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Contents
Abstract i
摘 要 iii
Contents iv
Chapter I Introduction 1
1.1 Literature Review 2
1.2 Thesis Structure 5
Chapter II Problems in the translation of cultural relic depictions in XM 7
2.1 Inconsistency 7
2.2 Misinterpretation 8
2.3 Wordiness 9
2.4 Non-equivalence 10
Chapter III Features of C-E cultural relic depictions 13
3.1 Informative 13
3.2 Concise 14
3.3 Communicative 15
Chaper IV Strategies for the improvement of cultural relic depictions 18
4.1 Explanation Strategy 18
4.2 Adaptation strategy 20
Chapter V Conclusion 23
References 25
On the C-E Translation of Cultural Relic Depictions in Xuzhou Museum from the Perspective of Skopos Theory
Chapter I Introduction
Cultural relics play an important role in cross-culture communication and to some extent they can relive one culture. Nevertheless, compared with the bulk of theoretical researches in literary translation, studies on the translation of cultural relic depictions are quite inadequately conducted. There are much fewer studies on Xuzhou Museum (XM) than those in national or provincial museums.
Xuzhou, as an eminent city in Han Dynasty, is of great significant in familiarizing people with Han culture. Boasting a collection of more than 2000 pieces of cultural relics, XM distinguishes itself by possessing great many precious treasures of Han Dynasty. Most exhibits in XM are depicted in bilingual forms for the sake of the globalization tide. However, many translation defects can be detected and the translation is far from being satisfactory in XM.
In the translation of cultural relic depictions, how to fully reproduce the underlying meaning has long been quite a challenge in that, apart from the literal meaning, cultural relics abounds in cultural information. Though difficult it is, it is a matter of urgency since confusing or mistaken translation in XM will impede the transmission of Han culture and even Chinese culture beyond. Therefore, the actual necessity of improving the translation of cultural relics in XM and the inadequacy in the previous studies motivate the author of this thesis to conduct a further study on this topic.
1.1 Literature Review
Previously studies can roughly be pided into two schools.
The first mainly starts out from the view that the translation should be faithful to the original text. In traditional concept, translation is merely the translation between two different languages, with little regard to cultural aspect. Concerning the translation of cultural relic depictions, Ling and Hu (2011, pp.46-49) hold that the translation of cultural relic depictions can be categorized into informative text, which requires logic and concise explanation and standard grammar. Mu Shanpei (1991, pp.11-15) explains that during the translation of cultural relics, because of language and cultural differences between Chinese and English, in order to achieve good translation accepted by English readers, translators should pay attention to principles of being faithful to the source language and smooth in expression.
However, in recent years, some scholars begin to doubt the traditional view. Liu (2005, p. 43) holds the opinion that when dealing with cultural relic depictions, if “faithfulness” and “expressiveness” cannot be covered at the same time, expressiveness should be prioritized over faithfulness to ensure a better level of readability. Increasingly more experts came to realize the significant role one’s culture background plays in understanding cultural relics. Shi (2007, p. 62) attempts to standardize the translations of antique names by applying into practice the principle of “conciseness”, “information” and “back-translation”. Li (2001, p.13) reveals the cultural implications in antique names at surface, middle and deep levels by comparing their connotations in Chinese and in English.