translation and introduction of Tie Ning's novels have also increased significantly, and the communication area has been expanding. However, the degree of acceptance has always been low, and the overseas research is relatively weak. Compared with its domestic influence Status is not commensurate. It is worth mentioning that Tie Ning's novel the Bathing Women has attracted more attention overseas, especially in the English world. Due to the differences in culture, politics and focus of attention between China and foreign countries, as well as the different understanding of his works abroad and at home, there are both positive praise and frank and sharp criticism of his works. The overseas translation and research of Tie Ning's novels provide reference and reflection for Chinese literature to go abroad and enter the world literature.

Key Words

Tie Ning; The Bathing Women; World Literature

Introduction

This paper consists of five parts. The first part is a literature review, which introduces the dissemination of Tie Ning and her works in China and abroad, as well as the research status of experts at home and abroad on Tie Ning's works. The second part is the introduction of Tie Ning's life experience and the Bathing Women. The third part analyzes in detail the popularity of Tie Ning's the Bathing Women abroad, taking the United States and Japan as examples. The fourth part discusses the reasons for the popularity of the Bathing Women abroad. The fifth part talks about the enlightenment brought by the popularity of Tie Ning's works abroad. The last part is the conclusion based on the above phenomenon analysis and enlightenment.

Literature Review

Tie Ning is a unique existence in the contemporary literary world. She is the third chairman of China Writers' Association after Mao Dun and Bajin. She integrates political identity, writer identity and female identity. With the continuous maturity of Tie Ning's works, the research on Tie Ning has also entered a period of in-depth excavation and comprehensive integration.

At present, the overall research results of Tie Ning can be roughly divided into the following two categories: the first category is research monographs. The table works are interpreted subtly. In 1990, Chen Yingshi's Tie Ning and Her Novel Art was the first monograph to study Tie Ning and her creation. In 2005, He Shaojun's Tie Ning Critical Biography is the first review book that comprehensively combs Tiening's literary path and growth track. In the same year, Shen Hongfang's Commonness and Individuality of Female Narration: A Comparative Study of Wang Anyi's and Tie Ning's Novel Creation compared the similarities and differences between Wang Anyi's and Tie Ning's creation from the four themes of love and marriage, social history, desire and its expression and narrative discourse individuality. Fan Chuanfeng's book where the Mermaid's Fishing Net Comes from: A Study of Tie Ning's Novels gives a subtle interpretation of many of Tie Ning's representative works. In 2007, Liang Huijuan, Wang Sufang and Li Suzhen co-wrote the Cool and Warm Colors - Research on Tie Ning's Creation, which is a insightful and high-level research work, and makes a penetrating analysis of Tie Ning's creative ideas and creative methods. In 2009, the Research Materials on Tie Ning edited by Wu Yiqin included many research materials and comments on Tie Ning in the past 30 years, which is of great reference value. In the same year, Zhou Xuehua's Eternal Moment - A Narrative Study of Tie Ning's Novels is the first work on narratology in Tie Ning's research. It makes a multi-dimensional evaluation of Tie Ning's works from the perspectives of time and space, structure, perspective, language and so on. In 2012, Liu Li's Chinese Women in the Rose Door - Tie Ning and the Gender Identity of Contemporary Female Writers is the research result of Tie Ning's female writing, which investigates the female self-identity and the identity of female writers in the new era. In 2014, Tie Ning's Literary Almanac, compiled by Zhang Guangming and Wang Dongmei, carefully combs Tie Ning's creative experience and activities, outlines the development track of Tie Ning's creation and makes simple comments. It is a material that can not be missed in the study of Tie Ning. In 2015, Wang Zhihua's Dance of Soul and the Beauty of Neutralization - On Tie Ning's Novels and in 2016, Xu Qingsheng's On the Art of Tie Ning's Novels gave artistic explanations to many of Tie Ning's important works.

The second category is research review papers. In 2005, Chu Hongmin's Review of Research on Tie Ning's Novels, in 2009, Si Zhenzhen's Review of Research on Tie Ning's Works, in 2010, Wang Lijun's Review of Research on Tie Ning's Novels, and in 2017, Wang Jingjing's Review of Research on Tie Ning's Novels all summarized and analyzed the characteristics of Tie Ning's research stages, research subjects, research priorities and research deficiencies to varying degrees in the form of a review, which can restore the outline of Tie Ning's research over a period of time, Probably due to the limited space, most of them stay at the level of collation, and the research needs to be further expanded. There are also many phased research achievements. For example, in 2007, Tang Xin's Review of Tie Ning's Creative Research in the Past Ten Years summarized the ten years after Tie Ning's research entered the mature stage. In 2009, Wang Xiaoyu's Review of Tie Ning's Early Novels combed Tie Ning's early works. In 2015, He Shaojun's Falling in Love with Things That Human Hearts Can Feel Together -- On Tie Ning's Recent Literary Creation, Wang Binbin's Understanding of the Depths of Human Nature in 2017, Shen Bin's Creation of Earthly Spirit -- Review of Tie Ning's Recent Novels and other papers commented on Tie Ning's creation since the new century, mainly the short story collection Flying Winemaker.

Based on the research status of Tie Ning in the past 40 years, it can be seen that Tie Ning's research path has gone from the outside of literature to the inside of literature, and then to the integration of inside and outside. The research angle has changed from single to multiple, and the research method has changed from closed to open. Based on the background of the canonization of modern and contemporary Chinese literature and the historical materials of theoretical criticism in the contemporary literary world, it is time to comprehensively discuss Tie Ning, a typical representative contemporary writer.

Methods and Theories

Although Tie Ning's works are unique and thought-provoking, and many people have studied and analyzed them, with the advance of time, the popularity of Tie Ning's works is decreasing, and the opportunity of exposure is also decreasing. Although the previous research results on Tie Ning and her works are commendable, most of them are analyzed from the perspective of the whole, connecting Tie Ning's life experience with each work. Only a few of them start with a detailed analysis of one of her works, and make in-depth analysis and Reflection on the popularity of Tie Ning's works abroad. In the current context, it is more necessary to analyze the popularity of her works overseas, so as to learn from experience and help Chinese literature go abroad. This paper adopts the methods of literature analysis and cultural research. Literature analysis refers to the analysis of Tie Ning's specific text, taking time as the clue and text as the texture to sort out Tie Ning's creative process. The cultural research method is to explore how the external political, historical, cultural, commercial and other factors of literature interact with Tie Ning's creation and research beyond the internal laws of literature.

Introduction

1.Introduction of Tie Ning

Tie Ning was born in Beijing in 1957. Her father was a painter and her mother was a vocal music professor. When she grew up, she became a writer.

In 1975, Tie Ning, who graduated from high school, was influenced by the political trend of thought and the idea of accumulating creative materials in the countryside, but gave up the opportunity to stay in the city and chose to jump the queue in ZhangYue village, Boye County, Baoding. This rural life not only made Tie Ning accumulate a lot of writing materials, but also prompted her to create a series of novels reflecting rural life, such as the Night Passage. Although these works are not heavy, Tie Ning has attracted the attention of writers Ru Zhijuan and Sun Li, who have given her encouragement and support.

In 1979, Tie Ning was transferred to the editorial department of Huashan, a literary journal of Baoding Federation of literary and art circles as an editor. In 1982, Tie Ning published the short story Ah, Xiangxue. Sun Li praised this work and thought it was as pure as a poem. This work was reprinted in magazines such as Novel monthly, Selected Novels and Xinhua Digest. Subsequently, this work won the "National Excellent Short Story Award" in 1982 and won a wide reputation for Tie Ning.

In 1988, Tie Ning's first novel, the Rose Door，was published by the writers' publishing house. This work marked the change of Tie Ning's creative style. The innocent Xiang Xue disappeared and was replaced by Si Qi Wen, who was full of "evil". After the publication of the Rose Door, it attracted wide attention. The following year, the Rose Door seminar was held in Beijing. Writers such as Wang Meng, Wang Zengqi and radar affirmed Tie Ning's work at the meeting. The female consciousness shown in the novel also attracted the attention of some participants. Writers such as Li Tuo thought that this work provided a feminist perspective, Some researchers also believe that this work cannot be classified as a female literary work.

In 2000, Tie Ning's novel the Bathing Women was published by Chunfeng Literature and Art Publishing House. Although the title and sexual description of Cezanne's famous works caused some criticism, Professor Wang Yichuan of Peking University pointedly pointed out that this work is "an elegant or serious literary work that greatly depends on the reader's reading patience and high understanding". In November2006, Tie Ning was elected chairman of the Chinese writers' Association and published the novel Stupid flower. This work no longer only focuses on women, but closely combines personal destiny with historical background, composing a love between family and country with a profound sense of history. During this period, the characters in Tie Ning's works became more three-dimensional, and the creative theme became more profound.

With her excellent ability, she served as the chairman of Hebei writers' Association and the vice chairman of China Writers' Association. In 2006, she was elected chairman of the Chinese writers' Association. In 1975, he began to publish literary works. His main works include novels such as the Rose Door,the Bathing Women, Stupid Flower, and more than 100 short stories such as Ah, Xiangxue, the Twelfth Night, the Red Shirt without Buttons, and How Far Is It Forever, with a total of more than 4 million words. In 1996, she published five volumes of Tie Ning's works, and in 2007, the people's Literature Publishing House published nine volumes of Tie Ning's works. Her works have won six National Literature Awards including the "Lu Xun Literature Award"; In addition, novels and essays have won more than 30 awards for major academic journals in China. The film Ah,Xiangxue written by Tie Ning won the grand prize of the 41st Berlin International Film Festival, as well as the Golden Rooster Award and Hundred Flowers Award of Chinese films. Some of his works have been translated into English, Russian, German, French, Japanese, Korean, Spanish, Danish, Norwegian, Vietnamese and other languages.

Tie Ning's writing has been wandering between warmth and cruelty, tradition and Avantgarde. Although her writing has been greatly welcomed by mainstream culture and ideology at the beginning, she is always trying to escape the naming and classification of her creations from all sides in the literary world. The pursuit and reflection of true self constitutes an important theme of Tie Ning's creation; On the other hand, the warmth, love and consideration for the little people living at the bottom of the society are also carried out throughout the writer's creative process. Tie Ning's early works describe ordinary people and things in life, especially the characters' hearts, which reflect people's ideals and pursuit, contradictions and pain, and the language is soft and fresh. In 1986 and 1988, she successively published two novelettes, Haystacks and Cotton Stack,which reflected on the ancient history and culture and paid attention to the survival of women, marking that Tie Ning entered a new period of literary creation. In 1988, she also wrote his first novel, the Rose Door, which changed Tie Ning's poetic realm of harmony and ideal in the past, and completely tore open the ugly and bloody side of life through the competition among generations of women.

2.Introduction of The Bathing Women

The Bathing Women was originally the name of an oil painting. Tie Ning's novel named after it naturally has a unique moral. The protagonists of the novel are a group of contemporary women centered on Yin Xiaotiao. Their painful growth process under the bath of social and times is the main focus of the writer.The Bathing Women reveals how hard and painful it is to grow up. The enemy of the self comes not only from the outside, but also from the inside. Women's own weaknesses and limitations have become the main object of reflection in this novel. Yin Xiaotiao, the main character in the novel, is a successful intellectual woman. The plot unfolds in her relationship with her two younger sisters, her parents, her lover, and her girlfriend tang Fei. The Bathing Women describes the heroine Yin Xiaotiao's arduous growth and emotional journey: because of her mother's red apricot coming out of the wall and her little sister's fall and death, she bears the spiritual burden of students and alienates her relationship with her mother; Younger sister Yin Xiaofan competes with her in everything. She is not so much a relative as an opponent; Yin Xiaotiao is a strong woman. She is very successful in her career, but she is proud and lonely in her heart. Fang Jing, the big star she was infatuated with, approached and found that she was a big layman who only wanted to possess but was unwilling to pay. Of course, he is really smart and talented. He caught up with the tide of the times and became a contemporary hero and public figure in the cultural context of the 1980s. Just like many "successful people" today, having a large number of women has become an important goal of his life. Yin Xiaotiao is just one of his many trophies.

An Analysis of the Overseas Popularity of the Bathing Women

Tie Ning is one of the most influential female writers in the contemporary literary world. Her works are famous for their distinctive female consciousness. In her numerous novels, she is always full of deep humanistic care for the living conditions and the ups and downs of the destiny of Chinese women. With poetic and perceptual strokes, she carefully describes the moral and emotional shocks and ripples that contemporary Chinese women encounter.The Bathing Women is one of her representative works. In 2000,the Bathing Women became an eye-catching sight in the literary book market in that year: as one of the famous brands, Cloth Tiger Series, it topped the list with a brilliant performance of 200000 copies at the spring ordering meeting of the national literary and art book group. It can be seen that the Chinese readers' expectation and love for this novel.

Tie Ning's works have always been loved by Chinese readers. Her works have also been widely spread in other languages in the world, and the English world is one of them. After the Bathing Women was published by the people's Literature Publishing House in 2006, it was not until 2012 that Scribner's published the English translation of the Bathing Women, which was jointly translated by Zhang Hongling and Jason Sommer. On the back cover of the translation, the publishing house introduced Tie Ning and the Bathing Women as follows: in 2006, Tie Ning, 49, became the youngest president of the Chinese writers' Association. Her works have been translated into Russian, German, French, Japanese, Korean and other languages.

1.Analysis on the Popularity of Tie Ning's the Bathing Women in the United States

The Bathing Women is Tie Ning's first novel translated into English. Therefore, it is of great practical significance and academic value to study the English translation and overseas popularity of Tie Ning's representative work the Bathing Women. By discussing the unique content of the Bathing Women and its acceptance in the English world after its publication, we can have a glimpse of the process and mirror image of Chinese contemporary female literature spreading abroad.

At present, the Chinese versions of Tie Ning's four novels, such as the Rose Door, the City without Rain, the Bathing Women, Stupid flower, and the short stories, such as Haystacks, How Far Is It Forever are collected in American libraries. The following is the collection of Tie Ning's main works in the United States.

It can be seen from the table that Tie Ning's Chinese works with the largest number of Libraries in the United States are Stupid Flower published by the people's Literature Publishing House in 2006, followed by the Bathing Women published by Chunfeng Literature and Art Publishing House in 2000, and the Chocolate Fingerprint published by the people's Literature Publishing House in 2006. American libraries usually select the books to be purchased by designating several core publishers in a certain field. Among the 26 works collected by more than 20 libraries, 11 are published by the people's Literature Press, In the Series of Contemporary Chinese Writers:Tie Ning published by the agency in 2006, several works, including Chocolate Fingerprints, As Clear As Paper Cutting, A Walking Dream, the Bathing Women, the City without Rain, have been collected by American libraries, which shows the recognition of the people's Literature Publishing House and Tie Ning's works by the American library community.

In the 1980s, Tie Ning's works began to be translated into English. From the perspective of the form of expression, these English translated works can be divided into three types: one is the long novel single edition and the short and medium story album, that is, only the English translation of Tie Ning's works is included; The second is a collection of Tie Ning's works, that is, a collection of the works of many writers; The third is the English translation published in magazines. The only single edition of Tie Ning's works that have been translated and published in English is the novel the Bathing Women. Tie Ning's works albums mainly include Haystacks and How Far Is It Forever. Several libraries have collected the Bathing Women, and few American libraries have collected the other two works.

Number English name Translator Press  Series of books Year of publication Number of American collection Libraries

1 Haystacks Wang Mingjie,Mei Danli Chinese Literature Press Panda Books 1990 53

2 Haystacks Mei Danli Foreign Languages Press Panda Books 2005 22

3 How long is forever Qiu Maoru,Wu Yanting Reader's Digest / 2010 20

4 The Bathing women Zhang Hongjun,Jason Sommer Scribner / 2012 16

The first edition of the independent edition of the Bathing Women was published in 2012. In that year, Scribner and Thorndike Press published this work. Scribner press is subordinate to simon&schuster, Inc., which is one of the largest book publishing companies in the United States. Together with Random House, Inc., Penguin Group and Harper Collins publishers, Scribner press is known as the world's four major English publishing groups. This publishing company publishes a wide range of books, Scribner is a publishing house under Scribner that specializes in publishing literary works. It has published the works of Annie Proulx and other well-known writers, and has strong strength. The great bathing woman was copyrighted by Simon & Schuster and published by Scribner publishing house. It can be said that the publication of Tie Ning's works in the United States has stood at a high starting point from the very beginning.

2.An Analysis of the Popularity of Tie Ning's the Bathing Women in Japan

In foreign countries, Japan is one of the first countries to pay attention to Tie Ning, and the number of translations of Tie Ning's works ranks first. In december 2007, the Journal of Japan-China Contemporary Literature Research Association, No. 21, published A list of Japanese translations of Chinese literature in the new era, which counted all works of contemporary Chinese literature published in Japan from the end of the cultural revolution in 1976 to June 2007. A total of 2652 works by 486 contemporary Chinese writers were collected. Among them, the top five writers in the number of Japanese translations are Mo Yan (54), Can Xue (46), Wang Meng (41), Tie Ning (35) and Shi Tiesheng (25). From 1984 to 2010, Tie Ning has translated 48 works into Japanese.

Tie Ning was noticed when she appeared in the literary world. In 1982, Tie Ning's famous work Ah,Xiangxue was published in the fifth issue of youth literature. Sun Li spoke highly of this novel is a poem from beginning to end, which has been reprinted in Novel Monthly, Selected Novels and Xinhua Digest. In 1984, the work won the National Award for excellent short stories. In the same year, The magazine Chinese language published Ah,Xiangxue translated by Hiroko Matsui, which is the earliest Japanese translation of Tie Ning's works.

