Finals Trans 5

Back to Finals_Trans and to Course Homepage.

Domestication and Foreignization of Ancient Chinese Poetry under Skopos Theory

肖玉Xiao Yu 202030097007 德语.

Abstract

Chinese poetry plays an extremely important role in the difficult task of spreading Chinese culture. there are many debates about the strategies of domestication and foreignization in its translation. In this paper, the two strategies are weighed from the perspective of skopos theory, and the differences in the use of translation strategies are analyzed in the light of different translation purposes and translation audiences.

Keywords

Ancient chinese poetry, Skopos theory, Domestication, Foreignization

题目

功能目的论下中国古诗的归化与异化

摘要

中国古诗在中国文化传播这项艰巨任务中扮演着极其重要的角色，针对其翻译的归化与异化的策略问题也存在着许多争论，本文将在目的论的视角下对这两项策略进行权衡，分析在不同的翻译目的与译文受众下翻译策略使用的差异。

关键词

中国古诗，目的论，归化，异化

Introduction

China's excellent traditional culture is the root and soul of China's development. Under the ever accelerating reform and opening up, Chinese trends are changing day by day. It is very important to better inherit and carry forward traditional culture, so that it can burst forth with new vitality. It is our responsibility and a major challenge to do a good job of inheriting and developing excellent traditional culture. How to do this better not only requires us to maintain cultural confidence at all times, but also to adopt efficient methods to promote it.

Chinese traditional culture contains the genetic code of the Chinese nation. Throughout the 5,000 years of change and accumulation, it has remained our spiritual garden, preserving and passing on the excellent and noble ideological qualities of the Chinese nation. Ancient poetry is the essence of our classical culture and is an important part of excellent traditional culture. Ancient poetry contains both the epitome of excellent traditional culture and at the same time is where the tools to convey it lie, enabling us to restore China's excellent traditional culture in the process of passing on and interpreting ancient poetry.

Among these gardens, the ancient poem is a dazzling pearl, a pearl of simple form but rich in content. Through the interpretation of the ancient poem and its derivation and analysis, they have transformed from a sentence to a vivid and vast scroll, depicting for us the vast and magnificent development of the ancients over the past 5,000 years. We have seen a pleasant and relaxed life in the countryside, a devastated frontier and a prosperous people's life. These restored works are an important tool and vehicle for the development and growth of an outstanding traditional culture.

Ancient poetry has occupied a considerable span in China's 5,000 years of history, accompanying China through its glory and its fall. It's the crystallization of the wisdom of the ancient Chinese people and an important part of today's Chinese cultural output. Ancient poetry plays a vital role in the transmission and development of culture, the promotion and growth of nations, and the education and deepening of people's minds.

In the current global context of mutual exchange and win-win cooperation, the exchange and appreciation of culture with other countries has become a major theme. All countries attach great importance to the development of their national cultural soft power and are committed to spreading their outstanding culture around the world. As a country with a 5,000-year-old cultural heritage, China should let the world step into its glorious and magnificent cultural world.

Translation, as a cross-cultural interlanguage conversion activity, is not only a linguistic phenomenon, but also a socio-cultural phenomenon. (Zhao Wei 2005,1) In the process of language conversion, the input of foreign culture and the output of national culture are also potentially carried out, therefore, how to effectively disseminate Chinese culture with high quality has become an issue of concern for many scholars.

1.1.1 National Worth

Cultural soft power is an important driving force for national cohesion and creativity. The culture of a nation coalesces its historical perceptions and realistic feelings about the world and life, and accumulates the nation's deepest spiritual aspirations. Throughout history, every nation has had its profound culture. Every country has recognized the importance of culture as an important force for social development and progress. Culture is a special bond that unites the spirit of the nation, is deeply fused in the bloodline of the nation and has always been an inexhaustible source of strength for national development and national revitalization.

1.1.2 International Worth

Cultural soft power is an important factor in the competition for comprehensive national power. In today's world, culture and economy are intermingled, and economic development and cultural progress complement each other. The cultural content of the economy is increasing, the economic function of culture is getting stronger and stronger. Culture has become a sharp weapon in the competition between countries. Whoever occupies the high ground of cultural development and possesses strong cultural soft power will be able to win the initiative and take the lead in the fierce international competition.

1.1.3 Future Worth

The great role of culture is increasingly recognized and valued by countries around the world. More and more countries are doing everything possible to strengthen their overall cultural strength and international competitiveness. If China is to remain invincible in the new international competition and safeguard its national development interests and cultural security, it must continue to promote the spirit of cultural creativity. We will give full play to the nation's cultural creativity and strive to develop a cultural advantage that is commensurate with our economic and social development and international status.

Cultural soft power is an indispensable part of the process of achieving the great rejuvenation of the Chinese nation. The country must not only consciously export its culture, but also drive all Chinese people to proactively spread Chinese culture.

1.2 The Importance of Ancient Poetry

As a unique cultural treasure precipitated by the development of ancient China, ancient poetry has subconsciously nourished the minds of the Chinese people, strengthened their cultural confidence and revealed to the world the majestic cultural background of China. To make good use of ancient poetry as a tool and vehicle to enhance China's cultural soft power, the focus is on choosing a good method of translation.

2.1 The development of Functionalist Translation Theory

The German functionalist translation theory uses functional and communicative approaches to explore and analyse the study of translation. It has gone through four broad stages in its formation.

2.1.1 Katharina Reiss's Text Typology

She divides functional types into three categories: informative, expressive and operative text, laying the foundation for the relevant system of functionalist translation theory.

2.1.2 Hans Vermeer's Skopos Theory

He has the idea that the whole process of the act of translation is determined by the purpose it needs to achieve, and that the purpose of translation can in turn help to define the translation strategy. The communicative function or functions that the target language is expected to achieve in the cultural context of the recipient, in order to adapt to the new communicative context and the needs of the target language reader, constitute the translator's system of reference in the translation process.

2.1.3 Justa Holz Manttari's Theory of Translational Action

She distinguishes between the translational action and the act of translation, arguing that the translational action places great importance on providing the recipient with a functional communicative text. The translational action involves multiple professionals, including the client, the recipient and the translator collectively in an overall complex act.

2.1.4 Christina Nord's Functionality Plus Loyalty

Function refers to the elements that enable the translation to serve its intended purpose in the context of the translated language. Loyalty refers to the relationship between the translator, the reader of the translation, the author of the original text and the client of the translation. This theory raises the status of the translator in the translation process. The requirements of the recipient are seen as important criteria in determining the purpose and strategy of the translation, promoting a plurality of translation standards and translation strategies.

2.2.1 The Background of the Skopos Theory

The functional skopos theory was first proposed by Hans Vermeer in 1978 in his book "Framework for a General Translation Theory". It is one of the most important theories of functional translation theory, which frees translation research from the shackles of original-centeredness.

Translation should follow three basic principles, namely, the principle of skopos, the principle of coherence, and the principle of fidelity, among which the principle of skopos takes precedence over the other two principles. The purpose of the act of translation determines the whole process of the act of translation, i.e. "the purpose determines the method"(Nord 2001, 124). The skopos principle points out that the translation should take the intended function of the translated text as the starting point and develop toward the purpose desired by the audience of the translated language.

2.2.2 The Content of the Skopos Theory

According to the different purposes of translation, the translator can choose different translation strategies and means, and the goodness of translation should be judged by the extent to which the translation achieves the intended purpose. The translator's reference system in the whole translation process should not be the original text, but the function that the translation is expected to achieve in the cultural environment of the translated language.(Chen Xiaowei 2000, 1) The scholars of the skopos theory believe that translational action and translation are two different concepts. The translational action is purposive, a complex act designed to achieve cross-cultural and cross-linguistic transfer of information, while translation is only a translation act based on the original language text.

In the translation process, according to the different purposes to be achieved by the translated text, the translator selects the corresponding translation strategy, so that the translated text can convey the intention of the original work, reproduce the effect of the original text, realize the expected function and purpose of the text, and achieve the ultimate purpose of cross-linguistic and cross-cultural communication.

Overall, the skopos theory focuses on the language and culture of the translated language, not on the equivalence of the original and the translation,. It frees the translation from the constraints of the source language, where the intended purpose of the translation determines the determination of the translation strategy, the choice of information in the source language and the way the translation is presented.

2.2.3 The Contrast between Traditional Translation Theory and the Skopos Theory

In traditional translation theory, the translator's priority is always the original text and the psychological reaction of the readers of the original text, ignoring the effect of the translation; whereas in the skopos theory, both the original text and the psychological reaction of the readers of the original text are relegated to a secondary position. It is replaced by the issues of translation purpose and fidelity.

The skopos theory diversifies translation standards, and the diversification of translation standards brings translation closer to reality. The skopos theory breaks the pattern of traditional translation theory and focuses translation research on the selection of the purpose of the translation in the translation process, which is a kind of external research on translation and makes up for the deficiencies in traditional translation research, thus adding a new research perspective to the exploration of the translation discipline.

Chapter 3 Domestication and Foreignization

The concept of domestication and foreignization was introduced by Lawrence Venuti, a famous American translation theorist, in 1995 in The Invisibility of the Translator.Laurence Venuti's strategies are derived from the 19th century German linguist Schleiermacher's thesis that "the translator either tries to leave the original author alone and bring the reader close to the author, or tries to leave the reader alone and bring the author close to the reader."（Venuti 2004, 19）

3.1 Domestication

Domestication is a translation strategy that aims to localize the source language, pointing to the target language or the readers of the translated text, using terms and expressions familiar to the readers to convey the content of the original, and bringing the author close to the readers.

Naturalized translation requires the translator to master the source language and the target language proficiently and place the target language reader at the center of the translation. The translator should localize the original work, reduce the distance between the reader and the work, and get rid of the characteristics that are incompatible with the culture of the target language. Naturalized translation helps readers understand the work and its connotation more fully and enhances the readability and appreciation of the translation.

3.2 Foreignization

"Foreignization" refers to a translation strategy that intentionally breaks the expression habits of the target language in order to maintain the quality and originality of the source language.(Kuang Zhanghong,Zhu Yunyun 2009, 2) The purpose of foreignization is to preserve the linguistic characteristics and expressions of the source language, and to preserve the unfamiliar concepts in the source language, so that the reader can receive the cultural input of the source language to the maximum extent, thus expanding the reader's horizon and bringing the reader closer to the author.

Foreignization in translation is characterized by accommodating foreign cultures and absorbing foreign language expressions in the target language, thus enriching the content of the target language. The translator should draw closer to the author and convey the content of the original language while preserving the characteristics of the source language. The strategy of foreignization can better accommodate the differences of national cultures. It preserves and reflects the characteristics of foreign nationalities , language styles and the exoticism for the readers of the translated text, and provides opportunities for the readers to appreciate the exoticism and expand their horizons.

3.3 The Contrast and Usage of the two strategies

These two translation techniques have their own advantages and disadvantages. Appropriate domestication can make the translation linguistically fluent, better overcome language barriers, avoid semantic errors caused by cultural conflicts, and enhance the readability of the translation. However, excessive domestication can make the translation lose the cultural characteristics of the source language or even exoticize it. In this case the readers of the translation will have difficulty in accessing the culture of the source language and may even misunderstand the original cultural connotation, which is not conducive to the dissemination of culture and cannot achieve the purpose of cultural export.

Appropriate foreignization can faithfully express the culture of the source language and preserve the characteristics of the source language, so that readers of the translation can better understand the culture and language characteristics of the other country in the process of reading. It can enrich the culture of the target language in the process of exposure to foreign culture, thus promoting intercultural communication and communication.

Due to the different purposes of creation, text types, translation purposes and audience requirements, translators should focus on the use of domestication and foreignization in different translation situations. In order to tell the Chinese story well and promote cross-cultural communication, translators should take into account the culture and thinking of the target audience and use appropriate domestication; at the same time, in order to spread Chinese culture better and not to lose its original cultural characteristics and unique highlights, the use of foreignization should be increased, so as to achieve the best communication effect.

3.4 The Guidance of Domestication and Foreignization for the Translation of Ancient Poems

There is a considerable debate in Chinese translation circles about whether to adopt the domestication strategy or the foreignization strategy for translating ancient poems. Based on the above brief introduction to the skopos theory, we can conclude that the choice of strategy depends on the requirements of the purpose.

Ancient poems have different purposes of use in different situations. Based on the purpose of promoting traditional Chinese culture, the translator should adopt the strategy of foreignization to preserve the rhythm, rhyme and imagery of the ancient poem as much as possible; while based on the purpose of interpretation, the translator should adopt the strategy of domestication so that the reader can understand the deeper meaning of the ancient poem and understand the author's emotion without obstacles.

It must be pointed out that domestication and foreignization are not two absolutely opposing strategies, but complementary and mutually integrating. According to Schleiermacher, the two paths (towards the author or towards the reader) are very different, and the translator must follow one of them to the best of his ability; any mix-up will have such a detrimental effect that the author and the reader will not meet at all.（Lefevere 2004, 149）This is not going to work.

First of all, it is impossible for a translation to exist completely apart from the atmosphere of its source language, so there is inevitably foreignization in domestication; and even if the characteristics of the source language are preserved, it is necessary to pay attention to the intelligibility of the translation and to draw closer to the readers of the target language, so there is inevitably domestication in foreignization.

This phenomenon also exists in the translation of ancient poems. Translators must be good at choosing different translation strategies according to different translation purposes, thoroughly understanding the meaning of the domestication and foreignization and be able to use them accurately and flexibly.

4.1.1 The Features of Ancient Poems

Ancient poetry is a treasure of Chinese culture, which has evolved and developed over thousands of years of Chinese history. It was loved by the ancient people, with different categories emerging in terms of genre, length and rhyme, and flourishing in different historical periods. Intuitively, ancient Chinese poetry has distinctive features, both in form and in text, and it is not easy to try to preserve its beauty in the translation process, taking into account these external aspects.

When it comes to content, ancient Chinese poetry is particularly concerned with “subtlety”. Behind the simple, condensed words there is often infinite meaning and so-called “divine rhythm”, making it even more difficult to retain the form while conveying its connotation. Ancient Chinese poetry often uses a variety of imagery to implicitly express the author's thoughts and feelings and the connotations of ancient poetry, expressing the richness and delicacy of the ancient people's inner world. Imagery is a combination of subjective feelings and objective things. The poet gives special meaning to common things , which often carry the poet's emotions and thoughts.

The term “imagery” first appeared in Han dynasty and has a history of more than two thousand years. Through repeated use and appreciation, a great deal of imagery has become conventional in ancient Chinese poetry and literature in general, and has a universally recognized symbolic meaning for the Chinese. For example, the image of “mountain”, which often appears in ancient Chinese poetry, can have different connotations, including eternity, solidity, isolation, longing and seclusion, etc. The moon is a symbol of a longing for a reunion.

In addition, ancient poetry often uses metaphor, simile, borrowing from objects, and musical scenes to express the artistic conception in a subtle way. "Artistic Conception" is an important concept in traditional Chinese aesthetics. It refers to a state or effect achieved by works of art in literature, painting and other fields, in which the scene depicted and the author's or painter's thoughts are integrated to achieve an overall picture effect. The reader can experience the effect of the images through imagination, having an immersive experience of many images in a poem that make up the overall mood of the poem.

This concept involves not only the poem and the poet themselves, but also the reader and his or her feelings. In other words, the context builds a three-dimensional poetic space in the reader's mind, consisting of both figurative objects and abstract imagery.

Therefore, it can be said that in order to translate an ancient Chinese poem well, one must first read and understand its context. The expression of an ancient Chinese poem is so subtle that both the ordinary reader and the translator of the poem must understand the meaning behind the many imagery. Only on this basis can one grasp the abstract beauty of the poem and try to reproduce it, so that the target language readers may have the same or similar feelings.

A great feature of ancient Chinese poetry is euphemism. Because of the richness of the imagery and euphemisms in ancient poetry, it also takes a long time for Chinese people to accumulate the language and understand the imagery before they can properly understand the meaning of ancient poetry. In addition to the techniques used, ancient Chinese poetry also places great emphasis on the beauty of recitation, often employing unique rhymes and intonations that sublimate the effect of the poetry read aloud. This poses a great challenge to the English translation of Chinese poetry.

Further, the understanding of poetry also involves differences between the Chinese and Western ways of thinking, thus making it more difficult for readers to understand ancient poetry effectively. On the whole, Chinese people are more emotional, while Westerners are more rational. Ancient Chinese poetry often embodies abstract ideas through concrete images, and the vagaries of emotion emanate from the lines. Poets describe mountains, rivers, fields, trees, flowers and so on, while putting their feelings and thoughts into the landscape and subtleties of the moment, which evokes the same emotions and resonance in Chinese readers. The blending of emotions and scenes is an important criterion for a good poem, yet if it is not appreciated by readers of a foreign culture, then the translated ancient Chinese poem will be overshadowed.

