文献综述修改 (7).docx

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1、Research on Translating Culture-specific Items in Commentaries for Calligraphy CollectionWith the development of globalization, the communication among different culture is more and more frequent. Therefore, translation is also playing an increasing significant role. As a country that possesses thou

2、sands of years history, China has a lot of cultural measures, of course calligraphy collection is one of them. In the museum, we must use the most concise word to express the deepest meaning in order to convey the cultural deposits. 1. Stylistic Features and Functions of Calligraphy Collection1.1 St

3、ylistic Feature of Chinese Calligraphy Stylistics is a discipline that applies concepts and techniques of modern linguistics to the study of styles of language use. There are four features such as lexical features, grammatical features and so on. As for vocabulary, calligraphy collection commentarie

4、s use many CSIs, which is the main characteristic of calligraphy collection vocabulary. For example, Calligraphy is an important content of ancient Chinese literatis daily life, many calligraphers had ever been appointed as Dynasty Officers. So there will always be official position in the calligrap

5、hic introduction.in ancient times, there are many positions differ from levels. We have jinshi, Hanlin, Academician and Grand Academician. If this positions cannot be well understood, the deep meaning of the calligraphy may also cannot be understood well. But for a little calligraphy collection comm

6、entary, many kinds of position names will increase the readers bear. So in the commentaries, we should pay much attention to the introduction of the calligrapher, whose position is one of the key points.And also, there are many terms in commentaries. If we want to give evaluation to a calligraphy in

7、 Chinese, we must use many aesthetic terms. Although Chinese and foreign calligraphy museum commentary differs slightly on content, generally we will evaluate from stroke, nexus of contracts, art of composition and other aspects. There are many kinds of fonts in calligraphy, such as Song typeface, c

8、ursive handwriting, and other fonts. For foreigners, if they dont have a full understanding of Chinese culture, they will be confused of these culture-specific items of fonts. So translators should give commentaries as clear as possible to make the commentary more suitable for various visitors.As fo

9、r grammatically aspect, in Chinese commentary we will mostly use parallel and loose structure, while in English we will use tight structure. In Chinese There will be a lot of four-character phrases to make sentences fluent and overwhelming, and also there will be many classical stories to highlight

10、the cultural relic in order to add literariness to commentaries. Instead, in English, we will arrange sentences logically, so the relationship among each sense-group is distinct. Thats why the constitution of English sentence is like bamboo, which Chinese sentence is like a tree.1.2. Function of Chi

11、nese CalligraphyMuseums are one of the best medium for Chinese classical culture spreading to foreign countries. The quantity of the museum collection is numerous, and it can be traced back to the old Chow. In the museum, visitors cannot accurately understand the items of information for most of the

12、m are Chinese at this stage. So commentaries have become the most direct and effective way. There are also many unfamiliar words, which is difficult even for modern Chinese to grasp its accurate connotation. According to New Marks theory, translation can be divided into five functions, expression fu

13、nction, of which the core is the speaker or author; informative function, which mainly aims to convey information; vocative function, which is to call for readers to act or think following the authors intention; aesthetic function, that refers to the language that can give us sense of beauty; meta l

14、ingual function, which is to use language to explain, labeling and criticism its own characteristic. (New Mark,1981:21-22)So speaking of Chinese calligraphy, it is mainly informative function, which aims to convey information to visitors. The core of informative function is the external context or l

15、anguage factors. When translating informative text, the translator should follow the principle of “authenticity first”, and also, in language use, the translator can take the readers language level as a standard instead of the original text. The main aim is to make the text easy to understand, the t

16、ranslator can also modify the original text if necessary. 2. Different Perspective on Translating Chinese Calligraphy in MuseumsIn this chapter, we will going to research translating Chinese calligraphy from the perspective of the principle, methods and strategies of translation. We all know that fo

17、r translation, we have three principles called faithfulness， expressiveness, and elegance. Faithfulness, thats to say the meaning of calligraphy translation should be faithful to the original text, and the content should also be consistent with the original text; the second aspect expressiveness is

18、to be faithful to the reader, when visitors visiting the calligraphy, as the receiver of the information, your translation should be consistent with the rules of target language; the third aspect is to be elegance under the basis of the former two principle. As for translation methods, New Mark had

19、also done relevant research in his book (New Mark, 2001:45-49). He raised up eight translation methods: 1.word-for word translation, thats an kind of interlinear translation, with the target language immediately below the source language, thats also what we can always see in the museum commentary; 2

20、.literal translation, the translation is consistent with original text in grammar, meaning, construction and so on; 3.faithful translation, which attempts to show the sense of original text precisely with right grammatical structure; 4.semantic translation, it takes more aesthetic value comparing to

21、 faithful translation; 5.adaption, which is often used in plays and poetry; 6.free translation, it reproduced the matter without the manner; 7.idiomatic translation, it reproduced the message of the original; municative translation, which tries to find balance between TL and SL. As an informative te

22、xt, museum commentaries emphases on communicative translation, which is mainly for TL readers to understand. So the 8 methods mentioned above is frequently used in translating process.When translating commentaries, we have many strategies. The first is amplification. when we want to explain culture-

23、special items, we can use amplification. We can add the background information or cohesion words to specify those items for better understood. The second is omission, due to different constructions between Chinese and English, sometimes we can delete some contents and focusing on accurate informatio

24、n and the expressive style of TL. The third is combination and division, the core of difference between the two language is tight and loose, so during translation, we can use combination and division to adjust the sense of groups to make English more idiomatic. Of course, there are also many other t

25、ranslation strategies, we can use them in certain situation to make our translation better understood.3.ConclusionTranslation is not only the transference of language, but also a transmission of cultural information. It is absolutely necessary to discuss the definition of culture and figure out the

26、relationship between culture and language. So as a lexical ingredients of a certain language, culture-specific items reflect culture peculiarities most sensitively and directly. All in all, the translation of culture-specific items in calligraphy collection is more difficult, thats why I choose it a

27、s the subject of my paper. References1. Aixela, J. F. Culture-specific Items in TranslationM. Beijing: Foreign Language Teaching and Research Press, 2007.2. New Mark, Peter. Approaches to TranslationM.Oxford: Pergamon Press,1981.3. New Mark, Peter. A Textbook of TranslationM. Shanghai: Shanghai Foreign Language Education Press,2001.4. Benedict, K. Language and CultureM. Beijing: Commercial Press, 1980.5. Hall, E.T. The Silent LanguageM. New York: Doubleday, 1959.6. 胡壮麟，姜望琪，2002，语言学高级教程M. 北京：北京大学出版社7. 邱懋如，1997，文化及其翻译A. 上海外国语大学翻译研讨会年度论文。