After the publication of the Japanese translation of the Bathing Women, literary critic Song Shanyan published a book review, Insight into the Nuances of Modern China.His characterization of the novel is that it tells the story of a young girl growing up in a local city, feeling guilty when she was young, falling in love and becoming mature. He pointed out that the work did not fall into the stereotype of telling the story of a woman who was teased by fate. The women in the book are indomitable, not afraid of betraying others, but also desperately seize happiness. What impressed him was the scene of Yin Xiaotiao, Tang Fei and Meng Youyou secretly making delicious food during the cultural revolution. He pointed out that even in the dark ages, they also crave food and dress up. After sexual awakening, they look for love, compete with each other, envy and desire glory. However, after the cultural revolution ended and the world became rich, they became more and more dysfunctional.He said that after reading the Bathing Women, the impression of the Chinese people will take on a new look, as if they were around. The author has insight into the most subtle aspects of contemporary China and superb writing ability.Song Shanyan's major has nothing to do with Chinese language and literature. Before he sawthe the Bathing Women, China and Chinese people were foreign and strange to him. However, after reading the Bathing Women, his impression of the Chinese people has taken on a new look and he can feel the most subtle scene of Chinese society. This is the embodiment of the unique role of excellent contemporary Chinese literary works such as the Bathing Women in conveying the true image of China and the Chinese people by telling good Chinese stories in the cultural exchange between China and Japan.

An Analysis of the Reasons for the Overseas Popularity of the Bathing Women

As one of the Chinese literary works that have entered the world literature and won the favor of overseas readers, Tie Ning's the Bathing Women has been praised by many writers and writers, and also provides a reference for Chinese works to go to the world. In this context, the popularity of the Bathing Women abroad has also become a hot issue for discussion and analysis.

1.In Depth Analysis of Women

Historically, women have been ruled and ignored for a long time.Men are the main body and absolute, while women are the other. In ancient China, the concept of feudal ethics deeply constrained the development of women. The three cardinal guides and the five constant virtues as specified in the feudal ethical code made women take their husband as their priority at home, consciously attached to men, and eventually became male appendages without independent consciousness. The story of Adam and Eve in the western book of Genesis also has symbolic meaning of different status of men and women: according to the traditional saying, Eve was extracted from Adam's superfluous bones. The human world is male. Men define women not from women themselves, but from the inherent male perspective. Women are not regarded as an independent existence. Whether it is Yin Xiaotiao's fascination with each other in the early stage, or Zhang Wan's cosmetic surgery to find Yin Yixun happy, it is a kind of female unconsciousness and voluntarily becomes a vassal in the male discourse world. Tang Fei is even more ups and downs in the male world. She likes men, and she likes to let men like her. Captain wearing white shoes , dancer, master Qi, Xiao Cui and Yu Shengli are all self exiled among them. She was playing with men and being played with by selling her body, but finally she was alone in the hospital bed, unattended, which became a tragedy.

In addition, Tie Ning's thinking on women's survival is not limited to exposing the oppression of women by the patriarchal society. She pays more attention to the real female world and their conscious awakening, As she mentioned in the creation of the Rose Door: When dealing with female subjects, I have always tried to get rid of the eyes of pure women. I am eager to obtain a two-way perspective or a third sexual perspective, which will help me more accurately grasp the real living conditions of women. In China, not most women have a clear concept of themselves. It is not men who really enslave and suppress women's hearts, but women themselves. Out of this thinking, Tie Ning shows a deeper perspective to examine the fate of women, revealing that women hurt women in the Bathing Women and women's heavy consciousness of introspection. The female world has a dual nature, which is not simply good or evil or angels and evil women in the male discourse. They have the complexity of being born human. The women in the bathing women are more likely to hurt each other. Yin Xiaotiao asks Tang Fei to sell her body in exchange for her favorite job. Yin Xiaofan and Yin Xiaotiao, the sisters, are fighting each other because of the shadow left by Yin Xiaoquan's death. Yin Xiaofan always approaches and vies for Yin Xiaotiao's clothing accessories and even suitors. Tie Ning's questioning about family and friendship shows her deeper reflection on the path of women's self-growth.

2.Facing Male Chauvinism Bravely

In addition to analyzing women, Tie Ning also uses the concern of female writers to force and torture the patriarchal rule, striving to break the restrictions of male discourse on women and restore the true female image.

When analyzing Tie Ning's novels, many critics point out that her works have a strong sense of examining mother. This kind of mother trial consciousness is one of the ways Tie Ning breaks away from male discourse. Under the tradition of male discourse, mother is selfless dedication and a glorious image of following her husband and taking care of her children. However, Zhang Wu, the mother in the Bathing Women, was the embodiment of desire. She cheated on Doctor Tang and stayed up all night on the night when Yin Xiaofan had a high fever, As Beauvoir said, maternal love has been distorted since the religion of motherhood preached that mothers are sacred. Because maternal dedication may be very pure, but in fact it is not. Motherhood often contains factors such as self intoxication, serving others, lazy daydreaming, sincerity, bad intentions, concentration or ridicule, which is a strange mixture. Tie Ning restored the image of mother to an objective person full of desires and self needs. To a certain extent, she rebelled against the definition of mother in the male tradition, separated the aura and sacred color imposed on the word mother by the male discourse, and rewritten the traditional maternal myth.

At the same time, in the Bathing Women, Tie Ning also wrote a new image of men. Yin Yixun, the head of a family, is so hypocritical.The way Yin Yixun found to express his feelings made him a victim all his life. He vented what he wanted to vent, but it didn't seem cruel. He used his' unknown truth 'to maintain the normal operation of a decent family and his own dignity. So far, he has also mastered Zhang Wu's eternal guilt for him.. Yin Xiaotiao hates his father's inaction in cheating on his mother. The weak Yin Yixun doesn't think so. He uses his own trap to deceive Zhang Wu's uneasiness and his dignity as a husband.

3.Acknowledging the Evil of Human Nature

There are many expressions of sin in ancient Greek. Hamartia is often used to express the crime of crime, while parabasis is more used to express the violation of laws and regulations. Anomia is often translated into injustice in Chinese translation, which is opposite to righteousness. Therefore, the meaning of sin is not only external behavior, but also internal attitude. Under the constraints of laws and regulations, it is also under the control of soul conscience. Vertically, it shows that the relationship between its own value origin is broken, that is, crime; And the rupture of the relationship between people caused by this deviation is evil. The so-called guilt refers to an individual's deep-seated recognition of a crime. This sense of guilt is manifested in the synchronic aspect of guilt for people and things, and in the diachronic aspect of repentance for society, history and the whole mankind. Everyone is guilty, but not everyone knows, confesses and repents.Taking Yin Xiaotiao, Yin Xiaofan and other individuals as the center, the writing of the crime in the Bathing Women spreads from struggling individuals to the outside, not only analyzing the crime of innocence in personal desires; It discloses and interrogates the social crimes of the characters in the paradoxical survival dilemma; It also explores and reflects on the unspeakable crime of existence.

The evil discussed in the Bathing Women is not composed of evil characters. It is just some ordinary people who restrict each other in social relations. They are in an opposite position in the ordinary environment. Their position makes them knowingly commit crimes, and none of them is completely wrong. With Yin Xiaoquan as the center, these figures show the relationship between examination and being examined: when Yin Xiaoquan was alive, she and Zhang Yun became the focus of Tang Fei, Yin Xiaotiao and Yin Yixun's examination. Facing Zhang Wu's cheating behavior, Yin Xiaotiao is eager to intervene in the adult world as an adult in the absence of his father, so as to examine his mother and sister Yin Xiaoquan. When she heard that Dr. Tang was going to be a guest at home, she looked at her busy mother with a hazy adult consciousness. When Zhang was dressing up in front of the mirror and asking her how her hair was, she obviously smelled the smell of lampblack on Zhang's hair, but was not busy expressing her position. Instead, she asked Zhang is Dr. Tang a man or a woman. This cross-border vision is always accompanied by anxiety and uneasiness that are difficult to dispel. When Tang Fei confirmed that Yin Xiaoquan may be Dr. Tang's daughter, she acted as an ethical judge of her mother's infidelity. In her childhood when she should have enjoyed childlike innocence, she intervened in the adult world early with a precocious attitude, peeping into the adult world with bad deeds in the subtle clues. However, facts have proved that this way of crossing the border is not recognized. Her sensitivity and precocity make her a reviewer of her mother's words and deeds, which evolves into the separation between her and her family, and falls into the struggle of ethics and moral emotion prematurely. In the face of Yin Xiaoquan, who looks like Doctor Tang, Yin Yixun is unable to face the outside world and has no courage to accept Zhang Yun's infidelity. Tang Fei could not accept such a life like her own. Yin Xiaoquan was like an invisible torture instrument to her, which brought her more painful torture than the actual torture instruments. The death of Yin Xiaoquan not only did not weaken the scrutiny between Yin Xiaotiao and Yin Yixun, but also aggravated the gap between them. Yin Xiaotiao, Yin Xiaofan and Yin Yixun closed themselves to each other, tried to seek their own liberation from Yin Xiaoquan's death, and in turn tried to control each other. They "torture" each other, and everyone is always in the "eyes of others" and is supervised and examined. Yin Xiaofan tries to avoid the ugliness in his heart, whitewashes himself with his imagined positive image, and examines and supervises yiYn Xiaotiao from his own perspective. Yin Xiaotiao examines the hypocrisy of Yin Yixun. She feels sorry for Yin Yixun's experience, but resents Yin Yixun's disguised punishment of Zhang Yun. Yin Xiaotiao, Yin Xiaofan and others have formed a distorted family relationship. They can not get rid of the state of being influenced by the eyes of others, and lack a correct understanding of themselves. Therefore, the relationship between them can only be mutual pursuit and mutual exclusion. Everyone is looking at others, but they are also being looked at by others, and fall into a difficult survival dilemma.

4.Exploring the Path of Redemption

The sense of guilt brought about by the death of Yin Xiaoquan is the cause of the character's spiritual struggle, and the necessary condition to eliminate the plight of survival is the realization and redemption of sin thus evolved the development track of confession - confession - atonement. The heavy sense of guilt in the works and the suffering created by the times show that the mutual derivation of crime and suffering has caused the plight of the characters. Writing about sin and suffering is not the ultimate goal. Guilt is the image state of being prayed to be saved and the spiritual image of Redemption. Ultimately, it is necessary to restore the meaning connection in the vertical and horizontal directions and rediscover the pure, real and eternal value meaning in one's own life. Therefore, the fundamental purpose of this work is to take the initiative to bear the sin, to confess the soul devoutly, to find an effective way to solve the survival dilemma and to explore the individual redemption. Many researchers are exploring the theme of Redemption in the Bathing Women, focusing on the two sisters of the Yin family, realizing the importance of self-examination of the soul in the redemption of the characters in the work, and finally affirming the completion of the redemption of the characters. However, no matter from what point of view, the people in the work are still suppressed by an unknown crime and cannot be really released, It has always been in the attempt and expectation of Redemption after all. As Liu Xiaofeng discussed, sin is not evil, and its opposite is not good. Therefore, seeking to cover up good deeds and good thoughts does not mean that sin has been redeemed.

The Bathing Women focuses on the characters' choice of controlling and indulging in lust. In the exploration of redemption, it actively seeks ways to eliminate the plight of existence. The Redemption in the work tends to be comfortable with the original life, and is more reflected under the influence of the concept of redemption in the sense of Chinese traditional culture. Through the display of three different redemption in the works, we will further explore the deep motivation of the character's redemption, and then deeply explain the results of redemption and the possibility of dilemma resolution.

5.Focusing on the Influence of Family on Children's Growth

Western Bildungsroman is mainly to shape social people, so they often throw people into the social environment. This kind of novel also inherits some characteristics of picaresque and quest. Almost all the protagonists are on the road and on the journey, and have obtained enlightenment and growth in life. For Chinese people, family is very important and the first environment for teenagers' growth. Its role in teenagers' growth can not be ignored. Maslow believes that family plays a leading role in shaping personality. It is not only people's safe belonging, but also meets people's need for love. Chinese teenagers may not have the opportunity to travel far, but their family environment has a great impact on their personal temperament and personality types.

As the foundation of human morality, family contains the embryo and bud of the continuous development and evolution of human morality. The continuous evolution and change of family indicates the continuous enrichment and development of human morality. The traditional Chinese family stresses the order of the young and the old, which plays an important role in cultivating individual moral concepts. Therefore, most novels will describe the family in a harmonious and beautiful way to affirm the positive impact of the family on the growth of the protagonists. However, Tie Ning did the opposite. In the Rose Gate and the Bathing Women,She focuses on the moral imbalance within the family, so that the growing protagonists face a relatively bad family environment before they set foot in the society. 6.A Bold Depiction of Sex

Since the late 20th century, body writing has increasingly become an important means of female writing. This situation is obviously influenced by Elena Sisu's concept of using milk as ink to show the female body, a huge field beyond the control of male discourse in Medusa's laughter. In the era when male discourse dominates everything, only the female body can not be experienced by men, so it can become a field for women to escape male power. In their body descriptions, female writers not only fight back against the male's fictions about women, but also gain subjectivity by re exploring their own bodies. In the late twentieth century, there were two views on the description of the body in female writing: one was to describe the body, but subconsciously, they still thought that the body was an irrational factor and held an obvious attitude of exclusion; The other is infatuated with the display of the body and indulges the desire, resulting in the absence of the soul.

The Bathing Women rarely realizes the blending of soul and flesh in the real sense. In Yin Xiaotiao's life, sex acts as a ladder for her to mature and release herself. Although her first night was dedicated to the hypocritical Fang Jing, she finally transcended this frustration in her life experience. And her feelings with Mike let her know that she loves Chen Zai. The long-term emotional accumulation and soul coordination with Chen Zai make her sex with Chen Zai come naturally without affectation. That's why we can sigh that everything is so harmonious and so good. At the same time, the perfect sexual experience with Chen Zai finally opened Yin Xiaotiao's heart knot. The guilt that Tang Fei and Yin Xiaoquan imposed on her has been dispelled, and Xiaotiao feels that "she seems to have no fear anymore. The simultaneous liberation of the soul and the body has created a harmonious relationship between them. This fusion of soul and flesh should also be the natural direction of body writing. Only when soul and body are present at the same time can the meaning of body writing be truly displayed.

Enlightenment for Chinese Works to Go Global

The spread and acceptance of Tie Ning's works abroad also urges us to think about how to make contemporary literary works spread more widely and further overseas from the perspectives of translation, publication and promotion. Next, I will talk about the Enlightenment of Tie Ning's the Bathing Women to Chinese works' going global from the internal and external factors.

1.Internal factors

The theme of the work concerns the female world. Chinese literature has entered the world through translation and introduction, which involves more than a simple bilingual transformation of words or literature. The choice of translated text, the construction of translation process, the communication path and communication mode after the production of the translation, and the acceptance and formation influence after entering the target language countries constitute the complete picture and research focus of Chinese literature translation. As far as text selection is concerned, generally speaking, the Western reading of contemporary Chinese literature is often driven by curiosity. The rapid development of China since the cultural revolution, the economic take-off, the changes of cities and even the differences in daily life have brought new cultural experiences to the West. Among them, the realistic literary works from the female perspective are full of direct writing of women's personal experience, showing a distinctive urban culture and the flavor of the times, coupled with the rendering of sexual and political elements, so it is particularly easy to arouse the interest of Western readers.

The book has a special background. The Bathing Women is set in the cultural revolution. In order to return to the countryside and stay in the city all the time, Zhang Wu had a relationship with Dr. Tang and got a false note. She cheated many times and later gave birth to Yin Xiaoquan. Zhang's daughters Yin Xiaotiao and Yin Xiaofan don't like the child. They see that she has an accident but they don't rescue her. Many years later, when several girls grew up, Yin Xiaotiao became entangled between Fang Jing and Chen Zai. Dr. Tang's niece Tang Fei sold her body again and again in exchange for what she wanted. Zhang Wu's inner pain did not disappear with the end of the cultural revolution. The love disputes between men and women are integrated with the special political background. The Bathing Women directly satisfies the American readers' desire to spy on the Chinese people under the background of the cultural revolution, so it has also been recognized by the publisher.

2.External factors

Adopt the mode of co-translation between Chinese and foreign translators. From Chinese literature to world literature, translation plays a vital role. Excellent translation can promote the canonization of a literary work in different languages and cultures. On the contrary, poor translation may make the excellent works that have been included in the classics pale in another language and culture or even be excluded from the classics.The English translation of bathing girl was completed by Zhang Hongling and Jensen Sommer. The cooperation between the two translators ensures that the translation is not only faithful and accurate, but also readable and literary.

Conclusion

Therefore, through the above analysis, we draw the following inspiration from the popularity of Tie Ning's works overseas.

First,pay attention to the translation of female writers' works. Chinese female writers are a neglected group in the English world. In terms of the English translation and dissemination of the author's personal works, the dissemination and acceptance in the United States of Tie Ning's the Bathing Women has shown the possibility of Chinese female writers being recognized in the United States. The commonality of human emotions is the basis for the overseas spread of literature, and the experience and perception of Chinese women have also been resonated in foreign countries. In addition to these similarities, the unique features and temperament of Chinese women have yet to be shown to the world. Therefore, the translation of female writers' works should not be ignored.

Second,improve translation quality. Translation is not only the transformation between Chinese and English, but also has the function of interpretation and communication. There are great differences in language, historical traditions and values between China and the United States. Excellent translation can bridge the gap between the original and overseas readers, while unqualified translation may bury an excellent original.

