Cognitive Interpretation of Translator’s Subjectivity from the Perspective of Iconicity: Based on English Versions of Chinese Chapter Titles in Hong Lou Meng

2021 ◽  
Vol 1 (3) ◽  
pp. 23-30
Author(s):  
Yang Yongxia
Keyword(s):  
Hong Lou Meng

Translation and culture

Babel ◽  
1995 ◽  
Vol 41 (1) ◽  
pp. 24-35
Author(s):  
Ke Wen-Li
Keyword(s):  
Present Article ◽  
Premier Lieu ◽  
Conclusion Suivante ◽  
Hong Lou Meng

Le présent article tente de sonder certains problèmes a débattre dans le cadre du contenu culturel des traductions chinois-anglais, et en particulier celui du "rouge-vert" que l'on trouve dans la traduction anglaise par David Hawkes du roman chinois classique Hong Lou Meng (The Story of the Stone). L'auteur discute en premier lieu des difficultés liées au transfert linguistique et notamment à la traduction de formes linguistiques uniques; une discussion qui débouche nécessairement sur une analyse de ces problèmes. A l'aide d'arguments convaincants illustrés à leur tour par d'excellents exemples tels que long (dragon), dong-feng (le vent d'est) et xifeng (le vent d'ouest), l'auteur en arrive à la conclusion suivante: étant donné que le chinois et l'anglais manient des valeurs symboliques et culturelles différentes, il était imprudent de la part du sinologue britannique David Hawkes et donc inacceptable d'avoir traduit hong (rouge) par "vert" et d'avoir évité à plusieurs reprises de traduire dans sa version de Hong Lou Meng le mot Hong alors que celui-ci est la couleur principale du roman et qu'à ce titre il constitue précisément un élément clé du thème du roman en ce qu'il fait ressortir le caractère individuel du protagoniste Jia Bao-yu. Par ailleurs l'auteur estime aussi que toute modification de sens du mot hong porte atteinte à l'effet global du roman et à son intégrité.

scholarly journals Translating Tenor: With Reference to the English Versions of Hong Lou Meng

2008 ◽  
Vol 53 (3) ◽  
pp. 528-548 ◽  
Author(s):  
Zequan Liu
Keyword(s):  
Special Reference ◽  
Social Distance ◽  
Literary Work ◽  
The Novel ◽  
The Social ◽  
Hong Lou Meng ◽  
The Relationship ◽  
Cultural Features

Abstract The objective of this paper is to see how the Chinese tenor as exhibited by the use of titles and honorifics in the classic novel Hong Lou Meng is translated in its five English versions. I shall compare the translations of several dialogues from the novel with special reference to the tenor-markers. By adopting House’s interpersonal equivalence as a criterion to measure the social distance and power between the dyads as shown by the tenor in both the SL conversations and their respective TL versions, I shall investigate the relationship between the interpersonal equivalence that is acquired in the TT and the strategies that are adopted to translate the dialogues. The argument put forward here is that in order to produce a translation that not only reads fluently but also retains the linguistic and cultural features of a foreign literary work, foreignising should be adopted as a mainstream rather than exclusive strategy, with assistance drawn from domesticating solutions.

Translating the fluid texts of Hong Lou Meng

2017 ◽  
Vol 4 (3) ◽  
pp. 236-252
Author(s):  
Yuanqiong Wu ◽  
Natalia Fernández Díaz
Keyword(s):  
Hong Lou Meng

scholarly journals Translating Culture-specific Elements in Names in Hong Lou Meng: A Comparison of The Story of the Stone and The Dream of Red Mansion

2017 ◽  
Vol 7 (1) ◽  
pp. 51
Author(s):  
Ting Wang ◽  
Jiafeng Liu
Keyword(s):  
Systematic Study ◽  
Original Work ◽  
Chinese Character ◽  
Chinese Family ◽  
Text Interpretation ◽  
Literal Translation ◽  
Semantic Translation ◽  
Hong Lou Meng ◽  
On Line ◽  
Different Levels

The names of the characters in Hong Lou Meng, crafted to indicate both the development of the storyline and the characteristics of the characters, contain abundant culture-specific elements, which make them difficult to render into English. On the basis of a systematic study on the original work and its two unabridged translations of Hong Lou Meng, the culture-specific elements in the original names are categorized into the following three: Chinese naming, Chinese family hierarchy and Chinese Character. Three strategies on compensation for the lost culture-specific elements are found to be employed at different levels in the two translations, including on-line compensation, off-line compensation and zero compensation. The strategy of on-line compensation involves semantic translation plus transliteration and annotation in text. Off-line compensation includes note of Chinese spelling, annotation out of text, interpretation of characters’ names in introduction, note ofcharacters’ names in appendix, introduction of characters in appendix and dendrogram of genealogy; Zero compensation includes transliteration, omission, transfer, substitution and literal translation.

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