4.1.2 The Challenges of the Translation

How can we interpret and reconstruct the beauty of the mood of ancient Chinese poetry in translation? How can we reproduce this feature of ancient Chinese poetry that uses imagery to express emotions? It is very difficult to answer these two questions, and some even consider ancient poetry to be untranslatable.

Even if the Chinese themselves have the same sensual way of thinking as the poet, it is not always easy to understand correctly the real emotions expressed by the poet, due to the differences in the context of the time period and the different habits of sentence construction. Is it possible, then, that the very different rational minds of Westerners have more difficulty in perceiving the poet's intentions? If they cannot understand this, what is the point of translating the poem?It is from this perspective that many scholars consider ancient Chinese poetry to be untranslatable.

Imagery varies from culture to culture; for example, the Chinese celebrate pine and cypress as symbols of good character, while Europeans and Americans favour the sea and the eagle. The same imagery often evokes different associations in different cultures. Sometimes there are historical reasons for the beauty of imagery, which, if left aside, do not evoke the same associations, and the beauty of the original poem would not exist. There are many cultural connotations in the imagery of ancient Chinese poetry that are missing from Western languages, and it is not easy to resonate with a foreign cultural audience.

4.1.3 The Situation of the Translation

In recent years, domestic scholars have made great progress in the theory and practice of translating ancient Chinese poetry, with the greatest contribution coming from Professor Xu Yuanchong of Peking University, who proposed the “Three Principles of Beauty” as a standard for poetry translation. He believes that it is impossible to achieve 100% equivalence between the translation and the original text.

The translation should only seek to reproduce the information of the original text in the closest and most natural equivalence, which means that the translation can achieve the greatest effect of equivalence with the original text in terms of meaning, style and form. If the reader of the translated language understand and appreciate the translation to the same extent as the reader of the source language understand and appreciate the original, then the translation can be said to have achieved “functional equivalence”.

Xu Yuanchong's three beauties theory is actually in line with the functional equivalence theory proposed and articulated by Nida. They are similar in their theoretical essence. In other words, in order to realise the “three beauties”, the translator should try to pursue the aesthetic functional equivalence between the translated poem and the original poem in terms of meaning, sound and form, and try to make the reader of the translated poem feel the same aesthetic effect that the reader of the original poem gets when reading the translated poem.

4.2 Domestication and Foreignization in the Translation of Ancient Poems

Different translators usually have many differences when translating ancient poems. Some translators believe that the audience for English translations of ancient poems is foreigners, and that the purpose of English translations of ancient poems is to let readers better understand the lofty ideology of ancient Chinese people.

Because the unique structure of ancient poems is difficult to be perfectly translated into the target language, so the focus of ancient poem translation should be on understanding the content of ancient poems. The translation should therefore focus on understanding the content of ancient poems, and should make more use of vocabulary and language structures that fit the language habits of the target language, so as to facilitate the reader's understanding of the profound connotations of ancient poems and allow the target language reader to have a meeting of minds with Chinese culture, and ancient poems should be domesticated.

Another group of translators believes that the purpose of translating ancient poems into English is to promote the excellent Chinese culture and let the audience feel the beauty and profundity of Chinese culture. The beautiful mood of ancient poems and the beautiful intonation of reading them aloud should not be abandoned. The translation of ancient poems should be foreignized to better convey Chinese rhythms and culture.

We can see from the richness and balance between structure and content of ancient poetry that both are in fact too one-sided and absolute. It is impossible to expect the target language to express the original rhythm of an ancient poem in the same way as Chinese, but it is also impossible to discard one or the other. The diversity of ancient poetry itself predetermines the variety of translation strategies that can be chosen, and domestication and foreignization are not incompatible.

On the contrary, when translating ancient poems, the translator should, with a proper awareness of the purpose of translation, not only take care of the reading experience of the target language readers, but also maintain a high degree of cultural self-awareness. They should discriminate and weigh the readability of the text against its cultural aspects, analyse the ancient poems from various perspectives such as rhyme, connotation and implication, and choose a more appropriate translation strategy so that the English translation of ancient poems can play its proper role to the greatest extent.

4.2.1 Analysis of “Farewell to Perfect Du”

The next section will analyze the selection of domestication and foreignization strategies in the translation of ancient poems in the context of several translations of ancient poems from “300 Tang Poems“ by Xu Yuanchong:

Original Text：

送杜少府之任蜀州

城阙辅三秦，风烟望五津。

与君离别意，同是宦游人。

海内存知己，天涯若比邻。

无为在歧路，儿女共沾巾。

Translation：

Farewell to Perfect Du

You’ll leave the town walled far and wide

For mist-veiled land by riverside.

I feel on parting sad and drear

For both of us are strangers here.

If you have friends who know your heart,

Distance cannot keep you apart.

At crossroads where we bid adieu,

Do not shed tears as women do.(Xu Yuanchong 2007, 91)

The poem is a typical farewell poem, but unlike the usual farewell poems, this poem is written in a robust style, with its open and closed staccato, its airy pulse, its open-mindedness, its bright and clear tone, and its fresh and lofty language, which is a refreshing change from the sorrowful and lingering farewell poems of the past. Although the poem is about the misery of parting, it gives people a positive and optimistic feeling, expressing the author's open-mindedness. In translating the first couplet, Xu Yuanchong does not follow the original poem word by word, as the words “Chengque”, “Sanqin” and “Wujin” refer to several places in the poem. If they were used in “pinyin”, they would not only mislead the reader's understanding, but would also make the ancient poem muddled.

Here Xu Yuanchong adopts a domesticated translation strategy, using only the words “town walled far and wide” and “land by riverside” to indicate in general terms the places where the poet and his friend parted and where they went. This ensures the readability of the translation, while allowing the language to be concise and dry, without being drawn out and lengthy, in line with the style of the original poem.

The neck line of the poem is a familiar line in China, which expresses the deep friendship between friends that does not change because of the distance. Rather than directly translating “within the sea” and “at the end of the earth”, Xu Yuanchong translates the poem with a full understanding of its deeper connotations, so that the reader can better understand the central idea of the poem, as well as feel the author's broad-mindedness and recognize the indestructible friendship between the author and his friend. They are able to resonate with the author's emotions even after the interchange of languages.

Xu Yuanchong makes excellent use of domestication strategies in his translation of the poem. In order to conform to the language habits of his readers and enhance the readability of the text, Xu Yuanchong adds the personal pronouns :I”, “you” and “we” to the original text.

In addition, Xu Yuanchong retains a great deal of the phonetic features of the ancient poem, using the translation's iambic pentameter to reproduce the original poem's rhyme. The rhyme scheme of the first two lines "wide" and "riverside", "drear" and "here" in the first couplet, and "heart" and "apart" in the neck couplet, rhymes with [-aid], [-i] and [ɑ:] respectively, restores to a certain extent the phonetic beauty of the original rhyme scheme.

4.2.2 Analysis of "Spring Morning"

Original Text：

春晓

春眠不觉晓，

处处闻啼鸟。

夜来风雨声，

花落知多少。

Translation：

Spring Morning

This spring morning in bed I'm lying.

Not to awake till birds are crying.

After one night of wind and showers.

How many are the fallen flowers! (Xu Yuanchong 2007, 6)

In translating this poem, the translator aims to enable the target language reader to both appreciate the beauty of the ancient Chinese poem and to understand its general meaning. The translator firstly pays attention to the preservation of the rhyme scheme of the poem in order to highlight the unique rhyming beauty of the ancient Chinese poem.

In the translation, the words “flying” and “crying” and “showers” and “flowers” have rhyme, which, although different from the original, fully conveys the beauty of the poem's rhyme scheme. As it is a five-word poem, Xu Yuanchong has also tried to keep the number of words in each stanza to around seven, in keeping with the simple structure of the original poem.

In the sentence form of ancient poems, there are often incomplete sentence structures. Sometimes the absence of some components does not affect comprehension and is more a matter of convention; sometimes a sentence can be obscure and serve to ensure the neatness of the couplets, which then requires the reader to analyse and understand the verses in relation to the contextual intent of the whole poem as well as his or her accumulated knowledge of poetry.

However, it is not in line with English language conventions. In order to enhance the readability of the translation, Xu Yuanchong has added two temporal conjunctions “till” and “after” to make the meaning of the whole poem more concise and easy to understand, thus adopting both domestication and foreignization strategies to ensure the transmission of the poem while preserving the Chinese cultural identity.

Conclusion

The skopos theory enriches the techniques and methods of translation and provides a new way of thinking for translators in academic translation, especially for the translation of ancient poetry, enabling translators to better select their translation strategies in terms of text function, translation strategies and types of translated works to achieve the effect of cultural output.

In many translation works, we can well observe the selection of translation strategies by different translators, and all phenomena illustrate the flexibility and diversity of translation strategy selection. In order to produce good translations, translators should resolutely resist absolute support or opposition to a certain strategy, and should fully understand the connotation of skopos theory, master the basic characteristics and essential connection of domestication and foreignization, and select translation strategies with flexibility.

The field of translation in China still has much room for development, and more and more translation strategies will emerge in the future. Translators should continue to absorb new translation theories, learn from excellent foreign translation experiences, integrate existing knowledge, and continuously contribute to the accumulation and enrichment of the Chinese translation community.

References

[1] Zhao Wei 赵巍. (2005). 翻译学学科性质与研究方法反思 [ReflectionsontheNatureandMethodologyofTranslationStudies]. 解放军外国语学院学报 Journal of PLA University of Foreign Languages 28.6 (2005): 69-72.

[2] Nord, C. 诺德. (2001). Translating as a Purposeful Activity:Functionalist Approaches Explained ［译有所为:功能翻译理论阐释]. Shanghai: Shanghai Foreign Language Education Press 上海外国语教育出版社 2001．

[3] Chen Xiaowei 陈小慰. (2000) 翻译功能理论的启示:对某些翻译方法的新思考 [Insights from the Functional Theory of Translation: New Reflections on Certain Translation Methods] [ J] .中国翻译 Chinese Translators Journal 2000( 4) :9-12.

[4] Venuti Lawrence 劳伦斯·韦努蒂. (2004). The Translator' s Invisibility: A History of Translation [译者的隐身: 翻译史] Shanghai: Shanghai Foreign Language Education Press 上海外国语教育出版社.

[5] Kuang Zhanghong, Zhu Yunyun 旷章红, 朱云云. (2009) 从目的论浅析归化与异化 [A Brief Analysis of Domestication and Foreignization from Skopos Theory] Xiang Tan: Xiangtan University 湘潭大学.

[6] Lefevere, A. 安德烈·勒菲弗尔. (2004) Translation / History / Culture: A Sourcebook [C]. [翻译、历史与文化论集] Shanghai: Shanghai Foreign Language Education Press 上海外国语教育出版社.

[7] Xu Yuanchong 许渊冲. [2007] 唐诗三百首 [300 Tang Poems] Beijing: ChinaTranslation&Publishing Corporation 中国对外翻译出版公司.

Advertisement Translation guided by the Functionalist Translation theory

谢芹芹 Xie Qinqin, 202030097006.

Abstract

In today's increasingly competitive market economy, it is not enough for companies to have quality products and services, but good advertising has also become an essential means of promotion. Traditional advertising translations cannot adapt to the highly purposeful and specific style of advertisements, and thus fail to achieve the effect of attracting customers. Functionalist translation theory, on the other hand, takes full account of the linguistic and cultural differences between the translated language and the original, leaving translators free to adopt different approaches in their translation practice and providing a new perspective for translation research. This thesis uses German functionalist approaches as theoretical framework throughout. By analyzing their main theories, their essence can be applied in advertising translation.

Key Words

Functionalist Translation theory; Advertisement; Translation

题目

功能翻译理论指导下的广告翻译

摘要

在市场经济竞争日益激烈的今天，企业仅有优质的产品和服务是不够的，好的广告也成为必不可少的宣传手段。传统的广告翻译无法适应广告的高度目的性和特殊风格，因而无法达到吸引顾客的效果。而功能翻译理论充分考虑到了译文和原文之间的语言和文化差异，使译者在翻译实践中可以自由采用不同的方法，为翻译研究提供了一个新的视角。本文以德国功能翻译理论为理论框架贯穿始终，通过对其主要理论的分析，将其理论的精髓运用于广告的翻译中。

关键词

功能翻译理论；广告；翻译

Introduction

With the rapid development of economic globalization, advertising has gradually become one of the largest, fastest and most widespread mediums of information transmission to drive the process of foreign trade in China. Not only does it convey the characteristics, functions and uses of products to domestic audiences in a multimodal manner through various mass media, such as television, radio and newspapers, thus serving to stimulate consumers' desire to buy and prompt the implementation of consumer behavior, but at the same time it also enhances the company's visibility and reputation abroad, opening up a new path for the development of major enterprises and institutions in foreign countries.

As advertising occupies a pivotal position in China's foreign trade and market economy system, advertising translation has also gradually attracted the attention of major enterprises and linguists, as it not only contains economic value, but also has the value of appreciation and research. The study of advertising translation under the guidance of functionalist translation theory has profound theoretical significance and practical value.

In terms of theory, it attempts to apply Functionalist translation theory to the study of advertising translation, with a view to improving the quality of advertising translation. As a large number of scholars have studied advertising translation from different perspectives, this study prompts translators to pay close attention to the functionalist approach in the translation process. Therefore, this study is certainly of great theoretical importance.

In practice, this thesis applies the functionalist translation theory to advertising translation. It discusses the principle concepts of advertising translation on the basis of a functionalist translation theory. At the same time, it tries to find a better way to guide the translation of advertisements in practice. In addition, the thesis discusses strategies for improving advertisement translation based on references to some examples of advertisements.

Chapter 1 Functionalist Translation Theory

Function-oriented translation research became popular in the 1970s and was introduced to China in the 1990s. It takes the intended function of the target text as a criterion. Functionalist theory has had a profound impact on translation research in China. Before the theory was introduced to China, people mainly focused on traditional Chinese translation theories, especially Yan Fu's three-character translation principles, namely faithfulness, expressiveness and elegance. At first, some scholars were skeptical of functionalist theory because it was incompatible with traditional theories. Over time, functionalist theory has been widely discussed among translation scholars and has attracted much attention for its new perspective on translation. In recent years, more and more translators and scholars have begun to accept and develop this theory. One main reason is that it plays the most important role in translation research. In addition, the functionalist approach to translation studies has not only brought new dimensions but also broadened the horizons of translators.

1.1 Background of the Theory

Since functionalist translation theory did not emerge overnight, a brief description of its background is necessary to give us an idea of how it emerged. Translation was once considered to be an art or craft. However, in the 1960s, due to the profound influence of the discipline of linguistics, the study of translation was defined as a science and became linguistically oriented. By the 1970s, the basic linguistic trend was not broken, although the focus shifted from words or phrases to the text as the unit of translation. (Nord, 2004:7)

One thing that most linguistically oriented translation theories have in common is the core concept of translation equivalence. (Hornby, 1995:15) However, translation theories based on equivalence also have their weaknesses. The most important point is the huge gap between theory and translation practice. The theory based on equivalence focuses on the source text, according to which the features of the source text must be preserved in the target text, and the target text must be equivalent to the source text. In practice, however, for centuries translators have argued that the process of translation should involve two procedures: in one case faithful reproduction of the quality of the source text and in the other case adaptation to the target audience. (Nord, 2004:9)

Therefore, equivalence-based translation theory excludes many translation phenomena such as adaptation from the field of translation studies, thus making it difficult to describe some common phenomena in translation studies. As a result, some scholars began to question the equivalence-based translation theory. A new theory was called into being. This was the functionalist approach that emerged in 1970, which aimed to break the linguistic translation theory and bridge the gap between theory and practice.

1.2.1 Reiss's Text-type Theory

In 1974, Katharina Reiss got her PhD in the University of Mayence. She is one of the important personages about contemporary translation. She has devoted herself to the most predominant work on the significance of text types for translation. Reiss's method deals with the text instead of the word or the sentence as the translation unit and accordingly the level at which equivalence is to be explored.

According to Reiss, she generalizes and describes the text types, namely, the informative text, the expressive text and the operative text. The content of the informative text is the primary focus. The expressive text mainly focuses on innovative text and aesthetics. The focus of the operative text is ‘appellative'. The form of language is always interlocutory. (Katharina Reiss and Hans J. Vermeer, 2014)

Reiss associates the three functions with their language dimensions' and to the text types or communicative circumstances in which they are utilized. It appears that though other categories can be suggested for a variety of purposes, they do not change the role of informative, expressive and operative function as the elementary categories. Reiss also believes that the three categories cover every written text, i.e., texts with more than one function.

