Translated by Ivan Bureš, adapted by Rudolf Mertlík”: an analysis of revised Czech translations of Ovid’s Ars amatoria and Metamorphoses

The objective of this paper is to offer an analysis of Kiril Hristov's novel Abyss.Confessions of a Madman (". ") by means of intertextual connections with the principles of Ovid's "Ars Amatoria".In the field of both the erotically-playful and the anthropological theories of Kiril Hristov, the object of research interest are the parallels with Ancient Rome and the conceptual role of Pompeii.The semantic framework of the novel, which sets forth a philosophy of madness of a specific kind, is used to motivate the presence of an intertextual code, and it is of particular importance to distinguish the interpretation of Abyss from the author's intention to construct a text whose message carries entirely a strong moral stake.

The first complete Chinese translation of Ovid’s poem was Dai Wangshu’s (1905–50) 1929 Ai jing (Ars amatoria). Dai, as translator-cum-publisher, produced a serious translation with thorough footnotes and a scholarly preface (later added). Yet in a newspaper advertisement, he also marketed the book in sensational language as a pragmatic love manual that could help Chinese ‘men and women of sentiment’ master the art of courting. Focusing on Dai’s seemingly conflicting marketing approaches, this article locates the production and reception of Dai’s translation of the Ars amatoria in its socio-cultural and ideological contexts. Dai adapted his Chinese Ars amatoria to an emerging Chinese discourse of love in the 1920s, when love remained at the centre of many literary, social, and political debates. It also further demonstrates how Ovid’s Ars amatoria, in Dai’s translation, animated sustained discussions of love, marriage, and gender in China in the early 1930s. Re-interpreted and re-appropriated, a classic Latin text extended Republican China’s quest for modernization and Westernization to the most intimate realms of ordinary experience.

Classical Chinese poetry is a unique form of expression within Chinese classical culture, and its rich connotations often lack corresponding expressions in target language cultural systems. The artistic conception is regarded as the soul of poetry, and many of the artistic conceptions are presented through specific relationships between figures and backgrounds. This paper is based on the Figure-Background Theory, selecting Tang poetry and Xu Yuanchong’s English translations as research subjects. It employs Aixelá’s eleven translation methods to analyze the figures and backgrounds in the original poems from three aspects: the defining characteristics, motion and salience. This research aims to explore how the translator handles the figures and backgrounds in the original poems during the translation process and the translation methods he employs to effectively convey the connotations and artistic conception of the original poetry. Xu Yuanchong actively exercised his agency as a translator, striving to adhere as closely as possible to the figures and backgrounds of the original poems, with the goal of preserving and reproducing the essence and artistic conception of classical poetry. However, in order to enhance the coherence, fluency, and expressiveness of the translations or to create an appropriate artistic conception within the target context, Xu Yuanchong occasionally opted for creative translations of the original figures and backgrounds to improve the readability of the translations Regarding the translation methods employed, Xu organically combined the cultural connotations and surface forms of classical poetry, using linguistic translation and deletion methods primarily for geographical names, while employing linguistic translation and absolute universalization methods for terms that contain allusions. Overall, he aimed to make the translated poetry clear and direct to the understanding of target language readers. Translators should utilize a variety of translation strategies appropriately to convey the core meanings of the figure-background schema in the original text, achieving a more comprehensive and accurate cultural dissemination. Figure-Background Theory enables an exploration of how the artistic conception of classical poetry is formed, and it provides a rational perspective for interpreting the poet’s methods of expressing emotions, thus offering a reliable framework for the translation and analysis of classical poetry.

