With the help of Wmatrix, this paper attempts to compare and analyze the the two English versions from the level of word frequency, POS, semantic domain to differentiate the translator's style. It's found that...With the help of Wmatrix, this paper attempts to compare and analyze the the two English versions from the level of word frequency, POS, semantic domain to differentiate the translator's style. It's found that the translation inside is characterized by diversified words, verbalization and foreignization, whereas the translation outside is featured as simple words, nominalization,and explicitation.展开更多
The paper discusses the 1957 Hong Kong film The True Story of Ah Q. As a Hong Kong leftist film, its plot and production process are relevant to understanding the political and cultural life of New China. However, Hon...The paper discusses the 1957 Hong Kong film The True Story of Ah Q. As a Hong Kong leftist film, its plot and production process are relevant to understanding the political and cultural life of New China. However, Hong Kong leftist cinema played an important role in the reception of New China cinema overseas; it can only be understood within the context of political and cultural life in New China. This paper explores the complicated relations between Hong Kong leftist cinema, domestic socialist cinema, and Shanghai left-wing cinema in the 1930s. In addition, it discusses The True Story ofAh Q as a film with features that identify it with both Hong Kong leftist cinema and New China cinema. Thus, the film＇s acceptibility is determined by the tensions between these two identifications.展开更多
文摘With the help of Wmatrix, this paper attempts to compare and analyze the the two English versions from the level of word frequency, POS, semantic domain to differentiate the translator's style. It's found that the translation inside is characterized by diversified words, verbalization and foreignization, whereas the translation outside is featured as simple words, nominalization,and explicitation.
文摘The paper discusses the 1957 Hong Kong film The True Story of Ah Q. As a Hong Kong leftist film, its plot and production process are relevant to understanding the political and cultural life of New China. However, Hong Kong leftist cinema played an important role in the reception of New China cinema overseas; it can only be understood within the context of political and cultural life in New China. This paper explores the complicated relations between Hong Kong leftist cinema, domestic socialist cinema, and Shanghai left-wing cinema in the 1930s. In addition, it discusses The True Story ofAh Q as a film with features that identify it with both Hong Kong leftist cinema and New China cinema. Thus, the film＇s acceptibility is determined by the tensions between these two identifications.