The text-type theory gives prominence to the communicative role of texts. Accordingly, a translation is mainly a communicative service for the target language receivers. The texts can be classified depending on their function. Reiss also holds that the text is not regarded as the elementary unit. On the contrary, texts have the communicative function. It is the function that decides how a text should be translated.

1.2.2 Justa Holz-Manttari and Theory of Translation Action

The translational action model, put forward by Justa Holz-Manttari, stresses the process of translating instead of the translated version. It puts the translator into a wider social context. Holz-Manttari holds that it is not about translating words, sentences or texts but in every case about guiding the intended collaboration over cultural obstacles. It is not explicit how the latter can be accomplished without doing the former.

Holz-Manttari emphasizes the communicative translation process especially. The roles and players are the promoter, the commissioner, the ST producer, the TT producer, the TT user and the TT receiver. Besides, she holds that the source text and target text can be completely separated.

Each player has their own specific primary and secondary targets. A main reason is that translatorial action produces a TT that is functionally communicative and functionally appropriate in the target culture. In the meantime, it places translation in its socio-cultural context which involves the interaction effect between the translator and the institution that emphasizes it functionality.

1.2.3 Vermeer's Skopos Theory

The Skopos theory has been developed in Germany since the 1970s. It marks a shift from primarily linguistic to a more functional concept of translation. The Skopos theory, as a technical term, derives from the Greek word‘Skopos'. Hans J. Vermeer introduced it into translation theory in the 1970s. It gives prominence to the purpose of the translation, which decides the translation strategies to be advocated. The main view of this functional approach is that it is not the source text that determines the translation process, but the expected function of the target text that determines the translation process.Vermeer supposes that it should be the designed purpose of the target text that determines translation approaches and strategies in his ‘Framework for a General Translation Theory' (1978).

From the hypothesis, Vermeer derivers the Skopos rule: Human action, including translation, is determined by its intention. Vermeer also puts forward two further general rules, namely, the coherence rule and the fidelity rule. The Skopos rule is the top-rank principle, the coherence rule and the fidelity rule subordinate to it. The coherence rule is that the target text should be adequately coherent to allow the intended users to understand it, given their assumed background knowledge and situational circumstances. The fidelity rule may emphasize intertextual coherence between target text and the source text, and stipulates simply that some relationship should remain.

More often than not, the Skopos needs to be stated definitely or undemonstratively in the commission. Vermeer takes the commission as a goal and the conditions that the goal should be achieved, both of which should be consulted between the commissioner and the translator. By this means, the translator should advise the commissioner or client on the feasibility of the aim.

1.2.4 Nord's Function plus Loyalty

Another important scholar who helps spread the influence of functionalist approaches is Christiane Nord. She was the first of the‘German School' functionalist scholars to write in English. Her first English book was Text Analysis in Translation (1991). In this book, she elaborated a ‘translation-oriented model of text analysis in translation.’(Chen Xiaowei,2000)

Christiane Nord graduated from Heidelberg University in 1967 and got a Ph. D in Romance Language in 1983. She has turn into one of the most influential international personages in translation training and a major contributor to international collaboration.

Nord (1991) introduced a novel function-plus-loyalty model as a complement to Skopos theory. Moreover, it merely means a relationship holding between the source text and the target text. Function-plus-loyalty theory proposes that the translator should be loyal to the target readers.

Nord's adherence to Skopos theory implies she places prime emphasis on the purpose of the target text. Nord also makes a distinction between two primary types of translation process，namely, documentary translation and instrumental translation, documentary translation.

1.3 Advantages of the Theory

Traditional translation theories all take the original text as the starting point and the translation as the ending point, and in such translation theories, the yardstick to measure the quality of the translation is usually the original text. In contrast, by reversing the procedure of translation, the functionalist translation theory has put forward a more feasible translation model with the purpose theory as the core, and opened up a pluralistic standard of translation criticism with greater theoretical inclusiveness. The emergence of this theory reflects a comprehensive shift in translation research, i.e., from the previously dominant linguistic and form-oriented view of translation to a more functionally and socio-culturally oriented view of translation, and it can be said that the impact of functional translation theory on the translation community is global and groundbreaking, playing an irreplaceable and important role in the further improvement of translation theory.

Chapter 2 Advertisement and Advertisement Translation

In recent years, as the world economy is developing rapidly, goods from one country flow more frequently and freely into another. Advertisement has penetrated into every aspect of people's life through various channels. we watch it on television; hear it on radio, read it in newspapers, in magazines, on billboards or poster as well as on wrappings, bottles, T-shirts, the sides of buses, etc. It is no exaggeration to say that there are few places in the public without advertisements. Advertisement affects different aspects of our life，and plays an inestimable role in promoting the development of national economy and flourishing market. This influence will continue to grow. Since China’s reform and opening up, more and more multinational companies have come to invest in the immense markets of China viewing, advertisement as an indispensable and direct measure to serve economy. The intimate relationship between advertisement and economy as well as society has also made it an important subject for the study of the translation of advertisements. Thus advertisement translation has become a fast growing industry in modern society.

2.1 Definition of Advertisement

The word ‘advertise’stems from the Latin ‘advertere’, means‘to make known to the public’. Plenty of experts and scholars have reflected on the meaning of the word in different versions of its use. According to webster's Dictionary, advertisement is the activity of calling something to the attention of the public, especially by paid announcements.

In the opinion of the Association of National Advertisers (ANA), advertisement is a paid form of mass communication, aiming at offering information, altering others’ attitudes to advertised products，inducing others to get action and at last making profits for the advertisers. (Gu Jiazu, 2000:120)

American Marketing Association (AMA) defines advertisement as‘the non-personal communication of information usually paid for and usually persuasive in nature about products, services or ideas by identified sponsors through the various media.’ (Zhao Jing, 1992:1)

2.2 Characteristics of advertisement

Vestergaard and Sehroder hold that advertising takes many forms, but in most of them language is of great importance. Besides, the charming of language of advertising lies in its balanced, untidy, related, brief, complex and implied beauty. So it can help improve the understanding and designing of successful advertisements by studying the characteristics of English advertising thoroughly and theoretically.

Advertising language is a loaded language，that is to say，an eye-catching advertising should possess a persuasive or informative power. The thesis intends to analyze the special style by numerous advertising examples from three areas, namely, lexical level, grammatical level and rhetorical level.

2.3 Functions of Advertisement

According to the Association of National Advertising in the United States, the purpose of advertising consists of four words: awareness, comprehension, conviction and action (Zhao Jing, 1992:6).

Under Buhler's categorization of the functions of language: informative, expressive and appellative, Reiss put forward her functionalist approach to text typology. Advertisements fall into the operative text which focuses on the target receivers. American advertising criticism Vance Pankard said that most of us are unconsciously influenced and controlled by advertising in daily life (Yao Xi, 2002:11).

2.4 Advertisement Translation

Advertising is a kind of commercial activity with a specific goal, which is extremely purposeful. Its purpose is to convey information and win consumers, thus attracting their eyes and leading to their purchasing activities, which is the sole purpose of advertising. Functional translation theory holds that the intended purpose and function of the translation determines the method of translation. The most important function of advertising is to convey information about goods or services to consumers for the purpose of promotion. Since promotion is the ultimate purpose of advertising behavior, the primary purpose of commercial advertisement translation is to: cross the cultural barrier and realize the promotional function of the source language advertisement in the target language culture. Generally speaking, advertisements must follow the KISS principle, i.e.,‘keep it short and sweet’. Advertisements should be simple to save investment on the one hand and to facilitate consumer acceptance on the other. Consumers of different cultures have different value orientations, so the style of advertisements may also vary depending on the region and cultural background. When translating advertisements, translators should pay special attention to understanding the advertising norms of the target language culture, so that the translation style can meet the taste of the readers of the translated language. In other words, the advertisement translation should follow the advertising style of the translated language, respect the culture of the translated language, and pay attention to the reflection of the readers of the translated text. Only in this way can we ensure that the advertisement translation can achieve its expected function, effectively introduce the products to the consumers of the translated language and urge them to purchase the products.

2.4.1 Simplicity of Advertisement Translation

In order to attract more readers' attention, advertising language should follow the principle of simplicity, so that readers can easily identify and remember. Simple advertising language can convey the same amount of information in a limited space and time to reduce the cost of advertising. For example: Wings (Motorola Mobile Communications). Connecting people (Nokia cell phones). Two short words can convey the functional message of Nokia phones in a second, making a memorable impression. This instant effect is good for the product to gain consumers' favor in the promotion. (Lu Quan, 2000:54) Therefore, in the Chinese translation of the advertisement, it is required that the translation is also vivid and infectious, so that the readers of the translation can understand and appreciate the translation as much as the readers of the original text understand and appreciate the original text, and fully realize the promotional function of the advertisement.

2.4.2 The extensive use of rhetorical devices

The extensive use of rhetorical devices such as metaphor, metonymy and exaggeration in the English-Chinese advertising style makes the advertising phrases vivid, attracting people's attention to the advertised products and stimulating their desire and purchasing behavior. Therefore, it is very important for the translator to be able to reproduce the meaning and connotation of the original text with refreshing phrases.

Chapter 3 Advertisement Translation guided by the Functionalist Translation theory

The thesis intends to demonstrate the feasibility of applying functionalist theory to advertising translation studies in this chapter. And then it will list the possible translation strategies in the process of advertising translation in the light of the functionalist translation theory by citing a lot of advertising examples.

3.1 The Concept of Translational Action in Advertising Translation

We communicate effectively with others through verbal language as well as nonverbal language. Advertising translation also involves cross-culture communication. Functionalist approaches mainly concentrate on the process of translating instead of translated version. It puts the translating into a broader social context. Additionally, it considers the relationship between the translator and the client, the relationship between the translator and the original author and the relationship between the translator and the reader. Accordingly, if a translator wants to create the optimum advertisement, it usually depends on his professional skill and specialized knowledge of the target culture.

3.1.1 The Rule of the Skopos

The concept of skopos means the purpose of the target text. Functionalist approaches propose that the translation purpose justifies the translation process, namely, the end justifies the means. The advertisement has a clear purpose. It not only informs the prospective consumers of the advertised products or services but also persuades them into take action. The translation of the advertisement tries to achieve the purpose set by the commissioner. In other words, it aims at satisfying the needs of different market segments and gaining a larger market share. So the advertiser should design an advertisement to target the potential customers.

As Vermeer proposes, the translation thus has to be comprehensible, in the right sense, to the expected readership, i.e., the set of addressees. There is no question that such ‘pragmatic texts’ must be goal-oriented, and so are their translations. (Vermeer, 2000:226)

In her view, when translators begin to translate advertisements，the strategies are open to them. So which strategy should be adopted depends heavily on the purpose of the commission. The function is mainly to urge the prospective consumers to make a purchase. The advertisement should be translated in such a way that the function is achieved. In most circumstances it can be done by adopting the appropriate translation strategies and techniques.

3.1.2 The Role of the Source-text in Advertisement Translation

The source text plays a major role in the process of advertising translation. Without the source text, there would be no translation at all. A competent translator should be based on the original text in advertising translating.

Vermeer insists that the source text is considered as a mere offer of information. Nevertheless, it cannot prove that the original text is not important in Vermeer's approach. If a translator intends to make the translated version achieve the expected purpose, he will thoroughly analyze and explore the source text. Only by doing so, can he draw up correct and informed decisions concerning the questions such as what part of the original is necessary, or what kinds of meanings of the original must be kept, or what kinds of strategies and techniques should be adopted in a specific translation. And these choices in turn are significant to the fulfillment of the expected purpose of the translation. Hence, it cannot be denied that the original text should be brought to the forefront in functionalist approach. (Vermeer, 1987:541)

3.2 Two Suggested Strategies for Advertising Translation from the Functionalist Perspective

According to the Functionalist translation theory, translation is an action with clear purpose and intention. An intercultural exchange starts from the source text and aims at target text readers. The object of advertising translation is target-text reader with different cultures and customs. An advertisement is designed with the ultimate purpose of informing the prospective consumers of the advertised products or services and persuading them into take action. If the translator adopts the translation principle of‘faithfulness, expressiveness, elegance’, which lays emphasis on the original form and content, the translated version can't attain perfect effect. As a consequence, the task of translators is to inform the potential consumers of the advertised products or services and give the consumers a deep impression in advertising translation. The necessary conformance of original advertisement such as abridgement, adaption and addition should be taken in specific translation practice.

3.2.1 Addition

The term of addition means to add some information to the source text, including commenting, explaining and supplementing some information. Some information is conveyed briefly in the source text, especially the cultural information. Because the source readers are all too well aware of the information. However, in order to design a perfect translated version, translators usually add some information to the source text in the target text. Moreover, translators are supposed to elaborate on them to the target readers; otherwise, the background would confuse the target readers.

Source text: De Bierres: A diamond lasts forever.

Translation:钻石恒久远，一颗永流传。

Chinese people are more inclined to read some beautiful and rhythmical advertisements，state of mind can become better. Suppose the translator merely translates the source text into“钻石恒永远”,Chinese consumers feel it so boring when reading the advertisement. As they have got accustomed to reading sentences of verbal parallelism，they feel that the translation is incomplete immediately. As a consequence, when translator adds the sentence, symmetrical structure of the sentence has a flowing sense about it. The following example is a further illustration.

Source text: Intel Pentium: intel inside.

Translation: 英特尔奔腾:给电脑一颗奔腾的“芯”。

The underlined part“芯”is extra information in the translation. However, it plays a critical rule in the translated version, as it not only conveys the connotative meaning of the original text but also seems to indicate that the internal construction of computers is fair quality, which stimulates a desire in the audience to purchase the advertised product or services. The target text cannot attract customers without the additional information.

Even early theorists have also noticed the necessity of making the target text better than the source text for some text types. It is thus obvious that making some addition to the source text is acceptable in translation process in many instances so long as the translated version is conformable to the taste of the target readers. As Newmark states, although transferring the facts and this is frequently possible, the translator of advertising will try to make the text better than the original.

3.2.2 Omission

Omission means leaving out unimportant or uninteresting information from the source text to make the target text more memorable and pleasing to eye. In general, the strategy is applied in the translation of some Chinese advertising for the main reason that the English language is usually brief，precise and concise (Jia Wenbo 2004:42).

The purpose of omission is to achieve conciseness and bring the useful information into full play. As we know, English is characterized by brevity, getting rid of epideictic rhetoric while Chinese is more inclined to use modifiers and abounds and flowery words in advertising. Thus, sometimes it is necessary to adopt the translation strategy of omission in the process of E-C and C-E advertising translation. English and Chinese are from two different language families, they have their own habits and characteristics of grammar and they also embody two completely cultures. Chinese promote the harmonious development of human and nature of the concept of nature. Instead，Westerners may believe in the separation of nature from man. Additionally, Chinese has a greatest characteristic of common and smooth language, English is always terse and clear. More often than not, translators employ the strategy of omission for two reasons, one is to remove unimportant or uninteresting information; the other is to break down the cultural obstacles between different nations. See the following example of Long card of China Construction Bank:

Source text:衣食住行，有龙则灵。

Translation: Long Card makes your busy life easy.

3.2.3 Adaptive

Adaptive translation means that adjustments of the source text are made to comply with cultural norms, customs, linguistic characteristics and traditional values in the target culture. Needless to say, it is one of the efficient strategies to achieve the intended function in advertising translation. It is due to the fact that it mainly takes the target customers and cultural values and conventions into account. In most cases, translators copy the form of source version directly so that the translated version fails to meet the requirement of translation. Translators should make good use of various sources of information and adapt the source text to lay down the broad lines in view of the whole text. What's more, in order to achieve the purpose of translation, they should fully understand the significance of the relationship between source text and target text and convey the information of the source text in the translated version artfully. Only in this way can the translated version appeal to the target readers. There are some examples to illustrate this point.

a. Connecting people! Nokia. 诺基亚，科技以人为本。

b. Go my own way. 运动休闲，我行我素。

c．我有我的品质. What we do, we do well.

English advertising possesses its own linguistic characteristic. The first feature is at linguistic level. We all know that the purpose of advertising translation is to inform the target readers of the advertised products or services and persuade them to take action. Translation version should appeal to target readers in order to achieve the goal. As a result, the translation should be consistent with the linguistic features of advertising English at first. See the following example:

接天下客，送万里情。

Ready to meet guests from all over the world,

Ready to speed them on their way.

