Cult Turn EN 5

The Cultural Turn

Overview Page of The Cultural Turn

Chapter 4 : An Analysis of Brand Name Translation Under the Principle of Cultural Turn

浅析“文化转向”原则下的品牌名翻译

李姗 Li Shan, Hunan Normal University, China

Abstract

Amid the deepening and widening of globalization, communications between different countries and regions have become increasingly frequent, particular in the sector of trade. Transnational corporations spring up like mushrooms. More and more brands are introduced inside and expanding outside. The first step of enterprises to expand overseas lies in the translation of the brand names. A good name foresees a good start. In this regard, cultural elements should be carefully taken into consideration in the process of translation.

This paper centers on the analysis of brand name translation in light of the principle of cultural turn. It could be divided into four parts in total. The first part is a brief introduction of the current international situation, and the purpose of this research. The second part is the short literature review in terms of both brand name translation and cultural turn. The third part is the main body of this paper, including the analysis of some successful cases of brand name translation as well as the analysis of failure ones. The last part is the summary of the whole and the significance of cultural turn in translation. Through this analysis, this paper aims to arouse people’s awareness of culture’s influence and urge them to pay more attention to cultural elements during the translation of brand names.

Key Words

Cultural Turn; Brand Name Translation; Cross-culture Communication

摘要

在全球化不断朝着纵深方向发展的背景下，不同国家和地区之间的各方面交流日益频繁，贸易行业尤其如此。跨国公司犹如雨后春笋，纷纷涌现，引进来和走出去的公司品牌越来越多。开拓外国新市场的第一步在于选取合适的品牌名。好的品牌名预示好的开始。而在翻译过程中，文化要素需要细心考量。

本文以文化转向为理论原则，以其为指导对品牌名的翻译进行分析研究。本文共包含四个部分。第一部分对当前国际现状以及研究目的进行了简要的介绍。第二部分是关于品牌名翻译和文化转向理论的文献综述。第三部分为本文的主体部分，对成功和失败的品牌名翻译进行了分析。最后一部分则概括总结本文所述内容，并阐述了翻译中文化转向的意义。通过对品牌名翻译进行简要分析研究，本文旨在激发人们翻译时的文化意识，在翻译品牌名时更多地关注文化要素。

关键词

文化转向；品牌名翻译；跨文化交际

Title

An Analysis of Brand Name Translation Under the Principle of Cultural Turn

1. Introduction

As each country in the world is woven tightly with one another and economic globalization has developed by leaps and bounds, communications and transactions between different countries as well as regions have become increasingly frequent. More and more brands begin to expand their market in foreign lands. To enter into a new territory, brands need to enhance their competitiveness, and more importantly to give the potential consumers a perfect first impression and thus make themselves mentally accepted and acknowledged by the potential clients of the targeted market. To have a good start, advertising is a good way to win a certain fame in a circle. But there is no doubt that the top priority lies in proper brand names as a matter of the fact that proper names could impress people with a surprise and then leave a deep and enduring imprint on their mind.

Guided by the policy of Reform and Opening-up, China has initiated One Belt and One Road proposal and is committed to promoting comprehensive cooperation in the range of globe, in addition to its active participation in various economic organizations. Beyond doubt, multi-national economic activities and collaborations will develop in depth and breadth. More and more brands will be introduced inside and go outside. Therefore, this paper decides to center on the subject of brand name translation. However, the reality has told us that economic activity is not merely an economic problem and translation is not an isolated activity. “It has to do with authority and legitimacy and, ultimately, with power. Translation is not just a ‘window opened on another world’, or some such pious platitude. Rather, translation is a channel opened, often not without a certain reluctance, through which foreign influences can penetrate the native culture, challenge it, and even contribute to subverting it.” (Lefevere, 2003: 2) It is closely linked to history, politics and especially culture. Taking this into consideration, this paper desires to analyze the translation of brand names from the perspective of Cultural Turn, to figure out how cultural elements influence brand name translation so as to arouse brands’ awareness of cultural gap during their advertising activities.

