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Xavier, Subha. "The global afterlife: Sino-French literature and the politics of translation". French Cultural Studies 30, nr 2 (maj 2019): 153–65. http://dx.doi.org/10.1177/0957155819842980.
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Following the critical acclaim of Sino-French literature in recent years, an increasing number of Chinese presses have solicited translations of prize-winning novels written in French by authors of Chinese descent. Yet as the work of authors like François Cheng, Shan Sa, Ya Ding and Dai Sijie travels from French into Chinese, it also undergoes a transformation via the politics of translation and publication in China. This essay exposes the inner workings of translation between French and Chinese, as well as the politics that colour its publication and reception between France and China. The act of translating these works back into their authors’ native tongue signals a return to the national paradigms the writers initially sought to evade by writing in French. Translation here functions as a form of aggression, a forced return home that ultimately breaks with the poetic ethos that animates the original creative works.
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Liu, Chao Peng. "Research on Web Application Technology for Building a Chinese-French Parallel Corpus of the Four Great Chinese Classical Novels". Applied Mechanics and Materials 473 (grudzień 2013): 206–10. http://dx.doi.org/10.4028/www.scientific.net/amm.473.206.
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As masterpieces in Chinese classical literature, the Four Great Chinese Classical Novels with their multilingual translations have exerted a profound influence in literature and translation studies both home and abroad. Building a Chinese-French bilingual parallel corpus of the Four Great Chinese Classical Novels is believed to facilitate large-scale investigations into the original Chinese text and their French translations in terms of stylistics, diction, culture and translation techniques. In this paper, we introduced the French translations of the four novels and illustrated the process of building the parallel corpus in detail. When the parallel corpus is completed, statistical analysis can thereby be carried out by employing different corpus tools. In order to enhance the availability and convenience of the parallel corpus, a web-based query platform is designed to provide world-wide search through the Internet for interested researchers and language learners.
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Bi, Yanjing. "Interprétation et traduction des phraséologismes du chinois vers le français : le cas du roman Beaux seins, belles fesses de MO Yan". Les phraséologismes pragmatiques, nr 29 (1.12.2021): 157–72. http://dx.doi.org/10.54563/lexique.153.
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The fixed expression has become, since the second half of the twentieth century, one of the greatest objects of study of linguistics and translation. As a special category of Chinese phraseology, chéngyŭ (a type of chinese idiom) are more difficult for translators because of their intralinguistic and extralinguistic specificities. This study is based on concrete cases of chéngyŭ translations by analyzing a bilingual corpus made up of this category of phraseologisms in Chinese (source language) and their translations into French (target language). The corpus is extracted from a Chinese literary work and its translation into French. In this study, we will discuss the definition and characteristics of chéngyŭ. Then, we will analyze our corpus, firstly to have a general idea of the translation of this literary work based on authentic data, secondly to analyze more closely the different adaptation strategies adopted by the translators in order to provide reflections on how to transcribe chinese phraseologisms into French.
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Xiaoyan, Liang, Wang Kailun i Dominic Glynn. "Translating and publishing French theatre in China". Francosphères: Volume 10, Issue 2 10, nr 2 (1.12.2021): 225–43. http://dx.doi.org/10.3828/franc.2021.16.
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This article examines transformations in the literary translation environment in the People’s Republic of China (PRC) specifically in relation to French-language theatre. After an initial survey of literary translation in the PRC from its foundation to the present, the article studies how French-language plays have been translated and adapted for publication. In particular, it considers how French theatre has occupied a favoured position in the Chinese translation literary system over the past four decades. It then focuses on three emblematic cases, those of Molière, Jean-Paul Sartre, and Samuel Beckett. Regarding the latter, two Chinese translations of En attendant Godot/Waiting for Godot will be examined to determine how contextual factors affected translation choices. In this way, the article seeks both to contribute to current discussions on ‘translatability’ and to consider the reception of canonical French-language writers in the Chinese literary system.
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Wang, Mingxing. "Translation, Rewriting and Creation: Interview of Professor Noël Dutrait, Translator of Gao Xingjian’s Lingshan (La Montagne de l’âme)". TranscUlturAl: A Journal of Translation and Cultural Studies 12, nr 2 (30.09.2020): 39–49. http://dx.doi.org/10.21992/tc29504.
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Mehdizadkhani, Milad, i Luyu Chen. "Chinese audiovisual translation". FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 21, nr 1 (6.07.2023): 96–114. http://dx.doi.org/10.1075/forum.00028.meh.
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Abstract The increasing use of multilingualism in audiovisual products, especially feature films, has attracted attention from audiovisual translation (AVT) scholars; however, such research is missing in the Chinese AVT context. This paper strived to fill this niche by exploring the common methods of the rendition of a third language (L3) in Chinese dubbing, subtitling, and fansubbing. The corpus of the study comprised six English-speaking feature films alongside their fan and professional-created Chinese subtitles and dubs available online, and its contents was mainly selected based on two criteria: (i) the L3s used, for example, French, Indian, Swahili, Xhosa, and Russian, and (ii) the availability of fan and pro-produced Chinese subtitles and dubs. For dubbing, the analysis of the corpus revealed that the Chinese professional dubbing team marked the L3s in a few cases but applied translational patterns inconsistently. the comparison of the pro- and fansubs demonstrated that both did not mark the L3s in their translations and that professional subtitlers performed better than the fansubbers in the rendition of multilingualism in terms of graphic codes and the original films’ storytelling.
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Wong, Laurence. "Translating Shakespeare’s imagery for the Chinese audience". Babel. Revue internationale de la traduction / International Journal of Translation 57, nr 2 (21.07.2011): 204–25. http://dx.doi.org/10.1075/babel.57.2.05won.
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Generally speaking, the message of a poem is conveyed on three levels: the semantic, the syntactic, and the phonological. How translatable each of these levels is to the translator depends on how much cognation there is between source and target language: the more cognation there is, the more translatable each of these levels. Thus, in respect of all three levels, translation between languages of the same family, such as English and French, both of which belong to the Indo-European family, is easier than translation between languages of different families, such as English and Chinese, which belong respectively to the Indo-European and the Sino-Tibetan family. If a further distinction is to be made, one may say that, in translation between Chinese and European languages, the semantic level is less challenging than both the syntactic and the phonological level, since syntactic and phonological features are language-bound, and do not lend themselves readily to translation, whereas language pairs generally have corresponding words and phrases on the semantic level to express similar ideas or to describe similar objects, events, perceptions, and feelings. As an image owes its existence largely to its semantic content, the imagery of a poem is easier to translate than its phonological features. Be that as it may, there is yet another difference: the difference between the imagery of non-dramatic poetry and the imagery of poetic drama when it comes to translation. With reference to Hamlet and its versions in Chinese and in European languages, this paper discusses this difference and the challenges which the translator has to face when translating the imagery of poetic drama from one language into another; it also shows how translating Shakespeare’s imagery from English into Chinese is more formidable than translating it from English into other European languages.
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Trakhtenberg, Lev A. "O. Goldsmith’s Oriental Parable in the Magazine Ni To Ni Sio (Neither This Nor That)". Studia Litterarum 6, nr 1 (2021): 382–95. http://dx.doi.org/10.22455/2500-4247-2021-6-1-382-395.
