scholarly journals A Cultural Journey of Eileen Chang's Half Lifelong Romance—A Study of Karen Kingsbury’s English Translation

2020 ◽  
Vol 10 (7) ◽  
pp. 798
Author(s):  
Naizhuo Kong ◽  
Yuanfei Yao
Keyword(s):  
English Translation ◽  
Language Barrier ◽  
English Studies ◽  
English Version ◽  
Translation Research ◽  
Eileen Chang ◽  
Chinese And English

Half Lifelong Romance translated and introduced by Karen Kingsbury, a translation research expert of Eileen Chang, was published by Penguin Press in 2012. This modern and contemporary female literature has been known by Western readers from the eastern continent, and its cultural journey has crossed the language barrier. Based on this, this paper will explain the cultural travel of Eileen Chang's English version from the perspective of classics, translator's view and Eugene Nida's division of culture, in order to bring some enlightenment to the translation of Chinese and English studies.

On the aesthetic ablation of fuzziness in Chinese expressions in Chinese–English translation

Babel ◽  
2010 ◽  
Vol 56 (2) ◽  
pp. 139-167
Author(s):  
Fan Wuqiu
Keyword(s):  
English Translation ◽  
English Version ◽  
Linguistic Features ◽  
Application Field ◽  
Translation Study ◽  
Language Problems ◽  
The Aesthetic ◽  
Chinese And English

Although fuzziness is one of the innate characteristics of language, shared by both Chinese and English, there do exist apparent differentiations between them as far as their roles in aesthetic-effect-generating, representation mode, application field suitability and aesthetic impact are concerned, which has remained a great challenge and regret in either English to Chinese (E–C) or Chinese to English (C–E) translation, particularly in the latter. It’s no exaggeration to say that translation is a profession with no lack of regret and translators are professional regret-tasters. The most impressive regret in C–E translation might lie in the fact that the talent and capability of the translators is painfully restricted in reproducing and conveying the aesthetic effect of Chinese fuzzy expressions. As an artistically conceived language, Chinese invites macro-induction in terms of linguistic features while English, being logic-oriented, analysis-based and hypotaxis-dependent, is largely ignorant of what is called macro-induction. Hence abundant aesthetic genius of Chinese fuzzy expressions can hardly find its way into the English version. It can be said that generally the process of C–E translation is one of complementing continuously “meaning blank”, of changing “indeterminacy of meaning” into “determinacy of meaning”, with the E–C translation as the opposite. Many language problems in communication are essentially closely related to nationality psychologic archetype complex, which may be a significant try in translation study.

The Four Branches of the Mabinogi, ed. and trans. by Matthieu Boyd, with the modernization assistance of Stacie Lents. Peterborough, Ont.: Broadview Press, 2017, 119 pp., 5 b/w ill, 1 map.

Mediaevistik ◽  
2018 ◽  
Vol 31 (1) ◽  
pp. 401-401
Author(s):  
Albrecht Classen
Keyword(s):  
Undergraduate Students ◽  
Twelfth Century ◽  
English Translation ◽  
English Version ◽  
Personal Names ◽  
University Teachers ◽  
Link Type ◽  
Welsh Literature

Welsh medievalists have long recognized the canonical quality of The Four Branches of the Mabinogi (late eleventh or early twelfth century), resulting in a long series of editions and translations. William Owen Pughe was the first to offer a modern English translation in 1795. The <?page nr="402"?>recent translation by Will Parker (2005) is available now online at: <ext-link ext-link-type="uri" xlink:href="http://www.mabinogi.net/translations.htm">http://www.mabinogi.net/translations.htm</ext-link>, and I suspect that many university teachers happily rely on this one because of its easy accessibility and clarity of the English version. Now, Matthieu Boyd, who teaches at Fairleigh Dickinson University (Florham Campus, Madison, MD), offers a new rendering, which is specifically targeting undergraduate students. This explains his strategy to modernize the medieval Welsh as much as possible, and to turn this marvelous text into an enjoyable read even for contemporary students, without moving too far away from the original. This modernization was carried out with the assistance of his colleague, the playwright Stacie Lents. This entails, for instance, that even some of the medieval names are adapted. Many times the conservative reader might feel uncomfortable when words and phrases such as “to shit,” “to egg on,” “to nip at the heels,” or “Manawydan & Co” (60–61) appear. The adaptation of personal names is not carried out systematically, but the overall impression of this translation is certainly positive, making the study of this masterpiece of medieval Welsh literature to a real pleasure.