Third,adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. Adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. At present, the copyright agency system is widely implemented in the United States. Copyright agencies and copyright agents play an important role in book publishing, translation and promotion. However, there are not many copyright agencies in China, especially those with good relations with American Publishers. In addition, the copyright departments of many publishing institutions have been used to buying copyright rather than exporting copyright in the decades of spreading from the west to the East, and they are not very skilled in relevant businesses. Even the existing domestic copyright agents are mostly interested in this industry and receive little support behind it. All of the above reasons make the export channel of Chinese literary works copyright blocked. In this case, there is a great chance that the works can be successfully spread overseas. Therefore, it is necessary to adapt to the current situation of industry development, establish and improve relevant mechanisms, encourage industry development and cultivate corresponding talents.

Fourth,pay attention to the promotion of works and improve the popularity of writers abroad. Although many overseas readers have a preliminary understanding of the writer Tie Ning, what impression does Tie Ning leave on overseas readers besides her identity as a writer? I'm afraid not. Even Mo Yan, a more popular Chinese writer overseas, can hardly leave an impression on overseas readers other than writers. With the development of science and communication technology, there are more and more communication channels between authors and readers. The traditional way of participating in book fairs and holding exchange activities deserves our attention, and the mass media and new media cannot be ignored.

In a word, Chinese literature, as a special form of eastern culture, still has a long way to go before it can be recognized and accepted by the West and even the world. It needs the joint efforts of writers, translators and other multiple dimensions.

References

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• Wang Zhaojun 王昭君.(2005).逃离与追寻——铁凝寻找"自我"的历程[Escape and pursuit -- Tie Ning's process of seeking self]. Jiangxi Normal University 江西师范大学.

• Liu Jia 刘佳.(2020).直面·迂回·悬置--"多棱镜"式的铁凝小说主题研究[A study on the theme of Tie Ning's novels in the form of multi prism]. Harbin Normal University 哈尔滨师范大学.

• Yang Shu,Zhu Lilin 杨筱, 朱丽林.(2019). 对女性的深层审视——以《大浴女》为例探讨铁凝的人性关怀[Probe into Tie Ning's human care with the example of the Bathing Women]. Journal of Ningbo Institute of Education宁波教育学院学报.21(6):4.

• Yan Weifang,Li Hua 闫卫芳, 李花.(2020).《大浴女》:一场精神世界的无望救赎[The Bathing Women: a hopeless redemption of the spiritual world]. Journal of Hebei University of Technology: Social Sciences 河北工业大学学报：社会科学版.12(4):7.

• Yang Qingyun 杨青云.(2012). 论铁凝小说《玫瑰门》《大浴女》的成长主题——兼与西方成长小说比较[On the growth theme of Tie Ning's novels rose gate and Bathing Woman -- a comparison with western growth novels]. Journal of Teacher Education 教师教育学报.10(005):128-132.

• Pan Dong 潘冬.(2020). 铁凝《大浴女》直接引语英译的形式变异与理性归因[The formal variation and rational attribution of direct quotation in Tie Ning's the Bathing Women]. Foreign Language Studies 外国语文研究.6(2):11.

• Wu Yun 吴赟.(2017). 《大浴女》在英语世界的翻译和接受[The translation and acceptance of the Bathing Women in the English world]. Novel review 小说评论.(6):7.

• Yu Shujun 于树军.(2019). 论《大浴女》的"后伤痕"叙事[On the post scar Narration of the Bathing Woman]. The Northern Forum 北方论丛.(4):8.

• Lv Yanlin 吕彦霖.(2019). "内心深处花园"的重探——略论二十世纪后期女性写作视域中的《大浴女》[An exploration of the garden in the depths of the heart -- a brief discussion on the great Bathing Woman from the perspective of female writing in the late 20th century]. Hundred comments 百家评论.(2):8.

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英语笔译 邓阳林 Deng Yanglin 202170081567 MW

A study on Xu Yuanchong's Translation of Song PoemsDeng Yanglin

Abstract

As a huge diamond in the laurel wreath of ancient Chinese literature, song Ci is a brilliant pearl in the langyuan of ancient literature. All translators know that translation is not just a matter of simply converting source language into target language, and poetry with rhyme and pattern is naturally a great challenge in translation, which makes the majority of translation scholars shy away from poetry translation. Mr. Xu Yuanchong put forward the theory of "three Beauties" in his translation practice for many years, which has played a very enlightening and guiding role in the field of English song ci translation. From the perspective of xu Yuanchong's theory of "three beauties", this paper explores the specific application of "meaning beauty", "sound beauty" and "form beauty" in the translation of classical Song ci poems. It can be seen that the theory of "three beauties" is of great guiding significance to the translation of Classical Song ci poems. Translators should take "three beauties" as the standard in their poetry translation so as to lose the artistic charm of the original poetry and the beauty of Chinese poetry can be appreciated by the world.

Key words

Song Ci Poems；Xu Yuanchong; The theory of "three beauties"; Poems Translation

Introduction

The evolution of ci poetry began in the Liang Dynasty, formed in the Sui and Tang Dynasties, flourished in the Five Dynasties and ten States, and reached its peak in the Song and Song dynasties. Song Ci is a fragrant and gorgeous garden, full of elegant charm, for thousands of years for many readers love, is a bright pearl in the history of ancient Chinese literature. In terms of artistic charm and aesthetic value, song Ci can compete with Tang poetry and Yuan opera. In terms of faction theory, song Ci can be divided into graceful and bold. The euphemism mainly describes the love between children and women, and is carefully conceived. Its language style is mellow and pays attention to the harmony of rhyme, giving people a sense of tenderness and softness. Haofangpi describes the military situation of the state, the creation of a broad vision, imposing momentum, not in rhythm, giving a generous sense of solemn and stirring, representative figures such as Su Shi, Xin Qiji. In terms of themes, song ci poems are different from those originally used for entertainment occasions, covering themes such as emotion, society, politics and chanting. They fully reveal the true features of social life in song Dynasty and bring readers endless aesthetic enjoyment. Since its publication, Song Ci poems have been translated into English by many translators at home and abroad. One of the most famous is Xu Yuanchong, who is known as "the only person who translated poetry into English and France". In view of xu Yuanchong's achievements in the English translation of Song Ci poems, many scholars have studied his English translation of Song Ci poems. In view of the diversity of perspectives and conclusions, this paper reviews xu yuanchong's research on the English translation of Song Ci, points out the shortcomings of the current research, and then points out the future research directions, in order to shed some light on the current literary translation research.

Literature Review

Song Ci, as one of the double elements of Chinese classical literature, presents the highest level of Song Dynasty literature with its unique attitude and verve. Famous Chinese translators such as Lin Shu, Fu Lei and Zhu Shenghao, as well as foreign scholars such as Herbert Allen Giles, Ezra Pound and Arthur Waley, have all actively participated in the translation of Chinese and foreign literary works. Translation is a bridge between different languages. How to master the two languages well, make the best of the strengths and avoid the weaknesses in the process of translation, and make the translation reach a natural and emotional state, which requires a high level of competence for translators. Mr. Xu Yuanchong is known as "the only one who can translate Poetry into English and French". He has translated the Book of Songs, 300 Poems of Tang Dynasty and 300 Ci poems of Song Dynasty, etc., forming the method and theory of rhyming style poetry translation. He pursues not only perfect rhyme, but also perfect realm, transforming the beauty created in China into the beauty of the whole world.

Methods and Theories

This paper adopts the method of literature research.It mainly refers to the method of collecting, identifying and sorting out literature, and forming a scientific understanding of facts through literature research. Literature method is an old and vigorous scientific research method. General process The general process of literature method includes five basic steps, which are: putting forward a topic or hypothesis, research design, collecting literature, sorting out literature and conducting literature review. The proposed topic or hypothesis of literature method refers to the idea of analyzing and sorting or reclassifying relevant literature according to existing theories, facts and needs. The first step in research design is to establish research objectives. Research objectives are designed into specific, operable and repeatable literature research activities based on the subject or hypothesis in an operable definition, which can solve special problems and have certain significance. The main advantages (1) The literature method transcends the limitation of time and space, and can study a wide range of social situations through the investigation of ancient and modern Chinese and foreign literatures. This advantage is not possible with other survey methods. (2) The literature method is mainly written survey. If the literature collected is real, it can obtain more accurate and reliable information than oral survey. Avoid all kinds of recording errors that may occur in oral investigation. (3) Literature method is an indirect and non-interventional survey. It only investigates and studies various literatures without contacting the respondents or intervening in any reaction of the respondents. This avoids all kinds of reactive errors that may occur during the interaction between the surveyors and the respondents in the direct survey. (4) Literature method is a very convenient, free and safe survey method. Literature investigation is less restricted by the outside world, so as long as the necessary literature is found, research can be carried out anytime and anywhere; Even if there is a mistake, it can be remedied through re-study, so its safety factor is high. (5) Document method saves time, money and high efficiency. Literature survey is based on the achievements of predecessors and others, which is a shortcut to acquire knowledge. It does not require a large number of researchers or special equipment, and can obtain more information than other survey methods with less manpower, money and time. Therefore, it is an efficient survey method.

Introduction of Xu Yuanchong and his English translation of Song Ci

As reading poetry, we need to pay attention to the beauty of artistic conception, hazy beauty and the beauty of antithesis and rhyme. Chinese ancient poetry is characterized by simplicity, conciseness and leaping. It expresses as much emotion as possible in very limited poems. Its biggest characteristic can be summarized by a word "beauty" : artistic conception, language, rhyme and form. English poetry stresses rhythm, rhythm and melody, and the style is relatively free. Thus, the linguistic and cultural differences between Chinese and English make it particularly difficult to translate Song Ci into English. Aesthetics is a subject with a wide range of application, and there is also the shadow of aesthetics in translation, so "beauty" is everywhere. The purpose of aesthetics in translation is to analyze the aesthetic features in translation so as to provide correct theoretical guidance for translation practice and translation discipline. In the second half of the 20th century, Mr. Xu Yuanchong put forward his own translation theory on the basis of previous experience and summed up the key words of "the art of beautification is like a competition to create excellence". Practice is the only criterion to test truth, which also applies to translation. Translation theory comes from translation practice, and translation practice can test whether translation theory is correct, and translation theory plays a guiding role in translation practice. On the basis of his long-term translation practice and theoretical experience, Mr. Xu Yuanchong put forward the theory of "three beauties", namely, "meaning beauty", "sound beauty" and "form beauty". His translation aesthetic ideas have guided the translation of many classical poems and provided correct guidance. Up to now, he has published more than 150 famous translations. He is the only one in China who can translate classical poetry and English and French poetry. Because of him, we know the poetry classics of western countries; Because of him, western countries encountered the excellent traditional culture of the Chinese nation. Similarity in meaning, sound and shape is the basis of "three beauties". Care about similar, similar sound and similar shape on the basis of "meaning beauty", "sound beauty", "form beauty". In Professor Xu Yuanchong's opinion, the pursuit of meaning seems to be to accurately translate the content of the original text, without mistranslating, omission or multiple translation. When there is a conflict between "sense-like" and "sense-like", we should pursue "sense-like" first and "sense-like" second, because "sense-like" is only the surface structure of text, while sense-like is the deep structure of text. Musical beauty refers to the rhythmic and rhyming, catchy to read and pleasant to listen to. In Professor Xu yuanchong's philosophy, rhyme and style must be reflected in poetry translation. Since the content and form of the poem are closely related and inseparable, if the original poem uses rhymes but the translated poem does not, the artistic conception, image and atmosphere of the original poem cannot be reflected and conveyed in any way. As for form beauty, it mainly refers to the "length" and "symmetry" of poetry. It's best to be "look-alike," or if look-alike isn't perfect, at least "roughly neat." In xu Yuanchong's translation theory, he also holds that the three beauties are not in parallel, but in order of importance and importance. Among the three beauties, meaning beauty is the most important, followed by sound beauty, and finally form beauty. We should try our best to achieve all three beauties under the premise of translating the original text beautifully. If the three can not appear at the same time, then we can first of all do not ask for similar shape, also can not ask for similar sound, but we must do our best to convey the meaning of the original text and the beauty of sound. The principles of the relationship between the three beauties complement each other and restrict each other. They are also progressive and interlinked. Only by closely combining them can we achieve better translation artistic effect.

The Application of "Three Aesthetics" in the English Translation of Song Ci poems

Roman Jacobson, a prominent American linguist and literary theorist in the 20th century, said: "Poetry, by definition, is untranslatable." This shows that the difficulty of poetry translation is ineffable and invisible to the translator. But it doesn't follow from one of his conclusions that poetry is untranslatable. There are still differences of opinion between translators and experts in the field about the translatability of poetry. Due to many factors, most people hold a view that the translatability of complex words in Classical Chinese is an impossible task. If we want to discuss this problem, we must give a clear explanation to several propositions in Mr. Xu Yuanchong's theory. According to him, translation is an attempt to reproduce in the target language what someone has said or written in another language. There should be a great deal of similarity in meaning, form and sound to the text used to represent it. The similarity lies in the common interpretation and implication between them. In practical translation practice, the faithful transmission of implied meaning from the original text to the target text is different in content, but their concept and meaning are almost the same. Therefore, we can say that poetry is translatable, and the traditional poetry with many reduplication is also translatable under certain circumstances.

Meaning beauty of eliciting mental pleasure: skillfully translating the poetic core and reproducing the artistic conception

The meaning of Song Ci poem lies in its concise words and phrases to shape or graceful empty, or even bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings. The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost. The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.

Sound beauty -- pleasing: the charm is clever, and the words are skillfully used

The meaning of song ci lies in its concise words and phrases to shape or graceful empty, or bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings. The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost. The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.

Sound beauty -- pleasing: the charm is clever, and the words are skillfully used

"Sound beauty" refers to the rhythm and rhyme pattern of the translated poem. Mr. Xu Yuanchong pays attention to meter, rhyme and sentence number in his translation of ancient Chinese poems. The musicality of song ci is more unique, and pays more attention to the harmony of words, so the rhyme of Song ci is more harmonious and perfect, and the beauty of words and music is both. English poetry is generally pay attention to the rhyming, especially at the end of each sentence, it's a bit like Chinese level and oblique tones, but not so rules, because of the English words and characters of syllables, most of the English word of two or more than two syllables, and the Chinese character is a syllable, so of course is Chinese more neatly, but English poetry has its unique in rhythm and rhyme beauty. Due to the different phonology of Chinese and English poems, it is difficult to copy or reproduce the rhythm of the source language in translation. Therefore, translators need to translate the text into a way that readers can understand in order to help readers realize their aesthetic appreciation and perception of the translated sound [4]. Take Professor Xu Yuanchong's translation of Li Qingzhao's "Sound Slow · Searching and Searching" as an example: as the first seven pairs of reduplicated words in the history of Chinese literature, they have attracted wide attention from translators, and all of them have their own unique views. These lines of the original word, the poet in the "seeking" "seeking" center of god uncertain, as if lost manner; The loneliness of wandering alone in "cold" and "clear"; "Desolate" "miserable" "Qi" in the state of mind is vividly depicted. Through the study of Xu Yuanchong's translation of "Sound slow", we find that "Search, clear, desolate" belongs to the flat sound; "Find, cold, miserable, qi" is oblique tone; "Mimi" is also a dental sound, flat tone oblique tone teeth appear alternately, so that the line of cadence, resounding sound. From "look" to "know" and then to "feel", Mr. Xu Yuanchong uses three sensory verbs to bring readers into it and feel them. He compensates for the repetition of the original word in the form of double rhymes to achieve a very natural and smooth equivalent effect. Translation with the original word "miss" in the word "find", "cheer" and "qi" in the original word, even in front of consonants and vowels close also same, visible of language poetry translation the translator second-guessing, choose close to mandarin pronunciation of the English vocabulary to implement the "sound", convey sound beauty, an ability to make a sound effect. In the "cold and warm... On the processing of this sentence, Professor Xu's translation once again shows the ultimate beauty of sound. The 4 short sentences in the original word are translated into 9 short sentences, and all use rhyme, which is catchy to read. "Late wind urgent" was translated into "swift" to describe the haste of the night wind. The short/I/in the translation is pronounced like the final of "urgent", which is not only clever but also accurate. In the translation of "time" and "knowledge", Professor Xu uses "alas" and "pass", where the rhyme is perfectly similar to the original word. Showers rhymes with flowers. Everything has its place. While the words "faded" in the original poem were both faded and had similar meanings, Mr. Xu's translation used "Faded" and "Fallen," which not only have similar meanings in English but also alliterative with/F /, suggesting professor Xu's pursuit of vocal beauty has gone into overdrive. "Now" in the translation rhymes with "how" in the next sentence, and "pace" with "plane's" in the next sentence, which also adds rhyme to the translation. In the translation, "drizzles" and "Grizzles" correspond to the reduplication of "dribs and DRBS" and combine the sound with the sound of "I :/" to show the rhythm of endless rain. Finally, the words "grief" and "belief" rhyme together with "IEf", further reflecting the beauty of sound and the author's lonely and melancholy mood in the original word.

Conclusion

For thousands of years, the charm of Chinese classical poetry has attracted many scholars and translators to further explore it. With the increasingly close international exchanges, cultural exchanges are also very important. Ancient Chinese poetry brings us beauty and enrichis our emotions. Its beauty is deeply refreshing and refreshing. The beauty of meaning, sound and form of the theory can correctly guide the translator to translate the original image, rhyme and form of Chinese classical poetry. Mr. Xu Yuanchong's "three beauty theory" promoted the spread of excellent Chinese classical poetry and made western readers appreciate the charm of Chinese language and culture. As translation scholars, we should be aligning with professor xu yuan-zhong, study its excelsior translation meticulous attitude and practical spirit, improve their ability of translation practice, enrich their translation theory knowledge, with good knowledge of translation theory to guide translation practice, constantly accumulate experience from the translation practice, can achieve ideal state finally.