2. Literature Review

2.1 Literature Review on Brand Name Translation

Brand names are intangible assets of a company, carefully chosen and aimed at distinguishing itself from other rival brands and products. The same as our names represent our personality and show our originality, brand names play the role as the faces of the brands, in the very fact themselves being a part of the products of their brand (Liu Jiuping, 2001: 118). Original, novel and imaginary names could easily attract people’s attention, arouse their interests and ultimately promote the sales of products. To fulfill this supreme mission, transnational corporations and companies that prepare to expand foreign market would pay great attention to the translation of their brand names to fit in the cultural context of the target market. Consequently, the translation of brand names has drawn a lot of attention among a number of scholars and researchers.

In China, the first study regarding the translation of brand names can be traced back to the year of 1994, when Zhou Xiaobing has made a brief analysis of the brands names and classified four approaches to translating brand names against the background of China’s Reform and Opening-up (Zhou Xiaobing, 1994: 17). From then on, there has been several studies conducted in this aspect. However, it was since 2005 that respectively more scholars and researchers have their eyes turned to the translation of brand names. Among them, most researches are related to Skopos theory, for example the studies of Cao Zhao, who believed that the translation of brands names should be progressed in response to certain purposes. And some scholars centered around the guiding influence of functional equivalence on the translating process, such as Tian Yuxia and Du Shuling. In addition, some analyzed the translation of brand names from the perspective of culture, including Tang Degen, Liu Jiuping and Ai’ Supin cooperated with Cao Rong. Besides the perspectives mentioned above, there are also some studies conducted in terms of psychological theories, aesthetic principles of Xu Yuanchong and other approaches (Cao Zhao, 2006: 2).

At abroad, attention has long been paid to the function of brands as the development of marketing strategies. David Aaker has published his book of Managing Brand Equity in the year of 1991, which elaborates on how to create, market, develop and manage brands (Aaker, 1991: 20). Kevin Kelley in the book titled Strategic Brand Management offers the ways to construct brands, brand equity and brand management (Keller, 1998: 8). Both of the two books have emphasized the importance of having an excellent brand name and suggested the way to name a brand. As for the papers, there are a measure trove of them in the website. In them, Chow Clement has showed the dilemma of all marketers whether to translate the brand name into local language, while the cosmetic brand names of Iran were discussed; US brands in China were carefully analyzed to form a name translation model. Besides, Chao Paul has explored the strategies to translate brand names effectively by means of brand attitude reversal and perceived brand name translation relevance in an emerging market. Schmitt Bernd advocated to select the right brand name by carefully examining tacit and explicit linguistic knowledge in name translations (Schmitt, 2001: 314). All these papers have revealed that brand name translation is of some significance and worth of study.

2.2 Literature Review on Cultural Turn Theory

Translation is not merely confined to the source language and target language, but also a social and cultural activity. Cultural elements must be carefully considered during the translating process. Since people from different nations all live in the same global village, it is of necessity to have frequent exchanges. Against the barrier of the tower of Babel, translators play the role of ladders, functioning as the bridge of effective communication between different linguistic groups. Thus, translators are actually not translating the two languages, but traveling back and forth within the two cultures (Casagrande, 1954: 338).

After the second World War, against the background of hegemony and anti-hegemony, frequent communications across continents and countries, culture and across-culture communication have attracted more and more attention in the field of academic studies (Zeng Wenxiong, 2006: 92). As the beating power of deconstruction has greatly influenced structuralism linguistics, the former dominant linguistic approach to translation studies was shaking. The studies of text structure and meta-language has surrendered to the studies of discourse and the process of translation, which has exactly deepened the research of the cultural information of the text. The latter half of the 20th century has seen the combination of post-modern critical theories and the theory of deconstruction, thus offering a new approach to analyze translation. Different from mainly centering on the text analysis, more attention has been paid to the consideration of social, historical and cultural background of the correspondent time period. While conducting translation studies and putting forward translation principles, the academic community thus shifted their focus from merely language itself to the culture side. Then sprung two kinds of trends, the cultural turn of translation and the translation turn of literature (Lv Jun, 2004: 55).