Inspired by the critical theories of M. M. Bakhtin, Idleness Working is a groundbreaking study of key works in the Western literature of love from Classical Rome to the late Middle Ages. The study focuses on the evolution of the ideologically-saturated discourse of love's labor contained in these works and thus explores them in the context of ancient and medieval theories of labor and leisure, which themselves are seen to evolve through the course of Western history. What emerges from this study is a fresh appreciation and deepened understanding of such well-known classics of love literature as Ovid's Ars amatoria, Andreas Capellanus' De amore, Alan of Lille's Complaint of Nature, Guillaume de Lorris and Jean de Meun's Roman de la rose, John Gower's Confessio Amantis, and Geoffrey Chaucer's Troilus and Criseyde. In his provocative approach to these works, Gregory M. Sadlek finds a tradition of love constructed as labor, a tradition that forms a little-noticed complement to the better-known tradition of love as passion or madness, masterfully explored in Denis de Rougement's Love in the Western World. In fact, two different traditions of love's labor--one rhetorical, playful, and focused on the labor of courtship; the other serious, philosophical, and focused on the labor of reproduction--arise individually but are later combined to form some of the most vexing and imaginative love poetry of the Middle Ages. The study traces a steady embourgeoisement de l'eros [a making bourgeois of love] in a tradition with strong ties to the medieval aristocracy. In the end work, constructed by means of a rich array of labor vocabulary and imagery, is presented as a necessary but fulfilling component of human existence, a philosophical position that in some aspects foreshadows the Protestant Work Ethic. Idleness Working will be of special interest to students and scholars of classical and medieval literature--Latin, English, and French--but especially to those interested in the histories of love or labor.

The article deals with the usage of the Ukrainian reflexive pronoun (RP) “себе (собі, собою)” in implementing methods and strategies of English fiction translation for the purpose of generalizing the translator’s experience at the post-translation stage. The object of the investigation is the target-text units containing the Ukrainian RPs; the subject is the RPs’ functional and semantic properties, and translation methods and strategies involving the RPs in the target text. The research is based on original text fragments selected by entire sampling from the novel “Harry Potter and the Prisoner of Azkaban” by J.K. Rowling and its authorized Ukrainian translation by V. Morozov. The target is to identify translation methods and reconstruct local strategies applied in the translation. The objectives are: 1) to compile a full register of the RPs; 2) to define their structural-semantic properties and establish standard English translation equivalents; 3) to determine the RPs’ syntactic functions and semantic roles in the target text; 4) to specify translation shifts, methods and local strategies; 5) to identify the types of English-Ukrainian translation of the RP-containing units. The methods include: 1) entire sampling; 2) monolingual & bilingual dictionary entries’ analysis; 3) immediate-constituent analysis; 4) contextual analysis; 5) translation transformational analysis; 6) sentence parsing procedure; 7) quantity calculations. In the course of the investigation, 132 RP-containing fragments were selected by entire sampling; the RPs’ structural-semantic properties and standard translation equivalents were determined; their syntactic functions and semantic roles were identified; translation shifts, methods, local strategies and types of translation were specified. As a result, the RPs have been found in: 1) five grammar cases, viz. genitive, dative, accusative, instrumental and locative, the most frequent being the dative & accusative cases; 2) five syntactic functions, i.e. direct, indirect & prepositional object, adverbial modifier & modifying particle, the most recurrent ones being prepositional and indirect object; 3) 14 semantic roles, the most frequent being locative, experiencer and recipient. The translation methods involving the RPs have been proved to be equivalent translation, lexical substitution and addition, the latter being the most recurrent one. Three types of local translation strategies have been identified, namely: semantic strategies involving transposition, modulation, synonymy, hyponymy, hypernymy, related & unrelated word paraphrase; syntactic strategies employing phrase, clause & sentence structure shifts, and pragmatic strategy of explicitness increase, which in numerous combinations correlate with such translation types as source text oriented literal and semantic translation, and target text oriented communicative translation.

Widely read throughout the Middle Ages, Ovid's pseudo-didactic work, the Remedia amoris, was regularly included in the Liber Catonianus, the standard miscellany of classical and late antique texts used to teach elementary Latin. Advanced students also studied the poem, which benefited from rich accretions of glosses and commentaries, particularly during the so-called aetas Ovidiana of the twelfth and thirteenth centuries. Hunt's edition of a translation of the Remedia amoris into medieval French (from BnF, MS fr. 12478) is a welcome addition to the scholarly literature. It provides a solid introduction to the circulation and influence of the Ars amatoria and Remedia amoris in the later Middle Ages. Both undergraduate and graduate students can use it profitably. The edition includes a general introduction, the edited text of the Remede d'amours, extensive notes on the translation and a glossary. The general introduction provides an overview of the translations of the Ars amatoria and Remedia amoris into medieval French, demonstrating how the version from MS 12478 differs in approach and emphasis from its antecedents. In his edition, Hunt wisely replicates the Latin text of the Remedia amoris that accompanied the French translation in the manuscript. The appended notes helpfully guide the student through the nuances of the medieval French and highlight places where the translator has modified his Latin original, either by expanding details present in the Latin text or by incorporating new material. Hunt ranks among the most important scholars currently working in the area of classical reception, and his command of the medieval tradition of Ovid's amatory poems is clearly in evidence throughout the volume. The edition does show some trivial slips in preparation and some omissions of bibliographical details. Authors are at times incorrectly cited in the footnotes. F. T. Thomas (n. 1) should be F. T. Coulson. Footnotes pointing readers to secondary literature omit a few references to major scholars. Ann Moss's seminal work on Ovid in Renaissance France is not included. Bruno Roy's edition of a medieval French commentary on the Ars amatoria is mentioned, but his equally significant work on Arnulf of Orléans's Latin commentary on the Remedia amoris (which appeared in JML 6, 1996) should likewise be cited. In Hunt's edition of the text (pp. 35–101), I note the following queries: p. 37 (Latin text after line 100) traditu> read tradita?; p. 37 (Latin text after line 108) liquidem> read liquidum?. The edition is attractively produced with wide margins to facilitate note-taking and a truly arresting cover.