References

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• Chen Jing陈靖. Research on The Translation of Chinese Culture "going out" under the guidance of Marxist Social Science Methodology马克思主义社会科学方法论指导下的中国文化“走出去”翻译问题研究[J]. Comparative study of cultural innovation文化创新比较研究, 2019,3(33):95,97.
• Liu Yang刘阳. On the "Deep Translation" Mode of Willie's English Translation of Tao Te Ching威利英译《道德经》的“深度翻译”模式探究[J]. Comparative Study of Cultural Innovation文化创新比较研究,2020,4(20):163-164,167.
• Zhu Yishu祝一舒. On the Characteristics of Xu Yuanchong's Translation Thoughts试论许渊冲翻译思想的特质[J]. Shanghai Translation上海翻译, 2019(5):83-87,95.
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英语笔译 何丽娜 He Lina 202170081569 CE

A Study on the dilemma of the Chinese Cultural ClassicsHe Lina

Abstract

With the continuous progress of the times, cultural soft power becomes more and more important as a standard to measure the comprehensive strength of a country. As one of the important sources of China's cultural soft power, Chinese cultural classics is an important link to enhance the country's cultural soft power. This paper will mainly introduce soft power and cultural soft power, and analyze the current dilemmas of Chinese cultural classics and their causes, and try to find solutions.

Key words

Chinese cultural classics;cultural soft power;dilemma

Introduction

Many cultural classics and books handed down in Chinese history are the crystallization of the wisdom of Chinese ancestors and represent their ideological and spiritual achievements. These books have always been an important part for Chinese people to learn. Even in the ancient imperial examination period, Confucian classics were used by rulers in various dynasties as content of the examination to select talents, which shows the importance of classical books in Chinese history. With the development of times, China is gradually going out of the country and gradually being impacted by world literature. Because people have more freedom to read, and modern and contemporary literature is more readable, unlike many cultural classics written in classical Chinese, which are more difficult to understand, more people prefer to read foreign classics or works written by modern and contemporary Chinese authors in vernacular Chinese or Mandarin. Reading the classics seems to be a problem for more and more people. Today, With the rapid development of China's economy, China has begun to show its strength in the world stage, and has become more and more aware of the importance of cultural soft power, and cultural classics as an important part of Chinese culture has been further valued. However, it should be faced that reading classic books in China is still not the mainstream, and abroad, Chinese classic books have not been accepted as expected. So far, Chinese cultural classics seem to be in a dilemma. From the perspective of cultural soft power, this paper will briefly discuss the current difficulties of Chinese classics, analyze the causes of these difficulties and try to find some countermeasures.

Theories and Literature Review

Soft Power

Soft power is actually a political term used to measure the overall strength of a country. In 1990, Joseph·S·Nye, a professor at Harvard University, put forward and expounded the concept of "soft power" in an article titled "Soft Power" published in Foreign Policy magazine. In this article, he comprehensively and systematically analyzed and expounded the concept of national power, status and development trend of The United States as a global power, and further pointed out that a country's strength consists of "soft power" and "hard power". Joseph Nye argues that "soft power" is as important as "hard power". "Hard power" includes basic resources, military power, economic power and scientific and technological power. The essence of "soft power" is "Soft power is an ability to affect what other countries want." He describes soft power as follows: "This power tends to raise from such resources as cultural and ideological attractions as well as rules and institutions of international regimes."（cf:Joseph Nye, 1990:167)

Cultural Soft Power

Since the concept of "soft power" was introduced into China, many domestic experts and scholars have expressed their views on it. Wang Huning regards culture itself as a kind of soft power through expressions such as "culture as soft power". (cf:Wang Huning,1993:91-96) Influenced by Joseph Nye, some scholars believe that culture is one of the important sources of soft power. Xu Wanxiao and Xu Fangxiong believe that cultural soft power should be derived from cultural resources, which can be divided into tangible cultural products such as movies, cultural heritage, food and intangible cultural concepts such as ideas, values and systems. (Xu Wanxiao, Xu Fangxiong, 2021) Wei Enzheng and his partners pointed out that cultural soft power refers to the internal cohesion, mobilization, spiritual power and external penetration, attraction and persuasion of a country's traditional culture, values, ideology and other cultural factors. (Wei Enzheng, Zhang Jin, 2009) From the Angle of the power form, Hong Xiaonan divided the soft power into five parts: powerful cohesion and centripetal force of the national culture to stimulate a country; national cultural attraction making other countries follow; cultural innovation to promote the development of a nation; national culture integration which organizes the cultural elements into the maximum organic effectiveness; the cultural radiation to correctly express intention of national culture to the world. (Hong Xiaonan, Qiu Jinying, Lin Dan, 2013) Redefining and summarizing the domestic scholars' views on soft power, Cai Libin and Wang Chenlin summed up China's "cultural soft power" : the definition of "cultural soft power" refers to a country or a nation's traditional culture, values, ideology, cultural resources or cultural factors such as internal cohesion and mobilization force, spirit power and external attraction and persuasion, influence and so on.(Cai Libin, Wang Chenlin,2020)

Methods

From the definition of cultural soft power, this paper qualitatively analyzes the internal and external difficulties encountered by Chinese cultural classics and Further discusses the reasons behind. Finally the paper tries to find some corresponding solutions from the author's own perspective.

Chinese Cultural Classics and cultural soft power

In English, the word "classics" originally referred to the literature of ancient Greece and Rome. As we all know, the civilization of this period is the fountainhead of western civilization. Accordingly, for China, Chinese cultural classics are collections of literature that can represent Chinese civilization. Dianji/典籍(Chinese Classics) literally means "classic books" in Chinese, and there is a similar concept in Chinese dictionary Han Dian《汉典》, which refers to important documents such as ancient codes and books, and refers to ancient books in general. In the modern sense, cultural classics refer to those timeless works that are exemplary, authoritative and dominant in the field of culture. They are perfect works that, after years of washing and historical screening, have always been at the top of a certain field or industry. (Liu Jinxiang,2022) For example, the four Great Classical Novels of China (Water Margin《水浒传》, Romance of The Three Kingdoms《三国演义》, Dream of the Red Chamber《红楼梦》and Journey to the West《西游记》), as well as the Analects of Confucius 《论语》and Mencius《孟子》. These classics are not only a summary of the author's personal wisdom and life experience, but also reflect the characteristics of an era and the inner spirit of a nation. They embody the national spirit and culture of a country. The culture and spirit of a nation is the most direct source of cultural soft power, and even it is a kind of cultural soft power itself.

The Plight of Cultural Classics in China

A country with strong cultural soft power must also have a high level of national cohesion, which can effectively protect and preserve the cultural achievements of its predecessors, as well as generate heartfelt feelings of awe and care for all the cultural achievements of past people. That is to say, cultural inheritance is of great significance. Reading classics is the first step in passing on culture. But in modern and contemporary China, people's enthusiasm for reading classics has always been low. Although the Chinese government has always included the study of classics in the curriculum of primary and secondary schools, these are mostly fragmented learning, and students' learning of classics is not comprehensive. Take college students for example. Although Chinese language is a compulsory subject for students, reading classics is not the main content of students' learning. According to a survey report on classic reading of college students, only 14.40% of them often read classic works, 84.10% read them occasionally, and 1.50% never read classics. (cf:Zhang Junxiong, 2022:87-89) It can be seen that as a group receiving higher education, college students still lack enthusiasm for reading classics. On this assumption, the number of people in China who insist on reading will only be smaller. Without reading classics, we cannot understand classics, nor can we understand the spiritual connotation behind classics, nor can we carry forward traditional Chinese culture. In addition, I logged on dangdang(当当网), a popular Chinese book sales website, and looked up the top 10 best-selling books in recent years. Only a few literary classics were on the list. In terms of the 2021 list, the number one book on the list is Counselling For Toads:A Psychological Adventure (a classic Introduction to Psychology in The UK), followed by Historical Records for Young Readers《少年读史记》(a history book for children), and the third was Educated, an autobiographical book about her family and education by US author Tara Westover. The rest of the top 20 included classics from the West, mystery novels from Japan and works by contemporary and contemporary Chinese authors. But traditional literary classics are nowhere to be seen. The second most popular book, Historical Records for Young Readers o, shows that some Chinese parents are consciously cultivating the habit of reading ancient literature in their students, but in general, the sales of cultural classics still account for a small proportion in the Chinese market as a whole. Such a situation is fatal to a country in urgent need of developing cultural soft power. If a country wants to develop its culture, it should first be based on its own country. If fewer and fewer Chinese read the classics, how can a country convince other nations that its own people do not value its own cultural heritage?

The Plight of Chinese Classic Books in the West

Acceptance of a certain culture will often cause psychological and emotional yearning, rational identification. Anything that comes from this culture has a certain influence. Obviously, the more widely a country's culture is spread, the greater its potential soft power is likely to be.But obviously Chinese cultural classics are far less influential in the international community than western literary works. According to current research, ancient Chinese cultural books were translated into European languages for the first time in 1592. Juan Cobo (1546-1592), a Spanish missionary, translated Ming Xin Bao Jian 《明心宝鉴》, a textbook for learning compiled by Fan Liben（范立本）, a Chinese scholar in the late Yuan and early Ming Dynasties, into Spanish for the first time. In modern China, we have been committed to introducing Chinese culture to the world. On October 15, 2014, General Secretary Xi Jinping（习近平） of China stressed at the Forum on Literature and Art Work held in Beijing that artists should tell China's stories well, spread China's voice well, and fully present China's image so that people around the world can better understand China through appreciating China's excellent literature. Supported by China's "going out" strategy, some Chinese classics have been successfully translated abroad, but these are rare cases. At the same time, there are several obvious problems in the translation and dissemination of classic books. Taking the Chinese-English version of The Great China Library as an example, literature accounts for 50% of the 110 classic books, followed by philosophy 19.1%, technology 13.6%, history 9.1% and military 8.2%. Second, the main composition of the translation is not reasonable. Besides,It shows that all the translations with wide influence outside the region are mainly written by western missionaries or Sinologists, and there are few works widely spread outside the region by domestic and local translators, especially in the modern and contemporary times, the translations with great influence outside the region are scarce. Some Domestic scholars conducted a survey on the sales of Chinese classics in 2019 on Amazon, the largest book sales website in the western world. The amazon website does not show sales volume, but only review stars. The higher the star rating, the more popular the product. Among Chinese cultural classics on sale, the Art of War《孙子兵法》, a classic Chinese military work written by Sun Wu（孙武）, a General of the State of Wu（吴国） who was originally from Le 'an(乐安), Qi（齐国） during the Spring and Autumn Period（春秋时期）, has the highest star rating of 7,763, while the second most popular book has only 740 stars. In addition, the Art of War, the bestselling Chinese classic translation, ranks 532 among all books on Amazon. (c.f:Gu Chunjiang, 2020) This shows that, on the whole, the spread of Chinese cultural classics in the Western world is still in a small range, and the acceptance of Chinese classics in the western world is still at a low level.

Another problem with the dissemination of Chinese cultural classics is that many of the translations that are out there are not Chinese translations, but works of foreign translators. Similarly, according to the statistics of Amazon website, taking The Art of War as also an example, almost 90% of the translations on Amazon website are those of overseas Sinologists, while those of domestic translators only account for less than 2%. (c.f:Gu Chunjiang, 2020)Overseas Sinologists who understand the language style and culture of the target language country preference, will make western readers accept the Chinese classics, but they always not the first users of Chinese language. In the process of translation, in order to make the western readers adapt to the original culture, they will be more likely to lose the characteristics and flavor of the original works.The connotation of Chinese culture in the classics received by western readers will also deviate, which is detrimental to the external dissemination of Chinese cultural classics. That means that western people always understand Chinese classics and Chinese culture with their own wisdom, so such cultural communication is invalid in a sense, and the influence of Chinese culture can never reach the height of western culture.

The Possible Reasons

1. It is difficult to read cultural classics.

There is a big reason why young people in contemporary China do not want to read cultural classics. These classics are written in classical Chinese, which is difficult to understand and requires a certain level of knowledge and education. During the period of the Republic of China, some advanced intellectuals, in order to break the passive situation of the old China, introduced advanced foreign ideas and cultures, and got rid of feudal and superstitious ideas, launched the New Culture Movement, advocating vernacular Chinese and opposing classical Chinese, with the purpose of introducing new culture and ideas. Since then, vernacular Chinese, also known as putonghua, now widely used in China, has gradually become the mainstream language of The Chinese people, and ancient Chinese is no longer taught in schools. The whole Chinese society has entered a new era. However, at the same time, ancient prose was no longer popular in Chinese society and became a language mastered by a few professionals, which greatly increased the difficulty for people to read classic ancient books. Although modern Chinese evolved from ancient Chinese, modern Chinese has developed into a system of its own after nearly 100 years of development, which is very different from classical Chinese. Without professional and systematic learning, it is difficult for ordinary people to fully understand classical Chinese. Because of the difficulty of reading these classics, it takes more energy to read them, which makes many people stop reading them. On the other hand, with the development of the times, Chinese modern and contemporary literature has emerged a lot of works, known as the new classics, these works are also very excellent works, at the same time, the vernacular or modern Chinese writing, more easy to understand, that is, become the reading choice of many people. In addition, due to the development of the Internet world, there are many online novels and popular works. Compared with the classics, these works do not need to spend time thinking, and they are also pleasant and popular with many people.

2. Cultural innovation capacity still needs to be developed

Cultural innovation refers to the creative vitality of culture, which belongs to the independent innovation, absorption and re-innovation of culture. National cultural innovation is the ability to reprocess the cultural elements and materials absorbed and influence the market. (Cai Libin, Wang Chenlin,2020) Cultural classics are difficult to understand, but we can use innovative means and innovative communication forms to convey the original connotation of classic books, so as to attract people to read classic books again. But from the point of the current Chinese market, the adaptations of Chinese cultural classics give priority television works, and in the past two years there have been some cultural TV programs, such as "China in classic books" (in the form of a play to deduce classics story), "the Chinese poetry conference" (it takes "enjoy Chinese poetry, cultural genes, taste the beauty of life "as the basic principle, through the competition and appreciation of the knowledge of poetry, sharing the beauty of poetry, feeling the interest of poetry, absorbing nutrition from the wisdom and feelings of the ancients and cultivating the soul, etc.)Although these programs have aroused some domestic online discussions, they still can not get widespread attention. In addition, in the film art with international influence, Chinese cultural classics are few and far between. In 2019, Ne Zha(哪吒之魔童降世), adapted from the classic Chinese mythological novel The Legend of Gods《封神榜》, set a record in The history of Chinese animated films, grossing more than 5 billion yuan. Nezha has become a hot topic for a while, and the Classic novel The Legend of Gods has also come into people's sight again. The following year, however, Jiang Ziya《姜子牙》, a film also adapted from the mythological novel , earned only 1.6 billion yuan at the box office and received far less critical and influential reviews. From this we can see that there are still great deficiencies in China's cultural and creative ability, which cannot become a long-term driving force to promote the inheritance and development of Chinese classics and even Chinese culture.

3. The challenge of Western ideology

What cannot be denied is that western ideology has always occupied the dominant position in the world. Western powers spread their values and beliefs to other countries through their powerful media advantages, and to a large extent reshape their values, behavior, social system and identity, and ultimately achieve the purpose of protecting themselves. Especially with the rapid development of the Internet, it provides a new platform for the western society to carry out cultural communication. With the advantages of economy, technology and extensive application of English, western powers spread their own cultural values and behavior patterns to the outside world, which to a large extent affected the influence of local culture. The cultural mainstream of western powers seriously threatens the dominant position of Chinese culture in the hearts of the people and is a severe challenge to the development of China's cultural soft power. (Ning Deye, Shang Jiu, 2010) At present, many young people in China are obviously "Westernized" in terms of lifestyle and values. For example, iPhone is very popular among Chinese young people, western traditional festivals such as Christmas are very popular among Chinese young people, and they pursue foreign luxury brands. All of these are manifestations of the young generation's detachment from Chinese culture, and also obstacles to the development of China's cultural soft power. In addition, Joseph Nye, after the end of the Cold War, "lost no time" in putting forward the theory of soft power, pointing out and emphasizing the importance of soft power in the era of peace and information, which in essence sounded the horn for the Western society to enter the cultural field, leading to greater investment in cultural expansion of the Western society. It is difficult for China to develop cultural soft power and maintain the subjectivity and independence of national culture. (Ning Deye, Shang Jiu, 2010) As China is also in the international community, it will inevitably be influenced by western mainstream culture, and more people are willing to read western classics. This can also be seen from the best-selling books on the aforementioned domestic book sales website in China. Eight of the top 20 best-selling books, or almost half, are foreign classics. The author consulted the summary of high-scoring books in 2021 on a popular book rating app in China, and found that seven of the top ten books with the highest rating were foreign works, while the top three were not Chinese works. This is enough to illustrate the influence of western mainstream culture in China. (douban.com)China's cultural soft power is not strong enough to equal the realm of the western world. If popular culture is still western one, Chinese cultural classics will face greater difficulties. In addition, it is not very optimistic that the translation of Chinese cultural classics can be recognized by foreign cultures. Quite a number of Chinese and Foreign translations are facing the fate of "export to domestic sales". These translations are not taken out for exchange with foreign countries, but become the translator's self-appreciation or for the study and reference of the Chinese people.