It is an advertisement for one company of Tianjin. However, English audiences cannot understand the translated version. The English version makes use of the words‘guests’,‘them’and‘their, English audiences are feeling that there is the distance between the consumers and the company. More often than not, English advertising more tends to use the second personal pronouns. It has a reputation to make sense of friendliness. Moreover，using the second personal pronouns can make the English audiences have a feeling of affinity to the company psychologically. Accordingly, It is better to change these words into‘you’and‘your’in the English version. Thus the translation should be Ready to meet you from all over the world, Ready to speed you on your way.

Conclusion

Functionalist approaches have made a breakthrough in translation field. Focusing on the target text and its functions in the target culture，functionalist approaches have opened up a new horizon for advertisement translation. The main ideas of this theory, such as translation Skopos, the role of source text, the role of translators and target receivers have significant meaning to advertisement translation. The source text cannot be departed completely. It provides basic information for translation. However, it doesn't play a key role in advertisement translation. Functionalist approaches to advertisement translation can free translators from the bound of source text, and entitle them to choose whatever strategies they think appropriate to translate the advertisement text. Therefore, translators can enjoy much more freedom in translating, thus leaving much room for their creativeness. However, it does not mean that the translator enjoys the freedom to drop the information of the original text. On the contrary，translator should have a clear understanding of the original advertisement，which includes the factual information of the product, the defined target market and the functions of the original advertisement. The target receivers enjoy a higher status in functionalist approaches. In advertisement translation，target receivers are the potential consumers to realize the purpose of translation.

References

[1] Nord, Christine. (2004) Translation as a Purposeful Activity: Functionalist Approaches Explained. Shanghai Foreign Language Education Press

[2] Homby, Snell Mary. (1995) Translation Studies. Shanghai Foreign Language Education Press

[3] Katharina Reiss and Hans J. Vermeer. (2014) Towards a General Theory of Translation Action. Routledge, New York

[4] Veemeer, Hans J. (1987) What does it Mean to Translate? Indian Journal of Applied Linguistics

[5] Chen Xiaowei 陈小慰. (2004) 功能翻译的启示 Insights from Functional Translation. 中国翻译 Chinese Translators Journal

[6] Gu Jiazu 顾嘉祖. (2000) 跨文化交际 Intercultural Communication. 南京师范大学出版社 Nanjing Normal University Press

[7] Lu Quan 陆全. (2000) 谈广告汉英翻译的变通 On the Adaptation of Chinese-English Translation of Advertisements 山东外语教学 Foreign Language Education in Shandong

[8] Vermeer, H.J. (2000) Skopos and Commission in Translational Action, in Venuti, L (ed.) The Translation Studies Reader. London: Routledge

[9] Yao Xi 姚曦. (2002) 广告概论 Introduction to Advertising 武汉大学出版社 Wuhan University Press

[10] Zhao Jing 赵静. (1992) 广告英语 Advertising English 外语教学与研究出版社 Foreign Language Teaching and Research Press

[11] Jia Wenbo 贾文波. (2004) 应用翻译功能论 Applied Translation Functionalist Theory 中国对外翻译出版公司 China Translation and Publishing Corporation

Eine Studie über die Übersetzung chinesischer Spezialitäten aus der Sicht der Newmark-Übersetzungstheorie - am Beispiel der deutschen Fassung des Traums von der roten Kammer

尹巧 Yin Qiao Frauke, 202030097021

Abstract

Die chinesische Kultur ist tiefgründig, hat eine lange Tradition und kann auf eine fünftausendjährige Geschichte zurückblicken, die in der Welt einzigartig ist. In der alltäglichen Kommunikation und Übersetzung werden einige Wörter direkt durch Pinyin ersetzt, für andere gibt es spezielle Übersetzungen, und das Problem ist, dass es für den Leser schwierig ist, zu verstehen, was diese Wörter bedeuten, wenn er sie liest, was wiederum das Verständnis anderer Texte beeinträchtigt. Wie man diese charakteristischen Wörter übersetzt, ist ein schwieriges Problem. In diesem Beitrag wird anhand der Übersetzungstheorie von Newmark erörtert, wie diese charakteristischen chinesischen Wörter zu übersetzen sind, um einen guten kulturellen Austausch zu erreichen, und zwar am Beispiel der deutschen Fassung des Traums von der Roten Kammer.

Schlüsselwörter

Newmarks Übersetzungstheorie, charakteristischer chinesischer Wortschatz, deutsche Fassung des Traums von der roten Kammer.

题目

纽马克翻译理论视角下中国特色词汇翻译研究——以德版《红楼梦》为例

摘要

中国文化博大精深，源远流长，有着上下五千年的积淀，在整个世界独树一帜。但是有许多词汇或者说特定的表达方式在西方并没有概念，在日常交流和翻译中，有些词汇直接用拼音代替，有些词汇有特定的翻译，与此同时所产生的问题是阅读时读者很难理解这些词汇所代表的含义，从而影响到对其他文本的理解。如何翻译这些特色词汇是一个很困难的问题。本文从纽马克的翻译理论出发，以德版《红楼梦》为例，探讨如何翻译这些中国特色词汇，才能达到良好的文化交流的效果。

关键词

纽马克翻译理论，中国特色词汇，德版《红楼梦》

1. kurze Beschreibung der Newmarkschen Übersetzungstheorie

Peter Newmark, geboren 1916, ist ein bekannter Übersetzer und Übersetzungstheoretiker. Er arbeitete an Übersetzungen in eine Vielzahl europäischer Sprachen, war ein versierter Übersetzer, Redakteur und Linguist und diente als Präsident der British Association of Linguists. Sein Hauptinteresse galt der Anwendung der einschlägigen Theorien der Linguistik auf die Übersetzungspraxis, wobei er das Studium der Übersetzung mit dem Studium der englischen Sprache verband.

Newmark unterteilte die Übersetzung in vier Hauptkategorien: kommunikative Übersetzung, semantische Übersetzung, direkte Übersetzung und tote Übersetzung (zeilenweise, wortweise Übersetzung). Sein Vorschlag der kommunikativen Übersetzung und der semantischen Übersetzung sowie der Gemeinsamkeiten und Unterschiede zwischen diesen beiden Arten der Übersetzung hat der übersetzungstheoretischen Forschung neue Wege eröffnet und in der westlichen Linguistik und Übersetzungstheorie große Resonanz ausgelöst.

Newmark schlug vor, dass Übersetzung sowohl eine Wissenschaft als auch eine Kunst ist. Ersteres liegt daran, dass einige Dinge in einer Sprache standardisiert sind und nur zwei Übersetzungen erlaubt sind, und wenn zwei Sprachen ineinander übersetzt werden, ist die Übersetzungsmethode im Grunde festgelegt. Letzteres liegt daran, dass es in einer Sprache Dinge gibt, die eine Vielzahl von Optionen und Übersetzungen zulassen, die nicht standardisiert sind. Er sucht die Hilfe anderer Theorien, um seine theoretische Grundlage zu verfeinern und als künstlerisches Ganzes mit seiner künstlerischen Wirkung und seinen rhetorischen Eigenschaften zu bestehen.

1.1 Newmarks Theorie der Textsorte

Newmark geht von der Funktion der Sprache aus und stellt eine eigene Theorie der Textfunktion und ihrer Klassifizierung auf der Grundlage der Überarbeitung des Funktionsmodells von Bühler und Jacobson vor. Newmark teilt die Funktionen der Sprache in sechs Kategorien ein: expressive Funktion, informative Funktion, evokative Funktion, ästhetische Funktion, abschreckende Funktion und meta-linguistische Funktion. Ein Text kann eine Funktion oder mehrere Funktionen gleichzeitig haben, aber eine dieser Funktionen ist vorherrschend. Auf dieser Grundlage haben viele Studien Texte in sechs entsprechende Typen eingeteilt, nämlich in expressive, informative, evokative, ästhetische, angenehme und metasprachliche Texte. Zu den gebräuchlichen Textsorten gehören aussagekräftige, informierende und evokative Texte. Expressive Texte betonen die Ausdrucksfunktion der Sprache und umfassen ernste und phantasievolle Literatur (z. B. Gedichte, lange Romane und Theaterstücke), autoritative Texte (z. B. politische Reden, juristische Dokumente, wissenschaftliche und philosophische Werke usw.) und einfache Texte (z. B. Autobiografien, Essays, persönliche Briefe usw.). Informationstexte betonen die Informationsfunktion der Sprache, z. B. Lehrbücher, akademische Berichte, Zeitungen und Zeitschriften, Aufsätze, Protokolle von Vorträgen usw. Call-out-Texte betonen die Call-out-Funktion der Sprache, indem sie den Leser oder die Person, die begrüßt wird, ansprechen. Dazu gehören Bedienungsanleitungen, Werbematerialien, Bewerbungen, Fallbeispiele, populäre Lesetexte (Edutainment-Texte) usw.

1.2 Newmarks Ansatz zur Übersetzung

Newmark plädiert für unterschiedliche Übersetzungsmethoden für verschiedene Textsorten. Die wichtigste dieser Übersetzungsmethoden ist die semantische und kommunikative Übersetzung, die er in Explorations in Translation vorschlägt. Newmarks semantische und kommunikative Übersetzung wurde vor dem Hintergrund einer seit langem geführten Debatte in Übersetzerkreisen über direkte und wörtliche Übersetzung vorgeschlagen. Er argumentiert, dass beide Seiten der Debatte über direkte und wörtliche Übersetzung seit dem 1. Jahrhundert n. Chr. bis heute die Tatsache ignoriert haben, dass Übersetzung auch den Zweck der Übersetzung, die Eigenschaften des Lesers und die Art des Textes berücksichtigen sollte, und dass beide Seiten der Debatte zu idealistisch waren. Newmark räumt ein, dass der Konflikt zwischen Originaltreue und Übersetzungstreue ein ständiges Thema in der Übersetzungstheorie und -praxis ist, aber er glaubt, dass dieser Konflikt gelöst werden kann. Die Einführung dieser beiden Konzepte durch Newmark erweitert die konzeptionelle Debatte zwischen direkter und wörtlicher Übersetzung, die in Übersetzerkreisen seit Tausenden von Jahren geführt wird, und weist auf neue Richtungen und Ideen für die Übersetzungsforschung hin. Darüber hinaus hat die semantische Übersetzung die Vorteile der wortgetreuen Übersetzung, der direkten Übersetzung und der getreuen Übersetzung, und die kommunikative Übersetzung hat die Vorteile der Einbürgerung, der sinnvollen Übersetzung und der authentischen Übersetzung, die als die idealste Übersetzungsmethode angesehen werden sollte. 

1.2.1 Semantische Übersetzung

Newmark interpretiert die semantische Übersetzung so, dass „der Übersetzer versucht, die genaue kontextuelle Bedeutung des Originalautors nur innerhalb der Grenzen der Syntax und Bedeutung der Zielsprache wiederzugeben“ (Newmark, 1981:22). Semantische Übersetzungen versuchen also, die ursprüngliche Form so weit wie möglich innerhalb der von der Zielsprache gesetzten Grenzen wiederzugeben. Newmark erklärt: „Eine semantische Übersetzung sollte die semantische und syntaktische Struktur der zweiten Sprache sowie die genaue kontextuelle Bedeutung des Originals so weit wie möglich übersetzen.“ Der Unterschied zwischen einer semantischen Übersetzung und einer direkten Übersetzung besteht darin, dass eine direkte Übersetzung nur die Grundbedeutung der Wörter des Ausgangstextes wiedergibt und, obwohl sie der syntaktischen Struktur der Zielsprache entspricht, die kontextuellen Faktoren der in der Ausgangssprache verwendeten Wörter nicht berücksichtigt und den Kontext, in dem die Sprache verwendet wird, nicht beachtet. Bei einer semantischen Übersetzung muss der Übersetzer zunächst dem Originalautor treu bleiben, sich der Kultur der Ausgangssprache unterordnen und die konnotative Bedeutung des Ausgangstextes nur dann interpretieren, wenn sie ein Hindernis für das Verständnis darstellt. Infolgedessen neigt die semantische Übersetzung manchmal dazu, zu viel zu übersetzen und kann komplexer und umständlicher erscheinen als die kommunikative Übersetzung. 

1.2.2 Kommunikative Übersetzung

Die kommunikative Übersetzung ist eine Methode oder ein Ansatz zur Übersetzung, „der die Übersetzung als einen kommunikativen Prozess betrachtet, der in einem sozialen Kontext stattfindet“. Newmark sagt: „Das Ziel der kommunikativen Übersetzung ist es, in der Zielsprache so weit wie möglich die gleiche Wirkung zu erzielen, die der Leser des Originals empfindet“ (Newmark, 1981:22). Mit anderen Worten: Anstatt zu versuchen, den Text und die Form des Originals getreu wiederzugeben, konzentriert sich die kommunikative Übersetzung darauf, die Botschaft entsprechend den sprachlichen, kulturellen und pragmatischen Gegebenheiten der Zielsprache zu übermitteln. Auf diese Weise hat der Übersetzer mehr Freiheit, den Originaltext zu interpretieren, den Stil anzupassen, Zweideutigkeiten zu beseitigen und sogar Fehler des Originalautors in der kommunikativen Übersetzung zu korrigieren usw. Es ist klar, dass eine kommunikative Übersetzung die Wiedergabe des Originaltextes und eine genaue Kontextualisierung erfordert, und zwar in einer Weise, die für den Leser akzeptabel und verständlich ist.

Bei der kommunikativen Übersetzung vertritt Newmark die Auffassung, dass die Wirkung des Zieltextes dem Ausgangstext so nahe wie möglich sein sollte. Da der Schwerpunkt eher auf der Wirkung als auf dem Inhalt liegt, muss die kommunikative Übersetzung in erster Linie der Zielsprache und dem Leser des Zieltextes treu sein, wobei die Ausgangssprache der Zielsprache und -kultur untergeordnet werden muss und dem Leser nichts zweifelhaft oder unklar bleiben darf. Infolgedessen sind kommunikative Übersetzungen manchmal eher unzureichend übersetzt und werden glatter und einfacher sein als semantische Übersetzungen, die in der Regel kürzer sind.

1.2.3 Die Gemeinsamkeiten und Unterschiede zwischen semantischer und kommunikativer Übersetzung

Newmark definiert „semantische Übersetzung“ und „kommunikative Übersetzung“. Ersteres bezieht sich auf die möglichst genaue Wiedergabe der kontextuellen Bedeutung des Originals, während letzteres sich darauf bezieht, dass die Übersetzung eine Wirkung auf den Leser des übersetzten Textes hat, die so weit wie möglich der Wirkung des Originals auf den Leser des Originaltextes entspricht. Es gibt Ähnlichkeiten und Unterschiede zwischen den beiden. Der Unterschied zwischen der semantischen und der kommunikativen Übersetzung besteht darin, dass erstens die semantische Übersetzung objektiver ist, sich auf die Genauigkeit konzentriert, sich der Kultur der Ausgangssprache und des Autors beugt, die Semantik des Ausgangstextes übersetzt und sie nur dann erklärt, wenn die konnotative Bedeutung des Ausgangstextes das größte Hindernis für das Verständnis darstellt; die kommunikative Übersetzung ist subjektiver, konzentriert sich nur auf die Reaktion der Leser des übersetzten Textes, bringt die Ausgangssprache dazu, sich der übersetzten Sprache und der Kultur der übersetzten Sprache zu beugen, und lässt keine Zweifel und Unklarheiten für die Leser. Zweitens gibt es auch Unterschiede zwischen den beiden in Bezug auf die Form des Ausdrucks. Die semantische Übersetzung bringt die Übersetzung näher an die Form des Originals und bewahrt so weit wie möglich die Klangeffekte des Originals. Sie ist komplexer, schwerfälliger, spezifischer und komprimierter als eine kommunikative Übersetzung, konzentriert sich eher auf den Gedankengang des Autors als auf seine Absichten und neigt zu einer Überübersetzung, d. h. zur Verwendung spezifischer Wörter mit einer spezielleren Bedeutung als das Originalwort; eine kommunikative Übersetzung ist dagegen glatt, einfach, klar, direkt, gebräuchlich und neigt zu einer Unterübersetzung, d. h. zur Verwendung allumfassender allgemeiner Wörter, wenn es sich um schwierige Wörter handelt. Drittens: Wenn sich Inhalt und Wirkung einer Nachricht widersprechen, legt die semantische Übersetzung den Schwerpunkt auf den Inhalt und nicht auf die Wirkung, während die kommunikative Übersetzung das Gegenteil tut.

