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= Topic =

Die Analyse des Phänomens der Über-Lokalisierung bei der Übersetzung von Liedtexten < c e n t e r > 陈衣卉, 202030097001 < / c e n t e r >

= = Abstract = =

Mit der Entwicklung des Internets werden jedes Jahr unzählige fremdsprachige Lieder eingeführt, und die Urheberrechtsinhaber stellen in der Regel keine Übersetzungen zur Verfügung, was zu einem Mangel an Standardisierung bei der Übersetzung fremdsprachiger Lieder führt. Es fehlt den meisten Übersetzern von Leidtext an ausreichenden Kenntnissen der Übersetzungstheorie, was zu einer größeren Abweichung von den traditionellen Gedichtübersetzungen führt, was den Schwerpunkt der Übersetzung und die Einstellung zur Übersetzung betrifft.

Selbst bei sehr populären Liedern ist die Übersetzung ihrer Texte oft problematisch, wobei das Problem der Über-Lokalisierung der Übersetzung besonders schwerwiegend und in den meisten Übersetzungen weit verbreitet ist, vor allem in Form des Missbrauchs von Wörtern mit vier Buchstaben oder der Umgangssprache, der willkürlichen Streichung oder Hinzufügung von Rhetorik und Symbolik, der Abweichung vom Stil des Originals und der Veränderung der Bedeutung des Textes. In diesem Beitrag wird der Autor die Ursachen und Nachteile einer Über-Lokalisierung bei der Übersetzung von Liedtexten hauptsächlich unter diesen vier Aspekten erörtern.

= = Key Words = =

Übersetzung von Liedtexten, Über-Lokalisierung, Lokalisirung

= = 题目 = =

浅析歌词翻译中的过度归化现象

= = 摘要 = =

随着互联网的发展，外文歌曲的引进数量每年不可胜数，而版权方一般不会提供翻译，造成了外文歌曲翻译缺乏规范的现状。大多数歌词的译者都缺乏足够的翻译理论知识，在翻译的侧重点、对待译文的态度等方面与传统的诗歌翻译产生了较大的分歧。即使是流行度高的歌曲，其歌词翻译往往也存在问题，其中翻译的过度归化的问题尤为严重，大多数译作都有此问题，危害甚广，主要表现为滥用四字词语或俗语、对修辞与意象的随意删改或增加、背离原文风格以及对文义的修改。作者将在本文中主要从这四个方面，就歌词翻译中的过度归化的成因、弊害等展开论述。

= = 关键词 = =

歌词翻译，过度归化，归化

= = Die Geschichte und die Situation der Liedtextübersetzung in China = =

Nach den von Professor Qian Renkang angeführten Belegen lässt sich die Geschichte der Übersetzung von Liedtexten in China bis in die Qing-Dynastie zurückverfolgen und reicht bis zu Ye Zhonglengs Übersetzung des amerikanischen Liedes "March to Georgia" aus dem Jahr 1908 zurück. Damals wurden nur wenige Lieder ins Land gebracht, hauptsächlich Schullieder, Revolutionslieder und klassische Lieder aus verschiedenen Ländern. Die Lieder wurden auf unterschiedliche Weise übersetzt, wobei einige Übersetzer chinesische literarische Texte und alte chinesische Gedichte verwendeten, um den Text entsprechend der Melodie ausländischer Lieder zu ergänzen, oder den Text selbst neu schrieben; andere übersetzten aus den Originaltexten. (He Gaoda, Chen Shuiping, 2009, 24)

Nach der Gründung des Neuen China wurde die Übersetzung von Liedtexten wohlhabender, und es gab eine große Zahl talentierter Übersetzer, die eine große Anzahl von Liedern übersetzten und viele populäre Meisterwerke hinterließen. (He Gaoda, Chen Shuiping, 2009, 24)

Zu diesem Zeitraum beruhte die Verbreitung ausländischer Lieder hauptsächlich auf Papierbüchern und physischen Schallplatten, die teurer, weniger zahlreich und in der Übersetzung relativ standardisiert waren. Mit dem Eintritt in das Internetzeitalter hat sich die digitale Musik jedoch zu einem wichtigen Verbreitungsweg für Lieder entwickelt, und die Kosten für die Einführung ausländischer Lieder sind stark gesunken und die Zahl der Lieder ist drastisch gestiegen.