4.Hard power support is relatively weak

When participating in international competition and international affairs, those with strong hard power are more likely to win the dominant power and the right to speak, to control the development direction and trajectory of events and current situations, and to reflect and enhance their national cultural soft power. In addition, cultural communication is a basic link in the development of cultural soft power. Under the conditions of modern information communication, the support of hard power derived from technology is a necessary condition for cultural communication. In short, the development of national cultural soft power must rely on the support of hard power. In recent years, China's economy has developed rapidly and its hard power has been greatly improved, but there is still a big gap between China and western developed countries. When participating in international affairs and competition, the supporting force of hard power is still relatively weak, and it is difficult to win the dominant power and the right to speak, which restricts the development and improvement of China's cultural soft power. The relatively weak supporting force of hard power is a fundamental challenge facing the development of China's cultural soft power, which should arouse high vigilance. This is also reflected in China's talent training and overseas publishing industry. China's current employment of translation professionals is far from adequate. There are more people who take translation as a part-time job or hobby. In recent years, more and more people are engaged in translation, but how many people are really devoted to the translation of Chinese classics? Although we have made great achievements, the realization of the true value of Chinese classic culture has been reduced due to the limitations of translators' skills, publication organization, quality and promotion. On the other hand, good translations also need good overseas channels and proper marketing to attract overseas markets. However, at present, few Chinese enterprises have overseas publishing channels, and even if they do, the scope is not wide enough, which increases the difficulties for the translation and dissemination of Chinese cultural classics.

Countermeasures

1. Develop a reading habit

Since it is difficult to read classic books, schools should set up corresponding courses and treat the study of classic books as a part of daily learning, not just the content of exams. In this process, we should guide students to develop good reading habits and cultivate students to understand, read and learn classics from childhood. Appropriately increase the proportion of Chinese classic books in students' book list, and at the same time, and open some related activities centering on the reading of classic books, such as reading clubs, knowledge contests, speech contests and composition contests, which can not only enrich students' learning life but also increase their interest and motivation in learning cultural classic books. And gradually they can absorb the nutrients of Chinese culture from the learning process of classic books, form China's own values, and enhance cultural confidence.

2. Increase investment in cultural and creative undertakings

The state should further strengthen investment in cultural innovation and encourage practitioners to create more and more excellent works to spread cultural classics and the spiritual culture contained therein. In addition, the country should train innovative talents and further strengthen the cultural innovation ability of the whole country. With a new way to deduce the story of the classic books, we can bring out rich connotation and vitality of Chinese cultural classic books.

3. Learn the advantages of Western culture

Western culture can cause great influence in the world because of its own quality culture. At the same time of western culture shock, we should also learn the advantages of western culture, and absorb and transform, so as to form our own advantages. For example, we can learn from the development model or successful cases of western culture to promote Chinese cultural classics to the world.

4. Improve "hard power"

Only by further developing the economy and perfecting the social system can we provide professional security for translators and attract more translation talents. We should strengthen foreign exchanges, help Chinese publishing enterprises to go out, improve publishing channels and marketing strategies, so as to expand the foreign market of Chinese cultural classics, further spread Chinese culture, and enhance the influence of Chinese

Conclusion

Chinese cultural classics are the essence of Chinese traditional culture and are closely related to cultural soft power. After this paper the author found that the inheritance and transmission of Chinese culture classics still exist many problems, we must attach great importance to it, and take corresponding measures to solve these problems to help our cultural books to go into people's study life,to concentrate the power of culture, thus further to go into the world and influence the world. Only in this way can China improve its cultural soft power, enhance its competitiveness and gain recognition in the world.

References

• Nye, J. S. (1990).Soft Power.Foreign Policy,80,153–171pp.

• Cai Libin, Wang Chenlin 蔡礼彬,王晨琳.(2020).世界遗产与中国文化软实力[A World Heritage Site and Chinese Cultural Soft Power].中国文物科学研究Chinese Cultural Relics Scientific Research (01), 17-23.

• Gu Chunjiang 顾春江.(2020).中国典籍英译本海外传播研究[A Study on the Overseas Communication of the English Translation of Chinese Classics].文教资料Cultural and educational materials (31), 7-10.

• Hong Xiaonan, Qiu Jinying, Lin Dan 洪晓楠,邱金英,林丹.(2013).国家文化软实力的构成要素与提升战略[The Constituent Elements and Promotion Strategy of National Cultural Soft Power].江海学刊Jianghai Journal,202-207.

• Liu Jinxiang 刘金祥.(2022).文化经典的主要特征和当下价值[The Main Characteristics and Current Values of Cultural Classics].书屋Library (02),13-15.

• Shi Zuhui施祖辉.(2000).国外综合国力论研究[A Study on Foreign Comprehensive National Strength].外国经济与管理Foreign Economy and Management (01), 13-19.

• Xu Wanxiao, Xu Fangxiong徐宛笑,徐方雄(2021).文化软实力的概念、实质及构成要素探究[Explore the Concept, Essence and Constituent Elements of Cultural Soft Power].文化创新比较研究Comparative Research on Cultural Innovation (10), 8-11.

• Wang Huning王沪宁(1993).作为国家实力的文化:软权力[Culture as a National Power: soft power].复旦学报(社会科学版)Fudan Journal (Social Science edition) (03), 91-96 + 75.

• Wei Enzheng, Zhang Jin魏恩政,张锦(2009).关于文化软实力的几点认识和思考.[Some Understandings and Thoughts on Cultural Soft Power].理论学刊 Theoretical Journal (03),13-17.

• Zhang Junxiong张军雄.(2022).大学生经典文献阅读情况调[Investigation on the reading situation of classical literature by college students].合作经济与科技Cooperative Economy and Science and Technology (11), 87-89.

• 图书畅销榜-2021年畅销书排行榜Book bestseller-2021-Dangdang (dangdang.com)http://bang.dangdang.com/books/bestsellers/

• 豆瓣2021年度读书榜单Douban Reading List 2021 (douban.com)https://book.douban.com/annual/2021

英语笔译 胡良明 Hu Liangming 202170081570 MW

A study on Lin Yutang’s translation of Six Records of a Floating LifeHu Liangming

Abstract

Translation is a special art. When translating, the translator needs to express the original content in another different language. In this process, the translator not only needs to translate the original content, but also needs to preserve the mood, imagery, rhythm and writing style of the original text. Therefore, translation is not only a transformation between two different languages, but also an exchange between different cultures represented by the two languages. As a special type of translation, literary translation involves famous Chinese and Western literary works, so it is necessary to pay more attention to the connotation of words and sentences while translating. In literary translation, the translator should strive to express the artistic conception of the original work, so that readers can read the literary connotation from the translated work as if reading the original text, and can feel the beauty of the language. The Three Beauties Principle, which consists of beauty in sound, beauty in sense and beauty in form, is the translation standard put forward by the famous translator Xu Yuanchong. The Three Beauties Principle is regarded as the translation standard of Chinese classical poetry. Under this standard, the translator must express accurately the beauty in the poem. Since the styles of poetry and prose are very similar, this article aims to explore the effective methods of English translation of Classical Chinese by studying the translation aesthetics in Lin Yutang's English translation of Six Records of a Floating Life.

Key words

Three Beauties Principle, English translation of Classical Chinese, Six Records of a Floating Life.

Introduction

For a long time, in the process of English translation of classical Chinese, translators usually follow the cultural background and reading habits of English readers to understand Classical Chinese and translate them to English, so that the English translation of such articles has lost the unique literary style and form of the original text. What’s more, some translators and readers may find such articles changed in sense, sound and form. Once the Classical Chinese are translated to English, the logic always becomes muddled and the artistic value will be diminished, even though there are no grammatical errors in the translation. Still, during the translation of such articles, it is unavoidable to make some misunderstandings due to translator’s deviation from Chinese. The special style and form are quite independent and original that they can not be found in traditional western literature. To do the English translation of Classical Chinese well, the sound, sense, and form must be taken into consideration. And this thesis aims to connect English translation of Classical Chinese with Three Beauties Principle. Like Chinese classical poetry, Chinese classical prose has the characteristics of beautiful and condensed language, rich literary talent, and rich and profound artistic conception. Therefore, when translating Chinese classical prose, the translator can not only be satisfied with faithfulness and reciprocity, but also focuses more on the presenting the aesthetic perception of the original text into the target language. This article adopts the comparative method and the case analysis method, and uses Xu Yuanchong's Three Beauties principle as the framework to study the English translation of Six Records of a Floating Life. Six Records of a Floating Life" is a collection of essays by Shen Fu, a writer in the Qing Dynasty. The language is plain and natural, and the content is rich and interesting. It fully embodies the author's leisurely spirit, the taste of life and the unswerving love between the author and his wife Chen Yun. The English translator of this book, Lin Yutang, is a well-known writer and translator who has studied Chinese and Western culture deeply. This thesis is divided into three parts. First of all, the research background and significant points of this thesis will be presented. Then chapter two mainly makes a brief introduction to the Three Beauties Principle and its presenter as well as Lin Yutang and his translation strategies. And the rest of the thesis mainly focus on the research of Lin Yutang’s English translation Six Records of a Floating Life under Three Beauties Principle. This thesis aims to make a profound study of the English translation of Classical Chinese and hopes to help the future researchers and learners with the practices.

Literature Review

Although the translation of Classical Chinese into English has been several centuries, it seems that the theoretical research on this kind of translation is not yet very popular. There are several reasons to explain this situation. First of all, Chinese is a totally different language from English, not to mention the Classical Chinese. Chinese is a non-inflectional language, while English is an inflectional language. It means that there are some differences when it comes to the transformation of two different languages. Secondly, Chinese is parataxis while English is hypotaxis. Chinese sentences are connected together by the internal logic and semantic relations. While English sentences are connected together by using conjunctions and verbal morphology. As a result, it requires translators to master the essence of both English and Chinese to do the translation work well. It is for the above reasons that there are very few scholars who are proficient in both Chinese and English. Nevertheless, in the history of translation in China, a group of excellent translators have emerged. Most of these translators have studied ancient and modern and are very proficient in Eastern and Western cultural knowledge. It is precisely because of the existence of these translators that we can bring excellent Chinese works abroad, and let people all over the world appreciate the charm and long history of Chinese culture. Chinese classic works are the historical crystallization of Chinese civilization and an important part of Chinese culture. For thousands of years, these excellent cultures have deeply influenced the descendants of the Chinese nation from generation to generation, and have played a role in inheriting culture and educating future generations. These classic works have not only social and historical significance, but also cultural construction significance. Chinese culture with a history of thousands of years belongs not only to China, but also to the world. It is the social responsibility and historical mission of each of us Chinese to spread Chinese culture and let the world truly understand China to enhance exchanges between different cultures. In this context, it is more practical to conduct research on the English translation of Chinese classics. Under the current economic and cultural globalization, the dissemination of excellent Chinese Classics barely matches our country’s comprehensive national strength and international status. Therefore, how to better spread the culture of 5000-year-old should be put into the first priority for English learners. The English translation of classics is an excellent way for the world to understand China and allow China to participate in global cultural exchanges. At the same time, it is of great benefit to enhance our country's cultural charm and cultural soft power. The Chinese nation is a nation that is open to all different cultures and is eager to learn from these differences. In the long process of spreading Western learning to the east, we have translated and learned a lot of Western culture in politics, economy, culture, technology and so on. We have successfully learned Western culture, and now the key is to spread our own culture and actively participate in the exchange of world culture, so that the people of the world can learn more about Chinese culture in order to maintain the inherent cultural identity of the Chinese nation. The English translation of classics enables Chinese classical works to be presented to people again, and can make the essence of charm across the ocean, allowing Western people to appreciate the elegance of Chinese culture, enhance the national pride of Chinese descendants, and at the same time better promote foreign language learning and cultural exchange.

Three Beauties Principle

Three Beauties Principle was put forward by Professor Xu Yuanchong, who has created such a translation standard from his diligent working and a great number of translation practices. Undoubtedly, such a translation theory has exerted great significance in translation circles and provided a new perspective for us English learners to study literary translation. Three Beauties Principle means beauty in sense、beauty in sound、and beauty in form. Beauty in sense emphasizes that the profound meaning hidden in poems are kernels of poems, and the major job of translators is to translate the sense, which will be of great importance for target readers to understand poems（Xu，1984）. Beauty in sound indicates that poems are in rhyme, assonance, alliteration, and the heroic couplet and so on. So when doing translations, translators are required to keep the rhyme as stringently as possible. Beauty in form keeps a watchful eye on poems that are written in some forms, like traditional Chinese seven-character octaves that there are only seven characters in each line. Xu （Xu ，1984）holds the opinion that the three beauties are not equally important. Xu once said: “Of the three beauties, beauty in sense is of the greatest significance and should be placed in the first place; beauty in sound is of secondary importance; beauty in form is of least weight and can be put in the third place.”(Xu，2006：81） The first principle of poetry translation is to retain the meaning of the original text to the highest degree, so as to achieve the same effect as the original text to move the reader. In other words, poetry translation should lose the beauty of the original text as little as possible. It not only means translating the denotative form of the original text, but more importantly, translating the connotative meaning of the original text. Poetry translation should retain the artistic beauty of the original poem. Poetry is rich in appreciation value and is the highest state of literary creation. It uses the most concise language to express the most profound meaning. The artistic conception embodied in a good work is often amazing, and it will make people keep tasting the charm of it even unforgettable for a lifetime. However, the rich connotation of poetry will make different readers and translators have different feelings, and this different understanding will make the translated works appear very different in the reproduction of the original works. Therefore, under the principle of aesthetic beauty, translators are required to integrate into the environment of poetry, gain insight into the author’s mood, and appreciate the author’s true intentions. The beauty in sound can be tasted in rhyme and rhythm, which are the indispensable parts of classical prose and poetry. As we all know, poetry and music are closely related to each other. From life experience to emotional expression, music is integrated with poetry, producing unlimited artistic charm. In the poetry works, the harmony of voice, the ambiguity of tones, and the musical beauty produced by the rhythm of sentence patterns make the emotions expressed more intense, the portrayed images are more vivid, and the works are more appealing. Music breaks through the conventional thinking mode through poetry, which can not only improve the musician's sensibility and comprehension, enrich his imagination and emotional experience, but also make his works have a deeper depth of thought. Poetry not only has an impact on music creation, but also plays an important role in music performance. Therefore, in poetry translation, translator must try their best to convey the beauty of the original works. As we all know, Chinese is a tonal language, with a single character as the unit of rhythm, and the pronunciation of each Chinese character is almost the same, and the difference is only in tones. Therefore, in the process of translating ancient poems and prose, it is necessary to take into account both Chinese and English prosody, and vividly reflect the Chinese phonology with English phonology. Xu Yuanchong suggested that beauty in form refers to “line length, verse rhyme, repetition of words, couplet and parallelism in structure, etc.”(Xu,1992：25）. This means that in the process of poetry translation, the translator needs to take into account the beauty of the original poem's form. The so-called form means to keep the translation consistent with the original text in terms of words, sentence structure, expression techniques, and rhetorical means in the translation of poetry and poems. Therefore, the form refers to the whole of the poem, and the corresponding relationship of various forms is extremely complicated and difficult in the article composed of different languages. Especially for poetry works, most of the beauty of its form cannot be completely translated, and it needs to be recreated. The original poem has the beauty of the text itself, so the translation of the poem also needs to have the beauty of the text itself.

Reflection of Beauty in Sense in Lin Yutang's translation

3.1.1 Choice of Words In Lin Yutang's translation, the accuracy and fluency of his words show his proficiency in Chinese and English. Chinese literati pay attention to the choice of characters when they write poems and lyrics. In their creation, if they can use characters cleverly, they can make the whole article unique. In the process of translation, translator also needs to pay attention to precise and proper wording. In order to faithfully reproduce the meaning and charm of the original text, Mr. Lin Yutang has painstakingly studied the choice of words and sentences during the translation process, so as to expect to convey the essence of the original text faithfully and smoothly. Here are some examples showing the accurate choice of words. Chinese Version 1: 刺绣之暇，渐通吟咏。 English Version 1: Between her needlework, she gradually learned to write poetry. Although “Between” is the most common preposition in English, it is used in this place to make the original meaning easy to understand, and there is no lack of vividness and beauty in the plain and simple text. It expresses the original meaning of the original text, that is, because her father passed away early, Yun had to rely on embroidery to support her family. Therefore, free time is naturally hard-won for her. Therefore, this word here fully shows the hardship and arduousness of Yun's life. The time she spends on recognizing characters and writing poems is squeezed out, which is completely consistent with the meaning of leisure in the words and sentences implicit in the original text. Original text 2: 时但见满室鲜衣，芸独通体素淡，仅新其鞋而已。 English Version 2: At this time, the guests in the house all wore bright dresses, but Yun alone was clad in a dress of quiet colour, and had on a new pair of shoes. The word “quiet” completely expresses the meaning that the original writer intended to express. It was originally a very ordinary and inconspicuous word, but when matched with the “color” in the text, it looks very apt and vivid. It not only expresses the elegant and light color of the clothes, but also expresses the protagonist’s gentle and introverted character. In order to conform to English expression habits, sometimes quantifiers do not need to be accurately expressed in the translation. Therefore, the translation also adopts flexible processing methods when dealing with the translation of some quantifiers. Original text 3: 秋侵人影瘦，霜染菊花肥。 English Version: Touched by autumn, one’s figure grows slender, Soaked in frost, the chrysanthemum blooms full.

In these two verses, Lin Yutang drew a picture in English, the externalization of sad autumn emotions, the coolness of autumn makes people shrink up, but frost tinges the chrysanthemum and aggravates the color of the chrysanthemum. In the contrast between people and chrysanthemums, we have a very vivid picture in our minds. Because of these precise words, readers of the target language can also clearly feel what the original author wants to express.