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The essay argues that the oriental parable “Ziou-Zioung. A Chinese Anecdote” published in No. 9 of the magazine Ni To ni Sio (“Neither This nor That”) on April 25, 1769, is a fragment of “The Citizen of the World, or Letters from a Chinese Philosopher” by Oliver Goldsmith (1760–1761, book edition 1762), translated with some changes. The translation is presumably attributed to Fyodor Lazinsky. The paper traces the way of Goldsmith’s plot from the English original to the Russian version. The parable is taken from the French translation of Goldsmith’s book by P. Poivre (1763) and reprinted in the magazine Recueil pour l’esprit & pour le cœur under the title “Ziou-Zioung” (1764). The text of the French magazine is translated into German; it appears in Berlinisches Magazin (1765), from where it is borrowed by the Russian translator. The separation from the original context and a chain of transformations in successive translations, although each of these transformations is minor leads to a substantial change of meaning. While Goldsmith aims his satire at those who are proud of unworthy things, German and Russian versions condemn pride as such.
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Wong, Laurence. "Musicality and Intrafamily Translation: With Reference to European Languages and Chinese". Meta 51, nr 1 (29.05.2006): 89–97. http://dx.doi.org/10.7202/012995ar.
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Abstract Most practitioners of translation agree that translation is at best an ersatz, able to get across only part of the source text’s meaning, which is meaning on two levels: the semantic and the phonological. Even in translating an apparently simple lexical item, to say nothing of long stretches of discourse, they are keenly aware of what is being left out. On the semantic level, for example, the denotation of a lexical item may sometimes be preserved almost intact. However, its connotations, associations, or nuances, which can elicit subtle responses from readers of the original, often defy the process of carrying over or across, which is what transferre, the Latin word from which translate is derived, means. Yet, compared with musicality, a feature on the phonological level, all features on the semantic level will become relatively easy. With reference to translations of Dante’s Divine Comedy in Spanish, French, Latin, English, German, and Chinese, as well as translations of Shakespeare’s Macbeth in Italian, this paper discusses musicality as the most recalcitrant of all features in a source-language text, and attempts to show how, depending on factors to be examined in detail, intrafamily translation, that is, translation between languages of the same family, can capture the original music with varying degrees of success.
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Pospiszil, Karolina. "Bibliografia przekładów na język śląski w latach 2002—2018 / Bibliography of translations into the Silesian language in the years 2002—2018". Przekłady Literatur Słowiańskich 9, nr 2 (30.05.2019): 103–18. http://dx.doi.org/10.31261/pls.2019.09.02.06.
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The bibliography includes translations into the Silesian language made both in the standard script as well as in the non-standard one. The starting point for translations into the contemporary Silesian may be dated back to 2002. Since then, there have been irregularly published, usually in the form of collections, translations of various literary genres (with a preponderance of poetic forms) from dozen or so world languages, such as: Greek, Latin, French, German, Polish, Mandarin Chinese, English, Welsh, Russian, or the Upper Sorbian. No single translation from Silesian into other language is included, since heretofore no such a translation has been made.
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Yan, Ruiyu. "The Application and Analysis of Xu Yuanchong's "Three Beauties Theory" in Poetry Translation". Communications in Humanities Research 6, nr 1 (14.09.2023): 407–14. http://dx.doi.org/10.54254/2753-7064/6/20230331.
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Xu Yuanchong is a famous contemporary translator in China, and his literary translation achievements are renowned both at home and abroad. He has published more than 60 books in Chinese, English and French, including "The Book of Songs", "Elegies of the South", "Selected Poems of Li Bai", "Romance in the Western Bower", "The Red and the Black","Vanished springs","Madame Bovary" and "In Search of Lost Time".In 2014, Xu Yuanchong was awarded the "Aurora Borealis Prize" Award for Excellence in Literary Translation, one of the highest awards in the international translation industry.Mr. Qian Jongshu, a literary giant, once said of Mr. Xu Yuanchong: "Mr. Xu has devoted his life to Chinese culture, and has died with all his might. And he opened up a new path for Chinese culture in the world."This article mainly expounds the background, function and significance of Xu Yuanchong's "Three Beauties Theory", and through case analysis, compares Xu Yuanchong's specific application of the "Three Beauties Theory" in Chinese poetry translation with other translators, and analyzes its embodiment in the "Three Beauties Theory".
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Zhang, Xiangyun. "La traduction du théâtre français en Chine". FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 5, nr 2 (1.10.2007): 171–94. http://dx.doi.org/10.1075/forum.5.2.09zha.
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This article first presents a list of French dramas which have been translated into Chinese and performed in China. By analysing the list of works, the author attempts to nail down the factors which influence both the translation and the performance of French dramas in China. In addition to the selection of dramas made by the translators or the stage directors from the cultural perspectives, there are still specific requirements for the translated works to be performed on the stage in China. This article highlights the importance for the translation works to recover the performance implicit in the text of the original works. Meanwhile, the author explores the process of drama translation by taking examples of the Chinese translation of Le Tartuffe, the famous play written by Molière.
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Eria, Kamya, i Manoj Jayabalan. "Neural Machine Translation: A Review of the Approaches". Journal of Computational and Theoretical Nanoscience 16, nr 8 (1.08.2019): 3596–602. http://dx.doi.org/10.1166/jctn.2019.8331.
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Neural Machine Translation (NMT) has presented promising results in Machine translation, convincingly replacing the traditional Statistical Machine Translation (SMT). This success of NMT in machine translation tasks therefore projects to more translation tasks using NMT. This paper systematically reviews the hitherto proposed NMT systems since 2014. 86 NMT papers have been selected and reviewed. The peak of NMT systems were proposed in 2016 and the same was the case for many machine translation workshops who provided datasets for NMT tasks. Most of the proposed systems covered English, German, French and Chinese translation tasks. BLEU score accompanied by significance tests has been seen to be the best metric for NMT systems evaluation. Human judgement for fluency and adequacy is also important to support the metrics. There is still room for further improvement in translations regarding rich source translations and rare words. There is also need for extensive NMT works in other languages to maximize the apparent capabilities of NMT systems. RNN Search and Moses are basically used to develop SMT baselines for model comparisons. Results provide futuristic and directional insights into further translation tasks.
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Kim, Sangdeog Augustin. "My Husband! What is ‘The Happy Life’ for us? (Tcheonzamun 049th -064th)". South Asian Research Journal of Humanities and Social Sciences 5, nr 01 (28.02.2023): 17–20. http://dx.doi.org/10.36346/sarjhss.2023.v05i01.006.
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French missionary Dallet (1874) wrote in his book that early history of Korea is not known, and it was for him very strange that ‘Korean scholars do not have any interests in their own history. And the scholars read only the book written in Chinese characters’. The thousand character essay is called in Korea as Tcheonzamun (千字文), and this Tcheonzamun book was introduced in the French book (Dallet, 1874). It is firmly believed that Tcheonzamun was created by Chinese people (Han, 1583). Recently, several researchers thought that Tcheonzamun book might be written by ancient Korean people (Park et al., 2021a; Park et al., 2021b). The present researcher translated the Tcheonzamun poem (Tcheonzamun 049th -064th). This study was done both through the meaning of Chinese characters and through Korean pronunciation of Chinese characters. Tcheonzamun poem is composed of 16 letters (Park et al., 2021a; Park et al., 2021b). This time, the range is (Tcheonzamun 049th -064th). There are two methods for the present study. One method is through Korean pronunciation of Chinese characters (Park et al., 2021b), the other is through the meaning of Chinese characters in Tcheonzamun (Park et al., 2021a). Sometimes, the Chinese character is separated into several parts. Then same part of the Chinese characters in the same line will be deleted. Here, the line is shown as follows. (049- 052 劍(Keom) 號(Ho) 巨(Keo) 闕(Kweol)). Then, the translation will be done with the remained part (parts). On the method through Korean pronunciation, the four letters in a line will be modified. This study is for the translation of (Tcheonzamun 049th -064th). And the title of this study is the word of the wife, “My husband! What is ‘the happy life’ for us? (Tcheonzamun 049th -064th)”. The translation through the meaning of Chinese character shows the ideal state of husband and wife. But the translation through Korean pronunciation of Chinese characters, wife-husband couple is not in good harmony. As a conclusion, the theme of these two translations is similar, the happiness of the husband and the wife.