Die wichtigste Musiksoftware in China sind derzeit Tencent Music und Netease Cloud Music, wobei erstere im Jahr 2020 einen Marktanteil von 72,8 % und letztere von 20,5 % haben wird. Sie nutzen zwei unterschiedliche Übersetzungsmechanismen, wobei Tencent Music im Grunde nur offizielle Übersetzungen von Liedern anbietet und es den Nutzern nicht erlaubt, sie selbst zu übersetzen, und Netease Cloud Music im Grunde nur den Nutzern erlaubt, Liedtexte zu übersetzen und selbst hochzuladen, ohne offizielle Übersetzungen anzubieten. (Huajing-Institut für industrielle Forschung, 2022)

= = Erscheinungsformen der Über-Lokalisierung = =

111

= = Conclusion = =

111

= = References = =

111

Topic

On How to Use the Humanistic Attributes of Translation Studies to Solve the Problem of "rigid"

Abstract

The modern humanistic science frameworks are divided into many kinds. Human understanding of the world is divided into humanities and natural sciences on the basis of two major human-centered as well as nature-centered bases. By the period of structuralist linguistic translation paradigm, the leaps and bounds of science and technology have made it possible to stop worshipping the individual and to construct precise and rigorous frameworks by scientific methods, so that translation studies can be as precise as natural science studies. However, this disregard for the human being by scientism has caused dissatisfaction among many researchers. Translation, as a cross-cultural interlanguage conversion activity, is not only a linguistic phenomenon, but also a socio-cultural phenomenon. Its core lies in emotive interlingual application. The exploration of humanism not only does not conflict with the rigorous concept of translation discipline, but also constantly enriches the teaching of translation studies and demolishes the difficult problems in the core tasks.

Keywords

Humanistic characteristics Essence and task problem of "rigid"

题目

论如何利用翻译研究的人文属性解决“僵化”问题

摘要

现代人文科学构架分为很多种。在以人为中心以及自然为中心的两大基础上人对世界的认识分为人文科学与自然科学。到了结构主义语言学译学范式时期，科学与技术的飞跃性发展使人们不再崇拜个体，而是科学的方法构建精确严密的框架，让翻译研究能够像自然科学研究那样精准。然而，科学主义这种对人的无视引起了许多研究者的不满。翻译作为一种跨文化的语际转换活动，不仅是一种语言现象，更是一种社会文化现象。其核心在于富有感情的跨语际应用，对人文性的探索不仅不会与翻译学科的严谨理念产生冲突，而是不断丰富着翻译学的教学，拆解着核心任务中的疑难问题。

关键词

人文特点 本质与任务 “死板”问题

= Translation Strategies of Film Subtitles from the Perspective of Eco-translatology - An Example of "Flipped" =

                                                          傅晨（Fu Chen）202030097003

= = Abstract = =

Film is a carrier of culture, and with the development of global economicization and the increase of social and cultural interaction, more and more foreign films are entering the Chinese market, and audiences can accurately understand the content of foreign films and feel the foreign culture, the correct subtitle translation plays an extremely important role. inadequacies in subtitle translation. It is necessary for film subtitles to apply the theory of Eco-translatology, grasp the ecological environment of language, adapt and choose in the process of translation. Based on the theory of ecological translation, this paper takes the movie "Flipped" as the research object, focuses on the translation in "Flipped" from the perspective of "linguistic dimension", "cultural dimension" and "communicative dimension", and discusses the translation strategy of movie subtitles, hoping to provide reference and consideration for the translators of movie subtitles and help further improve the translation level of movie subtitles.

= = Key Words = =

Eco-translatology, strategies of translation, three-dimensional transformation, Flipped

= = 摘要 = =

电影是文化的载体，随着全球经济化的发展和社会文化的互动增多，外国电影越来越多的进入中国市场，受众能够准确理解外国电影的内容，感受异域文化，正确的字幕翻译发挥了极其重要的作用，在各种影视翻译中，译者往往只注重内容的直接传达而忽视原文真实内涵与文化的传递，在字幕翻译方面还存有不足。中国电影字幕运用生态翻译学理论，把握语言的生态环境，在翻译过程中做到适应与选择是非常有必要的。《怦然心动》是一部十分受欢迎的青春电影，对于该电影字幕的翻译有很多版本，很多学者也对电影台词进行了研究。本文以生态翻译学理论为基础，以电影《怦然心动》为研究对象，着重从“语言维”、“文化维”、“交际维”三维转换的角度对《怦然心动》中的翻译进行剖析，探讨电影字幕的翻译策略，希望为电影字幕的翻译人员提供借鉴与思考，帮助进一步提高电影字幕的翻译水平。