Reflection of Beauty in sound in Lin Yutang's translation

In Lin Yutang’s view, artistic texts include poetry, lyrics and music. In the process of translation, translator must first note that poetry is one of the cultural forms with Chinese characteristics. So they must be able to fully understand its artistic conception and master the form of the original text. Only in this way can they be as vivid as possible and express the connotation of the word. In addition, Chinese classical literature also focuses on phonology. Therefore, Lin Yutang uses the method of combining alliteration and ending rhyme in the translation process, and uses the repetition of syllables to fully express the beauty of the original phonology and rhythm. 3.2.1 Rhythm Original Text1: 清斯濯樱，浊斯濯足。 English Version1: When water is clear, I will wash the tassels of my hat; and when the water is muddy, I will wash my feet. This sentence in the original text is a standard antithetical sentence. It means that I can choose to wash my hat here where the river water is clean, and I can choose to wash my feet here where the river water is dirty. During the translation process, Lin Yutang also translated the symmetry of the original text, and the sentence patterns were consistent. Therefore, when the target reader reads the target text aloud, he can also clearly feel the sense of rhythm. Moreover, the last words, “hat” and “feet” , of the translation formed the end-rhyme. Original Text2: 曾经沧海难为水，除却巫山不是云。 English Version2: It is difficult to be water for one who has been the great seas, and difficult to be clouds for one who has been the Yangtze Gorges.

Once having seen the best, the rest is not worthwhile looking. The meaning of this sentence: People who have experienced the incomparably deep and wide sea, the water elsewhere can hardly attract him; except for the clouds of Wushan where the clouds are steaming, the clouds everywhere are eclipsed. The water of the sea and the cloud of Wushan are metaphors for the depth and breadth of love. I have seen the sea and Wushan, but the water and clouds elsewhere are hard to see. Except for the woman whom the poet thinks and loves, there is nothing that can make me fall in love. The original text here uses allusive rhetoric as a metaphor for my loyalty to love. When Lin Yutang dealt with this sentence, he used the same sentence pattern in both clauses of the translation. Therefore, readers of the target text will feel catchy when reading, which enhances the appeal of the article, which not only greatly increases the beauty of the original text, but also vividly expresses the precious feelings between the original author and his wife.

Reflection of Beauty in Form in Lin Yutang’s translation

Sentence layout and cohesion are an important part of text organization in translation, and are closely related to translation. Sentence layout mainly refers to the fit of language means and logical relations in a sentence. Cohesion mainly refers to the external connection of language, which is mainly related to the tangible components of language connection. In many literary works, the author will use many different sentence patterns. These different sentence patterns can be used to express different functions, including grammatical functions. Therefore, the appropriate sentence pattern will add beauty to the form of the target words and sentences annotations. Here are some examples. Original Text1:芸曰:“世传月下老人专司人间婚姻事，今生夫妇已承牵合，来世姻缘亦须仰借神力，盍绘一像祀之？” English Version1:Yun said ：“It is said that the Old Man under the Moon is in charge of matrimony. He was good enough to make us husband and wife in this life, and we shall still depend on his favor in the affair of marriage in the next incarnation. Why don’t we make a painting of him and worship him in our home?”

We can see from the original sentence that this sentence has an obvious feature, that is, there is a rhetorical question at the end of the original sentence. In the translation, the rhetorical question here is also accurately translated. Therefore, the translator here has fully achieved the formal correspondence, and readers of the translation will not feel any doubt when reading this. Original Text2: 芸双目闪闪，听良久。 English Version2: Yun stared at me, listening for a long time.

In the original text, there are two motions made by Yun, which are stare and listen respectively, and the first motion mentioned is more important obviously and the latter is accompanied. In the translation, the translator made the second motion an accompany adverbial which accords with the original text.

Conclusion

From the above content, we know the importance of translating Chinese classics into English, and we also clearly understand that we will encounter many difficulties in translating excellent classical cultural works. However, we can still see from Lin Yutang's translation that this difficulty can be overcome. Lin Yutang is proficient in two languages and devoted his life to spreading Chinese culture to the West. In his translation process, he not only obeyed the principle of being faithful to the original text, but also expressed the unique charm and beauty of the original text. The beauty in translation is mainly expressed in meaning, sound and form. And in Lin Yutang’s translation of Six Records of a Floating Life, we can appreciate the profound meaning contained in the short words and sentences of classical Chinese. This thesis is supposed to delve into Lin Yutang’s translation of Six Records of a Floating Life and pays much more attention to the sense, sound and form of the translation. Through the study, we may study more useful methods and strategies to translate Classical Chinese into English properly. What’ more, through the work, many more classic works can be spread to other countries and the charm and beauty of Chinese can also be shared by the rest people of the world.

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英语笔译 黄琼 Huang Qiong 202170081571 CE

The Translation and Spread of Yu Hua's Works in Europe黄琼 Huang Qiong

Abstract

Yu Hua, a famous contemporary author in China, wrote a lot of novels such as To Live《活着》, Cries in the Drizzle《在细雨中呼喊》, and Chronicle of a Blood Merchant《许三观卖血记》. He is one of the pioneers of Chinese avant-garde literature in the new period. As a contemporary Chinese writer, this paper will explore the translation and dissemination of Yu Hua’s works（Brothers as an example） in Europe with an emphasis on France and Germany. This case is to provide some experience for the dissemination of Chinese contemporary literature, so as to expand the influence of Chinese literature.

Key words

Yu Hua, Brothers, Chinese contemporary literature, translation.

Introduction of Yu Hua and His works

Yu Hua is a famous writer in contemporary China. When describing his novels, Chinese readers often use words like "misery" and "sadness", saying that he left the pain to the readers. In recent days, he has given a number of interviews, including detailed interviews with several Up （Up is short for "upload", a content sharer on the video website Bilibili which is a well-known video bullet screen website in China and is very popular among young people.）on Bilibili's knowledge section, in which Yu presents a humorous image to readers. Previously, To Live was adapted by the famous Chinese director Zhang Yimou, starring Ge You and Gong Li. In 1994, the film won the Grand Jury Prize and the Best Actor Award at the 47th Cannes International Film Festival, and the novel To Live also became very famous in China. In his interviews, he is humorous. He is nothing like his novels that has a sense of sadness. Many of his funny stories are circulating on the Chinese Internet. For example, when he worked as a dentist for several years, he saw the people in the county cultural center do nothing but roam the street every day. He thought this job was very good, so he wrote a novel and published it, and then entered the cultural center to work. Humor seems to be the latest impression of Yu Hua.

Yu Hua's novels have been bestsellers. To Live （《活着》）has been popular for nearly 20 years since its publication. From 1992 to 2020, the sales volume exceeded 20 million, creating a new record in the contemporary Chinese literary field. Yu Hua's new book, Wen Cheng(《文城》), has already printed 1 million copies in just three months（Li Chunyu 2021, 143）Openbook is a professional commercial organization providing consulting, research, and survey services for the book industry, and also the founder of the continuous tracking and monitoring system for the retail data of the Chinese book market. According to the China Book Retail Market Report 2021 released by the institute, Yu Hua’s new book Wen Cheng ranked 10th on the 2021 fiction list and first on the new fiction list, apparently thanks to Yu Hua’s status among Chinese writers. To Live was the seventh best-selling book. In 2020, To Live was the fourth best-selling fiction series, and in 2019, To Live was the no. 1 fiction series, which also topped the overall list for a second year. To Live topped the list for 11 consecutive months from March 2018 to January 2019, and also topped the list for nine months in 2019. Among the sales reports in recent years, only Lu Yao’s Ordinary World in the serious literature category ranked fourth on the fiction list in 2019. On top of that, To Live has been published for more than 20 years and has been on the bestseller list every year, which is not easy.

Yu Hua has many readers. According to Douban, a Goodreads-like website, To Live has received more than 690,000 comments, with a score of 9.4 points. Brothers has more than 50,000 reviews. A Dream of Red Mansions(《红楼梦》), one of China’s four most famous novels, received only 370,000 comments, while the Three-Body Problem (《三体》), a popular science fiction novel, received 400,000 comments. Compared with other contemporary writers' books of China, Frog (《蛙》)by Mo Yan, China's first Nobel Laureate in literature, received only 20,000 comments, while Life and Death are Wearing Me Out (《生死疲劳》)received only 18,000. Lu Yao’s novel Ordinary World has received more than 60,000 comments. All the above data show that Yu Hua is a very famous writer in contemporary China, and his appeal to readers is also very strong.

Yu Hua is also famous abroad. Wu Yiqin, president of Writer publishing House(作家出版社), commented that Yu Hua was the first contemporary Chinese writer who really "went out" in the sense of literary noumenon. In a sense, he corrected the bias that the Western world was usually keen on "reading China" rather than "reading literature" when facing Chinese literary works. He has received many foreign awards, including the James Joyce Award, and France's Prix Courrier International. In 1998, To Live won the highest prize in Italian literature — The Grinzane Cavour. The earliest foreign language translation of Yu Hua's novel is the 1992 German translation To Live. However, it is more suitable to regard 1994 as the first year of the full spread of Yu Hua's novels, because in this year, his representative work To Live was translated into many languages and published separately, and his works were widely translated and introduced to other countries successively. For example, To Live was published by Hachette Publishing Company in France, published by De Geus in the Netherlands; Livani in Greece also published To Live (Liu Jiangkai 2014, 134).

Yu Hua is a prolific writer. Shortly after his debut as a fiction writer in 1983, his first breakthrough came in 1987, when he released the short story On the Road at Age Eighteen（《十八岁出门远行》）. In 1990, his first novel, Cries in the Drizzle （《在细雨中呼喊》）, was published. In 1992, To Live was published. In 1995, the full-length novel Chronicle of a Blood Merchant （《许三观卖血记》）was completed. From 2005 to 2006, two parts of Brothers （《兄弟》）were published successively. In 2013, the full-length novel The Seventh Day （《第七天》）was published. Yu Hua has written five novels, six collections of stories, and three collections of essays. His novels have been translated into English, Spanish, Portuguese, French, German, Russian, Italian, Dutch, Czech, Polish, Romanian, Swedish, Hungarian, Korean, Mongolian Malayalam, and Danish.

Literature Review

1. Domestic Literature Review of the Translation Research of Yu Hua’s Works in Europe

As a famous contemporary writer in China, Yu Hua has been studied very extensively in the Chinese academic circles and achieved very fruitful results. Using “Yu Hua” as the keyword to search articles in the Chinese National Knowledge Infrastructure （CNKI 中国知网）, a total of 6679 articles were found. Using “Yu Hua overseas dissemination” as the keyword to search, 287 articles were found. Using “Yu Hua translation” as the keyword to search, 112 articles were found. Mo Yan, China’s first Nobel Prize winner in literature, is about 2-4 times more popular than Yu Hua.

Liu Jiangkai’s article The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance（当代文学诧异“风景”的美学统一:余华的海外接受） systematically introduces the translation situation of Yu Hua’s works in various countries, arranges the literature review of Yu Hua at home and abroad, and discusses the differences between the domestic and foreign comments on Brothers. Hang Ling, Xu Jun’s article Different Interpretations and Acceptance of Yu Hua’s Brothers in The Context of French Culture（《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介）. The translation and reception of the Brothers in France are analyzed. Another article by Hang Ling, Interpretation of Yu Hua in the French Context: From Sinology to Mainstream Media（《法兰西语境下对余华的阐释——从汉学界到主流媒体. 小说评论》）, analyzes the views of mainstream media and academic circles in France on Yu Hua. Sun Guoliang and Li Bin’s article Overview of Research on the Translation and Translation of Modern and Contemporary Chinese Literature in Germany（《中国现当代文学在德国的译介研究概述》）, made quantitative statistics and qualitative analysis on the translation of contemporary Chinese literature in Germany by referring to some data and the journal materials collected by the authors during their visiting study. His other article on Germany, A Study of Yu Hu’s Translation and Acceptance in Germany, focuses on Yu Hua（《余华在德国的译介与接受研究》）. Chen Daliang and Xu Duo’s article The Evaluation and Acceptance of Contemporary Chinese literature by British Mainstream media（《英国主流媒体对当代中国文学的评价与接受》） is based on the first-hand reports on contemporary Chinese writers and works by British mainstream media, and tried to answer several questions from four aspects: basic situation, evaluation emphasis, problems, and reflections. As for the situation in Spain, the Netherlands, Italy, Norway, and other European countries, most researchers only regard Yu Hua as a part of contemporary Chinese writers and do not have a deep study of Yu Hua’s works.

2. Foreign Literature Review

There are many foreign scholars who are interested in Yu Hua and did much research about him. Chen Jian Guo’s Violence: The Politics and the Aesthetic: Toward a Reading of Yu Hua in the American Journal of Chinese Studies explores that our life is surrounded by a world capable of what Dostoyevsky called the “variety of sensations” for vicious violence. Deirdre Sabina Knight publishes the article Capitalist and Enlightenment values in 1990s Chinese fiction: The case of Yu Hua’s Blood Seller. Through interpreting the social, economic, and moral foundations of selfhood and autonomy in Yu Hua’s novel, the author thinks that analysis of the uses of self-ownership diminishes its attractiveness as a primary value in favor of values less complicit with capitalist principles. Wedell-Wedellsborg, Anne’s Multiple Temporalities in the Literary Identity Space of Post-Socialist China: A Discussion of Yu Hua’s Novel Brothers and its Reception. The acceptance of Brothers in various countries was discussed. Overseas scholars Yang Xiaobin also wrote many papers on Yu Hua. The above are overseas scholars who focus on Yu Hua, and their research ideas can be roughly divided into works, themes, and comparative studies. It involves Yu Hua’s long, medium and short works.

The Translation and Spread of Yu Hua’s Works in Europe

On the whole, the influence of Chinese contemporary literature in world literature is low. Compared with the fellow Asian countries like Japan, there are huge differences. For example, Japanese writer Haruki Murakami's English translation of Norwegian wood (《挪威的森林》) on the Amazon has more than 6500 comments. By comparison, China's first Nobel Prize winner, Mo Yan's Frog (《蛙》) just has more than one hundred comments. The Nobel Prize in Literature only promoted Mo Yan's overseas acceptance and did little to change the overall situation of contemporary Chinese literature. The whole overseas dissemination of Chinese contemporary literature is in a marginal position. However, although the overall situation of Chinese literature is not optimistic, there are a few contemporary Chinese writers, such as Yu Hua, Wei Hui, and so on, whose influence is expanding abroad. Due to a large number of Yu Hua's works and limited space, this paper focuses on the analysis of the translation and reception of Brothers in Germany and France. For Brothers alone, there are many languages and a large number of translations. Brothers was short-listed for the Man Asian Literary Prize, and a winner of France's Prix Courrier International. It is an epic and wildly unhinged black comedy of modern Chinese society running amok. With sly and biting humor, combined with an insightful and compassionate eye for the lives of ordinary people, Yu Hua reappears the history, showing his criticism of the power in the 1960s and 1970s, and his concern about the lack of spiritual life in the people in the early stage of Reform and Opening-up and some human concern.

1. France

France is the country that publishes the largest number of contemporary Chinese literature, surpassing the number of English translations. Compared with other countries, France has a broad market prospect. As a major country of Sinology, France has always paid close attention to the development of Chinese contemporary literature and actively translated Chinese contemporary literature. The French version of Brothers was published in 2008, whose translators are Angel Pino and Isabelle Rabut by the famous publishing house Actes Sud. Isabelle Rabut translated many of his books. She is a professor in the Department of Chinese literature at the National Institute of Oriental Languages and Cultures in France, specializing in the study of modern and contemporary Chinese literature. She is also one of the most active translators of modern and contemporary Chinese literature in France, as well as a member of Actes Sud's "Chinese Literature" section as chief editor. After Brothers was published, she made the first contact to acquire the rights, and with her husband, Sinologist Angel Pino spent a year translating the novel. Brothers is Yu Hua's seventh book published in France. It set off a wave of enthusiasm in France, and some important media, such as Le Monde, Liberation, and so on, devoted rare space to promoting a foreign writer and a foreign novel to the French-speaking world and generated 50-60 comments.[ For detailed information in 王侃,蔡丽娟,朱志红.《兄弟》在法语世界——法语书评翻译小辑.] Many newspapers praised the novel for its complete portrayal of complex contemporary China, but that was not the case at home, where it received mixed reviews. Most of the criticism in China was that this novel was too vulgar. For example, the novel begins with li Guangtou(李光头), the main character, peeking at a woman's arse while going to the toilet. It is also worth discussing why there is such a wide gap between domestic and foreign opinions in the book.

Sales of Yu Hua's books in France did not start well. According to Eva Chanet, far East literature editor of Actes Sud, sales of Yu Hua's works were limited in the early days, with only 500 to 900 copies sold. (Eva Chanet mentioned this figure in a lecture given in January 2011 at the International Centre for Literary Translators in Arles, southern France.) But they did not give up on Yu Hua and looked at the long-term benefits, so Yu Hua gradually built his reputation in France. In 2008, with the publication of the French translation of Brothers, Yu Hua began to receive intensive attention from the French mainstream media. Up to now, it has sold more than 50,000 copies, far surpassing Yu Hua’s previous works. The hardback edition of Brothers has more than 700 pages and has been printed more than a dozen times. The previous bestselling book in France, Chronicle of a Blood Merchant sold only a few thousand copies(Ji & Zhou 2015, 39 ). There are some comments on Amazon. "An exceptional book.(Un livre exceptionnel.)" "It works well. The 700 pages form a "beautiful" history of the history of contemporary China.( ça marche bien, les 700 pages défilent et forment une “belle” histoire de l'histoire de la chine contemporaine. )." The ratings are mostly four to five stars. Modern and contemporary Chinese literature works have a place in France, but it is far from rising to mainstream literature. Even in the translation literature, British and American literature still attracts more attention. Therefore, Chinese contemporary literature still has a lot to go.