Obtaining English translations of Russian publications in the Earth Sciences - an English view

1983 ◽  
Vol 120 (2) ◽  
pp. 183-186 ◽  
Author(s):  
P. J. S. Miles
Keyword(s):  
Earth Sciences ◽  
English Translation ◽  
Language Barrier ◽  
Russian Language ◽  
The Earth ◽  
Course Of Action ◽  
English Translations ◽  
The Russian Language

SummaryA course of action is described for obtaining an English translation of a Russian geological text. It is suggested that the Russian ‘language barrier’ in this field is largely psychological.

scholarly journals The Strategies of Translation of Bahasa Indonesia-English in Two Indonesia Tourism Websites

K ta Kita ◽  
2021 ◽  
Vol 9 (2) ◽  
pp. 136-143
Author(s):  
Eldi Valerian
Keyword(s):  
Qualitative Analysis ◽  
English Translation ◽  
Analysis Method ◽  
English Version ◽  
Translation Strategies ◽  
Dominant Strategies ◽  
Loan Word ◽  
Tourism Websites ◽  
Bahasa Indonesia ◽  
Main Strategy

This study discusses the use of translation strategies in translating Indonesian culture-bound words in two Indonesia tourism website articles. By using a descriptive qualitative analysis method, the translation strategies found in the Indonesian culture-bound words were observed using the theory from Mona Baker (2018). The rank of the most dominant strategies, from the most frequent to the least, used by both translator teams of Wonderful Indonesia and Enjoy Jakarta are loan word with an explanation, word-for-word, cultural substitution, and general word. In the Indonesia culture-bound translation, the most strategy used the culture-bound words is loan word strategy. It is better because instead of translating the Indonesia culture-bound word, the writer keep the culture-bound word in the english version and explain the meaning of the culture-bound word from explaining the history or the ingredients behind the culture-bound words so the international tourists can know the meaning behind the Indonesia culture-bound words without changing the names. In conclusion, both translator teams mostly used loan word strategy as their main strategy in the English translation, but still used other strategy in certain Indonesia culture-bound words.Keywords: translation, translation strategies, culture-bound words

Transference of brand personality in brand name translation: A case study on the Chinese-English translation of men’s clothing brands

Semiotica ◽  
2019 ◽  
Vol 2019 (230) ◽  
pp. 475-493
Author(s):  
Ying Cui
Keyword(s):  
English Translation ◽  
Brand Personality ◽  
Brand Names ◽  
Brand Name ◽  
Cultural Meanings ◽  
Chinese Consumers ◽  
Personality Dimensions ◽  
Self Perceptions ◽  
Chinese And English

Abstract Brand names are endowed with personalities that appeal to consumers, and such personalities are often adjusted in translation. This research aims to explore the transference of brand personality dimensions in the Chinese-English translation of men’s clothing brands, which embody consumers’ values and self-perceptions as well as social cultural meanings, in the hope of revealing male consumers’ psychological characteristics and providing a reference for translators. This investigation studies the brand personality frameworks for English and Chinese consumers, analyzes a corpus of 477 Chinese-English men’s clothing brands, summarizes the major personality dimensions for men’s clothing brands, and explores how they are transferred in translation. As brand personalities reflect target consumers’ psychology to a certain extent, exploring the transference of brand personality dimensions in the Chinese-English translation of men’s clothing brands can reveal the differences between Chinese and English male consumers’ values and mentality, which can serve as a reference for translators and international businesses.

scholarly journals On Translating Artistic Form of Ironical Style in Lu Xun’s Fiction