= = 关键词 = =

生态翻译学，翻译的策略，三维转换，怦然心动

= = Introduction = =

In the context of economic globalization, China is interacting more and more closely with other countries in the political, economic and cultural fields. Chinese culture, with its profound and far-reaching origins, is constantly receiving attention and love from foreign people, and more and more Chinese film and TV works are going overseas. At the same time, a large number of foreign films and TV works are also introduced into the domestic market and accepted by Chinese audiences. This has led to an increasing demand for translation of foreign films and TV works, which has not only promoted the work of subtitle translation, but also led many experts and scholars to devote themselves to the study of film subtitle translation. Subtitles play an important role in the communication and dissemination of culture as a medium of film transmission. Due to the huge differences between Chinese and foreign language systems and cultural customs, translators can only produce high quality translations by choosing appropriate methods and strategies and using scientific tools and theories to translate the text. Therefore, it is necessary to study the translation strategies of movie subtitles.

“Flipped” is about the interesting war between adolescent boys and girls, which makes people unconsciously recall the heartbeat and beauty of their youth. The story of the movie is very simple, the hero Bryce's family moved to the town, and the heroine Julie's family became neighbors, the little girl Julie fell in love with Bryce at first sight, in order to get close to him, she tried everything possible. However, after Julie experiences her beloved sycamore tree being cut down and Bryce refuses to help, her eggs being secretly thrown into the trash by Bryce and her uncle being ridiculed by others, while Bryce is indifferent, Julie starts to feel disappointed with Bryce, while Bryce realizes that he has already fallen in love with Julie at this time. The appearance of Julie's uncle allows Julie to understand her father's love and commitment, and to think more about the inner workings of human beings, and Bryce, under the guidance of his grandfather, throws away his prejudices and sees a different Julie. In the end, through the mediation of Bryce's grandfather, both parties reconcile and become more mature.

The film is inspiring and thought-provoking, encouraging people to boldly pursue their heart's desire and to be as gorgeous as a rainbow. The film is loved by the public because of its beautiful images, bold filming techniques and beautiful soundtrack, but also because of the wonderful subtitle translation, which leaves a deep impression on the audience. In this paper, we will interpret the subtitle translation of "Flipped" from the perspective of Eco-translatology.

= = Eco-translatology = =

（1）Overview of eco-translatology The concept of "ecological translation science" was first proposed by Prof. G.S. Hu and is still evolving today; Darwin first proposed ecological translation science in his theory of evolution in the middle and late 19th century, and gradually developed into the theory of adaptive selection of translation with continuous development. In the early 21st century, with the help of Darwin's theory of natural selection, Haggas (a PhD student at Hong Kong Baptist University) explored the philosophical basis and feasibility of translation activities and creatively proposed the need to establish a "translation adaptation selection theory". 2012, with adaptation and selection as the starting point, by reinterpreting the concept of translation, Hu Gengshen discussed the relationship between translator's choice and adaptation, and at the same time, from the perspective of adaptation and choice, he reformulated the process, method and essence of translation, establishing a basic theoretical framework for the theory of translation adaptation and choice. Ecotranslation is an ecological translation research paradigm that uses the characteristics of ecological rationality and provides an overview of translation from the perspective of ecology, and it takes translation ecology, text ecology, the ecology of "translation community" and their mutual relationship as the research objects with the help of the isomorphic metaphor of translation ecology and the characteristics of natural ecological system, and takes ecological holism as the concept and oriental ecological wisdom as the basis. With the concept of ecological holism and the oriental ecological wisdom as the research object, the ecology of translation, the ecology of texts, the ecology of "translation communities" and their interrelationships are taken as the research objects, and the ecological perspective is used to provide an overview and description of the ecology of translation as a whole and the ontology of translation theory (translation essence, process, standard, principle and method, as well as translation phenomenon) (Hu Gengshen 2013, 11). In a nutshell, it means that translators exert their own subjective initiative in the process of translation, grasp the translation ecology, and adopt various strategic techniques to transform the textual information, language, and cultural customs, so that readers can better understand the original text.