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Sun, Haipeng, Rui Wang, Masao Utiyama, Benjamin Marie, Kehai Chen, Eiichiro Sumita i Tiejun Zhao. "Unsupervised Neural Machine Translation for Similar and Distant Language Pairs". ACM Transactions on Asian and Low-Resource Language Information Processing 20, nr 1 (kwiecień 2021): 1–17. http://dx.doi.org/10.1145/3418059.
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Unsupervised neural machine translation (UNMT) has achieved remarkable results for several language pairs, such as French–English and German–English. Most previous studies have focused on modeling UNMT systems; few studies have investigated the effect of UNMT on specific languages. In this article, we first empirically investigate UNMT for four diverse language pairs (French/German/Chinese/Japanese–English). We confirm that the performance of UNMT in translation tasks for similar language pairs (French/German–English) is dramatically better than for distant language pairs (Chinese/Japanese–English). We empirically show that the lack of shared words and different word orderings are the main reasons that lead UNMT to underperform in Chinese/Japanese–English. Based on these findings, we propose several methods, including artificial shared words and pre-ordering, to improve the performance of UNMT for distant language pairs. Moreover, we propose a simple general method to improve translation performance for all these four language pairs. The existing UNMT model can generate a translation of a reasonable quality after a few training epochs owing to a denoising mechanism and shared latent representations. However, learning shared latent representations restricts the performance of translation in both directions, particularly for distant language pairs, while denoising dramatically delays convergence by continuously modifying the training data. To avoid these problems, we propose a simple, yet effective and efficient, approach that (like UNMT) relies solely on monolingual corpora: pseudo-data-based unsupervised neural machine translation. Experimental results for these four language pairs show that our proposed methods significantly outperform UNMT baselines.
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Jiang, Pei. "Artistic originality of the first translation and publication of I. Krylov's plays in China". World of Russian-speaking countries 1, nr 11 (2022): 60–67. http://dx.doi.org/10.20323/2658-7866-2022-1-11-60-67.
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The article is devoted to the first translation of I. A. Krylov's plays in China, published in 2020. The translator is Li Chunyu, a lecturer at the Faculty of foreign languages of Xiamen University. This is the first book to introduce Chinese readers to Krylov as a playwright. As a fable writer he has long been well known in China, but his plays were translated for the first time by Li Chunyu, and he translated all 13 of Krylov's plays, including three unfinished ones. The article discusses some features of these translations, primarily the specifics of the title transformations, when the comic opera “The Coffee Lady” is translated as “The Soothsayer”, the comedy “Naughty Men” as “Chickens Fly and Dogs Jump”, the comedy “Pie” as “Chicken Cutlet”, and the most famous Krylov comedy “Lesson to Daughters” as “French Marquis” (the entire book is also called that). The article explains that the names of Krylov's plays were not changed accidentally, that the choice made by the translator is justified both by the peculiarities of the literary text perception by Chinese readers, and in terms of the history of Russian literature, when the title of Krylov's play “The French Marquis” (instead of “The lesson for daughters”), according to the translator, corresponds to the name of the famous comedy by N. V. Gogol “The Inspector General”. The article pays special attention to the analysis of the Golden Russia series of books, whose publication was launched in 2014 by the People's Publishing House (Zhenmin Chubanshe) of Sichuan province, edited by Wang Jianzhao, professor of the Institute of Foreign Literature at Beijing University of Foreign Languages, aimed at studying and publishing the best works of Russian culture for Chinese readers.
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Vo, Nhon Van. "TRANSLATED LITERATURE IN COCHINCHINA IN THE LATE 19th CENTURY AND IN THE EARLY 20th CENTURY". Science and Technology Development Journal 13, nr 1 (30.03.2010): 5–12. http://dx.doi.org/10.32508/stdj.v13i1.2099.
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Being colonized by France, Cocochina (the South of Vietnam) was the region where Western literature was introduced into earlier than the North. Truong Minh Ky was considered the first translator of Western literature in Vietnam. His earliest works of translation appeared in 1884. By the early 20th century, introduced to Vietnamese readers were Western literary works not only of French origin but also of British, American and Russian origins; not only poetry, prose but also drama. In the late 19th century, many writers such as Truong Vinh Ky, Huynh Tinh Cua were interested in Chinese literature. In the first decade of the 20th century, a wide variety of Chinese novels were translated into Vietnamese, forming a strong movement of translating "truyen Tau” (Chinese fictions). The remarkable characteristics of the translation of Western literature in Cochinchina were as follows - The newspapers and magazines in “Quoc Ngu” (Vietnamese language written in Latin characters) where the first works of translation were published played very important role. - The translators were greatly diverse, coming from different social and cultural backgrounds. - More translation was made on prose. Novels of martial arts, historical stories, novels of heroic deeds attracted the attention of the translators and the publishers. Therefore, they were translated much more than romance novels were, because of their compatibility with popular audience. - By translating the works of Western literature, the writers tried to express new concepts of humanism, such as women rights, or gender issues. Translated literature in Cocochina in the late 19th and early 20th centuries reflects a paradox: Western influences started to leave their marks but the Chinese influence was still strongly engraved. However, this was a remarkable step in the journey of modernization of national literature. Through these early translated works, new literary genres were introduced and Vietnamese readers gradually became familiar with them. Translation experiences were the first steps for Cocochina writers to achieve thorough understanding, to learn Western writing techniques and styles, which helped them become the pioneers of new literature in Vietnam.
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Tang, Man-to. "Perspective, the Visible and the Invisible in Chinese Paintings: A Response to Jean-Luc Marion". Culture and Dialogue 9, nr 2 (23.12.2021): 201–24. http://dx.doi.org/10.1163/24683949-12340104.
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Abstract In the Chinese translation of The Crossing of the Visible, French phenomenologist Jean-Luc Marion, raised a question about the nature of Chinese paintings: does the relationship between the visible and the invisible commonly found in the Western painting play the same role in Chinese paintings? This essay aims to answer this question. Chinese paintings maintain the acceptance that the sense of perspective is the implementation of the invisible by the varieties of perspective, the invisible vanishing point and the poem. My response to Marion’s call opens a fresh dialogue between the French thought and the Chinese thought.
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REYNOLDS, MATTHEW. "Translation – Theory and Practice: A Historical Reader. Edited by Daniel Weissbort and Astradur Eysteinsson. Pp. 672. Oxford: Oxford University Press, 2006. Hb. £65. An Anthology of Chinese Discourse on Translation. Edited by Martha P. Y. Cheung. Vol. 1: From the Earliest Times to the Buddhist Project. Pp. 300. Manchester: St Jerome Publishing, 2006. Hb. £45." Translation and Literature 17, nr 1 (marzec 2008): 85–93. http://dx.doi.org/10.3366/e0968136108000083.
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Both these anthologies fence in new territory for thoughts about translation to roam. Volume 1 of Martha Cheung's Anthology of Chinese Discourse on Translation – compiled with the help of a large advisory board of Chinese scholars – ranges from Laozi in the sixth century BC to the mid Song dynasty in the twelfth century. Almost all this material is brought into English for the first time. Daniel Weissbort and Astradur Eysteinsson's Historical Reader, again edited with the help of other experts, reaches out to include snippets of ethnography and life-writing alongside the familiar core of St Jerome, Dryden, Pound, Benjamin, et al. Though focused on translation into English, it gives space to German romantic arguments and to French views from the Renaissance and eighteenth century. And, though most concerned with the translation of literature, especially poetry, it also samples the counterpoint tradition of Bible translation, into German as well as English. Best of all, it is truly – as its title announces – an anthology of both Theory and Practice. Many translations (and some of their source texts) are included, in recognition of the obvious but neglected fact that translations themselves often resist or elude the statements criticism and theory make about them; that they are themselves instances of thinking through translation, not just raw material to be thought about. It is a magnificently compendious volume.
