Annotation in translation is of great value in communicating"the local"to the global readership.Based on our content and function-centered statistics on the 483 notes of the four English versions of Shen Fu...Annotation in translation is of great value in communicating"the local"to the global readership.Based on our content and function-centered statistics on the 483 notes of the four English versions of Shen Fu’s autobiographical work Fushengliuji,we find that 1)in terms of content,cultural,geographic,historical,and literary references are the most important categories of annotation in the English translation of this work;annotations in the four versions are employed to serve 6 major functions/purposes:to further inform,to facilitate understanding,to avoid misunderstanding,to interpret personally,to cite or allude,and to correct mistakes;2)no correlation can be established between the use of annotation and the reception of the work per se,but it can reflect the translator’s poise and strategy which ultimately affect the reception of the work;and 3)Lin’s version used relatively few notes and relied heavily on paraphrasing,a practice which leads to better accessibility of his translation and at the same time to the possible sacrifice of some culturally and socially significant elements of the original.Black’s translation used notes sparingly,and she was so creative as to rearrange and edit the original text,revealing her approach of radical"reader-centeredness".Pratt and Chiang’s version and Sanders’version used a large number of notes carrying a sinological mission,revealing their respect for the original and their decision to inform and inspire their readers.We argue that cultural translation,whether aided by annotation or not,is predominantly an art about"glocalism"and that both author-centeredness and reader-centeredness can be reconciled,since ultimately they serve the same"communicative"purpose.展开更多
Kunqu Fushengliuji(Garden Edition),newly born in 2018,is an immersive performance in a Suzhou garden(world cultural heritage),namely Canglang Pavilion,through the artistic form of kunqu(world intangible cultural herit...Kunqu Fushengliuji(Garden Edition),newly born in 2018,is an immersive performance in a Suzhou garden(world cultural heritage),namely Canglang Pavilion,through the artistic form of kunqu(world intangible cultural heritage),which proves itself a perfect window for an audience to understand the distinctive Suzhou culture and Suzhou lifestyle.From a perspective of translation semiotics,specifically the translation of the three headings of cultural signs,we analyze its English translation by sinologist Kim Hunter Gordon,and find the status of communication of distinctive Suzhou culture to the West.With these findings,and more importantly,through the understanding and cognition of Westerners,we may be able to see the achievements and shortcomings in the communication of Chinese culture to the outside world,observe the initiative and tactics of“Chinese culture going out”,and improve them deeply and constantly.展开更多
基金sponsored by the“Overseas Reception of Suzhou Local Culture”fund(No.2019SJA1330)the Jiangsu Social Sciences and Humanities Fund(No.18WWD005)。
文摘Annotation in translation is of great value in communicating"the local"to the global readership.Based on our content and function-centered statistics on the 483 notes of the four English versions of Shen Fu’s autobiographical work Fushengliuji,we find that 1)in terms of content,cultural,geographic,historical,and literary references are the most important categories of annotation in the English translation of this work;annotations in the four versions are employed to serve 6 major functions/purposes:to further inform,to facilitate understanding,to avoid misunderstanding,to interpret personally,to cite or allude,and to correct mistakes;2)no correlation can be established between the use of annotation and the reception of the work per se,but it can reflect the translator’s poise and strategy which ultimately affect the reception of the work;and 3)Lin’s version used relatively few notes and relied heavily on paraphrasing,a practice which leads to better accessibility of his translation and at the same time to the possible sacrifice of some culturally and socially significant elements of the original.Black’s translation used notes sparingly,and she was so creative as to rearrange and edit the original text,revealing her approach of radical"reader-centeredness".Pratt and Chiang’s version and Sanders’version used a large number of notes carrying a sinological mission,revealing their respect for the original and their decision to inform and inspire their readers.We argue that cultural translation,whether aided by annotation or not,is predominantly an art about"glocalism"and that both author-centeredness and reader-centeredness can be reconciled,since ultimately they serve the same"communicative"purpose.
基金supported by the Philosophy and Social Science Research Projects in Colleges of Jiangsu Province A Study on the International Communication Initiative of Kunqu under the Integration of Culture and Tourism(Grant Number:2021SJA1375)the Major Project of China National Social Science Foundation The History of Chinese Xiqu in the 70th Anniversary of the Founding of New China(Jiangsu Province Volume)(Grant Number:19ZD05)+1 种基金Humanities and Social Sciences Research Team Project Foundation of Soochow University A Study on the Intercultural Communication of Chinese Kunqu(Grant Number:21XM1006)the Center for Chinese Culture Translation and International Communication。
文摘Kunqu Fushengliuji(Garden Edition),newly born in 2018,is an immersive performance in a Suzhou garden(world cultural heritage),namely Canglang Pavilion,through the artistic form of kunqu(world intangible cultural heritage),which proves itself a perfect window for an audience to understand the distinctive Suzhou culture and Suzhou lifestyle.From a perspective of translation semiotics,specifically the translation of the three headings of cultural signs,we analyze its English translation by sinologist Kim Hunter Gordon,and find the status of communication of distinctive Suzhou culture to the West.With these findings,and more importantly,through the understanding and cognition of Westerners,we may be able to see the achievements and shortcomings in the communication of Chinese culture to the outside world,observe the initiative and tactics of“Chinese culture going out”,and improve them deeply and constantly.