Some of the terms and concepts of ecotranslation are derived from the understanding of natural ecosystems; they are also developed on the basis of the theory of adaptive selection in translation. Ecotranslationism transposes and analogizes the basic principle of "survival of the fittest" in natural ecology, and embeds this principle in translation ecosystems, so that this principle is associated with the innate sense of survival and life of "translation communities "In other words, by using the "survival of the fittest" principle, we can make use of the "survival of the fittest" principle. In other words, using the leverage of the basic principle of "survival of the fittest" - the leverage of the survival system's and the survival system of thinking" in translation practice - this is the intrinsic and eternal motivation for translation success, and the original goal of returning to the survival, life, and ecological development of the "translation community" (Hu Gengshen 2013, 12).

In short, in the context of globalization, on the basis of an overview and reflection of the gains and losses, bias and completeness, and the unity of theory and learning of translation theories, and based on the basic characteristics and laws of ecology, it is important to consider the unity of translation theories. Based on the basic characteristics and laws of ecology and guided by ecological rationality and values, a systematic investigation and description are conducted at three levels of translation studies, translation theories and translation texts, and a theoretical discourse system of ecological translation is constructed. The theoretical discourse system of ecological translation is constructed. The further research and development of this ecological translation paradigm will help to study and develop translation science in a more rational and scientific way (Hu Gengshen 2013, 26).

(2) Explanation of the concept of "three-dimensional transformation” Eco-translatology believes that in the process of dealing with translation problems, it is necessary to achieve selective conversion of multiple dimensions, which is mainly reflected in the "three-dimensional" conversion, namely, language dimension, cultural dimension and communicative dimension. The "linguistic dimension" is mainly reflected in the adaptive conversion of the linguistic form and rhetorical style of the text, which requires the translator to have good cultural literacy and strong textual skills, and the "cultural dimension" is mainly reflected in the adaptive conversion of the cultural nature and content of the language. The "cultural dimension" is mainly reflected in the adaptation of the cultural nature and content of the language, the transmission and interpretation of the bilingual culture, and the avoidance of ambiguity caused by cultural barriers. According to Hu (2011), based on the viewpoint of adaptive choice theory, the cultural dimension of adaptive choice transformation here mainly refers to the translator's need to establish a corresponding cultural concept during translation, pay high attention to the cultural information and meaning covered by the source language, and emphasize the transmission and interpretation of the connotation of bilingual culture, not simply translating culture. For this dimension of adaptive conversion, it can effectively avoid some inconvenience or misunderstanding because the focus is on the difference between the source language culture and the target language culture. This requires the translator to be familiar with Chinese and Western cultures, to understand the source language of the target culture, and to understand the original idea precisely. The "communicative dimension" means that in addition to the conversion of linguistic information and cultural connotation, the translator focuses on the communicative level in choosing the conversion, and pays attention to whether the communicative intention in the original text is reflected in the translation (Hu Gengshen 2004, 138). In translation studies, according to Nida, any information is useless if it does not play a communicative role (Nida, 1993). In other words, if a translation cannot play a communicative role and realize the communicative intention, such a translation is unqualified, and the translator must consider all relevant elements of linguistic communication activities when dealing with the translation problem.

= = Translation characteristics of movie subtitles = =

With the development of economy and culture, film has gradually become one of the important carriers of culture, and in the process of cultural transmission, film translation plays an important role in promoting cultural exchanges between different countries, As a kind of translation, film translation is also applicable to the method of "three-dimensional translation".

Subtitling is a mode of translation that converts verbal or non-verbal visual and auditory content into verbal visual content and adds it to the screen (Gottlieb, H 1994). The core of subtitling is to accurately translate the connotations and intentions of the original language with the context of the translated text, to break down the boundaries between different cultures, and to accurately convey the emotional and ideological core of the film.

The language of film subtitles comes from the words of the characters. Therefore, both dialogue, monologue and internal mapping should reflect the unique character color of the speaker. Most of the subtitles are conversational in nature. The dialogue shows the character's emotional state, attitude towards people and things, experience, etc. Moreover, the dialogue in the captions fits perfectly with the development of the story, and can be said to reflect the storyline. So it is possible to read the plot of the story without looking at the picture but only at the subtitles, which requires the subtitles to be rich in personality and expressive.