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Wang Yi Gun. "Quelques réflexions sur la fidélité en traduction vue á travers la comparaison d'énoncés français et chinois". Babel. Revue internationale de la traduction / International Journal of Translation 39, nr 1 (1.01.1993): 30–42. http://dx.doi.org/10.1075/babel.39.1.05wan.
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Based on a comparative analysis of French and Chinese utterances, this study suggests that given the fundamental differences between the linguistic systems, translation of languages as systems of signs is theoretically impossible. Translation is a process which operates under the constraints of both the source and target language to convey meaning as realized in speech acts. A comparative analysis of syntactic and semantic differences links the fidelity of translation to its exploitation of the dynamic meanings as achieved in the original discourse. Although this meaning must be the starting point, inter-language differences in pragmatic features, e.g. rites, symbols and gestures, demonstrate the need for the translator to consider the extralinguistic factors which the reader uses to determine meaning.
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Jammes, Jeremy, i David A. Palmer. "Occulting the Dao: Daoist Inner Alchemy, French Spiritism, and Vietnamese Colonial Modernity in Caodai Translingual Practice". Journal of Asian Studies 77, nr 2 (16.03.2018): 405–28. http://dx.doi.org/10.1017/s0021911817001425.
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This article takes the case of the Vietnamese Cao Dai religion to examine how Asian religious leaders and translators, in a context of colonial modernity, invested a European language with their own cosmologies and discourses, building both a national identity and an alternative spiritual universalism. Studies of translation in colonial contexts have tended to focus on the processes and impact of translating European texts and ideas into the languages of the colonized. This article discusses the inverse process, examining how Caodai textual production used French spiritist language and tropes to occult its Chinese roots, translating Daoist cosmology into a universalist and anti-colonial spiritual discourse rooted in Vietnamese nationalism. These shifts are examined through a close examination of translingual practices in the production and translation of the core esoteric scripture of Caodaism, theĐại Thừa Chơn Giáo 大乘真教(The True Teachings of the Great Vehicle), rendered in its 1950 Vietnamese-French edition asThe Bible of the Great Cycle of Esotericism.This study demonstrates how colonial religious institutions and networks of circulation in Asia stimulate the emergence of new movements and textual practices that mimic, invert, jumble, and transcend the cosmologies of both the Chinese imperium and the European colonial regime.
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Phan-Vu, Hong-Hai, Viet Trung Tran, Van Nam Nguyen, Hoang Vu Dang i Phan Thuan Do. "Neural Machine Translation between Vietnamese and English: an Empirical Study". Journal of Computer Science and Cybernetics 35, nr 2 (3.06.2019): 147–66. http://dx.doi.org/10.15625/1813-9663/35/2/13233.
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Machine translation is shifting to an end-to-end approach based on deep neural networks. The state of the art achieves impressive results for popular language pairs such as English - French or English - Chinese. However for English - Vietnamese the shortage of parallel corpora and expensive hyper-parameter search present practical challenges to neural-based approaches. This paper highlights our efforts on improving English-Vietnamese translations in two directions: (1) Building the largest open Vietnamese - English corpus to date, and (2) Extensive experiments with the latest neural models to achieve the highest BLEU scores. Our experiments provide practical examples of effectively employing different neural machine translation models with low-resource language pairs.
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Zhang, Lili, i Antonia Cristnoi-Bursuc. "L’intraduisibilité dans la traduction terminologique – un point de vue culturel". Traduction et Langues 21, nr 1 (31.08.2022): 226–44. http://dx.doi.org/10.52919/translang.v21i1.885.
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The Untranslatability in Terminological Translation – A Cultural Perspective
The article tackles the untranslatability of perfumery French terms into Chinese and discusses the cultural explanatory factors that influence it. The first part is devoted to the theoretical presentation, which first defines culture as all that is created and known materially and spiritually, that it is the identity of a social group which differs from others. Translation is defined as a reformulation of the message in the target culture, and the essence of translating a term consists in determining its equivalent in the target language. The relation between the source term in the source language and the target term in the target language is theoretically an equivalence. However, terms are designations of concepts, and the creation of terms is a process of linguistic materialization of concepts. Since this process of linguistic materialization is cognitive and is strongly influenced by cultural practice and context, it is possible that the equivalence relation between the source term and the target term is not always absolute. It is possible that the so-called "equivalence" is just a partial equivalence or a functional equivalence. To justify the theoretical deduction, a terminology database in perfumery has been created, in which a certain number of French-Chinese terms in perfumery are collected. These terms constitute the object of analysis. The second part therefore specifies the inventory of French-Chinese terminological work in the field of perfumery, the parallel corpus in which the identification of bilingual terms is carried out, the principles to follow when identifying bilingual terms, the method used to construct the terminological database and to demonstrate the terms, and the method used to analyse the terms in the database. Then the third part is devoted to an observation of non-equivalences between French and Chinese terms. The non-equivalences are at the categorical and conceptual level. This means that the concepts designated by the French terms and the concepts designated by the Chinese terms are not mutually concordant. The non- equivalences are also found at the semantic level, which means that the French terms and their corresponding Chinese terms are semantically divergent. Examples cited from the terminological database testify first to the existence of categorial and conceptual non-equivalence, then to the absence of total semantic equivalence in the translation of terms. These non-equivalences are the direct causes of failures in the translation of terms, in other words, the direct cause of terminological untranslatability. A final discussion asserts that the indirect causes of the terminological untranslatability are found in cultural divergences. More precisely, the untranslatability is related to the practice of the field of perfumery and to the situation of terminological standardization in both countries. The different development in practice and in terminological work in perfumery between France and China leads to an unbalanced terminological development between the two languages, which manifests itself in the untranslatability of terms. The non-equivalences are also explained by the lack of terminological standardization in perfumery and the complexity in the perfumery market. Countless perfumed products, constant innovation of perfume notes, advertising strategies to increase turnover, etc., all this complexity is reflected in the linguistic description of products, including in terms. Finally, the conclusion opens a research perspective on terminological standardization in perfumery as well as on the translation approaches of translators faced with the untranslatability of terms.
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Baer, Brian James, i Yingmei Liu. "The Case of Radclyffe Hall’s The Well of Loneliness". TranscUlturAl: A Journal of Translation and Cultural Studies 14, nr 1 (22.09.2022): 4–20. http://dx.doi.org/10.21992/tc29573.
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This article explores the notion of queering translation in relation to Radclyffe Hall's The Well of Loneliness (1928), often described as the first lesbian novel, focusing on two key terms related to sexual identity, the word queer, which was semantically unstable at this historical moment, and the quasi-scientific term invert. Hall's provocative use of queer against the minoritizing invert, which presages queer critiques of identitarian politics by several decades, complicates the field of sexuality in the novel, presenting special challenges for translators. Those challenges are analyzed in the early French translation of the novel and in later Chinese translations, from both Taiwan and mainland China.
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Liping, Bai. "Professionals and translation in a “literary translation system”". Babel. Revue internationale de la traduction / International Journal of Translation 62, nr 4 (31.12.2016): 552–72. http://dx.doi.org/10.1075/babel.62.4.02lip.