2. Germany

According to statistics from Bochum University, about 900 works of Chinese literature were translated into German between 1827 and 1995. Most of them were published in the 1920s and 1980s, with 40 translated into German in 1987 alone (Ulrich Kautz 2005, 8). In 2012, the publishing house Fischer Taschenbuch released the German version of Brothers. The translator is Ulrich Kautz, winner of the "Special Contribution Award of Chinese Books" and a famous German translator. He has translated Yu Hua's To Live, Chronicle of a Blood Merchant(《许三观卖血记》), Brothers, China in Ten Words（《十个词汇里的中国》）, The Seventh Day（《第七天》）, and Cries in the Drizzle（《在细雨中呼喊》）, all of which are of high quality. In addition, five of Yu Hua's short stories have been translated into German by Hefte fur Ostasiatische Literatur and other famous German sinologists.

According to Yu Hua himself, in his own book To Live is the most popular novel in the United States, Spain, and Italy, while Brothers is the most popular novel in France and Germany. Brothers sold more than 27,000 copies between 2009 and 2015. Yu Hua's China in Ten Words sold about 7,000 copies. On Goodreads, there are German comments. "Brilliant book. A different world, and it's very well written." (Geniales Buch. Eine andere Welt und so toll geschrieben. ) On Amazon, the rating is 4.4. "The development of this fictitious city is followed in this novel over a period of several decades, which opens up interesting insights into the development of Chinese society for us."(Die Entwicklung dieser fiktiven Stadt wird in diesem Roman über einen Zeitraum von mehreren Jahrzehnten verfolgt, was durchaus interessante Einblicke auch für uns in die Entwicklung der chinesischen Gesellschaft eröffnet.)

2009 is a milestone year for the translation and dissemination of Chinese literature in German. For the first time, China participated in the Frankfurt Book Fair as the guest of honor, the largest and most influential in the world. Tie Ning, Su Tong, A Lai, and other famous Chinese writers visited the Frankfurt Book Fair and had in-depth exchanges with the world publishing industry. It is hoped that China will participate more in these book fairs in the future, strengthen national cooperation and exchanges, and spread Chinese classic literature.

3. Other Countries

The following table shows some of the translations of Brothers in European countries(except England). From the table Brothers have a lot of translation versions. Spain, Italy, Norway, Denmark, and so on have translated the book. There is no special study of Yu Hua's articles in other European countries except in Britain, Germany, and France. In 2017, the Italian press Feltrinelli Editore published the Italian version. The translator is Silvia Pozzi. However, Mo Yan, Yu Hua, and Su Tong, among the most well-known Chinese writers, have sold less than 10,000 copies in Italy. Spain's Seix Barral publishing house mainly promotes Yu Hua's works and released Brothers in 2009.

The dissemination of Yu Hua's works mainly follows two basic laws. One is the well-developed economy and culture. For example, the countries in Europe have relatively developed economic levels and cultural traditions, and rich spiritual life of their people. The other is the historical and cultural connection, which is highlighted by the spread of Asian countries such as Japan, South Korea, and Vietnam, which have a close cultural origin with China and form a common cultural circle (Liu Jiangkai 2014, 135).

The Opinions about the Dissemination of Chinese Contemporary Literature

Some suggestions are summarized from Yu Hua’s overseas dissemination to help Chinese contemporary literature to the world.

1. Excellent Translator and Publisher

Generally speaking, many well-known Chinese writers have a regular translator in each different language. Finding a suitable and stable translator is very important for the overseas dissemination of writers. So much the better if the translator is influential, for example, Howard Goldblatt to Mo Yan, Ken Liu to the Three-body Problem. As for Yu Hua, Ulrich Kautz became the official translator of the German version of Yu Hua's works. Wolf Baus speaks highly of the quality of the translation: "His fidelity to the drama of the original, his ability to control the tone with the confidence of an ordinary citizen, and his amazing hues, make the book irresistible thanks to the translator's intelligence, simplicity, and openness."(Wolf Baus 2000, 164) Newspapers in the French-speaking world also praised Angel Pino and Isabelle Rabut. "The image of the novel is fully reflected in the French translation. Thanks to the erudition of these two translators, they can accurately and easily restore the original novel in the real Chinese context."（Le temps 2008）They have a solid foundation in the Chinese language and good literary quality. Meanwhile, they have a relatively comprehensive and in-depth understanding of Yu Hua and hold an attitude of recognition and appreciation of Yu Hua's works, which lays a foundation for their excellent translation. With a regular translator, the communication between the author and the translator will be smoother.

The press also played a great role in the dissemination of Chinese contemporary literature. Since 2000, Yu Hua's works have changed from multiple presses to regular press in Actes Sud. The translation of Yu Hua's works has gone from disorganized to systematic. With the continuous efforts of this publishing house, Yu Hua has become one of the most translated Chinese writers in France. The long-term and stable cooperation with Actes Sud laid a good foundation for the establishment of Yu Hua's literary image in France. Seix Barral in Spain attaches great importance to the translation and introduction of Chinese literature and has formulated a long-term and systematic publishing plan for Chinese literature. The Spanish edition of Brothers was published by their press. In 2014, Wuzhou Media Publishing House cooperated with Planet Publishing House, the largest publishing house in Spain, to translate and publish Mai Jia's work Decode (《解密》). With large-scale publicity, this work set a record for the first release of modern and contemporary Chinese literary works with 30,000 copies（Lan Bo 2020, 45）. An excellent publishing house with reliable marketing ability and strong financial support can play a positive role in the dissemination of the translation. The combination of Chinese and foreign publishing houses is conducive to the mutual promotion of writers of the two countries and the further integration of foreign literature and domestic literature.

2. Film Adaptation

Mo Yan, Su Tong, and Yu Hua have all received film adaptations by Zhang Yimou. Zhang Yimou's 1991 film Raise the Red Lantern （《大红灯笼高高挂》）, based on Su Tong's novel Wives and Concubines （《妻妾成群》）, won the Silver Lion at the 48th Venice Film Festival and in 1992 was nominated for Academy Award for Best Foreign Language Film. To Live was adapted into a film by director Zhang Yimou, which won the Grand Jury Prize at Cannes in 1994. In 1988, Red Sorghum （《红高粱》）, adapted by Zhang Yimou, won the Golden Bear at the West Berlin Film Festival, attracting the world’s attention to Chinese films and greatly promoting novel translation. Undeniably, the adaptation of the novel into a film by the internationally renowned director Zhang Yimou does contribute to the spread of the novel. After all, Chinese literature is still read by a small number of people outside China, mostly scholars. And movies have opened up a certain market. "To Live was not popular before the film adaptation, and many foreign versions of To Live had Gong li's picture on the cover," Yu said in an interview. This shows that the film adaptation did have a certain impact on overseas acceptance, which reduces the publishing house to the reader acceptance and market sales concerns.

3. Literary Features of the Novel

As mentioned earlier in the article, Brothers were generally well-received abroad but received mixed reviews in China. Some people think the content is vulgar, shallow, and in bad taste. Yu Hua wrote dirty and cruel things and is lack humanistic care and critical awareness. It holds that the bestselling of Brothers lies in the fact that Brothers buttons the secret code in the hearts of the masses and conforms to the emotional trend and reading habits of the masses. It is believed that the attitude of Brothers towards world history and the changes of the times does follow the trend, losing the value of judgment or the pursuit of meaning to the world (Wang & Zhu 2009, 13). There are also many praises. The dirt, cruelty, and vulgarity criticized by people contain very rich social content, reflecting Yu Hua's strong critical edge.

Some scholars attribute the success of Brothers in France to its Rabelaisian approach. Since Rabelais's indulgence and vulgarity is a paradigm already existing in the French literary tradition, many French critics will spontaneously associate Brothers with Gargantua and Pantagruel, thus forming a kind of identification with them （Hang Ling 2010, 136 ）. Some works that conform to the mainstream aesthetic standards of China are often considered to have a tendency to serve ideology in the perspective of French culture, which arouses the aversion of readers and media and leads to low acceptability. Cheng Baoyi, a Chinese scholar, said when talking about the differences between Chinese and Western literature and cultural concepts, "Westerners pay attention to imperfections, breakthroughs, and the existence of evil. They always believe that the relationship between man and nature is not so harmonious and complicated, and they do not hesitate to reveal the cruelty of the human world... This is caused by the different philosophical pursuits and aesthetic standards of the East and the West."(Qian Linsen 2000, 9) Although the story of Yu Hua takes place in the special historical background of China, it can show the beauty and tragedy of life, which can be shared by anyone. Therefore, how literary works grasp the present, reflect the spirit of times, the author how to transcend time and space to let foreign readers feel the life of Chinese people, or let them experience the common situation of human beings in the process of globalization, is an important prerequisite for the success of contemporary Chinese literary works going abroad. But that doesn't mean catering to other people's tastes. On the other hand, if writers excessively consider western readers' expectations of Chinese novels, they are likely to lose their "Chinese characteristics", which will lead to failure (Ulrich Kautz 2015, 9).

Conclusion

It is undeniable that when Chinese literature goes abroad, there is an obvious phenomenon that foreign countries pay too much attention to political issues. Yu Hua often answers questions about the censorship of China when he attends lectures and recitals abroad, although he has responded to this question. Objectively speaking, some western publishers, media, and even scholars still have an impression of Chinese literature as the stagnant closed countryside, political persecution, or twisted sex. The political misreading of Yu Hua's works in the process of translation and acceptance is an unavoidable topic. Only by treating Chinese literature as literature, not curiosity, and giving respect to Chinese literature, can we discover its real value beyond the superficial surface(Sun & Li 2021, 152）.

Through the study of the overseas reception of Yu Hua's works, it can not only better reflect on his creation and canonization process, but also observe the achievements and problems of contemporary Chinese literature in a broader world literature context（Liu Jiangkai 2014, 134）. "Chinese writers like me have limited influence even though some of our works have won awards and been published abroad," Yu said modestly. "Literary influence is a slow process. Because of that, its influence reaches across time and space." "It will take time," he said of how Chinese writers approach the world. French newspaper Liberation praised Yu Hua "The author of Brothers has a remarkable talent. He looks at the world with a caring eye. When we read his work, our emotions change from sneer to tears, from comical to tragic, from barbaric to global." There is no shortage of good works in Chinese literature, and there are many talented authors in China. It hopes that more and more excellent writers can go out and let the people of the world read Chinese works and feel the excellent Chinese literature.

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英语笔译 邝雨琪 Kuang Yuqi 202170081572 MW

A Study on C-E Translation of the Mao Zedong's Poetry from the Perspective of Eco-translatology邝雨琪Kuang Yuqi

Abstract

Based on eco-translatology theory, this thesis analyzes the translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”, namely, the transformation at linguistic dimension, cultural dimension and communicative dimension. Mao Zedong's poetry holds an important place in the history of Chinese literature. The appropriate English translation of Mao Zedong's poems is of great significance for promoting Chinese culture. This thesis will take Xu Yuanchong's translation of Mao Zedong's poems as an example to study the application of eco-translatology in the translation of Mao Zedong's poems. It aims to provide a new perspective for the study of the English translation of Mao Zedong's poetry and demonstrate the feasibility of the guidance of ecological translation, which has guiding significance to translation discipline construction, translation studies and translation practice.

Key words

Eco- translatology; Mao Zedong's Poetry; Xu Yuanchong's Translation

Introduction

With the increasingly intimate exchanges between countries, the globalization is more and more irreversible. In this condition, translation becomes increasingly important. There are also more and more interdisciplinary studies on translation. In 2001, the notion of eco-translatology was firstly put forward by Chinese scholar Hu Gengshen, which provided a brand new angle for translation studies and pushed interdisciplinary research of translation studies to a new stage.

In addition to Tang and Song poetry, Mao Zedong’s poetry also occupies a very important position in the history of literature. This thesis intends to provide a new perspective for the study of the English translation of Mao Zedong's poetry and apply the translation theory to the translation of other texts, so as to make the English translation of Chinese literature more perfect and understandable.

The thesis consists of five parts. After the introduction, Chapter One is the theoretical framework, which covers the origin of eco-translatology theory and some core concepts of ecological translation including “the translator’s subjectivity”, “selection and adaptation”, “ecological environment of translation”. Then it introduces the "three-dimensional transformation" principle which is mainly used in this thesis. Chapter Two focuses on the general review of Mao Zedong's Poetry and its C-E translation in Xu Yuanchong's version. It will introduces the two main characteristics of Mao Zedong's poems, that is, heroic style and abundant allusions. Then it looks into its translation strategies used in the C-E translation of Mao Zedong's Poetry, including domestication and free translation. Chapter three analyzes the application of eco-translatology in Xu Yuanchong's translation, and explores the translation of Mao Zedong's poetry from the linguistic dimension, cultural dimension and communicative dimension. Then comes to the last part, the conclusion. The last part serves as a summary, and points out some limitations of this thesis.

Literature Review

Scholars at home and abroad have done a lot of research on the English translation of Mao Zedong's poetry. From the 1950s, Russia, the United States, France, Italy and other European and American countries officially began publishing the translation of Mao Zedong's Poetry（李正栓，陶沙，2009）. Foreign scholars mainly focus on the translation of Mao Zedong's poems itself. The studies done by domestic scholars are mainly divided into three categories：introducing and commenting on the versions of Mao Zedong's poetry translation; studying Mao Zedong's poetry translation from different translation theories; comparing different translation versions of Mao Zedong's poems. Although some scholars have studied the translation of Mao Zedong's poetry from the perspective of eco-translatology, there are many viewpoints on this theory, and few analyze it from the “three-dimensional transformation” principles.

Methods and Theories

This thesis studies the translation of Mao Zedong's poems from the perspective of eco-translatology, and the application of “three-dimensional transformation” theory in it. Besides, Xu Yuanchong's translation of Mao Zedong's poetry is mainly used as an example, because of its high quality and complete quantity.

I A Brief Introduction to the Eco-translatology Theory

Eco-translatology theory is a translation method. Before going to the analysis of the C-E Translation of Mao Zedong’s Poetry from the perspective of eco-translatology, meaning and methods of eco-translatology theory are discussed first.

1.1The Eco-translatology Theory

Eco-translatology is a systematic and complete translation theory. This section will briefly introduce its original, meaning and its main viewpoints.

1.1.1The Origin of Eco-translatology Theory

Based on Darwin's biological evolutionism, that is, survival of the fittest, Hu Gengsheng put forward the theory of eco-translatology, the most important part of which is the theory of adaptation and selection. “ ‘Adaptation’ and ‘Selection’ is the basic mechanism to adjust human behavior”(Lopreato& Crippen 1999:85). Liu Aihua(刘爱华) argued that “the core content of Darwin's theory of natural selection is that ‘the most basic rule of adaptation of organisms to the ecological environment is survival of the fittest’”(Liu Aihua, 2010, translated by the author). While adapting to the natural environment, organisms will also be restricted by the natural environment. If apply this basic principle to translation studies, it is surprisingly to find that the same is true for the translators. The translators and the translation should adapt to the translation ecological environment and be restricted by it.

Eco-translatology was put forward by Professor Hu Gengshen in the 21st century. It is an interdisciplinary study of eco-translation, text ecology and "translation community" ecology and their interaction and relationship. Eco translation pays attention to the integrity of translation ecosystem. From the perspective of eco translatology, it gives a new description and explanation of the criteria, procedures, methods and principles of translation. Professor Hu's eco-translatology means that all elements of translation, including the original text, the source language and the target language, should be coordinated to achieve a dynamic ecological balance and form a harmonious and unified eco translation environment. Therefore, the translators should consider the connection and influence of all factors, adapt and make the best choice in the whole process of translation, and finally produce an ideal translation.

1.1.2 The Main Viewpoints of the Eco-translatology theory

There are some main viewpoints on eco-translatology. The first is Translator- centeredness. Eco-translatology thinks highly of the translator-centeredness, and regards it as a positive factor. Cha mingjian(查明建)defined the translator's subjectivity as “the translator, on the premise of respecting the object of translation, expresses his subjective initiative in translation activities in order to achieve the purpose of translation. Its basic characteristics are conscious cultural consciousness, humanistic character and creativity of cultural aesthetics”(Cha Mingjian, 2003:22, translated by the author). Zhang Zhizhong(张智中) believes that “translation is an art of compromise, let alone the poetry translation. The translatability of poetry embodies the translator's subjectivity and creativity”(Zhang Zhizhong, 2015, translated by the author).

Besides, the other major viewpoint is “translation as adaptation and selection”. “Adaptation” and “Selection” are the most important words through the eco- translatology. On the one hand, from the perspective of humanities, translation is also a human behavior, so the translator need to make lots of adaptations and selections in the process of translation in order to choose the suitable translation. On the other hand, from a macro view, there must be some similarities between the natural law of “seeking survival and merit” and translation activities.

According to eco-translatology, translation is the translator's adaptation and choice to the ecological environment. Ecological environment includes all the factors related to translation. The nature and process of ecology not only provide new interpretation for translation, but also provide new principles, methods and criteria for translation. Eco-translatology has its own translation principles, such as: text ecology; multidimensional integration; symbiosis; translator's responsibility. However, the essence of eco-translatology principle is “multi-dimensional adaptation and adaptive selection”.

Then is the “three-dimension transformation” principal that most people analyzed in this theory.

1.2Eco-translation Method: Three-dimension Transformation

The main translation principle in eco-translatology is three-dimensional transformation. It includes the transformation at linguistic dimension, cultural dimension and communicative dimension. The translation criterion derived from eco translatology is the adaptability of the three dimensions of language, culture and communication. In other words, translators should do themselves justice in translation, fulfill their subjective initiative, and comprehensively consider the balanced transformation of "three dimensions", so as to ensure that the translation can conform to the target language environment and be understood by the target readers.