The language of film subtitles must be readable. Most of the movie subtitles are dubbed by voice actors. In turn, the translated subtitles must be read. Therefore, subtitles must be readable. Readable, rhythmic, and in line with the language characteristics of the film's main character. The pauses must be natural and smooth. And the phrase must have the characteristics of high and low, intonation and staccato. The most ideal readable state is that the translation and the original language are uniform in length, diction and rhyme. Due to the time and space factor, subtitles also need to be simple and easy to understand, so that the message is coherent and consistent, and so that the sound matches the picture perfectly. Since the images in a movie change very quickly and cannot be rewound, the translator must pay attention to the timeliness of the subtitle translation.

= = Subtitle translation strategies from Eco-translatology perspective= =

Eco-translatology requires translators to make adaptive selective transformations of the original language dimension, cultural and communicative dimensions in the translation process. When translating movie subtitles, translators should first understand and adapt to the ecological environment of the original language, combine the original language, the translated language, the translator and the cultural background, and take the translator as the central leader, and then carry out multi-dimensional adaptive selection conversion so that the target language audience can break the linguistic and cultural barriers and correctly understand the cultural and ideological connotations conveyed by the film with the help of subtitles. In the following, the author will analyze the subtitle translation of "Flipped" from three dimensions and discuss the related translation strategies.

（1）Linguistic Dimension

The adaptive choice and adaptive transformation of language dimension are mainly reflected in the language form. English and Chinese belong to two very different language systems with huge differences in daily expressions, so the translation of movie subtitles should start from the linguistic expression habits of the target language audience and select appropriate words and sentence forms on the basis of the linguistic norms in order to obtain the optimal translation.

Example: "She totally dominated the fair." The direct translation of this sentence is "她统治了这个慈善会", "dominate" originally means to dominate, control, the phrase appeared in the science fair, because Julie's outstanding ability to successfully hatch chicks gained the attention of everyone, as if she manipulated the charity. As she manipulated the charity event, the hero Bryce thus expressed his displeasure. The word "dominate" is often used to refer to a person's exceptional strength and ability to win a competition, but it also means that someone has great control over things.It translates to "她简直称霸这场活动", which is not in line with our daily expressions,and also conveys to the audience the mood of Bryce when she says this line, which helps the audience to perceive and understand the emotion of the movie and attracts the audience's interest to watch the movie afterwards.

There are many differences in language expressions, so when translating, we should fully consider the overall ecological environment of the translation and make a moderate shift in the language dimension. For example, "What I hoped would be a one-time event was just the beginning of a life consumed with lies, intrigue and deception. "A one-time event" is a direct translation of "一次性事件", referring to Bryce thought that as long as he secretly dropped the eggs sent by Julie, everything would be fine, but did not expect to get involved in more trouble. The three words "lies, intrigue, deception" all mean "说谎,欺骗" and are used to emphasize Bryce's repeated deception of Julie. In Chinese, "谎话连篇" usually means that a person's words are almost all lies and have no truthfulness. Therefore, the choice of the two idioms "永绝后患" and "谎话连篇" in the translation can express the original meaning concisely, which makes the Chinese audience feel that the subtitles are concise and full of rhythm and vividness, and also conforms to the Chinese language habits. It is also in line with the Chinese language habits. It is simple and clear, free from the time and space limitation of subtitle translation, and correctly uses the film subtitle translation strategy. It can be seen that a direct translation of "I hope this is just a one-time event, and this is just the beginning of a life full of lies, conspiracies and deceptions." It can be said that it is very faithful to the original text, but it is not connected with the plot and cannot be understood by the audience, and it meets the requirement of the principle of fidelity but not the principle of coherence.

（2）Cultural Dimension

The cultural dimension of adaptive selection and adaptive translation focuses on the differences in content and nature between the source language and the translated language, avoiding excessive attention to the culture of the translated language that may result in misinterpretation of the original text, and the translator should try to adapt to the entire cultural system to which the translated language belongs while translating.