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The issue related to professionals is an important one in the field of translation studies. Lefevere holds that professionals play an important part in the literary system and may ensure “the literary system does not fall too far out of step with the other subsystems society consists of”. This article first explores Lefevere’s use of the term “professionals” and then proposes to study professionals in a “literary translation system” instead of a literary system. The focus of this “literary translation system” is translators or translations, and it is a system in which various factors including translators, patrons, professionals, etc. interact with each other. Taking into consideration of the factors of economy and expertise, we can define a professional as someone who lives from certain special knowledge he/she has acquired. In the “literary translation system”, a professional can be a university teacher, an editor, a critic, a reviewer, etc., who has acquired special knowledge of literary translation. The interaction between professionals and translators is also investigated through a case study of the debate over different Chinese versions of the French novel The Red and the Black.
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TAMBURELLO, Giusi. "Baudelaire’s Influence on Duo Duo’s Poetry through Chen Jingrong, a Chinese Woman Poet Translating from French". Asian Studies, nr 2 (25.09.2012): 21–46. http://dx.doi.org/10.4312/as.2012.-16.2.21-46.
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As a woman poet, Chen Jingrong’s productions encompassed the whole 20th century: of particular interest are her poetry translations from the French language. Thanks to her translation work, valuable understanding of Charles Baudelaire’s poetry was made available in China, which influenced the Chinese contemporary poet, Duo Duo, when he first started writing poetry during his youth. This paper tries to depict the importance of this contribution of Chen Jingrong and its effect on the process of renovation of the contemporary poetic scene in China.
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Wang, Yalan. "The Translation and Acquisition of French Pronominal Verbs by Chinese Speakers". Journal of International Education and Development 6, nr 8 (2022): 85–92. http://dx.doi.org/10.47297/wspiedwsp2516-250007.20220608.
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Och, Franz Josef, i Hermann Ney. "The Alignment Template Approach to Statistical Machine Translation". Computational Linguistics 30, nr 4 (grudzień 2004): 417–49. http://dx.doi.org/10.1162/0891201042544884.
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A phrase-based statistical machine translation approach — the alignment template approach — is described. This translation approach allows for general many-to-many relations between words. Thereby, the context of words is taken into account in the translation model, and local changes in word order from source to target language can be learned explicitly. The model is described using a log-linear modeling approach, which is a generalization of the often used source-channel approach. Thereby, the model is easier to extend than classical statistical machine translation systems. We describe in detail the process for learning phrasal translations, the feature functions used, and the search algorithm. The evaluation of this approach is performed on three different tasks. For the German-English speech Verbmobil task, we analyze the effect of various system components. On the French-English Canadian Hansards task, the alignment template system obtains significantly better results than a single-word-based translation model. In the Chinese-English 2002 National Institute of Standards and Technology (NIST) machine translation evaluation it yields statistically significantly better NIST scores than all competing research and commercial translation systems.
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Shchurik, Natalia, Tatiana Shishmareva, Elena Weber i Julia Dundik. "Lexical and grammatical transformations from the Chinese language perspective: universal approach". SHS Web of Conferences 134 (2022): 00155. http://dx.doi.org/10.1051/shsconf/202213400155.
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The paper describes different approaches to lexical and grammatical transformations in modern translation studies. It sheds new light on traditional approaching Chinese translation studies. Using experience of teaching students studying the French and the German languages the authors provide several reasons for proposing the Russian traditional classifications of lexical and grammatical transformations into courses of translation from Chinese practical. According to this approach, there are such types of transformations as lexical and grammatical, as well as complex (or mixed) ones. Such consistent and universal perspective is aimed to help students to understand grammatical and lexical asymmetry of the source and the target languages and it can be of great use in writing research papers.
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Wang, Baorong. "George Kin Leung’s English Translation of Lu Xun’s A Q Zhengzhuan". Archiv orientální 85, nr 2 (18.09.2017): 253–81. http://dx.doi.org/10.47979/aror.j.85.2.253-281.
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Republican China (1912–49) saw the rise and fall of a sub-field of source cultureinitiated foreign language translations of Chinese literature targeted at both expatriate and domestic audiences in China. This unique translation phenomenon, which challenges Gideon Toury’s generally held assumption that “translations are facts of target cultures,” has hitherto been under-researched in and outside of China. This paper presents the findings of a case study of George Kin Leung’s English translation of Lu Xun’s fictional masterpiece A Q Zhengzhuan (The True Story of Ah Q). Four socio-cultural factors which engendered the emergence of this sub-field in the early Republican years are analyzed. Inspired by French sociologist Pierre Bourdieu’s theory of the field of cultural production, this putative sub-field of restricted production is interpreted as functioning primarily on the basis of the accumulation of symbolic capital. Leung’s participation in the dynamics of this historical field is examined by tracing his professional trajectory, followed by an analysis of his motivation for translating A Q Zhengzhuan – to make a name for himself or to accumulate symbolic capital in the field. It is then found through text analysis that Leung’s version shows a combination of overall literalness and occasional license. A tentative explanation is sought by drawing on André Lefevere’s theory of rewriting. The primary conclusion is that Leung’s literalistic approach to translation was dictated by the intended readership and the translation norm (i.e., literal translation) that prevailed in 1920s’ China, while the liberties Leung took with the original text reveal the influence ofhis ideology, poetics and aesthetics.
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Poizat-Xie, Honghua. "Quelques réflexions sur la traduction littéraire du chinois vers les langues européennes". Asiatische Studien - Études Asiatiques 69, nr 1 (30.01.2015): 1–17. http://dx.doi.org/10.1515/asia-2015-0007.
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AbstractThe present paper is the result of a workshop on the translation of Chinese literature that was held between March 2012 and May 2013 at the Confucius Institute at the University of Geneva. It aimed to identify major obstacles in rendering literary Chinese into English, French, Italian, German, and Russian, and to explore the differences and similarities of the problems encountered. Nine works of Chinese literature were selected for studying and examining a number of difficulties in translation: Terms with culturally specific connotations, transposition of certain grammatical structures, treatment of idioms and metaphors, translation of titles. We have found a great similarity of approaches chosen for the various target languages, Russian being an exception. Due to cultural and political influences, this language displays certain similarities to Chinese, especially in vocabulary; but there are additional aspects in which the Russian case differs from the other four languages.
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Kim, Sangdeog Augustin. "My father Ilsoo Joseph gave me a desk when I was pupil of senior high school (Tcheonzamun 273rd-288th)". South Asian Research Journal of Humanities and Social Sciences 4, nr 4 (30.07.2022): 259–60. http://dx.doi.org/10.36346/sarjhss.2022.v04i04.005.
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French missionary Dallet (1874) introduced in his book Tcheonzamun (The thousand character essay), he wrote that ancient Chinese people and ancient Korean people used Tcheonzamun as the textbook for their children for Chinese character. The present researcher translated Tcheonzamun poem through the meaning of Chinese character. This time, the poem of (Tcheonzamun 273rd-288th) was selected for the translation. The title of this translation is ‘My father Ilsoo Joseph gave me a desk when I was pupil of senior high school’, and from the Tcheonzamun the poem of (Tcheonzamun 273rd-288th) was chosen for the translation. <Number in Tcheonzamun Chinese characters (Pronunciation of Korean language in English alphabet)> 285-288 言(Eon) 辭(Sa) 安(An) 定(Zeong) Now I, Augustin, used to talk a lot things (辭), but my wife Hyeonhi only talks warm words which can be reached to others (言). If I do the thing which I think good (定), at that time others can understand my word (安).