1.3 Strategien zur Auswahl von Newmarks Textsorten und Übersetzungsmethoden

Newmarks funktionale Interpretation ist sehr subtil und sehr operativ. Newmarks Textfunktion stützt sich auf die funktionalen Modelle von Bühler, Jacobson und Rice, modifiziert und ergänzt sie und ist systematischer und vollständiger als die funktionalen Analysen der drei früheren Wissenschaftler. Auf dieser Grundlage versucht Newmark, ein Modell von Textsorten zu erstellen, das die Übersetzungspraxis durch den Vergleich und die Beschreibung der Systeme von Ausgangs- und Zielsprache leitet. Unterschiedliche Textarten erfordern unterschiedliche Übersetzungsmethoden, um ihnen gerecht zu werden. So argumentiert Newmark, dass bei Texten, die in erster Linie eine expressive Funktion haben, die besondere sprachliche Form und der Inhalt des Autors als gleich wichtig angesehen werden sollten. Die Übersetzung von Informationstexten hängt vom jeweiligen Kontext ab; so sollte die Simultanübersetzung von Informationstexten auf einer semantischen Übersetzung basieren, während Texte zu wissenschaftlichen und technischen Themen eher kommunikativ übersetzt werden sollten. Für die Übersetzung von Aufforderungstexten, die sich auf soziale Beziehungen und Titel beziehen, ist die kommunikative Übersetzungsmethode geeignet.

Es sollte beachtet werden, dass sogar dieselbe Textart in verschiedenen Kontexten unterschiedliche Funktionen haben kann und dass es keine notwendige Entsprechung zwischen Textart und Übersetzungsmethode gibt. Denn aus theoretischer Sicht „bilden Newmarks Textsorten im Gegensatz zu den Übersetzungsmethoden kein graduelles Kontinuum, was bedeutet, dass die beiden Taxonomien nicht isomorph sind und daher ein Satz verschiedener Übersetzungsmethoden nicht auf verschiedene Textsorten angewendet werden kann“ (Zhang Nanfeng, 2004:102). Die Textarten können sich mit der kulturellen Zeit und dem Raum verändern. Darüber hinaus beeinflusst der Kontext der Übersetzung auch die Wahl der Übersetzungsmethode.

Die semantische Übersetzung ist eher objektiv, sie konzentriert sich auf die Genauigkeit der Übersetzung und folgt der sprachlichen Form des Ausgangstextes und lässt dem Übersetzer weniger Spielraum; die kommunikative Übersetzung ist eher subjektiv, sie legt Wert auf die Lesbarkeit der Übersetzung und konzentriert sich auf die Reaktion des Lesers, was dem Übersetzer mehr Spielraum lässt. Ausdrucksstarke Texte, bei denen der Originalautor im Mittelpunkt steht, sind meist Ausdruck persönlicher Emotionen, und bei der Übersetzung sollte der Grundsatz „Autor zuerst“ beachtet werden, weshalb eine semantische Übersetzung verwendet wird; bei informativen Texten steht die Authentizität der Informationen im Vordergrund, und sie sind in der Regel nicht in persönlicher Sprache verfasst, weshalb bei der Übersetzung der Grundsatz „Authentizität zuerst“ beachtet werden sollte. Der Übersetzer sollte dem Grundsatz „Authentizität zuerst“ folgen und Wert auf die Wirkung der Informationsübermittlung legen. Er muss sich nicht an die Form des Originaltextes halten, sondern kann entsprechende Änderungen vornehmen und sich um eine reibungslose und leichte Verständlichkeit bemühen, so dass diese Art von Text meist für kommunikative Übersetzungen verwendet wird; bei Call-to-Action-Texten steht die Reaktion des Lesers im Mittelpunkt, und der Übersetzer sollte beim Übersetzen dem Grundsatz „Leser zuerst“ folgen. Der Übersetzer hat einen größeren Freiheitsgrad, und die Methode der kommunikativen Übersetzung wird ebenfalls häufig angewandt.

In der Praxis ist die Verwendung von semantischer und kommunikativer Übersetzung jedoch nicht absolut und kann oft austauschbar verwendet werden. Die Textsorten eines Textes überschneiden sich oft, und der Übersetzungsprozess erfordert manchmal eine semantische Übersetzung, und manchmal ist eine kommunikative Übersetzung aussagekräftiger, so dass sich die beiden Strategien gegenseitig ergänzen.

2. die Definition von Wörtern mit chinesischen Merkmalen und die Analyse von Wörtern mit chinesischen Merkmalen im Traum der roten Kammer

Die chinesische Sprache ist seit über 5.000 Jahren ein Träger der chinesischen Geschichte und Kultur. Das Vokabular mit chinesischen Merkmalen bezieht sich auf die Wörter oder Ausdrücke, die für China in den Bereichen Politik, Wirtschaft, Kultur, Bildung usw. charakteristisch sind. Wie der Name schon sagt, ist das wichtigste Merkmal des chinesischen Wortschatzes, dass er nur in China vorkommt. Diese Wörter sind sowohl in China als auch in der ganzen Welt einzigartig, und es ist schwierig, eine genaue Entsprechung in anderen Kulturen zu finden. Diese Wörter sind sehr charakteristisch und haben eine reiche kulturelle Konnotation, in der sich einige der kulturellen Merkmale Chinas widerspiegeln. Die chinesische Kultur ist einzigartig in der Welt, und ihr 5.000 Jahre altes Kulturerbe hat uns zahllose kulturelle Schätze hinterlassen. Einige Wörter können mit Pinyin übersetzt werden, während andere nicht nur ihren ursprünglichen Geschmack und Stil verlieren, sondern auch für den Leser unverständlich sind. Die direkte Übersetzung kann zu einem Mangel an semantischer Bedeutung führen, und eine falsche Formulierung in der Übersetzung kann ebenfalls zu einer unklaren Semantik führen, ganz zu schweigen von der semantischen Mehrdeutigkeit, die durch kulturelle Unterschiede entsteht. Die Übersetzung ist daher ein schwieriges Thema, wenn es darum geht, unsere Kultur zu vermitteln. Einige Wörter haben einen reichen kulturellen Hintergrund oder eine besondere Bedeutung, andere sind spezifische Ausdrücke, und es gibt auch chinesische Ausdrücke in stark kontextualisierten Kulturen, die manchmal eine tiefere Bedeutung haben und eine völlig andere Bedeutung als die wörtliche haben.

Der charakteristische chinesische Wortschatz ist kreativ und einzigartig. Die Schaffung eines charakteristischen chinesischen Wortschatzes ist ein komplexes sprachliches Phänomen, das sowohl wörtliche als auch kulturelle Bedeutungen umfasst. China ist ein altes Land mit einer langen Geschichte, und seine traditionellen Vorstellungen haben das chinesische Volk stark beeinflusst. So wird zum Beispiel „Wushu“ mit „武术“, „Kung Fu“ mit „功夫“ und „Yang Ko“ mit „扭秧歌“ übersetzt, allesamt Wörter mit charakteristischen chinesischen Merkmalen, die von Ausländern nicht verstanden werden. Dies sind alles eindeutig chinesische Wörter, die ausländischen Lesern möglicherweise nicht bekannt sind. Die historischen und kulturellen Unterschiede zwischen China und dem Ausland haben zu Unterschieden im Wortschatz geführt, so dass die Einzigartigkeit dieser Wörter eine kreative Übersetzung erfordert. Es gibt viele Faktoren, die die Qualität von Übersetzungen chinesischer Fachtexte beeinflussen, darunter das Sprachsystem, der kulturelle, politische und wirtschaftliche Hintergrund sowie das Niveau und die Fähigkeiten des Übersetzers selbst. Einer der wichtigsten Faktoren, der die Qualität von Übersetzungen chinesischer Fachgebiete beeinflusst, ist der Faktor Sprachsystem. Da Chinesisch und Deutsch zwei sehr unterschiedlichen Sprachsystemen angehören, gibt es Unterschiede in ihrer Struktur, Grammatik und ihrem kulturellen Hintergrund. Infolgedessen ist es für Übersetzer oft schwierig, eine exakte sprachliche Entsprechung im Deutschen zu finden, was die Übersetzung chinesischer Spezialitäten zu einer schwierigen Aufgabe macht. Zweitens ist die Sprache sowohl ein Teil der Kultur als auch ein Träger der Kultur. Daher haben die meisten chinesischen Wörter eine kulturelle Konnotation, und aufgrund dieser Eigenschaft chinesischer Wörter ist die kulturelle Konnotation dieser Wörter ein wichtiger Faktor bei der Übersetzung chinesischer Wörter.

Der Traum der roten Kammer, früher bekannt als Die steinerne Chronik, ist ein alter chinesischer Roman in Kapitel- und Versform, eines der vier großen klassischen Meisterwerke Chinas. Die ersten 80 Seiten werden allgemein Cao Xueqin, einem Schriftsteller der Qing-Dynastie, zugeschrieben, während die letzten 40 Seiten einem unbekannten Autor, Cheng Weiyuan und Gao E zugeschrieben werden. Der Roman spielt vor dem Hintergrund des Aufstiegs und Niedergangs der vier großen Familien Jia, Shi, Wang und Xue und basiert auf der Perspektive des wohlhabenden Sohnes Jia Baoyu. Die Liebes- und Ehetragödien von Jia Baoyu, Lin Daiyu und Xue Baochai sind die Hauptstränge, die das Leben einiger der schönsten Frauen im Guige (Unverheiratete Frauen) schildern und die wahre Schönheit von Menschlichkeit und Tragödie zeigen. Es ist ein episches Werk, das die Schönheit der Frauen aus allen Blickwinkeln und allen Aspekten der alten chinesischen Gesellschaft zeigt.

Der Traum der roten Kammer ist ein Roman mit weltweiter Wirkung, eine Enzyklopädie der chinesischen Feudalgesellschaft und ein Meisterwerk der traditionellen Kultur. Die Zurückhaltung des Autors, „Obwohl es in diesem Buch viel um Beziehungen geht, ist es auch nichts anderes als eine Aufzeichnung der tatsächlichen Ereignisse（大旨谈情，实录其事）“ und nur seinen eigenen Ereignissen und Emotionen zu folgen, hat zu einer außergewöhnlichen künstlerischen Leistung geführt. Der besondere Schreibstil „das Wahre ist verborgen, aber die falschen Worte sind vorhanden（真事隐去，假语存焉）“ hat die Gedanken der späteren Leser weit geöffnet, und es wurden lange Zeit Spekulationen angestellt. Seit dem zwanzigsten Jahrhundert ist der Traum von der Roten Kammer mit seinen reichen und tiefgreifenden ideologischen Grundlagen und außergewöhnlichen künstlerischen Leistungen Gegenstand einer speziellen Studie, der Redologie.

Der Traum der Roten Kammer ist der Höhepunkt der alten chinesischen Belletristik und repräsentiert die höchste Stufe der klassischen chinesischen Kultur. Aufgrund seines bedeutenden historischen Status hat die Übersetzung des Traums von der Roten Kammer nie aufgehört, und gleichzeitig hat auch das Studium seiner Übersetzung nie aufgehört. Dieser Artikel befasst sich mit der Übersetzung von Wörtern mit chinesischen Merkmalen in Der Traum der Roten Kammer. Der Traum der Roten Kammer spielt in der Feudaldynastie, so dass alle Szenen, Charaktere, Dialoge, Handlungen und andere Aspekte klassische Merkmale aufweisen, und es gibt unzählige Wörter mit chinesischen Merkmalen in dem Buch, ganz zu schweigen von den Gedichten, die überall im Buch zu finden sind.

3. die Anwendung der Newmarkschen Übersetzungstheorie auf die Übersetzung chinesischer Eigenschaftswörter und die Wahl der Übersetzungsmethode

Der Traum der Roten Kammer ist nach Newmarks Texttypentheorie ein ausdrucksstarker Text, und es ist logisch, die Methode der semantischen Übersetzung anzuwenden, um den Schreibstil des ursprünglichen Autors beizubehalten. Da jedoch der chinesische Kontext und die besonderen chinesischen Ausdrücke im Inhalt von Der Traum der Roten Kammer für ausländische Leser schwer zu verstehen sein können, kann die Übersetzung, wenn sie sich bemüht, nahe am Originaltext zu bleiben, bei den Ziellesern zu Leseschwierigkeiten führen. Daher kann die Methode der kommunikativen Übersetzung auch in einigen schwierigen Bereichen der Übersetzung angemessen eingesetzt werden. Wie im vorangegangenen Abschnitt erwähnt, können semantische und kommunikative Übersetzung oft austauschbar verwendet werden und sich gegenseitig ergänzen.

Der Roman hat einzigartige Merkmale, die ihn von anderen Formen der Literatur unterscheiden. Die Sprache des Romans ist lebendig und anschaulich, die Sprache der Figuren ist reich an Persönlichkeit, und die Verwendung verschiedener rhetorischer Muster erfordert vom Übersetzer ein genaues Erfassen der Entwicklungsstufe der Erzählung. Daher sollte der Übersetzer die Methoden der semantischen Übersetzung und der kommunikativen Übersetzung anwenden, um die Beziehung zwischen Form und Bedeutung auf der Grundlage eines umfassenden Verständnisses der übersetzten Sprache zu behandeln, so dass die Übersetzung kohärent und fließend ist und gleichzeitig den Stil und das künstlerische Bild des Originalwerks vermittelt, so dass die Übersetzung dem Originaltext sowohl inhaltlich als auch stilistisch nahe kommt.

4. Übersetzungsbeispiele

Im Traum der roten Kammer gibt es viele Wörter mit chinesischen Merkmalen. Schauen wir uns zunächst die Namen im Buch an, einschließlich der Namen von Personen und Orten. An vielen Stellen legt Cao Xueqin den Grundstein für die spätere Handlung und verwendet Wortspiele, um Charaktere oder Schicksale anzudeuten, und an einigen Stellen haben die Harmonien versteckte Bedeutungen und hinterlassen so unzählige Räume für zukünftige Generationen zum Studieren und Nachsinnen. Was das literarische Werk selbst betrifft, so ist eines der Hauptmerkmale des Traums von der Roten Kammer die Verwendung zahlreicher Wortspiele im Text, insbesondere in den Namen von Personen, Orten und poetischen Urteilen, die eine entscheidende Rolle bei der Charakterisierung und Entwicklung der Handlung spielen und ein Schlüssel zum wirklichen Verständnis des Traums von der Roten Kammer durch den Leser sind. Einerseits ist es für den Übersetzer aufgrund der großen Anzahl von Wortspielen und ihrer schwerwiegenden Funktionen unmöglich, sie zu ignorieren; andererseits basieren viele von ihnen auf der Schrift und enthalten viele wichtige Elemente der traditionellen chinesischen Kultur, die bei der Übersetzung nicht übergangen oder gar weggelassen werden dürfen, da sonst das Verständnis des Lesers für das Werk beeinträchtigt wird.

Newmarks Übersetzungstheorie konzentriert sich insbesondere auf die Rolle der praktischen Anleitung. Er betont, dass die Übersetzungsstandards durch die sprachliche Funktion und die Textsorte bestimmt werden sollten und dass unterschiedliche Texte unterschiedliche Übersetzungsmethoden und -strategien erfordern. Der Traum von der roten Kammer enthält eine Vielzahl von Wortspielen, einige in den Namen von Personen und Orten im Text, andere in der Poesie. Obwohl es sich um Wortspiele in ein und demselben Werk handelt, können sie als unterschiedliche Texttypen betrachtet werden, und die sprachliche Funktion und die Ausdruckswirkung dieser Wortspiele sind unterschiedlich. Unter diesem Gesichtspunkt scheint Newmarks Theorie eine gewisse Orientierung für die Übersetzung von Wortspielen im Traum von der Roten Kammer zu bieten.

Chinesische Wortspiele haben im Allgemeinen zwei Bedeutungen - eine wörtliche und eine implizite, d. h. Wortspiele „nutzen die phonetischen oder semantischen Bedingungen eines Wortes, eines Satzes oder einer Sprache, die sowohl auf A als auch auf B zutreffen, und bilden eine Tabelle und ein li; die Tabelle ist das Objekt und das li ist die Hauptausdrucksform“. Unabhängig davon, ob es sich um ein harmonisches oder ein semantisches Wortspiel handelt, muss es mindestens zwei Dinge in einem Wort ausdrücken, und dies ist das Hauptmerkmal eines Wortspiels. Die beiden Bedeutungen von Wortspielen sind miteinander verknüpft und können nah oder fern sein; die Worte sind „an der Oberfläche“, aber die Bedeutung ist „im Inneren“. Darüber hinaus hat die Zusammensetzung von semantischen Wortspielen ihre eigene spezielle Grundlage, d. h. das Wort hat mehrere Bedeutungen. Die oben genannten Merkmale sind sowohl Kriterien für die Beurteilung von Wortspielen als auch gemeinsame Merkmale von Wortspielen. Die Wortspiele im Traum der roten Kammer sind nicht nur diesen Büchern gemeinsam, sondern haben auch ihre eigenen Besonderheiten, die auf den historischen Kontext, in dem sie geschrieben wurden, und den exquisiten und einzigartigen Schreibstil des Autors Cao Xueqin zurückzuführen sind. Erstens sind die Wortspiele in Dream of the Red Chamber oft ironisch. Dies zeigt sich insbesondere in der Namensgebung der Figuren, wie Jia Zheng und Jia Jing (überheblich), Bu Cheng Cheng (kein Mensch), Wang Ren (vergesslich) und Shan Hire Ren (gut im Täuschen). Zweitens haben viele Doppeldeutigkeiten eine starke Suggestivfunktion. Es gibt kein besseres Beispiel als die Namen der vier Damen der Jia-Familie - Yuanchun, Yingchun, Tanchun und Xichun -, deren erste Wörter als „Yuan, Ying, Tan und Xichun“ verbunden sind, was so viel bedeutet wie „hätte seufzen sollen“. Dieses Merkmal findet sich auch in Ortsnamen. Diese Eigenschaft spiegelt sich auch in Ortsnamen wider, wie "Great Desolate Mountain" (absurd), „Wuji Cliff“ (unsinnig), „Green Ridge Peak“ (Liebeswurzel), „Ten Mile Street“ (Snobismus) und „Renqing Lane“ (menschliche Gefühle) haben alle entsprechende versteckte Bedeutungen.