Later twentieth century has witnessed the heat of studies of culture. In the 1970s, Israelite scholar Even-Zohar’s principle of Poly-system Theory together with Tory’s Descriptive Translation Studies have been regarded as the signs of the shift of translation to culture turn. However, cultural turn, in translation, is firstly put forward by Susan Bassnett and Andre Lefevere in their co-operated book Translation, History and Culture in the year of 1990 (Peng Ping, 2016: 140). In this book, they have elaborated on the power and influence of culture-related notions including history, authority and manipulation, and also narrated the aims and context of translation. Language, then, is the heart within the body of culture, and it is the interaction between the two that results in the continuation of life-energy. In the same way that the surgeon, operating on the heart, cannot neglect the body that surrounds it, so the translator treats the text in isolation from the culture at his peril (Bassnett, 2005: 23). Translation is not an arbitrary activity. It is conducted under certain principle and aimed to fulfill certain purpose. This paper is to elaborate on the translation of brand names with an emphasis on cultural elements.

3. A Brief Analysis of the Translation of Some Brand Names Under Cultural Turn =

Ever since the Industrial Revolution, commercialism rises up and all kinds of commodities appear one after another. The advances of economic globalization and cross-border transportation have also provided convenient access for foreign trade and business expansion. During the process of expansion, excellent brand names are for a certainty of great benefit to the brand’s further development.

3.1 Excellent Cases of Brand Name Translation

Focusing on our daily life, there are quite a few excellent translated brand names, which either use positive images, propitious words or contain rich cultural meanings.

3.1.1 The Use of Good Images

华硕 = Asus

“华硕”, a computer brand in China, its English name “Asus” comes from an ancient Greek myth. “Asus” is a part of “Pegasus”, which refers to a holy horse with wings. According to the myth, there is a woman named Medusa who is overly proud of her own beauty. That incurs the punishment of a goddess. She is turned into a dreadful enchantress and her golden long hair all become venomous snakes. Her glance at people would make petrified into stones. Then the hero Prometheus fights heavily against her and finally ended her life. Among her poisonous blood rises a holy horse with wings, running high above the sky. Thus, Pegasus the horse is commonly deemed as the symbol of creativity, virtue and beauty, especially referring to the novel thoughts of articles (Doros, 2018: 33). Through the use of this image, the brand presents a profile that its staff are creative and their aim is to bring better experience to users.

BWM = 宝马

The full name of the brand BWM is Bayerische Motoren Werke, which is short of the car plant. To make a stride in Chinese market, the brand chose “宝马” as its Chinese name, which in reality builds up a very impressive image for the brand. “宝” means something beautiful and precious, equaling to rare jewelry or great fortune. “马” is a beloved animal, which used to be the top transport tool for ancient Chinese people and when seeing this image, people may think of the legend that excellent horses can run very far and at a high speed. The combination of the two words impresses the idea that the cars of their brand are very pretty in its design and outlook, and also boast a good performance and high proficiency.

Land Rover = 路虎

Rover is a luxury car brand. And the word rover originally refers to an ancient nation in North Europe, renowned for courageous deeds. In English, the brand name constructs the picture that its cars are the same as those pioneering people who dare to counteract with any threat above the sea. Obviously, its Chinese version has successfully reproduced its original meaning. Although its ideal choice in the very beginning was “陆虎”, which was unfortunately pre-chosen by a rival. The present one is also very fantastic. “路” means the road, and “虎”, the tiger, a very strong and brave animal. As Land Rover specializes in off-road vehicles, the Chinese name “路虎” utterly shows its stance, a soldier of the road that no one would dare to or be able to hold back.