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Wong, Laurence. "Lin Shu's Story-retelling as Shown in His Chinese Translation of La Dame aux camélias". Babel. Revue internationale de la traduction / International Journal of Translation 44, nr 3 (1.01.1998): 208–33. http://dx.doi.org/10.1075/babel.44.3.03won.
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Abstract Lin Shu (1852-1924), one of the most important forerunners in China's history of modern literary translation, rendered some 170 works of European and American literature into Chinese during the late-Qing and early-Republican period from 1890 to 1919. In so doing, he not only heralded the advent of Western literature in China, but also introduced Chinese writers and readers to many new literary techniques. However, important as they are, Lin's translations are not translations in the true sense of the word, because, unable to read a single foreign language himself, he had to depend on his collaborators, who orally relayed the meaning of the original to him. During the process of translation, he freely resorted to such techniques as addition, omission, abridging, etc., giving his work a strong personal stamp. This article is an attempt to shed light on Lin's mode of translation and to evaluate his role as a translator by closely examining his version of La Dame aux camélias, the first Chinese translation of a work of Western literature, against the French original. Résumé Lin Shu (1852-1924), l'un des pionniers de l'histoire moderne de la traduction littéraire en Chine, a adapté en chinois quelque 170 oeuvres des littératures européenne et américaine au cours de la fin de la période Qing et au début de la pétiode républicaine s'étendant de 1890 à 1919. Son travail a été l'instrument de l'avènement de la littérature occidentale en Chine et a permis aux écrivains et lecteurs chinois de découvrir plusieurs nouvelles techniques littéraires. Néanmoins, malgré l'importance incontestable des traductions de Lin, celles-ci ne sont pas des traductions au sens littéral du mot, car étant lui-même totalement incapable de lire des langues étrangères. Lin dépendait de ses collaborateurs qui lui transmettaient oralement la signification des oeuvres originales. Au cours du processus de traduction, il faisait librement appel à différentes techniques, telles que l'addition, l'omission, les raccourcis, etc., de sorte qu'il imposait aux oeuvres traduites un cachet très personnel. Le présent article s'efforce de mettre en lumière le mode de traduction utilisé par Lin en examinant en détail sa version de La Dame aux camélias — la première traduction chinoise d'une oeuvre de littérature occidentale — par rapport à l'original.
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EMELJANOVA, NADEZHDA A., JULIA N. PETELINA i ULIANA A. SAVELJEVA. "TRAINING INTERNATIONAL STUDENTS OF INTERPRETING AND TRANSLATION IN A MULTICULTURAL ENVIRONMENT: ASU BEST PRACTICES". HUMANITARIAN RESEARCHES 76, nr 4 (2020): 52–67. http://dx.doi.org/10.21672/1818-4936-2020-76-4-051-066.
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The challenges of adaptation faced by international students of interpreting and translation at Astrakhan State University (ASU), which are aggravated by high academic standards, have been successfully overcome owing to a number of factors: the favourable geographic location of ASU, a unique combination of languages (English, German, French, Italian, Spanish, Persian (Farsi), Azeri, Kazakh, Arabic, Chinese, Japanese), highly-qualified teaching staff, advanced technologies, and uptodate equipment.
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KUMAR, SHANKAR, YONGGANG DENG i WILLIAM BYRNE. "A weighted finite state transducer translation template model for statistical machine translation". Natural Language Engineering 12, nr 1 (6.12.2005): 35–75. http://dx.doi.org/10.1017/s1351324905003815.
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We present a Weighted Finite State Transducer Translation Template Model for statistical machine translation. This is a source-channel model of translation inspired by the Alignment Template translation model. The model attempts to overcome the deficiencies of word-to-word translation models by considering phrases rather than words as units of translation. The approach we describe allows us to implement each constituent distribution of the model as a weighted finite state transducer or acceptor. We show that bitext word alignment and translation under the model can be performed with standard finite state machine operations involving these transducers. One of the benefits of using this framework is that it avoids the need to develop specialized search procedures, even for the generation of lattices or N-Best lists of bitext word alignments and translation hypotheses. We report and analyze bitext word alignment and translation performance on the Hansards French-English task and the FBIS Chinese-English task under the Alignment Error Rate, BLEU, NIST and Word Error-Rate metrics. These experiments identify the contribution of each of the model components to different aspects of alignment and translation performance. We finally discuss translation performance with large bitext training sets on the NIST 2004 Chinese-English and Arabic-English MT tasks.
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TSUCHIDA, K., i D. ANDRIANOV. "Features of Ukrainian translation of the 469th waka poem from the Japanese anthology "Kokin Wakashū" (following the results of the academic conference "Waka poetry around the world")". Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, nr 28 (2022): 38–42. http://dx.doi.org/10.17721/1728-242x.2022.28.38-42.
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According to the results of the online academic conference "Waka poetry around the world: Viewing reception and transformation of Japanese culture through multilingual translation", an analysis of the Ukrainian translation of the 469th waka poem from the poetic anthology "Kokin Wakashū" (the Collection of Japanese Poetry Ancient and Modern) by I. P. Bondarenko was carried out. It is this translation that is the subject of the presented study. The goal, which was to reveal the peculiarities of the Ukrainian version of the mentioned poem, was achieved due to its comparison with Chinese, English, French, German, Hungarian, Italian, and Spanish translations. It was found that the Ukrainian translation of the waka poem No. 469 from the anthology "Kokin Wakashū" is characterized by common features that are typical for a number of translations into European languages. In particular, the syllabic structure of the original (a waka poem is composed of 5-7-5-7-7 syllables) has not been preserved in the Ukrainian translation, as well as in the other translations, and these translations themselves are written in five lines. Such common features also include lexical-semantic transformations caused by the difficulties of translating Japanese realia into European languages. For example, such nominations from the original work as "hototogisu" and "ayame" in many multilingual translation versions, including the studied Ukrainian one, are translated with the help of the words "cuckoo" and "iris", respectively, instead of their exact analogues – "lesser cuckoo" and "iris sanguinea". At the same time, there are foreign language versions with observance of the original syllabic verse and an accurate translation of the mentioned realia. Along with the common features, some features that make the translation of the 469th waka verse into Ukrainian unique were also revealed. Among those the translation of the original "satsuki" (the fifth month according to the old calendar and approximately June according to the modern one) as the season of the growth of herbs through the Ukrainian equivalent to "May" (the fifth month according to the modern calendar) literally meaning the "month of herbs", as well as the combination of the first and the second part of the poem through an emotional connection can be named.
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Costa-jussà, M. R., C. A. Henríquez i R. E. Banchs. "Evaluating Indirect Strategies for Chinese-Spanish Statistical Machine Translation". Journal of Artificial Intelligence Research 45 (31.12.2012): 761–80. http://dx.doi.org/10.1613/jair.3786.
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Although, Chinese and Spanish are two of the most spoken languages in the world, not much research has been done in machine translation for this language pair. This paper focuses on investigating the state-of-the-art of Chinese-to-Spanish statistical machine translation (SMT), which nowadays is one of the most popular approaches to machine translation. For this purpose, we report details of the available parallel corpus which are Basic Traveller Expressions Corpus (BTEC), Holy Bible and United Nations (UN). Additionally, we conduct experimental work with the largest of these three corpora to explore alternative SMT strategies by means of using a pivot language. Three alternatives are considered for pivoting: cascading, pseudo-corpus and triangulation. As pivot language, we use either English, Arabic or French. Results show that, for a phrase-based SMT system, English is the best pivot language between Chinese and Spanish. We propose a system output combination using the pivot strategies which is capable of outperforming the direct translation strategy. The main objective of this work is motivating and involving the research community to work in this important pair of languages given their demographic impact.