Zweitens gibt es Wörter, die mit historischen Anspielungen oder Religion zu tun haben. Wenn Sie diese Worte nicht kennen, wird es schwierig sein, ihre wahre Bedeutung zu verstehen. Zum Beispiel bedeutet das Wort „Poetische und rituelle Haarnadelfamilie“ eine Familie von Gelehrten und Beamten, und das Wort „Poesie und Rituale“ bedeutet, dass man Gedichte liest und Rituale lehrt. Das Wort „Haarnadel“ bezieht sich auf eine antike Adelskrone, während „Haarnadel“ ein Zierstreifen ist, der dazu dient, das Haar an Ort und Stelle zu halten oder die Krone mit dem Dutt zu verbinden, und der auch für dekorative Zwecke verwendet wird. Jedes dieser Wörter hat seine eigene Bedeutung, wenn man es auseinander nimmt, ein fester Ausdruck, der durch die Geschichte überliefert wurde. Um die volle Bedeutung des Wortes zu vermitteln, ist es besser, eine semantische Übersetzung zu verwenden, bei der der Stil des Originals besser erhalten bleibt. Ähnliche Wörter werden in den Sätzen „Blumen und Weiden（ein Ort des Wohlstands und des Vergnügens）“, „Sanftes und reiches Land（Beschreiben Sie die Umgebung, in der sich schöne Frauen tummeln und herrlich wohlhabend sind. Das Jia-Haus, in dem Jia Baoyu aufwuchs, war genau so eine Umgebung.）“ und „Der Himmel der Trennung und des Hasses“ verwendet. Es gibt auch Wörter, die mit der Religion zu tun haben, wie z. B. die Wörter für „Um frei von Leiden zu sein（度脱）“, „Verdienst und Tugend（功德）“, „Karma （因果）“ und „Die Periode des Tierkreises（黄道之期）“. In den alten Zeiten glaubten die buddhistischen oder taoistischen Gesellschaften oft an den Buddhismus oder Taoismus, und viele der Zweideutigkeiten im Traum der roten Kammer wurden durch die Gespräche vorbeikommender Mönche oder taoistischer Priester gelegt, und Baoyu schlug schließlich den Weg ein, Mönch zu werden.

Schauen wir uns einige weitere Idiome an. Idiome sind feste Ausdrücke in der chinesischen Sprache, die sich durch langfristigen Gebrauch und Verfeinerung gebildet haben. Sie entstammen alten klassischen Schriften, berühmten historischen Geschichten oder gesprochenen Worten von Menschen, sind prägnant in ihrer Bedeutung und oft in der wörtlichen Bedeutung impliziert, nicht eine einfache Addition der Bedeutungen ihrer Bestandteile, und haben einen Sinn für Ganzheitlichkeit. Seine Struktur ist so eng, dass die Reihenfolge der Wörter nicht beliebig verändert werden kann und seine Bestandteile nicht ersetzt, hinzugefügt oder subtrahiert werden können. Seine Form ist meist vierstellig, aber es gibt auch einige Drei- und Mehrzeichen, seine Struktur ist streng, einfach, tiefgründig und ausdrucksstark, und es war schon immer beliebt. Sowohl beim Sprechen als auch beim Schreiben macht die korrekte und angemessene Verwendung einiger Redewendungen die Wörter oder Artikel interessanter und lebendiger, lebendiger und kraftvoller. Viele Redewendungen tauchen im Traum von der roten Kammer auf, zum Beispiel: „众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。(Die Leute sahen, dass, obwohl Daiyu jung war, sein Benehmen und seine Sprache nicht vulgär waren; obwohl seine körperliche Erscheinung schwach war, aber er hatte eine anmutige Haltung, also wussten sie, dass er einen Mangel hatte. )“ Es gibt zwei Redewendungen in diesem Satz: „弱不胜衣(Ruo Bu Sheng Yi)“ und „不足之症(Bu Zu Zhi Zheng)“. Die Redewendung „Ruo Bu Sheng Yi“ bedeutet, dass eine Person so dünn und schwach ist, dass sie nicht einmal das Gewicht der Kleidung tragen kann. Der Begriff „Bu Zu Zhi Zheng“ bezieht sich auf Krankheiten, die durch körperliche Schwäche verursacht werden, wie z. B. Mangel an mittlerer Energie oder Mangel an Lebenskraft. Da Idiome eng strukturiert sind und oft eine ganz andere Bedeutung haben als sie zu sein scheinen, ist es manchmal sogar notwendig, die entsprechenden historischen Anspielungen zu verstehen, um die genaue Bedeutung zu kennen. Daher wird hier nicht die Verwendung einer semantischen Übersetzung empfohlen, sondern eine kommunikative Übersetzung. Die Verwendung von Wörtern mit ähnlicher Bedeutung anstelle von Übersetzungen kann das Verständnis des Lesers erleichtern.

Erwähnenswert sind die Wörter im Buch, die sich auf Kleidung und Architektur beziehen, die eindeutig kulturell geprägt sind, und es war ein schwieriges Problem, geeignete Alternativen in der Zielsprache zu finden. Vielleicht um den Reichtum und die Extravaganz des Hauses Jia zu verdeutlichen, gibt es in dem Buch eine Reihe von Wörtern, die Architektur, Kleidung, Schmuck usw. beschreiben. Zum Beispiel die Beschreibung des Aussehens von Wang Xifeng: „头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；下着翡翠撒花洋绉裙。(Auf dem Kopf trug sie einen goldenen Seidenknoten mit fünf Phönixen, die an Perlen hingen; am Hals trug sie einen Quastenring mit einem rotgoldenen Chi-Drachen; am Körper trug sie eine rote Wolkensatinjacke mit hundert Schmetterlingen, die Blumen trugen, und einen silbernen Mäusemantel mit einer mehrfarbigen Seidengravur; darunter trug sie ein smaragdfarbenes geblümtes Kleid.)“ Während die Übersetzung für den Schmuck kaum möglich ist, ist es nicht so einfach, ein Äquivalent für nationale Trachten wie „Ken Ao“, den „Gua“ oder „Zhou Qun“ zu finden. China ist seit der Antike als Land der Etikette bekannt, und als Teil dieser Etikette ist die Tracht ein wichtiger Teil unserer Geschichte, und es gibt unzählige verschiedene Arten von Trachten im Land. In diesem Stadium ist es nur möglich, Wörter mit ähnlicher Bedeutung zu verwenden, und erst wenn die traditionellen chinesischen Kostüme in der Welt bekannt werden, wird es möglich sein, die Notwendigkeit zu beseitigen, Wege zu finden, sie zu übersetzen und stattdessen einfach Pinyin zu verwenden. Wo eine Übersetzung möglich ist, sollte sie natürlich trotzdem dem Originaltext treu bleiben, denn um den Schreibstil des ursprünglichen Autors zu bewahren, ist es am besten, die semantische Übersetzung als Hauptschwerpunkt und die kommunikative Übersetzung als Ergänzung zu verwenden.

5. Schlusswort

Nach einer kurzen Beschreibung der wichtigsten Inhalte der Newmark Übersetzungstheorie und der Definition von Wörtern mit chinesischen Merkmalen wurde in diesem Aufsatz die Newmark Übersetzungstheorie verwendet, um die Übersetzung einiger Wörter mit chinesischen Merkmalen im Traum von der Roten Kammer unter einem konkreten praktischen Gesichtspunkt zu analysieren. Lin Yutang hat gesagt: „Das Wichtigste bei der Übersetzung künstlerischer Texte ist es, den Stil des Originaltextes und seinen Inhalt gleichermaßen zu berücksichtigen. Man muss nicht nur darauf achten, was gesagt wird, sondern auch darauf, wie es gesagt wird. Ein Schriftsteller hat den Stil eines Schriftstellers, und dieser Stil ist es, der sein Schreiben so wertvoll macht.“ Literatur ist eine Kristallisation der Sprachkunst, in der Inhalt und Form untrennbar miteinander verbunden sind, in der der Inhalt die Form bestimmt und in der die Form oft eine entscheidende Rolle für den Ausdruck des Inhalts spielt. Sowohl Cao Xueqin als auch Gao E zeigen beim Schreiben des Traums von der Roten Kammer ihren ganz eigenen Schreibstil. Nicht nur für den Traum der Roten Kammer, sondern auch für andere literarische Werke sollten die Übersetzer die Methode der semantischen und kommunikativen Übersetzung anwenden und dabei sowohl die Wiedergabe der sprachlichen Merkmale des Originalwerks in der Übersetzung als auch ein hohes Maß an Übereinstimmung zwischen Inhalt und Stil und dem Originaltext berücksichtigen, um Stil und Form des Originalwerks so weit wie möglich beizubehalten und wirklich „sowohl Bedeutung als auch Form“ zu erreichen. Die Übersetzung des Originaltextes sollte sowohl inhaltlich als auch stilistisch mit dem Originaltext übereinstimmen.

张迅 Zhang Xun Gisela 女 Special:Contributions/Zhang_Xun

浅谈功能学派翻译理论在口语中的运用——以美剧《无耻之徒》为例 On the Application of Functional Translation Theory in Spoken Language: Taking the American drama "Shameless" as an example

Key words: Functional Translation Theory，Spoken Language 关键词：功能派翻译理论，口语

Abstract: Translation theory comes from the summary and thinking of translation practice, and can promote the development of translation theory in translation practice. Many translation theories are based on the study of literary translation. This article takes the American drama "Shameless" as an example to study in the translation of everyday spoken language. 摘要：翻译理论来源于对翻译实践的总结和思考，而翻译实践同时也能推动翻译理论的发展。许多翻译理论来源于对文学文本的翻译。本文则以美剧《无耻之徒》为例研究口语中的翻译。

In the 1960s and 1970s, the German translation school was deeply influenced by structuralist linguistics, and formed the Leipzig school represented by Twomburgard and the Saar school represented by Wells. The former was based on transformational generative grammar and strictly distinguished between invariant and variable cognitive factors in translation; the latter was a follower of Neda's doctrine and advocated the establishment of a science of translation. "Reciprocity" became the center of translation research, and various translation reciprocity theories drawing on linguistic theories emerged, but most of them were just recombination of reciprocal forms. This kind of linguistic scientific research intensified and later reduced translation to an accessory of linguistics, which greatly restricted the development of this discipline, while the serious disconnect between theory and practice also made more and more translators feel dissatisfied. Functional translation theory is a school of thought that emphasizes issues and translation functions with skopos theory as its core. Its emergence reflects a comprehensive shift in translation: from the form-oriented view of translation of the former dominant linguistic school to a more functional and sociocultural view of translation. This shift is due to a series of research activities in communication theory, behavioral theory, discourse linguistics, discourse doctrine, and literary studies that tend to be receptive to theories. The formation of functional translation theory has broadly gone through two stages. The first stage was marked by Katharina Reiss's book "The Possibilities and Limits of Translation Criticism" published in 1971. The second stage is the core theory of functional translation theory created by Hans Vermeer, one of Reiss's students. Shameless is an eleven-season family comedy series from Showtime, which premiered its first season in the United States on January 9, 2011 and will end its eleventh season on April 11, 2021. Shameless tells the story of a young group of siblings pretty much abandoned by their parents, surviving by their wits - and humour - on a rough Manchester council estate. Whilst they won't admit it, they need help and find it in Steve, a young middle class lad who falls for Fiona (Anne-Marie Duff'), the oldest sibling, and increasingly finds himself drawn to this unconventional and unique family. Anarchic family life seen through the eyes of an exceptionally bright fifteen year old, who struggles to come of age in the context of his belligerent father, closeted brother, psychotic sister and internet porn star neighbours. Against a backdrop of economic depression, a working-class family, an alcoholic head of household who is often found sleeping on the living room floor, and an incompetent mother, their daughter, 18-year-old Fiona, takes on the seemingly impossible task of raising her five younger siblings. Some users say that the American drama "Shameless" is a ruinous drama in which a family of seven in the slums of Chicago, father frank and his six children, struggle to live by all sorts of pranks and scams. The story takes place in the slums of South Chicago, USA. Although Chicago is the third largest city in the United States, compared with New York and Los Angeles, Chicago's presence in pop culture is obviously weaker than the city's scenery and cultural phenomenon, Chicago's long-standing label is the high crime rate, in addition to the Windy City, a well-known nickname, it also has a "Murder City" title. And this seems to be the reason why "Shameless" chose to start the story in Chicago, the chaotic struggle of the lower class, by the pitfalls of a shameless life, the face of life can only put up the middle finger, Chicago is simply not too suitable.Chicago's ethnic composition is roughly 32% European, 29% Latino, 31% African-American and 6% Asian, but "Shameless" is set in locations that are predominantly black, with many neighborhoods even more than 85% black.So the language in this play is very lifelike.The scenes in it are the daily life of the people at the bottom and involve multiple races. Therefore, I chose the lines of this drama as the translated text. I hope to apply the functionalist translation theory in the process of translation and apply the functionalist translation theory to the spoken translation. and to gain a deeper understanding of translation theory in this classic work of spoken language.