For example, "All hair and no substance", "substance" originally means material, and the direct translation here is "全部的头发，没有物质", while the translation is The Chinese proverb "头发长见识短" is easy to understand. For example, "Juli Baker did not wind up in The Mayfield Times for being an eighth-grade Einstein." This sentence translates to "朱莉·贝克登上梅菲尔德时报可不是因为她天赋异禀。” The translation of "eighth-grade Einstein" is "天赋异禀" instead of "八年级的爱因斯坦" ，Bryce's grandfather said this to Bryce to illustrate Juli's intelligence, "Einstein" in foreign countries is synonymous with "talent" and "smart", the translator translated into "gifted" can convey the meaning of the original, but also let the audience experience a small dark humor in the film, vivid and lively. All these examples use some Chinese colloquialisms or buzzwords to translate, so that the audience will not be unable to understand or comprehend the situation, but also to make the audience better watch the movie. It can be said to be two birds with one stone.

（3）Communicative dimension

The communicative dimension of conversion requires the translator to consider the communicative intent of both languages when translating to achieve an effective exchange of information. The communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Due to the great difference between Chinese language and English language, translators need to make certain conversions to the original language so that the translated audience can better understand the content of the film.

For example,”Some of us get dipped in flat, some in satin, some in gloss. But every once in a while you find someone who's iridescent, and when you do, nothing will ever compare.”Some people translate this quote as "有些人浅薄，有些人金玉其外而败絮其中。有一天你会遇到一个彩虹般绚丽的人，当你遇到这个人后，会觉得其他人只是浮云而已。”. Some translate it as "有人住高楼，有人在深沟，有人光万丈，有人一身锈，世人万千种，浮云莫去求，斯人若彩虹，遇上方知有。" The communicative intent of this sentence is that Bryce's grandfather teaches Bryce to boldly pursue the person who makes his heart sing. Both translations accurately convey the characters' thoughts and achieve the communicative intent. In Chinese expressions, the aesthetics of the text are generally emphasized. The first of the two translations mentioned above is expressed in an easy-to-understand way, containing Chinese colloquialisms, so that readers can directly grasp the meaning of the original text. The second one follows the format of the original text and adopts the technique of prose repetition, which is more elegant, catchy and thought-provoking to read. Both translations are loved by the public, leaving the audience with a deep impression, remembering the ideological connotation of the movie, and achieving the goal of adapting to the ecological environment of the original text and reflecting the communicative intent of the original text.

= = Conclusion = =

The "three-dimensional transformation" in "Flipped" is analyzed and exemplified from the perspective of ecological translation, that is, how the translator achieves the ecological balance between the source language and the translated language in the translation from the linguistic dimension, cultural dimension and communicative dimension. In the linguistic dimension, the translator not only pays attention to preserving the cultural characteristics of the original language, but also takes into account the comprehension ability and language habits of the Chinese audience. In the cultural dimension, on the basis of considering the characteristics of the source language, it is replaced by common Chinese colloquialisms, while accurately conveying the cultural connotation of the Western countries, which facilitates the understanding of the audience and further enhances their interest in watching the movie. In the communicative dimension, the translator successfully conveys the communicative intent of the original lines, stands in the viewer's perspective, conveys the character's thoughts, and helps the audience understand the ideological core of the movie. "Flipped" is an excellent youth film, and there are many translations of the film in China with impressive vocabulary. By exploring the translation of the film from "three-dimensional" transformation, we can find that ecological translation theory is an important guiding role for the translation of film subtitles, which is an effective tool discipline, and the correct use of multi-dimensional adaptive selection and transformation can help to further improve the film translation.

= = References = =

· Hu Gengshen 胡庚申. (2013). 生态翻译学：建构与诠释【Eco-translatology: Constructing and Interpreting】11-12，26

· Hu Gengshen 胡庚申. (2011). 生态翻译的研究焦点与理论视角，【J】《上海翻译》，2011

· Hu Gengshen 胡庚申. (2004). 翻译适应选择论【Translation Adaptation Selection Theory】135-138

· Nida， E A.Language, C~mre and Translation[M], Shanghai: Shanghai Foreign Language Education Press,1993

· Baker,M.Encyclopedia of Translation Studies [M].London and New York:Routledge,1998.

· Gottlieb,H(1994)Subtitling:Diagonal Translation.Perspectives: Studies in Translatology,2,101-121. https://doi.org/10.1080/0907676X.1994.9961227