3.1.2 The Endowment of Rich Cultural Connotations

金典 = Satine

“金典” is one of the brands of Yili Industry Group Co., Ltd., a giant milk producer. "金" is gold in Chinese, showing that the milk boasts good quality. And "典" equals to classical, which means the taste of the milk is pure and authentic. This brand claims to be of high quality and aims at the high-end market, and in deed it occupies a large piece of pie in the plate of Chinese milk industry. As a high-end milk brand, the foreign name it chooses also shows its good taste. "Satine" is a French word, with the connotation of "as smooth as silk" (Liu Jiuping, 2001: 18). It implies that the milk boasts good quality and tastes silky, which runs in line with its orientation at middle and high-end market.

Revlon = 露华浓

Revlon is an American cosmetic brand, with foundation, lipstick and various make-up products on sale and young female users as its target consumers. Its Chinese name "露华浓", full of poetic meaning, actually comes from a poem written by a distinguished poet from Tang dynasty, named Li Bai. That poem utters a praise of the beauty of an imperial concubine, Miss Yang and she is one of the four great beauties in ancient China. The line that it comes from is “云想衣裳花想容，春风拂槛露华浓”, which means when one sees the clouds in the sky, one would think of her gorgeous clothes; when one sees the flowers, one would think of her charming countenance; and the favor of the wind makes the flower even more beautiful. Through the device of metaphor, this poem vividly describes the extreme beauty of the dignified imperial concubine (Li Bai, 2009: 365). Therefore, when a cosmetic brand is connected with a poem that glorifies the beauty of a gorgeous woman, a good association is formed at ease. Therefore, the localized name of Revlon could easily attract females' attention in China and win their favor at the first sight.

Kiehl's = 科颜氏

As one of the most popular cosmetic brands in China, Kiehl's boast a good Chinese name. It was in the year of 2009 when this brand became a part of L' Oreal Group that it took the Chinese name of “科颜氏”. However, in the very beginning, it was called “契尔氏”, which could hardly trigger any related association. "科颜氏" may remind one of “神农氏”, a herborist who tastes all kinds of herbs in person to figure out their functions. And the brand shares a similar story since it stems from a pharmacy which sells unguents made up of natural plants in its early period. And at present, it advertises to be gentle and natural, free of stimulus and suitable to sensitive skins. In this regard, the two do share some common points. Thus, the association of the two would also add glory to the brand. "科" means scientific or science and "颜" means good appearance, the combination of the two would increase the sense of authority and leave consumers the impression that products of this brand would truly improve their outlook.

3.1.3 The Use of Novel Word Combinations

良品铺子 = Bestore

“良品铺子” is a famous Chinese snack brand familiar to almost everyone who is fond of snacks. The first two characters of the brand name means goods of high quality, and the latter two is the equivalent word for a shop or store in English. Its English translation is "Bestore", made up of "be" and "store". Through the word store, it makes the consumers clear about the types of its products on sale and the prefix "be" makes it cuter and a little bit special, distinguishing this brand from the ordinary unnamed stores (Liu Jiuping, 2001: 17). Thus, it may give people an impression of warmth and coziness, which completely corresponds with the image of a snack brand.

茶颜悦色 = Sexy Tea

Sexy Tea, an influential milk tea brand with its home located in Changsha city, Hunan province. The design of the brand is quaint, characteristic of ancient style. And the image of this brand is the pretty caricature of Lin Daiyu, a major figure of "Dream of the Red Chamber", one of the four Chinese classics. “茶颜” could be understood as the appearance or outlook of tea. “悦色” is a phrase that means a pretty and satisfying countenance or the act of satisfying people. In the translation, the words “sexy” and “tea” makes a very novel combination. “Tea” shows the nature of the brand, while the word “sexy” may easily trigger foreigners' attention and curiosity. How can a cup of milk tea be sexy? What would it taste like? Thus, this kind of emotion would persuade a number of foreign friends to have a try in its shops.