The subject of this article is the methods of terminographical translation of legal terminology of the Sakha language employed in the Russian-Yakut legal dictionary. The goal of this work consists in determination of peculiarities of legal terminological lexicon and ways of conveying it to Yakut language. Terminographical analysis of the dictionary demonstrated that there is no strict rule for selecting the framework legal terms and terminological phrases. For example, the legal status of some commonly used words is questionable; the so-called “non-terminological” parts of speech manifest as the head term, and the form of feminine gender is presented excessively, which the authors propose on the equal basis with the form of masculine gender. This article is first to conduct a detailed analysis of instances of application of Russian-Yakut translation techniques of legal terms, such as equivalent, alternative translation, calquing, transliteration, as well as descriptive, situational and other translation methods. The article is based on the inductive-deductive method and method of selective sampling for terminographical analysis of translations of translation of legal terms and terminological phrases. The results terminographical analysis of the Russian-Yakut translation of legal allow concluding on the need for comprising the more extensive Russian-Yakut dictionaries of legal and sociopolitical terms.

1. Tell me, Muse: characteristics of the self-conscious poem 2. Improbable art: the theory and practice of ancient didactic poetry 3. The teacher's truth: Lucretius' De rerum natura 4. The poet's choice: Vergil's Georgics 5. The poem's success: Ovid's Ars amatoria and Remedia amoris 6. The song of the stars: Manilius' Astronomica Conclusion

Have you noticed how intellectually diverse Law and Literature has become in recent years?' At one time Law and Literature in American legal studies was a marginal subject taught at only a few law schools. These Law and Literature courses, following the lead of Dean Wigmore, explored the way law was implicated in the stories told in the great literary classics of Dickens, Kafka, and Melville. The perspective of these courses attempted to show how the stories in the classics of Western literature might offer lawyers and judges important lessons about the nature of law lessons which are missing in the official reported stories of the cases. This understanding of Law and Literature the law-in-literature perspective was a dominant understanding shaping the American Law and literature movement in its early stages of development. But much has changed since the first courses popped up in the legal curriculum. Beginning in the late 1970s and throughout the 1980s, a diverse new breed of Law and Literature scholarship appeared on the legal scene which has altered the landscape of the movement. Law and Literature practitioners in America were no longer just reading and studying the Great classics of Western literature; they were reading and studying law as if it were a special of literature to be interpreted like any story. As it turned out, Dickens, Kafka and Melville were being edged-out by authors like Derrida, Foucault, Heidegger and Wittgenstein as Law and Literature scholars explored the meaning of law's language as a cultural and literary artifact. If law were to be regarded as a unique genre of literature, then new critical techniques and methods of translation would be needed for focusing the critical eye of Law and Literature scholars on the meaning of legal texts, languages, and institutional practices. It should not be surprising then that Law and Literature scholars began looking beyond the Great books of Western literature to the critical texts of literary theory, structuralism, post-structuralism, deconstuctionism and the like to aid them in their literary translations of legal texts.

