On the Translation Strategies of Characters’Nicknames-Taking The Iconography of the Decorated Writing-Paper of the Ten Bamboo Studio as an Example

Up to now,The Iconography of the Decorated Writing-Paper of the Ten Bamboo Studio(shortened as Iconography)is the first large-scale book to systematically study and interpret the notes and pictures of The Decorated Writing-Paper of the Ten Bamboo Studio(shortened as Ten Bamboo).The Iconography explains the sources and interpretations of 123 paintings in 15 groups.The content covers the celebrities and historical allusions of Tessa in the past dynasties,in which there are many nicknames that are full of Chinese characteristics.This paper takes the English translation of characters’nicknames in Iconography as the research object.Through the research,it is found that the translation of these characters’nicknames mainly adopts the methods of transliteration,explanation,literal translation with annotations and free translation.Through the analysis of specific cases,this paper tries to make the translation meet the reading expectation of the target readers to the maximum extent,and provide reference for the English translation of related classical works.

On the Translation of Iconography of the Decorated Writing-Paper of the Ten Bamboo Studio Based on the Theory of Translational Action

Based on the theory of translational action of the functionalism,this paper selects three aspects,translation as an inter-cultural and communicative action,a purposeful text-processing action and an inter-personal action,to analyze the important issues as well as the translation strategies,methods and techniques adopted in the translation of Chinese allusions.The study shows that the theory of translational action is important for the translation of allusions and that it helps to modify the target text.The translator,also the author of this paper,hopes that this study will be useful for the translation of allusions and the publicity of traditional Chinese culture across the world.

Botticelli’s Minerva and the Centaur:Artistic and Metaphysical Conceits

Botticelli’s Minerva and the Centaur of 1482-1483,along with his other mythological paintings,the Primavera,the Birth of Venus,and Mars and Venus,remains an iconographical mystery.As such,it is particularly interesting to analyze them.Now at the Galleria degli Uffizi in Florence and National Gallery in London,these paintings,executed between 1480 and 1490,were commissioned with specific aesthetic and intellectual aims and were intended to be hung in private rooms for personal viewing.Botticelli’s mythological paintings reflect the Renaissance humanistic body of thought:the study of antiquity and Neoplatonic philosophy.This essay focuses on one aspect:an interpretation of the influence of antiquity and humanism in Botticelli’s Minerva and the Centaur,a conflation of Minerva pacifica and Minerva pudica.

Giovanni Battista Naldini's Pietà:Humility and Love

In 1564,in honor of the death of Michelangelo Buonarroti(1475-1564),an artistic extravaganza was invented by the Benedictine monk Vincenzo Borghini(1515-1580)-prior of the hospital of the innocents,humanist,and administrator of the Florentine Academy of Design(Accademia del Disegno or Florentine Academy)-and was implemented by Giorgio Vasari(1511-1574)-artist,writer,and artistic director of the Academy,who engaged his Florentine assistants to work on the execution of the tomb in the Basilica of Santa Croce in Florence(see Figure 1).The commission of Michelangelo’s tomb was prompted by his nephew,Lionardo[Leonardo]Simoni-Buonarroti(1522-1599),and the Grand Duke of Tuscany,Cosimo I de’Medici(1519-1574).The tomb was completed in 1578.Vasari designed the architectural monument,and his assistants,members of the Florentine Academy,collaborated in the following manner:The sculptures of the Fine Arts were carved by Giovanni Bandini(1540-1599),who represented the personification of architecture;Valerio di Simone Cioli(1529-1599),who represented the personification of Sculpture;and Battista Lorenzi(1527-1594),who represented the personification of Painting and the portrait bust of Michelangelo.Giovanni Battista Naldini(1537-1591)completed al fresco the burning urns,the purple-colored doorway of the tomb,the suspended canopy,and the Pietàin the center of the marble tabernacle.This latter artistic contribution is the topic of this essay.