美加净 = Maxam

“美加净” is a time-honored cosmetic brand in China. Its selling point lies in the baby care products, though a lot of adult females have also been attracted by it. In Chinese culture, “美” means beauty, and “净” means cleanliness. The two are linked by the word “加”, which means plus. That is to say these products can make one's skin both beautiful and clean. The English name of Maxam has properly expressed this connotation. Maxam is similar to the word maximum both in sound and in spelling, thus, it opts to impress people as maximizing one's beauty to largest degree.

After a careful analysis of the successful brand names in the fields of car, food and cosmetics both in China and at abroad, we may make a summary of the common points that they share. First of all, positive images and words are preferred to constitute their names, most of which are combinations of adjectives and nouns that hold propitious senses. The association of pure verbs with fine connotations also offers great novelty and is of great appeal to the audience (Zhou Xiaobing, 1994: 18). What’s more, the translated brand names all possess good meaning in the cultural context of the target market, without any ambiguous or implicit reference to something negative in that culture. In addition, most brands would prefer to reveal the category of their products in their names. That makes it quite easy for the consumers to know their functions by a mere glimpse. The guidelines of these successful brand names would offer valuable experiences for the other brands.

3.2 Failure Cases of the Brand Name Translation

Besides those excellent cases, failure cases of brand name translation also abound in the global market.

3.2.1 The Misuse of Negative Images

白猫 = white cat

“白猫” is a producer of wash supplies. It occupies a large share of Chinese market and its existence could be caught in almost every store and supermarket. There is no doubt that a great number of people would be shocked to see that it is translated into White Cat directly. In western culture, cat is a negative image that is usually regarded as an evil creature in everyday life. For example, in Edgar Allen Poe’s short novel, the black cat is deemed by people as an incarnation of witches, the embodiment of evil forces. Though the color of white is the symbol for purity and faith, the cat image owns such a strong influence that the positive meaning of the former is easily offset in their combination.

白象 = White Elephant

“白象” is a Chinese supplier of battery. In Chinese culture, elephant boast the meaning of good luck. But after it is translated into English, it is literally named as White Elephant, which is definitely a failure case that should be avoided in the context of western culture. Because in English world, white elephant holds pretty negative meaning, referring to those flashy stuff that are elegant but useless (Cao Zhao, 2006: 20). Therefore, the brand name would leave people the impression that the battery the brand sells are the same as white elephants, expensive but not enduring.

3.2.2 The Ambiguous Pronunciation of Words

方太 = FOTILE

“方太” is a brand that specializes in manufacturing and selling household electrical appliances. There are two levels of meanings lying in this name. Firstly, when the brand was to intitle a new name, there was a heated TV show named as Fang Tai Food Square. The brand decided to take this name to attract people’s attention, especially those audience who are fond of that reality show. Secondly, “方太” can also be seen as the abbreviation of “方便太太”, that is, to bring convenience to the household wives. Obviously, the Chinese brand name shares many links with keeping kitchen clean as well as simplifying household duties. However, its translation is far from satisfying, not to mention expressing these implications. The sound of “FOTILE” is extremely similar to the pronunciation of the word “futile”. Therefore, it could be easily uttered in the wrong way and leaves a terrible impression on people’s mind. Few people would take the risk to purchase some appliance that seems to be “futile”.

Standard Chartered Bank = 渣打银行

Standard Chartered is an international bank with its headquarter located in Britain. It promises the service principle of “Here for good”. When it had its debut in Shanghai, China, it used “渣打” as its name. However, in Chinese, “渣” means dregs and “打”is a verb that means breaking up. The combination of the two fail to form a convincing image required for a bank. Except those who have certain knowledge about it, ordinary people would not list it as their hold-up vessel of money, as its name grants the bank little credit, far away from convincing.