The article is devoted to the analysis of the conceptual approach to the definition of the concept of metaphor; considering the conditions of effective translation of the metaphor and awareness of its lexical-semantic and expressive-evaluative content. The study systematizes the frequency metaphors usage in the field of English publicistic discourse. The main methods of metaphor translation in the field of publicistic style of English, as well as the functioning of metaphor are considered. In the course of our research, a number of issues related to the metaphors rendering in English-language publicistic texts were considered. The publicistic style is used in political literature and is represented by mass media – newspapers, magazines, radio, television and documentary films. It deals with a wide range of topics of politics, economy, ideology, philosophy, culture, sport, everyday life, current events, which are covered in the light of certain ideological aims. The general aim of publicistic style is to make a deep influence on public opinion, to convince the reader or the listener that the interpretation given by the writer or the speaker is the only correct one and to cause him to accept the point of view expressed in the speech, essays or article nor merely by logical argumentation but by emotional appeal as well. In different language styles, especially in the publicistic style, language tools are widely used, which enhance the effectiveness of expression due to the fact that their logical content is added to different expressive and emotional nuances. The language of publicistic style differs from all others primarily in that it performs an aesthetic function. One of the most widely used tropes in publicistic style is a "metaphor". It is a figure of speech that identifies something as being the same as some unrelated thing, for rhetorical effect, thus highlighting the similarities between the two. Metaphor is a widely used linguistic tool in a publicistic text, according to O. Filimonova, it is one of the dominants of speech. This is due to its high evaluative potential, its imagery, the ability to effectively implement the author's intention and influence the audience. The methods of metaphor translation are dominated by the principle of preserving a similar metaphorical image (80%), the principle of paraphrasing (15%) and replacing the equivalent metaphor in the language of translation (5%).

Reviewed by: Ovid’s Early Poetry: From his Single Heroides to his Remedia Amoris by Thea S. Thorsen Barbara Weiden Boyd Thea S. Thorsen. Ovid’s Early Poetry: From his Single Heroides to his Remedia Amoris. Cambridge: Cambridge University Press, 2014. Pp. xii, 223. $95.00. ISBN 978–1-107–04041–0. The connections between Ovid’s Amores, Ars Amatoria, and Remedia Amoris are well known. The Heroides, however, have only occasionally been integrated into our portrait of “early Ovid.” Thorsen’s aim is to turn this situation on its head: starting from the premise that the lack of solid information about Ovid’s career means that it is both plausible and worthwhile to attempt an integrated reading of the early poems, and in particular, of the Heroides in relation to the rest, Thorsen asserts a bold thesis: that Heroides 15, the Epistula Sapphus ad Phaonem (henceforth EP), is not only demonstrably authentic as a work of Ovid, but also that, as the last of the single epistles, it serves not only as sphragis but also as a nexus for the many themes and motifs that recur throughout Ovid’s poetry. The book falls into two sections: in the first, Thorsen argues for the authenticity of Heroides 15, offering an overview of its manuscript and scholarly history and demonstrating the flaws in earlier attempts to deauthorize the EP; in the second, she rereads the remainder of the early oeuvre through the lens of the EP, finding verbal, thematic, and philosophical parallels everywhere between this letter and the other elegies. The boldness of the thesis is thus matched by its riskiness: the value of the entire undertaking either stands or falls on a single point, the authenticity of Heroides 15. Thorsen clearly hopes to mount so inexhaustible a supply of supporting “evidence” as to make her thesis an inevitable conclusion. I wish I could say that Thorsen has achieved her goal: I like the idea of treating the EP as authentically Ovidian, since reading the poem as “Ovid’s transvestite self-portrait” (7) has a certain appeal—comparable to Catullus’ use of Ariadne, the feminized Gallus, and Laodamia in the longer poems (an avenue not explored by Thorsen) to define both an emotional voice and a poetic tradition. But Thorsen’s “proofs” repeatedly fail to persuade, based as they are, again and again, on flimsy circumstantial evidence. A crucial instance exemplifies many others, namely Thorsen’s argument for the placement of Sappho’s letter at the end of a collection of fifteen epistulae (9–22). It is generally agreed that the position of this poem in the tradition was first asserted by Daniel Heinsius in his edition of 1629; Thorsen acknowledges this, but also considers an assortment of medieval testimonia and marginal notes that allude to Ovid’s Sappho in a series in which her name follows that of several other heroines featured in earlier epistles (for example, Phaedra and Dido). Thorsen argues that Sappho’s repeated appearance at (or near) the end of such lists demonstrates that this placement long preceded Heinsius; she also uses the evidence of Amores 2.18.21–34, in which two catalogues of epistulae are listed in abbreviated form, in both of which Penelope is mentioned first and Sappho last. Since the position of the letter of Penelope is uncontested, argues Thorsen, that of the letter of Sappho is equally clear. Aside from the problems surrounding the reading of Amores 2.18.26, there remains the glaring fact that the two lists in 2.18 are far from complete or comprehensive; even more important, there is absolutely no evidence to suggest that not only Heinsius’ but also all the earlier allusions to Ovid’s heroines could not have used Amores 2.18 to guide their own ordering. Thorsen, on 21–22, rejects R. Tarrant’s claim, found in ‘The Authenticity of the Letter of Sappho to Phaon,” Harvard Studies in Classical Philology 85 (1981), 133–53, that this listing guided Heinsius, but never adequately disproves it. Here as elsewhere, Thorsen’s argument would [End Page 130] have benefitted immensely from access to Irene Peirano’s recent book, The Rhetoric of the Roman Fake: Latin Pseudepigrapha...