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Kim, Sangdeog Augustin. "My Father Ilsoo Joseph! Please help your wife Bohwa Maria! (Tcheonzamun 801st-816th)". South Asian Research Journal of Humanities and Social Sciences 5, nr 06 (3.11.2023): 233–35. http://dx.doi.org/10.36346/sarjhss.2023.v05i06.002.
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French Missionary Dallet (1874) introduced ‘the thousand character essay’ to the western society in his book. The thousand character essay is called in Korea as ‘Tcheonzamun (千字文)’. Korean people firmly believed that Tcheonzamun was made by Chinese people (Han, 1583). Kim (2023) suggested that Tcheonzamun can be translated through Korean pronunciation, and he thought that this master-piece of Asia was created by Korean language-speaking people. There are two methods for translation of Tcheonzamun poem. The first method is through the meaning of Chinese character on Tcheonzamun (Park et al., 2021 a). The other method is through Korean pronunciation of Chinese character on Tcheonzamun (Park et al., 2021 b). The present translation is through the meaning of Chinese character of this poem. The range of the translation is (Tcheonzamun 801st-816th). The theme of this research is as follows. 813-816 飢(Ki) 厭(Yeom) 糟(Zo) 糠(Kang). My husband! Even if the food is disgusting or bad (糟糠). When you are hungry (飢), you used to eat such a rough food gladly (厭).
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Li, Tian. "Exploration of French-Chinese Translation Methods of Electrical Engineering Terminology Using Online Image-Text Retrieval Mode". Journal of Contemporary Educational Research 7, nr 6 (30.06.2023): 47–52. http://dx.doi.org/10.26689/jcer.v7i6.4999.
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With the incessant propulsion of the Open Door Policy, which is related to the consolidation of international collaborative partnerships, an increasing number of Chinese companies are moving toward cooperating countries to participate in infrastructure construction, employing a win-win strategy in favor of the people and governments of both countries. Among the cooperation domains, our country’s electrical companies have achieved a series of remarkable results in the international Engineering, Procurement, and Construction (EPC) project market with their outstanding business capabilities and technical advantages. Nevertheless, some shortcomings cannot be overlooked, the most notable of which appears to be the impediment associated with engineering translation, which has always been an obsession among translators of Chinese companies. Taking the transmission line project in the Republic of Madagascar as an example, an analysis of French-Chinese translation methods of electrical engineering terminology in the field of the transmission line is carried out.
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Kim, Sangdeog Augustin. "Are they similar or are they same origin, Persian language and Korean language? (0035-0041)". South Asian Research Journal of Humanities and Social Sciences 5, nr 02 (2.03.2023): 23–24. http://dx.doi.org/10.36346/sarjhss.2022.v05i02.001.
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French missionary Dallet (1874) wrote in his book that Korean people and Chinese people are different. This means that Korean culture has another origin except Chinese culture. This time, the present author studied several Persian words into Korean words. The present author chose randomly several Persian words, and the author tried to find out similar meaning or same meaning between Persian language and Korean language. The author used a Dictionary of Persian/French and French/Persian in order to do the present translation (Bau, 2008). <number Persian word (its meaning) Korean word (its meaning)> 0035 Dawr (circle) Dora (You, turn!) 0036 Arz ol balad (parallel) Araet-zul bala (You, paste the lower line!) 0037 Awaliyat (priority) Eo-ul-lyeo (It looks good for you!) 0038 Dahshat (fear, terror) Da sswa (You, shoot all of them!) 0039 Baman e Xoda (See you later!) Beom-an-e ssoda (Someone shot the arrow into the cave of tiger! Good luck!) 0040 Tarjoma (interpretation, translation) Ddaro juma (I will give you the thing at special time!) 0041 Aq’aq (magpie) Qa-aq Qa-aq (the voice of a noisy bird). As a result of this research, some Korean words have very close relation with Persian words.
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Li, Shuangyi. "Novel, Film and the Art of Translational Storytelling: Dai Sijie's Balzac et la petite tailleuse chinoise". Forum for Modern Language Studies 55, nr 4 (13.07.2019): 359–79. http://dx.doi.org/10.1093/fmls/cqz019.
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Abstract This article examines the novel and film Balzac et la Petite Tailleuse chinoise, by the Franco-Chinese writer and filmmaker Dai Sijie, the story of which takes place against the background of the Cultural Revolution. The first part of my analysis will make clear how the film illuminates and dramatizes the special texture, aesthetic and structure of the novel, highlighting the cinematic sensibility of Dai’s literary aesthetic. I then move on to investigate the linguistic aspects of the various translations between the novel and the film in French, Mandarin Chinese and Sichuanese. The aesthetic effects of dubbing, in particular, will allow me to investigate new possibilities of reading exophone literature. Finally, this paper highlights the central role of oral storytelling in the Chinese tradition in/through various forms of translation: interlingual as well as intermedial. In so doing, this article aims to add nuance to and enrich current debates on issues such as intercultural misreading and exoticism in Dai’s works.
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Zhang, Can, i Pan Xie. "Challenge and Revolution: An Analysis of Stanislas Julien’s Translation of the Daodejing". Religions 13, nr 8 (10.08.2022): 724. http://dx.doi.org/10.3390/rel13080724.
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Retranslation constitutes a special case. as it involves a double creation of values that are determined not only by the ones inscribed in the source text but also by the ones inscribed in the previous translations. Therefore, retranslations initiate dialogues with and even challenges to the previous versions. This paper, rooted in the concept of retranslation, focuses on the first complete published translation of the Daodejing in Europe, the 1842 Lao Tseu Tao Te King: Le Livre de la Voie et de la Vertu, by Stanislas Julien and investigates the revolutionary way Julien interpreted this ancient Chinese classic. Through an analysis of the paratexts and extratexts related to this French version and previous translations, this paper finds that Julien challenged the Christianized and Westernized interpretations of the Daodejing by the European missionaries and sinologists before him and proposed a new system of interpretation: to interpret the Daodejing from the perspective of Laozi and based on the Daoist classics and commentaries. Julien’s translation and interpretations have demonstrated his respect for heterogeneous cultures by acknowledging cultural differences, and he strengthened the authority of his translation by challenging the ideas in previous translations, which makes the retranslation an indispensable reference for the study of Laozi and Daoism.
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Cao, Bo. "The Chinese Translation of Samuel Beckett: A Critical History". Irish University Review 51, nr 2 (listopad 2021): 282–95. http://dx.doi.org/10.3366/iur.2021.0519.
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In light of the relevant merits and defects of translation practice over sixty years, this article presents a critical history of the Chinese translation of the work of Samuel Beckett. The article argues that the history may be divided into two periods: the pre-1980 period and the post-1980 period, with China's reopening to the outside world in the late 1970s as the watershed. The first period is dominated by the politically propelled translation of Waiting for Godot and harsh criticism of Beckett as a ‘decadent’ author. The second period, characterized by a more complex aesthetic response, may be further divided into three stages: the first stage is marked by the pioneering Proust as a booklet on irrationalism and the debatable Collection of Samuel Beckett translated from French; the second stage by the annotated Complete Works of Samuel Beckett; the third stage by the scholastically motivated Letters of Samuel Beckett. In retrospect, the transition between the two periods is a dramatic one from political misreading to aesthetic appreciation. Or, rather, the progress of the Chinese translation since the turn of the twentieth century mirrors both the re-evaluation of Beckett as an innovative artist and the ‘inward turn’ of Chinese intellectual circles.
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Zalmout, Nasser, i Nizar Habash. "Optimizing Tokenization Choice for Machine Translation across Multiple Target Languages". Prague Bulletin of Mathematical Linguistics 108, nr 1 (1.06.2017): 257–69. http://dx.doi.org/10.1515/pralin-2017-0025.