Giorgio Vasari’s Fiery Putto:Artistic Armorial

Giorgio Vasari(1511-74)as an artist and art historian of Italian Mannerism viewed himself as huomo buono et docto in buon letter(a fine and learned man).1 In choosing to practice various arts such as writing treatises,collecting drawings,painting decorative cycles,designing buildings,and decorating facades,Vasari was viewed by humanists as a virtuoso.This Tuscan painter,architect,art collector,writer,and art historian is best known for his Vite de’piùeccellenti architetti,pittori e scultori italiani,da Cimabue insino a’tempi nostri(Lives of the Most Excellent Architects,Painters and Sculptors of Italy,from Cimabue to the present time),which was first published in 1550,followed by an enlarged edition illustrated with woodcuts of artists’portraits in 1568.2 In 1960,Einar Rud(1892-1980),a Danish biographer and a scholar of Vasari,characterized him as the first art historian.3 By virtue of Rud’s text,Vasari is known as“the first art historian”-in particular,of Italian art-since Pliny the Elder wrote Book 35 on the History of Art in Ancient times in the Natural History,published posthumously in 79 CE.4 It is almost impossible to imagine the history of Italian art without Vasari,so fundamental is his Vite(Lives).This sixteenth-century Italian work is the first real and autonomous history of art because of its monumental encompassing of all of the following:(1)preambles for explanatory data on the function of the text;(2)integration of individual biographies(with anecdotal,gossipy,and amusing commentaries);(3)theory of art with articulations about artistic creativity and intentionality;and(4)inclusion of explanations of the function and types of artistic materials as well as their applications and techniques necessary for the productivity of art forms(that is,a formation of an instruction manual for artists and the manual’s application to material culture in the sixteenth century).In his coat of arms,Vasari visualized these creative activities and honored his Aretine artistic ancestry(Figure 1).This study consists of four parts:(1)a brief history of Vasari’s family;(2)a brief discussion of Vasari’s homes,Case Vasari;(3)a discussion on the location of his coat of arms(stemma)in the Case Vasari;and(4)and an interpretation of the meaning of Vasari’s coat of arms in his Aretine home.

Women and Rose in Joan Snyder’s Symphony VII

Flowers are endowed with rich symbolic meanings.It uses unique attributes to express people's emotions,feelings,and desires.According to Joan Snyder's Symphony VII,not all flowers symbolize beauty and happiness.The artist uses unique painting techniques to paint beautiful roses as bloody female organs,showing the fragility and helplessness of women.The work gives a contrasting impact of beauty and despair.Applying Greenberg's abstract expressionism theory and Erwin Panofsky's iconography theory along with research,this paper explored how Joan Snyder uses flower elements to symbolize women's vulnerability in Symphony VII.Joan Snyder's Symphony VII is constantly discussing violence against women around the world to warn and showcase the problems of women around us.

Barbara Longhi’s Saint Justina of Padua:Pagan Symbolism and Christian Martyrology

Barbara Longhi of Ravenna(1552-1638)skillfully created small devotional altarpieces depicting holy saints with their respective attributes of martyrdom,seen in Saint Agnes of Rome(c.291-304)with an ewe,Saint Cecilia(c.200-235)with a portable organ,Saint Catherine of Alexandria(c.287-304)with a broken spiked wheel,and Saint Justina of Padua(c.3rd century)with a small sword in her chest.For their physical sacrifice,Heaven rewarded them with a palm frond as an honorific spiritual gift.Barbara included some of these saints in her paintings on the theme of holy conversation(sacra conversazione;a religious gathering with the Madonna and Child)and depicted the female saints as a single panel-solo image-for private devotion or supplicatory assistance.Most of the biographies and historicity about the lives of these saints are recounted by Jacobus de Voragine(1222-1298),Archbishop of Genoa,in his Golden Legend(Legenda Aurea,1275).This essay only comments on the iconography of one of Barbara’s female saints,Saint Justina of Padua.

茎突综合征的影像学特点及诊断

茎突综合征是因为茎突过长或方位异常等导致其与周围血管神经组织相互摩擦及抵触而产生的异常感觉,是耳鼻咽喉头颈外科门诊常见病症,起症状与慢性咽炎相似,常因未完善规范检查而漏诊。近年来随着对该疾病的深入了解以及医学影像学技术的进步与发展,更多患者得到明确诊断以及规范治疗。本文整理归纳了现有的茎突常用的影像学方法,对茎突综合征影像学特点及诊断进行综述。

The evolution of Liang Sicheng’s construction of Chinese architectural traditions in his drawings(1920se1930s)

This article investigates one of the earliest attempts to systematically construct a building tradition and incorporate it into modern Chinese architectural design.These efforts were put forth by Liang Sicheng(1901e1972),one of the most distinguished Chinese architects and architectural historians,in the 1920s and 1930s in China,informed by the strong collective intention to honour the Chinese past.This article provides a historical and critical reflection on this collective intention that is still shared nowadays by architects and architectural theorists.This article examines in depth the evolution of the different ways Liang used the building past and constructed the Chinese architectural traditions in different crucial stages of his architectural career in the 1920s and 1930s.It uses architectural drawing as both the research subject and the research method.Three of Liang’s representative drawings from these crucial professional stages are juxtaposed and investigated to reveal this evolution using the iconography and iconology method.