1.2.1Linguistic Dimension

Hu Gengshen(胡庚申) explained that “the ‘adaptive transformation from the linguistic dimension’ refers to the translator's adaptive choice transformation of language form in the process of translation. This transformation takes place in different stages, levels and aspects of the translation process”(Hu Gengshen, 2011(2):8, translated by the author).

In poetry, language is very important. There are many kinds of Chinese poetry, and different kinds have different language requirements. Different genres express different emotions. And when change a word, the meaning and charm will be different. After all, poetry is very short, but it carries no less content and thoughts than a novel. Therefore, the language of poetry is required to have strong tension and cohesion. Besides, Chinese poetry is very particular about rhyme, rhythm is very important, because it will make people read catchy. Chinese poetry is quite distinct from foreign poetry, so in translation, language conversion and selection is very important.

1.2.2Cultural Dimension

Hu Gengshen(胡庚申) defined the“‘adaptive transformation from the cultural dimension’ as the translator's emphasis on the transmission and interpretation of bilingual cultural connotation in the process of translation”(Hu Gengshen, 2011(2):8, translated by the author). The translator needs to take note of the differences of the bilingual culture, make full understand of the source culture so as to avoid misunderstanding. In the translation of poetry, this kind of cultural transformation is particularly important. Because Chinese culture is broad and profound, and there are many allusions and rhetorical devices in poetry, and the expression of poetry is diverse. When translate the poetry, there are lots of factors need to be considered, especially in cultural dimension, so it is particularly important to explain its cultural sense and deep meaning of poetry.

1.2.3 Communicative Dimension

Hu Gengshen(胡庚申) interpreted that the “ ‘adaptive transformation from the communicative dimension’ means that in the process of translation, translators pay attention to the adaptive choice of bilingual communicative intention. It requires the translator to focus on the communicative level and pay attention to whether the communicative intention in the original text is reflected in the target text”(Hu Gengshen, 2011(2):8, translated by the author).

Translation is not only the transformation of words, but also the transmission of ideas. The main purpose of translation is communication. The translator is like a bridge between two languages so that two different cultures can communicate freely. It can make us appreciate the excellent culture of other countries, and can also spread our excellent culture to the whole world.

II General Review of C-E Translation of Mao Zedong’s Poetry

This thesis mainly studies the translation of Mao Zedong poetry. First, it analyzes its characteristics of Mao Zedong's poetry; then taking Xu Yuanchong's translation as an example, it analyzes several translation strategies used in C-E translation of Mao Zedong’s poetry.

2.1 Characteristics of Mao Zedong's Poetry

In the long history of the Chinese nation, there are many splendid poetry works. Poetry of each dynasty has its own characteristics, and poetry of different eras is even more different. Mao Zedong had experienced a lot of turbulence at his time, and his poetry expresses various emotions due to the different creative backgrounds. This thesis mainly discusses its two characteristics: heroic style and abundant allusions.

2.1.1 Heroic Style

The most important characteristic of Mao Zedong's poems is the heroic style. Ancient and modern writers can be roughly divided into two categories, one is pure literati, the other is politicians. Pure literati's sentiment is better than reason, while statesman's reason is better than sentiment. The reason lies in the author’s thoughts. To write an article is to express one's own thoughts. Mao Zedong is a politician, and only politicians can sum up the laws of society and publicize their political opinions in turbulent times. This kind of writing is not written with pen, but the fruit of the author's social practice. They experience it, feel it, reflect on it, and finally turn it to an article. The article is only a part of his career, such as the tip of the iceberg.

Mao Zedong's heroism can be seen from his childhood. When he was 16 years old, he wrote a poem “To My Father”(《七绝·呈父亲》) as follows:

孩儿立志出乡关，学不成名誓不还。 埋骨何须桑梓地，人生无处不青山?

Determined is the child to go out of his hometown, And the pledges not to come back without studying to the fame. A land of mulberry and Chinese catalpa is not necessary for burying bone, And human life sees nowhere without green mountain. (Translated by Zhang Chunhou)

From this poem, his lofty ambition and ideal was well expressed. He wanted to go out to study and armed himself with knowledge. There are many more such examples. It can be seen from these poems that Mao Zedong is very bold, optimistic and confident, and his poetry has a distinctly heroic style.

2.1.2 Abundant Allusions

Besides the heroic style, there is another distinguishing feature of Mao Zedong’s poems, that is abundant allusions. The traditional way of studying in our country is to inherit. As the leader of the party, he needed to use the new practice to annotate the old familiar knowledge, which was what he often said about the Sinicization of Marxism. There are 19 poems about history in Mao Zedong's poems. And in his poems, there are many characters from history, literature and legend. These characters have rich cultural connotations and are closely related to historical events. For example, in the poem “Tune :Spring in a Pleasure Garden-- Snow”

惜秦皇汉武，略输文采; 唐宗宋祖，稍逊风骚。 一代天骄，成吉思汗，只识弯弓射大雕。 《沁园春·雪》

But alas! Qin Huang and Han Wu In culture not well bred, And Tang Zong and Song Zu In letters not wide read. And Genghis Khan, proud son of Heaven for a day, Knew only shooting eagles by bending his bows. (Xu Yuanchong, 2015:36.3-8)

Here, Mao Zedong mentioned “秦皇汉武”, “唐宗宋祖”, “成吉思汗”, which were all great emperors in Chinese history. By describing them, Mao Zedong expressed his regret for these historical figures. Although they unified the country, they failed to stick to it. Through enumerating these historic images, Mao Zedong hoped that young people could manage China well.

These are the two main features of Mao Zedong's poems, which should be paid special attention to in translation. The following section will analyze several different translation strategies used in C-E translation of Mao Zedong’s poems taking Xu Yuanchong's translation as an example .

2.2 Strategies in C-E Translation of Mao Zedong’s Poems

In translation, different translation strategies should be used for better translation. Various translation strategies are also used in the translation of Mao Zedong's poems. Next, this section will focus on the domestication and free translation used in C-E translation of Mao Zedong’s poems.

2.2.1 Domesticating Translation

Domestication and foreignization are two main translation strategies. In the English translation of Mao Zedong's poems, domestication is mainly used. According to Venuti(2004),“domestication means bringing the foreign culture closer to the reader in the target culture, making the translated text recognizable and familiar”. Domestication is to localize the source language, take the target language or the target readers as the destination, and express the content of the original text in the way that the target readers are accustomed to.

In the poem “贺新郎·别友”, the translation of this title is “Tune: Congratulation to the Bridegroom - To Yang Kaihui”(Xu Yuanchong, 2015:4). In this sentence, the word “友” is not translated as friends, but as the name of Yang Kaihui. Mao Zedong wrote this poem in a more subtle way. Actually, he wrote the poem for his wife Yang Kaihui. But in the title, he wrote “to friends” instead of pointing out her name. However, here Xu Yuanchong translated it as “Yang Kaihui”, and made a detailed remark about her at the end of the poem, which made it better for readers to understand Mao Zedong’s melancholy and sorrow. It not only about the lingering love, but also about the unremitting commitment to the revolutionary cause. It vividly depicts the unique and rich emotional world of Young Mao Zedong.

Besides, the translation of mume blossom is also the embodiment of domestication. In Chinese culture, plum blossom is loved by scholars for its tenacity and bravery in the cold winter, but it doesn’t have such meaning in English. Therefore, when translating the title “卜算子·咏梅”，Xu Yuanchong translated it as “Ode to the Mume Blossom”(Xu Yuanchong, 2015:129) instead of “Mumeplant”.

2.2.2 Free Translation

Different from literal translation, free translation usually tries to express the original meaning, instead of restricted by the original pattern or figure of speech. Literal translation is to convey the content of the original text in strict accordance with the format of the original text, especially to retain the rhetoric and some special cultural expressions of the original text. However, each country has its own culture and way of expression. Therefore, sometimes when the expression or implied meaning of the original text is different from that of the target culture, it is easy to cause ambiguity. At this time, literal translation should not be used.

Free translation is based on the main idea of the original text. In the C-E translation of Mao’s poems, there are many examples of translation according to meaning rather than word by word. Take the poem “Capture of Nanjing by the People’s Liberation Army” as an example:

天若有情天亦老，人间正道是沧桑

Heaven would have grown old if it were sentient; The proper way on earth is full of ups and downs. (Xu Yuanchong, 2015:81.3-4)

Here, the word “沧桑” didn’t translate into “vicissitudes”. Originally, it refers to the great changes in nature or the changeable world and the impermanence of life. However, in this sentence, this word is used to describe the hardships and twists on the road of revolution, so it was translated into “ups and downs”. Cultural information is complex and difficult to understand in depth in a short time, so free translation is adopted to make this kind of information not become an obstacle in reading.

III Applications of Eco-translatology in C-E Translation of Mao Zedong’s Poetry

From the Perspective of Eco-translatology, this thesis takes Xu Yuanchong's translation of Mao Zedong’s poems as an example. Xu Yuanchong is a famous and excellent translator. He has been engaged in literary translation for more than 60 years, mainly translating ancient Chinese poems into English, and has also translated Mao Zedong's poetry. There are many research perspectives in the theory of eco translation. This section mainly uses the three-dimensional transformation principle to analyze his translation.

3.1 Transformation at Linguistic Dimension

Translation begins with the transformation of language form. First of all, translators should follow the linguistic norms of the source language and the target language, and make adaptive choices at the lexical, syntactic and poetic levels. In order to achieve the dynamic balance of translation, the right vocabulary and the right language form should be chosen.

Therefore, the translation of words needs to be analyzed according to specific sentences. For example, in Mao Zedong's poems, the word "去" appears many times， but there are different translations of this word according to different sentences. For example,

黄鹤知何去？

Where is the yellow crane in flight? 《菩萨蛮·黄鹤楼》 (Xu Yuanchong, 2015:11.7)

此行何去？

Where are we hurrying? 《减字木兰花·广昌路上》 (Xu Yuanchong, 2015:31.1)

陶令不知何处去，桃花源里可耕田？

Were the poet Tao still in the Peach-Blossom Village, Would he not find the fertile land there good for tillage? 《七律·登庐山》 (Xu Yuanchong, 2015:112.7-8)

Obviously, the word “去” in the above poems has three different translations: “in flight”, “hurrying”. And in the third poem, the translator did not translate the word “去” in one word, but translated its meaning of the sentence.

Besides, many rhymes are used in Xu Yuanchong's translation, which is very rhyming and easy to read, for example:

屈子当年赋楚骚，手中握有杀人刀。 艾萧太盛椒兰少，一跃冲向万里涛。 《七绝·屈原》

“Qu Yuan” Qu Yuan had rhymed his griefs long, long ago; He had no sword in hand to kill the foe. Wild weeds o’ergrown, few sweet flowers could blow; He plunged into endless waves to end his woe. (Xu Yuanchong, 2015:217.1-4)

The original text is a kind of modern poetry with strict rules, named “七绝”. It has a fixed length and strict rhyme. In this poem, the last word in each line is rhymed. The second and fourth lines in quatrains must be endowed with the beauty of rhyme. In Xu Yuanchong’s translation, the last word of the second line “foe” and the last one of the fourth line “woe” is rhymed. Xu abides by the rhyme requirement of quatrains. He vividly remained the form of the original text, and successfully applied the adaptive transformation from the linguistic dimension.

3.2 Transformation at Cultural Dimension

Due to the cultural differences between English and Chinese, in order to avoid the target readers from misinterpreting the original text from their own cultural point of view, the translator should pay attention to the conversion of Chinese and English in the process of translation, as well as the transmission and interpretation of bilingual cultural connotation. So the utilization of the adaptive transformation from the cultural dimension is needed.

There are many allusions in Mao Zedong's poems, which should be handled well in translation, so that readers can understand the true meaning of Mao's poems. Take one of the poems as an example:

洒向人间都是怨，一枕黄粱再现。 红旗跃过汀江，直下龙岩上杭。 收拾金瓯一片，分田分地真忙。 《清平乐·蒋桂战争》

“Tune: Pure Serene Music- The Warlords Fight” Sowing on earth but grief and pain, They dream of reigning but in vain. O’er River Ting our red flags leap; To Longyan and Shanghang we sweep. A part of golden globe in hand, We’re busy sharing out the land. (Xu Yuanchong, 2015:20-21.3-8)

There are two allusions in this poem. The first is “一枕黄粱”, which refers to unattainable dreams. So the translation is “They dream of reigning but in vain”. And the another allusion is “金瓯”, which refers to the integrity of territory , but also to the territory only. Therefor, its translation is “golden globe”. Under these translations, readers can better understand the meaning of this poem.

Take another example in “Tune: Charm of a Maiden Singer- Mount Kunlun” 夏日消溶，江河横溢，人或为鱼鳖。

When summer melts your snow And rivers overflow, For fish and turtles men would become food. (Xu Yuanchong, 2015:68.6-8)

From the literal meaning of the original text “人或为鱼鳖”, it may mean that people will become fish and turtles. In fact, his real meaning is that people may be eaten by fish and turtles. From these two examples, transformation from the cultural dimension has been well used.

3.3 Transformation at Communicative Dimension

The adaptive transformation at communicative dimension requires the translator to pay attention to the communicative level and whether the original author's communicative intention is clearly expressed. It means that the translator attaches importance to the adaptive transformation of communicative intention in the translation process.

In translating poetry, it is more important to show and convey the spirit to the target readers. In the poem “Tune: Spring in a Pleasure Garden- Changsha” 恰同学少年，风华正茂；书生意气，挥斥方遒。

When, students in the flower of our age, Our spirit bright was at its height, Full of the scholar’s noble rage, We criticized with all our might. (Xu Yuanchong, 2015:9.3-6)

In this translation, the translator added “our”, “we”, showing that they are young and vigorous, full of ambition and dreams. It describes the liberation of the youth in the new era from the shackles of the old ideas and their free and unrestrained minds. From this translation, Mao Zedong's ambition and the spirit of the young people are well reflected.

In conclusion, the communicative dimension of eco translation focuses on the intention of the original author, which requires the translator to make appropriate integration and transformation with the participation of the original author, the translator and the readers, so as to achieve the communicative purpose.

Conclusion

Mao Zedong, as the most influential politician and revolutionist in China, is also a very outstanding poet. His poetry is an important part of Mao Zedong Thought and a mirror of the history of Chinese revolution and construction after the founding of new China. The translation of Mao Zedong's Poetry not only enables foreign readers to understand the Chinese poetry culture, but also allows them to understand the difficulty of China's development and the strength of China.

Eco-translatology is a new perspective of translation studies, which enriches the types of translation theories. It contains many important viewpoints, including translator's subjectivity, the ecological environment of translation, the principle of three-dimensional transformation, and etc. Eco-translatology adopts a new perspective to analyze translation and improve the quality of translation to a certain extent.

This thesis analyzes the English translation of Mao Zedong's poetry from the perspective of eco-translatology, and focuses on Xu Yuanchong's translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”. Some examples are used to make the analysis more perfect. And some translation strategies used in Xu Yuanchong’s translation are also analyzed and clearly explained. The thesis summarizes the translation strategies of Mao Zedong's poetry in the hope that their application can be promoted to more other poetry translations.

However, due to personal limitations in translation theory and practice, there still exists some deficiencies, which are mainly reflected in the following aspects. First of all, the selected theoretical perspective is limited. This thesis explores the translation of Mao Zedong's poetry mainly from the perspective of “three-dimensional transformation” theory of eco-translatology. There are many other perspectives in eco-translatology that can be used to. Secondly, restricted by space, the number of instances picked out from Mao Zedong's poetry is not rich enough to make a comprehensive study. And the analysis of these examples is also not comprehensive enough. Thirdly, eco-translatology theory is still developing. There is still room for improvement in the theoretical analysis of this thesis.

References

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• Hu Gengshen胡庚申. 生态翻译学的研究焦点与理论视角[Research Focus and Theoretical Perspectives on Ecological Translation Studies]. 中国翻译Chinese Translators Journal, 2011, (2) : 5-9.

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• Li Zhengshuan, Tao Sha李正栓,陶沙. 国外毛泽东诗词英译研究[A Study on the English Translation of Mao Zedong's Poems Abroad]. 河北师范大学学报Journal of Hebei Normal University, 2009, (2) : 104-109.

• Xu Yuanchong许渊冲. 许渊冲英译毛泽东诗词[Xu Yuanchong's English Translation of Mao Zedong Poetry]. 北京:中译出版社Beijing: Chinese Translation Press, 2015.

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英语笔译 黎溢佳 Li Yijia 202170081573 CE

On the popularity of Three Body abroad

Abstract

When it comes to China's literary in the past two years, one of the works that must be mentioned is the "The Three-Body Problem" trilogy by the famous Chinese science fiction writer Liu Cixin. In terms of its English edition alone, the first two installments of the trilogy have received widespread attention and acclaim from readers, mainstream media and professionals in the English-speaking world, especially in the United States. This article explains the main reasons why the English translation of "The Three-Body Problem" is widely accepted in the United States from three aspects: the context of translation, the active role of the translation subject, and the translator's translation strategy. The study found that the improvement of China's international status, the vigorous development of Chinese science fiction literature, and the transformation of the American science fiction literature system have created a favorable context for the acceptance of "Three-Body" in the United States; Liu Yukun, a well-known publisher and translator, has played a necessary role in promoting the entry of "The Three-Body Problem" into the American science fiction literature system with their respective capitals; The translator Liu Yukun generally focused on retaining the original text of his opposite sex, but also took into account the readability of the translation with the help of sub-texts and other means, making the translation a practical Journey of Chinese science fiction in the United States.

Key Words

Introduction

Literature Review

英语笔译 李思敏 Li Simin 202170081574 MW

A Study on Translation Methods of Agricultural Terms in Chinese Sci-tech Classics —— A Case Study of Tian Gong Kai Wu