登上查兹沃斯快车的票都在这边 Tickets this way for the Chatsworth Express! 快过来看看吉普赛猪是如何毁掉 Come and watch pikeys making a mess of their lives 上层社会给予他们的生活和... they were given by 'im upstairs... 他们相当肯定不是自己亲生的孩子们的 And kids they're convinced aren't actually theirs. 真缺德 Wicked! 滚开 Piss off! 世界上还有什么声音可以取代得了 What sounds on Earth could ever replace 孩子需要用钱的呼声跟老婆挑逗自己的声音呢 kids needing money or wives in your face? 因此人们 其中也包括我 都猜想 Cos this, people reckon - me included - 酒吧跟毒品应运而生 is why pubs and drugs were kindly invented... 都是为了使我们冷静 防止我们走向疯狂 to calm us all down, stop us going mental. 这些都是查兹沃斯庄园最基本的要素 These are Chatsworth estate's basic essentials. 我们绝对能让你物超所值 We are worth every penny for grinding your axes. 你可以在这儿随心所欲 You sit on our head, 但是...你必须得纳税 but... you pay the taxes. 试想一下要是英国没了查兹沃斯的投机者 Imagine a Britain without Chatsworth's buccaneers, 谁还会为了一杯啤酒的钱跟你吹胡子瞪眼 嗯 who'd come on your face for the price of a beer, eh? 让贫困成为历史 Make poverty history! 我们需要毒品更便宜 Cheaper drugs now! 让贫困成为历史 我们需要毒品更便宜 Make poverty history! Cheaper drugs now! 嘿嘿嘿 快散开 Heh, heh, heh. Scatter! 开派对 Party! 你可以保养一下自己的皮肤 把调肤液和去角质液 You can take your skin buffers, face tonics and exfoliaters 都抹到自己的逼脸上 and stick them up your arse. 我家帕蒂会给我买那个 一瓶给我69英镑的津贴 My Paddy can get me that. Buckshee. 69 quid a bottle. 我现在皮肤嫩得就跟初生的婴儿一样 Must think I was born yesterday. 走了 弗兰克 我们那站到了 Come on, Frank. This is us. 嗯 Yeah. 我去 弗兰克 你是在香水池里洗了个澡吗 Oh, jesus, Frank, did you take a bath in Old Spice? 你以前坐公交车时 Whatever happened to the days when 身上总是有的那股尿骚味和烟味呢 public transport smelt of piss and tobacco? 我滴个神呐 God Almighty. 不会持续太久的 This can't last. 这种他♥娘♥的♥痛苦不会持续太久的 This fucking misery can't last. 我必须要谨记于心 努力控制住自己 I must remember that and try to control meself. 未来也许有一天我不用再担心这种事 There'll come a time in the future when I won't mind about this... 等到那时我再回过头来看时 我会平静而欢快地说 when I can look back and say, quite peacefully and cheerfully, 我过去真是个彻头彻尾的窝囊废 what a complete tit I was. 可是 不 But, no, 我不想那一天到来 永远也不想 I don't want that time to come, ever. 我想要记住他饱受折磨 I want to remember every tortuous, 心惊胆战 痛彻心扉 妙不可言的每一分钟 arse-clenching, soul-bleeding, wonderful fucking minute. 永远记住 直到我死去的那一天 AIways. Till the end of my days. 正如所见 You see, 我陷入爱河了 I've fallen in love. 但这很痛苦 And it hurts. 就好像有人把我的两个蛋拿走了 把它们浸入辣椒酱里 Like someone's taken me bollocks, rolled them in chilli sauce 然后再怂恿它们永远的住在我的身体里 and invited them to take up permanent residence in me gut. 四天前 我的天呐 Oh, my God. - 你肯定一大早就起来了 - 一晚上都没睡觉 - You must have been up with the lark. - Haven't been to bed yet. 你实在太有心了 Oh, very thoughtful. - 再多走一步你就死定了 - 我勒个去 - Er, one more step and it'll be your last. - Bloody hell. - 就跟酒店一样 - 我早就说过你该告诉他们的 - It's like a hotel. - I said you should've told 'em. - 告诉我们什么 - 告诉我们什么 - Told us what? - Told us what? 做好准备 我们明天会有客人要来 Getting ready. We're having guests tomorrow. 什么客人 What guests? 她报名参加了教会 要让留学生在我们家寄宿一星期 She's signed up with the church to have foreign students for t'week. - 外国人 - 教会 - Foreigners? - Church? 一个人一星期有八十英镑 80 quid a week, each one. 我们是要搞《音乐之声》的海选吗还是怎么 Are we auditioning for the Sound of Music or what? 到起居室去 小心点 地板我刚刚才拖完 Into the living room. And watch out, the floor's just been mopped. - 你不能去 你还有别的事要做 - 什么 - Not you, you're otherwise occupied. - What? - 你的返聘课程 - 黛儿... - Your restart course. - Oh, Deb... 强制五天出勤 不然你的失业救济金就没戏了 Five days compulsory attendance or you lose your the dole. 你要是没了救济金 你就得滚蛋 You lose your dole, you're out. - 是 我知道 可是...那儿离家那么远 - 东西都在这儿了 - Yeah, I know, but... it's miles away. - It's all in here. 公交特惠票 盒饭 钢笔 说话得要算话 Bus pass, packed lunch, pens. A deal is a deal. 好 好 我知道... Yeah, yeah, I know... 要言出必行 Never let it be said. 我看起来就他娘跟个学生一样 I look like a fucking student. 好了 这上面就是我们的规定 你们明天之前一定要清楚 OK, here are the rules. You'd better know them by tomorrow. 她在保护他们吗 She's laminated 'em? 你现在不是 从来也不是一个拉拉 You're not now, nor ever had been, a lesbian. 你也从来没有陷入一场有性别波动的三角恋情中 And you've never been involved in a gender-fluctuant love triangle. 不许在这栋房子或者五十米封锁区内打飞机 No wanking in the house or within a 50-metre exclusion zone. 你丈夫在一个石油钻塔工作 Your husband works on an oil rig. 在你家房子被火烧了之后再重建起来之前 你是暂住在货车里 You're in the van temporary till your house is rebuilt after a fire. 不许玩火柴 打火机 蜡烛 也不许玩烟花 No matches, lighters, candles or fireworks. 不许谈论上帝 或者说他不存在 不许谈论政♥治♥ No discussion of God or lack of. No politics. 那他们是谁 So who are they? 美国人 爱尔兰天主教徒血统 Americans. Irish Catholic descent. 一共有27个人 我们家只来两个 There's a party of 27. We've got two. 那那些美国基督教徒要睡在哪儿 So where are these American Christians gonna sleep? 我可不会把自己的床让出去 I'm not giving up my bed. 你用不着这么做 伊恩跟卡尔要搬出去住 You don't have to. Ian and Carl are moving out. 搬你大爷 Am I fuck! 如果这次成功了的话 我们就可以接待更多人 就会有更多的钱 If this works out, we can host loads. That's more money. - 我可以在Jockey酒吧过夜 - 你也可以自己搬出去啊 - I'm crashing at The Jockey. - Well, you can move out. 这里是你的房子 同样也是我的 This is as much my house as it is yours. - 为什么钱那么重要呢 - 我不能说 - Why's this money so important? - Can't tell you. 那好 你的学生恐怕得睡地板了 Fine, your students will need to sleep on the floor, 因为我不搬 because I'm not moving out. 你必须搬 You have to. 好吧 但你得答应我绝不告诉别人 All right. But you've gotta promise. 这是为了让我们一家人去度假 It's for a holiday for the family. 我们他娘的;为什么要去度假啊 What the fuck do we want a holiday for? 因为我们从来没有去过 因为哪怕只有一次 Because we've never had a proper one. Because just for once, 当别人问起来的时候 我想可以跟别人说 when people ask, I want be able to say, 我去过 我们一家人一起去度的假 yeah, we're all booked up for the summer. 我们全家去法利（英国）度过一周假 Whole family's off to Filey for a week. - 法利 - 对 法利 我们只付得起去那儿 - Filey? - Yes, Filey. It's all we can afford. 千万别告诉别人 这是个惊喜 Don't tell anyone, though. It's a surprise. 我已经付了定金了 这次是为了第二次分期付款 I've already put down a deposit. This is for the second instalment. - 15块 - 40 - 15. - 40. 20 我只能出这么多了 20. That's my final offer. 赚到的钱又不会进我自己的腰包 It's not going into my pocket, you know. 不费吹灰之力 Shooting pigs in a barrel. 伊恩 我可以去Jockey酒吧跟你一起挤挤吗 Ian, can I crash with you at The Jockey? 行啊 没问题 Yeah, no problem. 不过你得睡我们中间 You'll have to sleep in the middle, though. 算了 我还是不去了 Nah, you're all right. 跑他娘这么快是要干嘛 What's the fucking rush, love? 赶着去投胎还是什么 Kendo Nagasaki making a comeback or what? 我勒个去 Jesus wept! 一张去克朗普索的单程票 Single to Crumpsall, mate. 我勒个去 有你在极地冰盖想不融化都难 老兄 Fucking hell. The polar ice caps have got no chance with you, mate. 要我帮忙吗 Can I help? 天呐 我就像是没导盲犬的盲人议员布伦基特 God, I'm like Blunkett without the dog here. 这辆破车可能排出来了一点铁锈 It's a bit of rust, probably, spat out from the tank. 上一次他们升级这边的公交站的时候上帝都还是个小屁孩 God was a boy when they last updated the bus-stop round here. 嗯 对啊 Yeah, right. 你留着吧 Keep it. 谢谢 Thanks. 那就是我第一次看见她 And that was the first time I saw her. 她有着让你会不自觉的跳进她充满女性气息的灵魂深处的眼睛 Eyes that invited you to plunge the depths of her feminine soul. 比任何美酒都要香甜的朱唇 Mouth that promised more sweet than any wine. 本应该明白那时某种东西已经被点燃 Should have known then that something had struck. 他今天早上想用汽油攻击你失败了 对吧 Missed you with the napalm this morning, did he? 我可不需要他想这么做 No, I'm not for want of trying. 坐吧 Sit down. 谢谢 Thanks. 罗希·巴肯 Rosie Buchan. 弗兰克·加拉格尔 Frank Gallagher. 不要问我我们一路上都聊了些什么 Don't ask me what we talked about on that journey. 都是些平常小事 Nothing of importance. 就是些关于天气 道路施工 还有座位前面写着告诉我们 The weather, road works, the fully illustrated graffiti 玛丽会免费载我们一程的涂鸦罢了 on the seat in front telling us Marie gives free diddy rides. 都是出于礼貌的琐事 想要留住我们愉快的开始而已 Polite trivia, designed to protect a delicate beginning. 嗨 Hi! 我是布兰迪 这是我弟弟 巴尼 I'm Brandi. This is my brother, Barney. 他不怎么爱说话 He doesn't talk much. 我勒个去 Fuckin' hell! 一切都还好吧 Is everything all right? 很好 一切都很好 Yeah, everything's fine. 只是没想到你们这么早就来了而已 请原谅他说的话 Just wasn't expecting you so early. Excuse his language. 嗯 对不起 Yeah, sorry. 谢恩·马奎尔 Shane McGuire. 虽然我觉得你们的总统是个大傻逼; 但我不会因此针对你们的 I think your president's a dick, but I won't hold it against you. 我非常荣幸能与你相识 I'm very pleased to make your acquaintance. 我也非常高兴能跟你认识 谢恩 I'm very pleased to meet you too, Shane. 我们先进去再说吧 Why don't we go inside? 你为什么要喷香水 Why are you putting water? 这是洛德丝的 你可以从我身上沾一点 It's from Lourdes. You can have some of mine. 伊恩跟卡尔这周搬出去住了 所以这个房间只有巴尼跟利亚姆一起住 Ian and Carl have moved out for t'week,so it's just Barney and Liam. - 你跟别人一起住没问题吧 巴恩 - 嗯 - Are you OK sharing, Barn? - Mmm. 你就跟我一个房间 And you're in with me.

References:台词来源于网络

赵通 Zhao Tong Toni 男 Special:Contributions/Zhaotong

Analysis of cultural differences and translation between China and the West with domestication and foreignization 以归化和异化翻译法解析中西方文化差异与翻译

Abstract

The differences in the thinking and consciousness of Chinese and western nations result in the great differences in the forms of language expression. Our country is more graceful and circuitous in the use of language, and its profound language culture can have multiple language meaning. Every word and word can have multiple language meaning. Western countries, on the other hand, are more direct in terms of language. There are significant differences between Chinese and Western languages in language and culture, which brings great challenges to language form conversion and translation. It is not advisable to translate English with Chinese thinking, or to translate Chinese with English thinking. Translation is not only a kind of language conversion, but also a kind of cross-cultural communication activity. To succeed in language conversion, translators must understand the relevant knowledge of Chinese and Western cultural background. The differences between Chinese and Western cultures are mainly reflected in the aspects of history, culture, customs, religious beliefs, values and so on. To solve the problem of cultural differences in translation is the key to ensure the success of translated works. Domestication and foreignization are commonly used strategies to deal with the influence of cultural differences on translation.

Key Words

Cultural difference Domestication and foreignization Translation

Human beings live in the same material world, and human language reflects the universal commonality of human beings. Although different national languages, they can use the same concept to appraise things and explain their meanings. It is this commonality that provides the feasibility basis for the cultural exchange of different nationalities and the translatability basis for the translation of different languages. However, since each national culture is formed historically in the survival and development of its own nation, it has distinct national characteristics and unique psychological structure of national culture, so translation cannot be restricted by national culture. Due to their different historical and cultural backgrounds, Chinese national culture and Western culture differ greatly in their modes of production, activities and thinking, as well as in their development levels.This is what we call a cultural difference. Due to the existence of cultural differences, the languages we use are not the same. According to statistics, there are more than 6,700 languages in the world. Under different language backgrounds, translation comes into being in order to facilitate communication and spread culture.Next, I will first discuss the main manifestations of cultural differences between China and the West.

1.Cultural Differences in Chinese language expression system

In the final analysis, translation is to reproduce the cultural information of the original text in the target text through interlingual conversion. Therefore, translation must be carried out with the help of language culture, which is based on the whole culture of various nationalities and cannot exist independently from the society on which it is produced and developed. Therefore, each national language inevitably has its own unique expressions which are closely related to its own national characteristics and cultural factors. The barriers to translation caused by cultural differences among different nationalities are firstly reflected in the language expression system.First, voice. In the world, I am afraid it is difficult to find two people whose phonemes are exactly the same and the movements of the articulatory organs are exactly the same. "Social nature is the essential attribute of speech" (modern Chinese). The most obvious difficulty of this phonetic difference in translation is the metrical devices used to achieve a certain sense of sound and rhythm in the poem. Alliteration, as widely used in English poetry, is absent in Chinese. No matter how good a translator is, it is difficult to keep the original sound, meaning and form intact after a translation procedure. Robort Frost said, "It is impossible to translate poetry in a poetic way."Second, grammar. Grammar plays a very important role in language, and its formation and development are closely related to the formation and development of the whole national culture. Therefore, each nation has its own set of grammatical structure rules and grammatical features, "grammar has national characteristics" (modern Chinese). For example, Chinese is a paratactic language. Unlike Indo-European languages, there are no complicated conjugations, conjugations, and morphological changes. Its tense and voice are distinguished only by adverbs, interjections, and auxiliary words. In translation, some tenses, voices and sentence patterns in English cannot even be accurately translated into Chinese. In this way, the information of the original language is lost in translation. It is common for the original text information to be damaged due to grammatical differences.Vocabulary. Vocabulary is the basic material of language structure and the most active part of language. Its dependence on national culture determines the difference in the scope of meaning of different language words. The name of a common thing common to one people is likely to be incomprehensible or not well understood to another people, and sometimes there is no proper word to explain it in the target language. For example, "cheongsam", which is traditionally worn by Chinese women, and words such as "mahjong", "qigong", "Wushan hat" and "wearing small shoes" have no equivalent in English, so strictly speaking, they are untranslatable. Similarly, some words in English have cultural conflicts in Chinese.Zhu Guangqian, a famous professor, once pointed out that "there is no Chinese equivalent to the English word gentleman". Mr. Qian Gechuan listed "privacy" as an untransliterable sentence, arguing that the dictionary translations of "recluse", "retreat", "secret", "inside", "unseen", etc., fail to express the subjective feeling of the word "privacy". In addition, China's long history of feudal society has a great influence on our national culture. From the structure of many modern Chinese characters can also find the traces left by feudal culture. For example, many Chinese characters with the word "female" as a partial radical, such as: slave, prostitute, siren, maid, prostitute, prostitute, piao, etc., all reflect the status of men and women in the feudal society of China, the structure of the Chinese characters itself has a certain cultural information, translated into phonetic text, it is difficult to convey its full meaning.In a word, the inequality caused by cultural differences in the linguistic expression system is obvious. The most convincing fact is that if a translated work is translated into the original language, it will definitely be a work very different from the original text. This phenomenon of the inequality of the linguistic expression system caused by cultural differences is obvious. Is an important factor in translation obstacles.

2.The difference between Chinese and Western literary image system

The national cultural characteristics of a work are mainly reflected in the literary images created by the author according to the artistic generalization of various phenomena in real life. Each literary image has certain ideological content and artistic appeal. Due to the differences in social history, cultural traditions and living habits, the literary images created by Eastern and Western writers are quite different. For example, British capitalist society has experienced various stages such as emergence, development and heyday, and each process of capitalism has left distinct traces in the field of literature. When we open the history of British literature, vivid characters representing various stages and stages of the development of capitalist society will appear vividly in front of readers.Shakespeare's "The Merchant of Venice" in the sinister, vicious usury Shylock, Dickens's "Oliver Twist" in the abused orphan Oliver, Charlotte Bronte's "Jane Eyre" modest and have backbone, independent spirit of the orphan Jane Eyre, Hardy "Tess of the D 'Urbervilles" in the tragic character of Tess... Wait, they're all products of capitalist society. However, in China, which has not experienced a capitalist society and has a long feudal history, the characters written by writers are completely different. From Cao Xueqin's A Dream of Red Mansions to Ba Jin's Home, Spring, Autumn and Lu Xun's The True Story of Ah Q, all of their characters are products of feudal society.Therefore, in translation, how can the translator deeply understand these alien characters, accurately grasp their personalities determined by the social environment in which they live, and faithfully convey every tiny change in the psychology and behavior of the characters carefully described by the author to reflect their personality characteristics, so as to make these unfamiliar alien characters. It is not easy to be recognized and charming in a different nation and a different society.Secondly, the cultural traditions of China and the West are different, so are the sources of materials for writers to shape literary images. Many characters in European literature are based on ancient Greek and Roman myths and Bible stories, as well as many ancient legends of the Middle Ages. For example, the literary figure of Faust is a figure of medieval European legend on which literary works have been drawn since the late sixteenth century. Another example is Don Juan, a figure in medieval Spanish legend, who is the subject of more than 100 literary and musical works.There are also many figures in ancient Greek and Roman mythology, such as Cupid, god of love in ancient Roman mythology, and Apollo, god of the sun in Greek mythology, who are common figures in European literature. These figures and allusions in legends are relatively unfamiliar to the Chinese people, who have completely different cultural traditions, and they often need to be noted in translation. Otherwise the reader is in a fog. However, if the annotation is too short, the characteristics of these mythological figures and the context of allusions are often difficult to explain clearly; If the commentary is too long, it will be tedious, destroying the rhythm of the original work and diluting its artistic appeal.In addition, the difficulties brought by cultural differences to translation are more obvious in the rhetorical devices and ways of expression used by writers to shape literary images. For example, the translation of humorous words, puns, similes, metaphors and idioms with distinct national characteristics is often difficult to accurately and faithfully convey all the information of the original text. Without considering the rhetorical characteristics of the target language, the image expression of the original text is always easy to cause misunderstanding and even make people confused. Change the expression form of images, but also make the translated message is different from the original work, make the original work completely different.Thus, it can be seen that the unequal literary image system caused by cultural differences is another important factor that impedes translation.