390 PHOENIX transformative elegiac response to epic and of Circe in Remedia Amoris and Metamorphoses deftly becoming an emotionally volatile personality that is “almost the antithesis of the Homeric Circe” (211). Ovid’s reimaginings of Homer’s women both retain their famous epic pasts and give them new and vastly different narrative opportunities. The penultimate chapter, “Homeric Desires,” takes Odyssey 8’s tale of Ares and Aphrodite as a case study. Specifically, “ ‘repetition with a difference’ is central to Ovidian intertextuality,” and the poet relies on his “intimate understanding of the power of repetition to transform his subject” (213). Boyd traces Ovid’s divergent retellings in Ars Amatoria 2, in which Vulcan becomes the butt of the joke in a lesson on discretion, and in Met. 4, as part of the Minyades’ (meta)literary discussion. Ovid’s reiterations are a form of reception, and the chapter clarifies this well. Finally, as a pendant to Chapter Eight, Chapter Nine (“Homer’s Gods in Rome”) considers Ares and Aphrodite in Ovid’s day when as Mars Ultor and Venus Genetrix they become more the dignified patrons of Rome and less the adulterous lovers of Homer. Fasti 3 comes into play, as Boyd suggests that Mars only develops a full literary personality in a Roman context (240). Boyd’s project offers much food for thought, though a few quibbles arise. The lack of a proper conclusion is a missed opportunity to draw together the many threads of a discursive, occasionally diffuse monograph. The topic of Homer is vast, and I am sympathetic to the argument that a comprehensive, detailed catalog of Ovid’s Homeric receptions is not the goal here. Nevertheless, it might have been useful to make an attempt at an overview, perhaps in the introduction. In terms of configuration, the chapters occasionally seem a disparate collection of ideas interesting in themselves but not in resonance with each other; a consistent through-line is not always obvious, though the book’s subtitle of Authority, Repetition, and Reception nods to one. In that vein, the book does well in taking up repetition and reception, but its treatment of authority is a little unclear. For instance, one should be wary of believing that Ovid is fundamentally respectful of poetic authority: he is no Statius humbly admitting secondary status. With regard to political authority, neither was Ovid entirely supine towards Augustus, the inescapable presence of the era who brandished auctoritas as his personal watchword. A brief discussion of Ovid’s specifically Augustan context may have made the introduction even more useful. In the end, this is a book to recommend gladly. With her elegantly written monograph Boyd has given a great gift both to Ovid studies and to classical philology as a whole. Whether she has entirely managed to sketch out “a broader framework for Ovid’s reception of the Homeric poems” (5) may be up for debate, but she has absolutely succeeded in encouraging her readers to engage anew with Ovid, Homer, and their creative legacy, and for that we may indeed be grateful. University of Vermont Angeline Chiu Dirty Love: The Geneaology of the Ancient Greek Novel. By Tim Whitmarsh. Oxford: Oxford University Press. 2018. Pp. 201. In this slim but ambitious volume, Whitmarsh tackles two subjects on which a great deal of ink has been spilt without producing much in the way of scholarly consensus: the origins of the Greek novel as a genre, and the influences of traditional Greek genres and contact with non-Greek cultures, particularly the Near East. Sensibly, Whitmarsh does BOOK REVIEWS/COMPTES RENDUS 391 not attempt to propose any single doctrinaire answers, but instead encourages us to view the traditional questions from a different angle—or rather, many different angles. The work forms a kaleidoscope of small units, connected by the argument that the Greek erotic novel should be understood in terms of what Whitmarsh calls “Dirty Love”: both the Greek novel proper and novel-like texts explore and encourage non-endogamous connections (between people, between worlds) within a hybridized environment. The volume is divided into five parts, each consisting of several smaller than usual chapters, twenty in all, not including the Prelude. “Hellenism and Hybridity” (Chapters...