Warsteiner = 沃斯乐/沃斯坦

Warsteiner is a time-honored and highly-welcomed beer producer in Germany. Warsteiner is named after the city where the beer is produced and it implies that the water used to produce the beer comes from the mountain spring, which is natural and clean (Woesler, Martin). But it boasts little fame in China, for it was translated into “沃斯乐” during its first entry into Chinese market. The pronunciation of that name is quite similar to "我死了" in Chinese. Death is a taboo word in Chinese culture, seldom referred in public, let alone related to a retailor brand. Even though it is renamed later, the present name 沃斯坦 still fails to arouse people's wide attention or strong interest in the broad market of China.

3.2.3 The Loss of Cultural Connotation

方正 = Founder

“方正” is a computer brand, invested by one of the top universities in China, Peking University in 1986. Its name is said to originate from a sentence of Biography of the Han Dynasty · Chao Cuo, that carefully examine others’ behavior so as not to misunderstand them, strictly abide by decrees without personal interests, do your utmost to accomplish the tasks delegated from the leaders without complaint; dare not the death even in face of dangers, do not occupy a position when there is someone more competitive than you, accept proper amount of gains in accordance with your efforts, and never stay on a position while you are not qualified, only those who possess all these virtues could be regarded as truly virtuous men (Ban Gu, 2018: 860). Here, “方正” is of rich cultural connotation and refers to virtuous deeds. However, its correspondent translation runs away from its original meaning. The word “founder” not only could refer to the pioneer of something, but also means the failure, breaking-down of something. In light of this, when the initial founder of this company was experiencing an emergent incident in 2000, foreign media bantered that “the Founder’s founder founders”. To avoid such teas, more attention should be paid to the translation of brand name.

DS (Deesse) = 谛艾仕

DS is a top luxury car brand in French auto industry, short of Déesse which means goddess. This brand received warmly welcome from government officials in France. But its translated Chinese brings it another picture in China. It neither expressed its original cultural meaning, nor integrated into Chinese culture. The name “谛艾仕” could hardly invoke any association of people towards splendid cars, as it was just mechanically translated in line with its pronunciation. Thus, cars of this brand are less seen in webs of transportation than BWM and Benz in China.

After the analysis of some failure cases of brand name translation, we may draw a brief conclusion about the causes that lead to their failure. Firstly, the failure lies in the misuse of improper images. Different culture has different cultural images. And the connotation that an image or object is endowed with may differ from country to country or culture to culture (Zhou Xiaobing, 1994: 18). Thus, great attention should be called when it comes to choose a name embodied with images. Secondly, the failure lies in the choice of words with ambiguous pronunciation. The words that share similar sounds with original characters may cause misunderstanding in another culture, since it could sound like another word that contains negative meaning. Thus, the desire to have links between original brand name and translated version could run counter to one's desire. Thirdly, the failure lies in the loss of cultural sense. Some name brands are taking on cultural elements that are confined in the source cultural context. But the translators merely frankly translate those names without a thought of conveying the deep-buried cultural meaning so that these brands fail to perform as well as expected. To avoid bad translations, the causes of them listed above deserve careful attention.

4. Conclusion

Translation is not just a process that happens in the translator’s head. Readers decide to accept or reject translations (Lefevere, 2003: 5). Good translations keep the spirit without moving away from the letter. Bad translations render the letter without the spirit in a low and servile imitation. After a careful analysis of some brand name translations, the phrase “cultural turn” would be a great answer to the question of how to translate brand names. When we speak of “a culture” or “the receiving culture,” we would do well to remember that cultures are not monolithic entities, but that there is always a tension inside a culture between different groups, or individuals, who want to influence the evolution of that culture in the way they think best. Translations have been made with the intention of influencing the development of a culture (Lefevere, 2003: 8). That means more attention should be paid to the culture of the target language in the process of translation so as to gain expected response. In terms of brand name translation, cultural elements should be seriously taken into consideration. The constituent images and words should be carefully chosen and the pronunciation and implication of the names also need detailed examination in the context of targeted market. And it is easier to expand a new territory when a brand is shouldered local color.