3.Cultural differences between Chinese and Western actors (original author and translator)

The production of a translation is always realized through "human" as the subject of action, and the obstacles caused by cultural differences to translation are finally manifested through "human" as the subject of action. Therefore, we can not neglect the subject factors, especially the behavior of the subject, namely the original author and translator.The fundamental difference between an author and a translator is that the author is the sender of information. Kashkin, the founder of Soviet realistic translation School, once said that "the author can freely choose his own fantasy gallop, for the author the whole world is the material". Translators, on the other hand, are both information receivers and information transmitters. What they need to do is not only to understand and grasp the information sent by the works, understand and grasp the author's creation intention, ideology and emotional color, but also to convey the information sent by the author in the target language. Therefore, translators' work is severely restricted. He should not only comply with the original author's creation intention, respect the expression habits of the source language, but also comply with the norms of the target language. In this way, there will inevitably be loss in the translation process, even the phenomenon of "cutting out the nose and eyes".On the one hand, as the recipient, translators may misinterpret or fail to understand the content of the original information. On the other hand, as the subject of behavior, the translator may convey inaccurate or incomplete information of the original text. This phenomenon often appears in translation activities and is difficult to avoid.The difference in the psychological structure of national culture also has a huge impact on the subject of behavior, which leads to the differences between the author and the translator in the way of thinking, religious ideas, moral ideas and other aspects. Neither the author nor the translator can go beyond the limitation of the psychological structure of the national culture. Therefore, it can be said that every translated work has more or less infiltrated some national cultural characteristics of the target language. However, the national cultural characteristics and literary images of the original work have been more or less damaged in the translation.In addition, different cultural backgrounds lead to different social experiences of authors and translators, which also leads to different understandings and emotions of the authors and translators on society and life. Novels are often the crystallization of the author's exploration of society and life, and an artistic reflection of the author's understanding of society and life. "Authors rely on their own insight and inspiration to carry out creative labor. The logical processing of the reality of image perception is basically done before he begins to "create", and it takes a back seat in the creative process (sometimes even to some extent subconsciously).The translator must analyze and integrate at the same time (De: Aculera Because the social era outside the translator is different from the original author, his social practice and understanding are also different from that of the original author. Therefore, in translation, the subjective factors of the reader often lead to the distortion of the original text information and the destruction of the image and style of the original literature and art. This is because, as a translator who cannot have exactly the same experience as the original author, no matter how hard he tries, he cannot have exactly the same emotion and imagination as the original author and become one with the author. In this way, the artistic conception that has been visualized and concretized in the translator's mind is different from that of the original work.Therefore, the influence of cultural differences on the subject in translation is a factor that cannot be ignored.

4.Cultural differences between Chinese and Western receivers (original readers and target readers)

A literary work, a translated work, is finally recognized by the recipient, namely the reader, as a sign of its completion. At the same time, cultural differences also have a huge impact on the subject of acceptance. For a work, readers of the original text will not affect their understanding of the work due to the lack of necessary background knowledge and language ability. At the same time, the emotional changes of the characters in the book can easily arouse their resonance.The translation reader, on the other hand, is unfamiliar with the cultural background, national customs, religion, moral concepts and social living habits related to the original work. This has formed a barrier to his understanding of the works, communication and the thoughts and feelings of the characters. For this strange foreign culture, he always uses his own culture as a reference, with his own familiar cultural structure, with his own experience to understand the work, to feel the feelings of the characters. It is often the case that due to differences in moral concept, ideological understanding, mode of thinking and aesthetic taste, translation readers hold completely different views on a certain work or a certain character in the book from the original readers. The most obvious phenomenon is that the readers of the original text and the target text react differently due to the different moral concepts.For example, in Anna Karenina, written by the famous Russian writer Tolstoy, Chinese readers, while sympathizing with the tragic fate of the heroine, often "condemn Anna's lack of tolerance and her failure to fulfill her duties as a wife and mother from the perspective of ethics" (Foreign Literature Briefs). For another example, in western novels and movies, sons often call their parents or elders by their names to show the harmonious relationship between them. Western readers and viewers take this for granted, which is not allowed in Chinese communication. When talking to the elders of relatives, they must use the title, which is a polite and cultured performance. "The psychological characteristics of the traditional culture of the Han nationality are gradually formed after thousands of years of precipitation. Although various modern cultural trends of thought have been imported in the past hundred years, this kind of traditional cultural psychology has been greatly impacted. But its influence still runs deep "(language and culture).Secondly, the different way of thinking and understanding is also one of the reasons for the different responses of readers of the original text and readers of the translated text. For example, for the understanding of "friendship", in China, there has been the consciousness of "willing to do anything for a friend" since ancient times, and there is still the concept of "a friend in need is a friend indeed". The concept of friendship is mainly that friends should "respect each other".For another example, Chinese and Westerners have completely different reactions to compliments from others. Chinese people always want to be modest and polite when they hear compliments, while Westerners' customary response is to express gratitude to the compliments. If a young woman thanks someone for complimenting her on her beauty, the reaction of a traditionally-influenced Chinese would be :1) The woman is very arrogant; 2) The woman is very flirtatious. I remember that a few years ago, a famous Chinese actress declared herself the best actress in China in front of reporters and even talked about her wish to become an unmarried mother. These "amazing" words, "westernized" views, made the public opinion in an uproar.In addition, the difference in aesthetic taste caused by cultural differences is also one of the important reasons for the different psychological reactions between original readers and target readers. For example, there is a theory of beauty called "pleasure" in Western aesthetic schools. "Is the physical pleasure produced by the stimulation of the senses by an external object" (aesthetic feeling). Western writers pay great attention to the sexy beauty of the characters' appearance. The figures they produced often had the kind of three-dimensional focus on the human body that Western classical sculptors had.What Western readers appreciate, too, is the masculine beauty of the rugged, vigorous male, and the transparent beauty of the female with the strong line and the exposed feeling. And the traditional Chinese aesthetic taste, is used to appreciate the kind of face like crown jade, full of knowledge of the white scholar and charming shy, containing but not showing the beauty of the lady, until today, the white scholar full of poetry and books and dignified beauty, gentle and steady woman image is still a common sight in Chinese novels and national readers are also happy to accept the character image.In short, the influence of cultural differences on the recipient is another important cause of translation obstacles.To sum up, cultural differences create barriers to translation, but it does not mean that translation is impossible. Not only is translation possible in most cases, but through the continuous efforts and pioneering efforts of translators, many things that were considered untranslatable in the past have now become translatable, and likewise many things that are considered untranslatable in the present may well become translatable in the future. However, this transition from untranslatable to translatable requires a deep understanding of the cultural differences that cause translation barriers.Therefore, next I will analyze the cultural differences encountered in translation from the perspective of domestication and foreignization.

二.The definition of domestication and foreignization

In 1813, German classical linguist and translation theorist Schleiermacher mentioned in "on the Methods of Translation" that there are only two ways of translation: one is to let the author settle down as much as possible and guide the reader to get close to the author; The other is to keep the reader as still as possible and guide the author towards the reader." Here, Shi describes what he calls the two methods, without giving them a name. In 1995, American translation theorist Lawrence. In his book The Translator's Invisibility, Venonti dubbed the first the "foreignizing method" and the second the "domesticating method." (Venuti, 1995:20) In summary, alienation requires the translator to draw closer to the author and to convey the contents of the original text in ways corresponding to the source language used by the author; However, the law of naturalization requires the translator to get close to the target language readers and adopt the target language expression methods that the target language readers are accustomed to to convey the contents of the original text.For example:go with the stream随波逐流 (Naturalized translation) , 随溪逐流 (Foreignizing translation) draw water in sieve竹篮打水 (Naturalized translation) 以筛取水 (Foreignizing translation) Therefore, from this definition, foreignization is equivalent to literal translation and domestication is equivalent to free translation. Foreignization and domestication are summarized as two strategies of translation by the researchers of translation theory.

2.A translation of Min Culture

At the beginning of the eighth chapter of Fujian Culture, it is written: people often describe the rich and colorful Chinese folk customs with "different winds for a hundred miles and different customs for a thousand miles", but the splendid scene of Fujian folk customs can be described with "different winds for ten miles and one custom for one township". The text is neat and beautiful. The translation should pay attention to the aesthetic feeling of form and the fluency of the writing: “There is no similar winds within one hundred square miles, and there is no similar customs within one thousand square miles.”This is an old saying that is often quoted to describe the richness and colorfulness of the Chinese folk customs;but as to the customs prevalent in Fujian, people would say“there is no similar winds within one hundred square miles, and every village has one custom of its own.”From the stylistic point of view, "Min Culture" is an expository text, rich in historical materials and reasoning. Therefore, in translation, attention should be paid to the heavy logic of this style, the features of multiple concepts, terms and text hierarchy, clear language, and the use of language levels close to or similar to the original text to show the same language function. For example, in a passage from Chapter II:The ancient Yue nationality is the general name of the ethnic minorities in the south of China. The aborigines of Fujian Province are a branch of the ancient Yue nationality, called Minyue people. Although Minyue people were gradually replaced as masters in various parts of Fujian with the migration of Han people from Central Plains to Fujian, their long cultural traditions have been preserved to varying degrees. Translate into:Gu Yue is the name generally referring to the minority nationalities that inhabited in the south of China.The native inhabitants, called Min Yuenese in Fujian might have been a branch of the ancient Gu Yue which had immigrated southwards to Fujian with the Han people from the Central Plains.All over Fujian their host status had been replaced gradually, but their long historical cultural traditions have been passed down and conserved at different degree.The above text has complex structure and much information. The translation uses participles and clauses as postmodifiers to strive for compact structure. As in the translation of a statement about the Tower of the Stars in Chapter X:Built during the Northern Song Dynasty (960-1127) and rebuilt during the reign of Emperor Tianqi of the Ming Dynasty (1621-1627), the Luoxing Tower at Mawei Port in Fuzhou is 31.5 meters high, with a combination of eaves and flat seats on all levels. The doors and Windows of the tower are all undesigned in the South, and a large number of lamp niches are kept on the tower, apparently for navigation purposes. The tower is marked as "China Tower" on world nautical charts.For example, Luoxing Pagoda, in Mawei Port of Fuzhou, was built within the years of the Northern Song Dynasty from 960 to 1127, and rebuilt in Tianqi period of the Ming Dynasty from 1621-1627.It is 31.meters in height.The eaves and their feet are connected;its body doors and windows are the works of the southern design technique.There are a lot of lamp shrines on the pagoda body, which were obviously once used in navigation.On the world navigation map, the pagoda was marked as'China Pagoda'The original text explains the architectural age, architectural features, navigation function of the lamp niche and geographical identification of Luoxing Tower. In translation, we should carefully interpret these parallel levels of information, and then divide them into several sentences and translate them into the target language. Thirdly, there are many delicate and touching literary touches in the book, describing and introducing ancient poetry, music, painting and craft works. In translation, we should also strive to use beautiful and appropriate words, and the rhetorical devices reflect the style of the original text. Such as

The depictions of line decorations go gracefully, freely with preferable force;the composition of picture is concise and terse;the painting style is simple and plain;the patterns are vivid and brisk, full of strong and simple life appeal.

Terminology in traditional culture is extremely rich, showing unique things, we should pay attention to the effective use of domestication and foreignization strategy, but also can use pinyin spelling after notes or explanations. For example, Fujian is located in a corner to the southeast, far away from the political and cultural center, so it is called the "mountain country to the southeast". Due to inconvenient transportation, countless scattered villages do not interact with each other and are not susceptible to external influences. Sometimes, "I do not know whether there is Han or Jin". This unique environment is an excellent breeding ground for the precipitation of various folk customs.

Fujian, a so-called“Southeast Mountain Kingdom”, stands in the remote southeast corner of China, and is far away from the political and cultural center.Because of the inconvenient traffic and transportation, many scattering natural villages never communicate each other, and thus are not affected by eternal situations and affairs since they sometimes simply do not there is Han Dynasty, not to say Wei or Jin Dynasty (The Han Dynasty BC206-220;Wei Dynasty 220-226 and Jin Dynasty 265-420) .

Compared with English-Chinese translation, it is difficult to translate Chinese into English, which requires a lot of practice and in-depth research. For example, it is more difficult to translate idioms, idioms, allusions, colloquial sayings, slang, allegorical sayings and numerous figures of speech. Take the idiom as an example, most of them are closely related to people's productive labor, daily life and religious belief. They have the characteristics of concise language, vivid image, incisive meaning, vivid expression and easy to catch on. So it is not easy to introduce these to foreign readers. Besides the language difference, there are many cultural barriers to overcome.Translation from Chinese to English is not a simple regression between English and Chinese. It requires the translator to have a profound knowledge of the mother tongue of Chinese, which many translators ignore. Only by conducting a solid comparison and study of the language and culture of Chinese and English, especially an in-depth study of cross-cultural communication, can the translator master the basic skills and rules of Chinese-English translation. Therefore, in college translation courses, we should first discuss the principles and techniques of traditional cultural translation from both practical and theoretical aspects, so as to make up for the deficiency in Chinese-English translation textbooks or English-Chinese translation textbooks.Of course, in a book of one hundred thousand words, all kinds of translation skills, literal translation, free translation, lexical transformation, pattern transformation and so on, must be flexibly used. In short, when you do translation work, you have to struggle with the words. You often struggle, you don't know what to do, you also feel complacent, and even admire yourself. However, you can never let go of the gold standard, that is, translation should pursue "faithfulness, expressiveness, elegance"; In modern words, the translation should strive to be "semantically consistent and functionally similar" to the original text. No matter the domestication method or the foreignization method, language and culture should be organically combined, translation strategies should be carefully selected, and the strength and proportion of cultural content should be increased to better introduce Chinese civilization to the world. In this way, China's theory and practice will surely make greater contributions to the world.It can be said that the study of each translation book and each translation theory and method is an attempt to reduce the limitation of translation caused by cultural differences and eliminate the gap between different nationalities caused by cultural differences. We believe that with the development of international exchanges and cultural exchanges, with the increase of mutual translation between different languages, and with the constant efforts and pioneering efforts of translators, the barriers to translation caused by cultural differences will become less and less, and translation will make greater contributions to the development of the culture of all nations and even the culture of mankind as a whole.

Reference literature

Deng Yanchang, Liu Runqing. Language and Culture, Foreign Language Education Press, 1995

Qin Yi, Ed. Aesthetic Feeling, Li Jiang Publishing House, 1984

Saber, An Introduction to the Study of Language (Translated by Lu Zhuoyuan), The Commercial Press, 1964.

Zhang Jin, Chen Yunqing. Comparative Grammar Between English and Chinese, The Commercial Press, 1981.

Liu Shan, Translation and Culture, Translation and Communication, No.5, 1982.

PeterNewmark, The theory and craft oftranlation, in Languageand Linguistcs Survey， edited byvalerie Kinsella, Cambridge University Press, 1978

Hudson, T.A Sociolinguistics Cambridge University Press 1981.

Wright.A.How to communicate successfully Cambridge University Press 1987.

Gu Jiazu et al. Language and Culture, Shanghai Foreign Language Education Press, 1990.

Hu Wenzhong. Culture and Communication. Foreign Language Teaching and Research Press, 1997.

Wang Fuxiang, Wu Hanying. Culture and Language. Foreign Language Teaching and Research Press, 1997.

He Zzan. Introduction to Pragmatics. Hunan Jiaozhi Publishing House, 1988.

Zhu Weizhi, Zhao Li: A Brief Edition of Foreign Literature, China Renmin University Press, 1980.

Liu Bingshan. A Brief History of English Literature, Shanghai Foreign Language Education Publishing House, 1981.

Lu Peixian, Qin Xiubai. A Brief History of English. Hunan Education Publishing House, 1984.