2018 ◽  
Vol 11 (10) ◽  
pp. 66
Author(s):  
Yikuan Yang
Keyword(s):  
English Translation ◽  
Social Contexts ◽  
Lu Xun ◽  
Chinese People ◽  
Linguistic Differences ◽  
Artistic Value ◽  
The Future ◽  
English Translations ◽  
Chinese And English ◽  
Do So

In response to an age of turmoil and oppression, Lu Xun&rsquo;s fiction features irony and it is manifested in artistic form which should be retained in English translation to achieve equivalence. Failure to do so would weaken or lose the ironical effect intended by Lu Xun and result in Western readers&rsquo; inclination to neglect historical and social contexts of his time and to miss the thematic significance of his works. In view of inadequate research in this, the thesis explores the artistic form of ironical style in Lu Xun&rsquo;s fiction, the preservation of form and ironical effect in William A. Lyell&rsquo;s, the YANGs&rsquo; and Julia Lovell&rsquo;s English translations and their strategies of compensation for inevitable loss due to cultural and linguistic differences between Chinese and English. However, over-compensation is to be avoided, for it would spoil the delicacy of irony, and so is under-compensation which would reduce the artistic value of the form of irony and cut the ironical effect. Sometimes even if compensation is applied, the ironical effect could hardly be kept intact. Behind Lu Xun&rsquo;s ironical style is his concern for the future of China and the Chinese people, his indignation against oppression, his disappointment at some people&rsquo;s numbness and stupidity and his sorrow toward the failure of the Xinhai Revolution. Translators should bear this in mind when rendering his ironical style from Chinese into English, otherwise they will miss the thematic significance of Lu Xun&rsquo;s fiction.

scholarly journals The Operation of Translation Norms in the English Version of The Great Ming Code

2018 ◽  
Vol 8 (11) ◽  
pp. 1545
Author(s):  
Han Xiao ◽  
Lei Li
Keyword(s):  
Significant Role ◽  
English Translation ◽  
Chinese History ◽  
English Version ◽  
Translation Process ◽  
Target Culture

The Great Ming Code is one of the most influential codes in Chinese history, and its English version by Jiang Yonglin is undoubtedly counted as a new milestone in the study concerning with translation of Chinese legal classics. This research, based on the English translation of The Great Ming Code, is intended to show that the various norms in the source and target culture have a significant role to play during the translation process due to the fact that readers’ reception is the priority for translators. It is also found that such translation catering for the target readers without leaving the exotic culture out is very likely to be accepted and even welcomed by the target reader for the translation fits the readers’ expectation in the target society.

Communication verbs in Chinese and English

2008 ◽  
Vol 8 (2) ◽  
pp. 181-207
Author(s):  
Dongqin Shi
Keyword(s):  
English Translation ◽  
Surface Structures ◽  
Frame Semantics ◽  
Narrative Style ◽  
Contrastive Study ◽  
Large Numbers ◽  
Typical Satellite ◽  
Chinese And English

This paper, using translation materials as data for analysis and based on Fillmore’s (1982) Frame Semantics Theory, presents a contrastive study of communication verbs in Chinese and English with respect to their representation of semantic components related to a communication event. In Talmy’s (1991) classification, Chinese and English fall into the same typological category as satellite-framed languages, where large numbers of verbs characteristically incorporate Manner with Motion, and the Path of motion is typically mapped onto a post-verb satellite. Previous contrastive studies of Chinese and English, however, have concluded that Chinese deviates from a typical satellite-framed language as represented by English with respect to both the conflation of Manner with Motion and the representation of the Path of motion. The present study, which examines, specifically, how communication verbs express speaking events in written narrative in Chinese and English, has found more intra-typological differences between the two languages in their representation of meanings in surface structures as well as in the narrative style in which words of a particular category are chosen for representing events. The major original findings from this study are that Chinese is by far more constrained than English in its encoding of semantic components in communication verbs, and that a translator may face a great challenge when doing Chinese-to-English translation with respect to the choice of appropriate communication verbs.

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