The female readership of theArs amatoriahas been for two millennia a subject fraught with problems both historical and theoretical. For example: in antiquity, did respectable women read the poem? Almost certainly, and they were almost certainly expected to. Were they intended to? Here less certainty is possible, not only because of the problem of divining authorial intention. Did non-respectable women, the real life analogues to the poem's fictive courtesans, read theArs? Some of them – the elite ones – must have, but lower-level courtesans would have had less opportunity to acquire copies of the poem. On the textual, rather than historical, level, other questions remain, most of them unanswerable, such as the sincerity of the poem's disclaimers tomatronae, the No-Wives-Allowed signs. The deliberate textual confusion betweenmatronaandmeretrixinArs3 blurs clear distinctions and makes it impossible to tell if thepraeceptor Amorisanticipates or seeks respectable, elite women, in addition to his declared readers, the courtesans.

Culture-loaded words in Traditional Chinese Medicine (TCM) convey not only medical knowledge but also traditional Chinese philosophy, cognitive patterns, and cultural wisdom. Their accurate translation facilitates the global acceptance and sustainable development of TCM. To identify research trends and characteristics in the English rendering of culture-loaded words in TCM, the study selected 50 journal articles from five electronic databases, guided by the PRISMA framework, with a restriction to full-text journal articles. The analysis shows a significant rise in research after 2015, with most studies published in TCM-focused journals, and Huangdi Neijing is the most studied, followed by Shanghan Lun and Jinkui Yaolüe. Scholars have made contributions to the definition, classification, theoretical frameworks, and translation methods. Progress has been made, including a relatively comprehensive research scope, diverse perspectives, and multiple translation strategies and methods proposed, which has promoted the international dissemination of TCM. However, certain problems remain unresolved, such as the lack of a unified standard for defining and categorizing culture-loaded words in TCM, inadequate theoretical and empirical support, inconsistent standards, unclear classification of translation strategies and methods, and the absence of standardized evaluation criteria. The study suggests that future research should conduct in-depth explorations of culture-loaded words in TCM, strengthen theoretical inquiry, construct translation evaluation models for culture-loaded words in TCM, enhance empirical research through the use of corpora and digital tools, and promote multilingual translation studies of classical TCM text.

This study takes Normal People as an example, adopting Eugene A. Nida's functional equivalence as the foundational guiding theory for novel translation. Through the meticulous application of meaning equivalence, stylistic equivalence, and cultural equivalence, it conducts a comprehensive and in-depth research and analysis of the translation process within the context of novels. The study explores how these three translation methods are subtly yet profoundly reflected in various aspects of the novel, including its narrative structure, dialogue, character development, and thematic elements. By examining these facets, the study aims to provide a nuanced understanding of how functional equivalence is operationalized in practice.In the narrative structure of Normal People, the translator employs meaning equivalence to ensure that the plot unfolds logically and coherently in the target language, preserving the original author's intent and narrative voice. Similarly, stylistic equivalence is crucial in maintaining the unique linguistic style and tone of the novel, which is often integral to its appeal and impact. Cultural equivalence, on the other hand, is vital for conveying the cultural nuances and references embedded within the text, ensuring that the translated work resonates with readers from different cultural backgrounds. In conclusion, the study asserts that Nida's functional equivalence plays an indispensable and decisive role in ensuring the accuracy, readability, and overall quality of novel translations. It emphasizes the importance of giving sufficient attention to this theory in order to ensure that translated works not only convey the intended meaning and tone of the original text but also resonate with readers on an emotional and intellectual level. By achieving functional equivalence, translators can create translations that are both faithful to the original and accessible to a wider audience. Under the guidance of the theories and methods of scientific novel translation, these translated works can serve as bridges that enable readers to better understand and appreciate the diverse and rich tapestry of excellent foreign novels. By fostering greater cross-cultural understanding and respect, these translations can significantly enhance the effectiveness of international communication and contribute to the promotion of global cultural exchange and harmony. Ultimately, the study underscores the critical role of functional equivalence in facilitating meaningful and impactful literary translation.