Besides the benefit it brings to the brand, cultural turn in brand name translation also boasts other significance. Firstly, more attention to the consumers’ culture is a manifestation of taking the target consumers into consideration, thus, bring them a sense of being cared about; secondly, translated brand names themselves can be seen as cultural elements, contributing to people’s acquaintance with and understanding of the culture of another community, thus good for mutual understanding and cultural communications; thirdly, it is significant to the development of multi-culturalism since every culture is precious treasure in the world treasure-house of intellect and heritage, while some culture has been long in the dominant position and continuously posing threat to other cultures due to the disparity of political and economic forces (Xie Tianzhen, 2006: 12). More concern about and consideration of the culture of another community is necessary to eliminate and prevent cultural hegemony and supremacy. From this point of view, cultural turn in brand name translation is of great significance.

References

Aaker, David. Managign Brand Equity: Capitalizing on the Value of a Brand Name[M]. New York: Free Press, 1991.

Ban Gu班固（2018）. 汉书[M] The Book of Han Dynasty. 郑州: 中州古籍出版社 Zhengzhou: Zhongzhou Ancient Books Press, 860-862.

Bassnett, Susan. Translation Studies[M]. New York: Routledge, 2005.

Cao Zhao曹昭（2006）. 品牌名翻译的目的与适应性研究[D] Study on the Purposes and Adaptability of Brand Name Translation. 西安电子科技大学 Xidian University.

Casgrand, J. B. The End of Translation [J]. International Journal of American Linguistics, 1954(04): 330-340.

Doros Apollo, Zhou Zuoren阿波罗·多洛斯 著，周作人 译（2018）．希腊神话[M] Greek Mythology.长江出版社 Changjiang Press, 33-34.

Keller, Kevin. Strategic Brand Management[M]. Upper Saddle River, NJ: Prentice-Hall, 1998.

Lefevere, Andre. Translation, History and Culture[M]. New York: Routledge, 2003.

Li Bai 李白（2009）. 李太白诗集[M] Poetry of Li Bai. China Book Bureau, 360-365.

Liu Jiuping刘久平（2001）. 品牌名翻译与文化差异[J] Brand Name Translation and Cultural Differences. 广西大学学报 Journal of Guangxi University, 12: 117-119.

Lv Jun吕俊（2004）. 论翻译研究的本体回归——对翻译研究“文化转向”的反思[J] The Return of the Noumenon of Translation Studies —— Reflections on “Cultural Turn” in Translation Studies. 上海外国语大学学报 Journal of Shanghai International Studies University, 4: 53-59.

Peng Ping彭萍（2016）. 当代西方翻译研究的“文化转向”和“社会转向”综述[J] Summary of “Cultural Turn” and “Social Turn” in Contemporary Western Translation Studies. 江西师范大学学报（哲学社会科学版）Journal of Jiangxi Normal University (Philosophy and Social Science Edition), 3: 140-144.

Schmitt, B. H. Creating Local Brands in Multilingual International Markets[J]. Journal of Marketing Reserch, 2001(08): 313-325. Wang Ning王宁（2009）. 比较文学与翻译研究的文化转向[J] “Cultural Turn” in Comparative Literature and Translation Studies. 中国翻译 Chinese Translation Journal, 5: 19-26.

Xie Tianzhen谢天振（2006）. 翻译研究“文化转向”之后——翻译研究文化转向的比较文学意义[J] Comparative Literary Significance of “Cultural Turn” in Translation Studies. 中国比较文学 Journal of Chinese Comparative Literature, 3: 1-14.

Zeng Wenxiong曾文雄（2006）.“文化转向”核心问题与出路[J] The Keys Problems and Way out of "Cultural Turn". 外语学刊Foreign Language Journal, 2: 90-96.

Zhou Xiaobing周小兵（1994）. 商品品牌译名分析[J] Analysis of Brand Name Translation of Commodities. 语文建设 Journal of Chinese Construction, 2: 17-19.