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AbstractTokenization is very helpful for Statistical Machine Translation (SMT), especially when translating from morphologically rich languages. Typically, a single tokenization scheme is applied to the entire source-language text and regardless of the target language. In this paper, we evaluate the hypothesis that SMT performance may benefit from different tokenization schemes for different words within the same text, and also for different target languages. We apply this approach to Arabic as a source language, with five target languages of varying morphological complexity: English, French, Spanish, Russian and Chinese. Our results show that different target languages indeed require different source-language schemes; and a context-variable tokenization scheme can outperform a context-constant scheme with a statistically significant performance enhancement of about 1.4 BLEU points.
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Volsik, Paul. "Indétermination and Randomness : the Translation into French and English of a Chinese Poem". Cahiers Charles V 17, nr 1 (1994): 49–77. http://dx.doi.org/10.3406/cchav.1994.1102.
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Kim, Sangdeog Augustin. "If someone believes in me (信) More Sincerely (覆), I Can (可) does It Better (使)! (Tcheonzamun 177th-192nd)". South Asian Research Journal of Humanities and Social Sciences 4, nr 5 (6.10.2022): 328–29. http://dx.doi.org/10.36346/sarjhss.2022.v04i05.005.
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French missionary Dallet (1874) wrote that the ancient Chinese people, Tchi’n(秦), utilized the book ‘The thousand character essay’ (It is called ‘Tcheonzamun’ in Korea). In order to instruct their children for Chinese characters the book was used. For the present study, the translation was done through the meaning of Chinese character. The part on Tcheonzamun of the present study was 16 letters of (Tcheonzamun 177th-192nd). <Number in Tcheonzamun Chinese characters (Pronunciation of Korean language in English alphabet) > 185-188 信 (Sin) 使 (Sa) 可(Ga) 覆(Bog). If someone believes in me (信) more sincerely (覆) I can (可) do it better (使)!
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Kim, Dong-mie, i Jin-young Tak. "Comparative Analysis of Lexical Text in Translations of Jane Eyre for Children and Adults Using Text Mining Analytics". Convergence English Language & Literature Association 8, nr 3 (31.12.2023): 179–204. http://dx.doi.org/10.55986/cell.2023.8.3.179.
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This study facilitates text mining analytics to compare and analyze lexical differences between the children's (2005) and the adult's (2000) translation of Jane Eyre from English to Korean. Through the present research, we find out the following results: First, regarding pronoun usage, the children's version frequently reiterates a person’s names, resulting in a higher frequency of proper nouns. On contrary, the adult version uses more pronouns to refer a person, presumably aiming to enhance comprehension for children by explicitly using specific names, while adults are assumed to employ pronouns for referents. Second, in terms of Chinese character usage, the adult version utilizes around 230 characters, while the children's version abstains from their use. This suggests that the children's version excludes Chinese characters to facilitate comprehension, while the adult version actively employs them to diversify the lexicon. Last, concerning foreign language usage, the adult version integrates French, corresponding to English, alongside Korean. In contrast, the children's version exclusively uses Korean. This can be interpreted as an effort in the children's version to enhance comprehension by excluding foreign languages, while the adult version seeks to increase linguistic diversity by combining Chinese characters and foreign languages. These findings underscore variations in style and language choices across different translations of Jane Eyre and emphasize the importance of employing suitable translation strategies tailored to a reader’s age and comprehension levels.
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Kim, Sangdeog Augustin. "They are our daughters; Agatha, Jiah Anna, Rosa, Sohwa Therese and our son Kunjoo DaegonAndrea. They are very good at their behaviors (務玆稼穡)! (Tcheonzamun 641st-656th)". South Asian Research Journal of Humanities and Social Sciences 5, nr 06 (25.12.2023): 279–82. http://dx.doi.org/10.36346/sarjhss.2023.v05i06.014.
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French Missionary Dallet (1874) wrote in his book that ‘The thousand character essay’ was utilized as text for instructing Chinese children for Chinese characters. This education was carried out from the ancient China (Dallet, 1874). The thousand character essay is called as ‘Tcheonzamun’ in Korea. Korean people firmly believed that Tcheonzamun was created by Chinese people (Han, 1583). But several researchers studied that Tcheonzamun poem was well interpreted through Korean grammar (Park et al., 2021a). These researchers found that Tcheonzamun poem was well translated through Korean pronunciation of Chinese characters (Park et al., 2021b). This is the work of translation of Tcheonzamun poem. Several researchers suggested that a Tcheonzamun poem is consisted of 16 Chinese characters in Tcheonzamun (Park et al., 2021a; Park et al., 2021b). There are two methods for the translation. The first one is through the meaning of Chinese characters in Tcheonzamun (Park et al., 2021a). The second method is through Korean pronunciation of Chinese character in Tcheonzamun (Park et al., 2021b). In this study, the translation was done through the meaning of Chinese character in Tcheonzamun. And the pronunciation of Chinese character in this study is taken from the somewhat old textbook of Tcheonzamun (Han, 1583). This study is for the translation of Tcheonzamun poem. This translation is carried out through the meaning of Chinese character in Tcheonzamun. And the range of this study is (Tcheonzamun 641st-656th). The title of this study is ‘They are our daughters; Jieun Agatha, Jiah Anna, Rosa, Sohwa Therese and our son Kunjoo DaegonAndrea. They are very good at their behaviors (務玆稼穡)! (Tcheonzamun 641st-656th)’. The theme of this Tcheonzamun poem is as follows. 649-652 治(Ti) 本(Bon) 於(Eo) 農(Long). This third line shows the secret of the life (治本於農), the hope for our life! And her husband says to his wife as follows. My dear wife! I will speak loudly this joyfulness! I will say to everybody again and again! Yes, this is our great pleasure (治本於農)!.
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Zhang, Liping. "Néologismes dans les médias sociaux chinois". Babel. Revue internationale de la traduction / International Journal of Translation 64, nr 5-6 (31.12.2018): 763–76. http://dx.doi.org/10.1075/babel.00069.zha.
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Abstract With the development of the Internet, neologisms make their appearance in many digital social networks such as Weibo, Renren, Tieba, etc. Gradually, they have entered into our daily life and play an important role. How can Chinese neologisms be translated into a faithful and expressive French? So far, it seems that there are no established principles about this kind of translation. With the neologisms found on digital social networks, which serve as our corpus, we shall distinguish seven categories of neologism according to their formation. The present study aims to propose five approaches of translations in the light of the observation of the current practice, as we see in our study on written interactions on digital social networks.
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LIANG, Yan. "Retranslations of World Fairy Tales and Western Novels by XU Zhuodai". Border Crossings: The Journal of Japanese-Language Literature Studies 16, nr 1 (28.06.2023): 191–203. http://dx.doi.org/10.22628/bcjjl.2023.16.1.191.
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From the 1910s to the early 1920s Xu Zhuodai translated many fairy tales from around the world and Western novels into Chinese, via Japanese translations. His “World Fairy Tales” series, based on the “Otogibanashi” series by Iwaya Sazanami, were integral to the development of the Zhonghua Book Company, and represented an important milestone in China’s initial evolution of children’s literature. His translations of Western prose texts, including short stories by world-renowned authors such as Tolstoy, Maupassant, and Mark Twain, as well as long detective novels by the popular French writers Maurice Leblanc and Fortuné du Boisgobey, were based on Japanese translations such as those in “Various Comic Novels” by Sasaki Kuni. These translations of fairy tales and other texts reflect Xu Zhuodai’s concern for education and his love of humorous literature. How the translation of foreign literature influenced Xu Zhuodai’s literary output is a topic worth exploring in the future.