Chinese Titles Research Articles

A Study on Chinese Translation of English-Japanese Movie Titles from the Perspective of Linguistic Conformity Theory

Movie translation plays an important role in the dissemination of a movie, just like the trademark and promotion card of a movie. It not only needs to match the style of the original movie, but also needs to have commercial value. The quality of title translation directly affects the box office and audience attendance. This paper takes the 250 movies with the highest Douban ratings as the research object, and collects relevant data by constructing a database. Through the literature survey, it is found that the current Chinese translation of movie title translation is mostly studied from the perspective of Purpose Theory and Dynamic Equivalence Theory, but a systematic framework has not yet been formed, so it is difficult to solve the problem of actual title translation. The purpose of this paper is to analyze the current problems in movie translation from the perspective of linguistic conformity theory, including copying and reproducing, formatting translation, unclear meaning, and words deviating from the theme. This paper argues that the proposed title translation should truly and accurately reflect the core of the original title and more deeply combine with the local culture, with the intention of providing new perspectives for movie translation to improve the translation quality of Chinese titles.

Chinese Title Generation for Short Videos: Dataset, Metric and Algorithm.

Previous work for video captioning aims to objectively describe the video content but the captions lack human interest and attractiveness, limiting its practical application scenarios. The intention of video title generation (video titling) is to produce attractive titles, but there is a lack of benchmarks. This work offers CREATE, the first large-scale Chinese shoRt vidEo retrievAl and Title gEneration dataset, to assist research and applications in video titling, video captioning, and video retrieval in Chinese. CREATE comprises a high-quality labeled 210 K dataset and two web-scale 3 M and 10 M pre-training datasets, covering 51 categories, 50K+ tags, 537K+ manually annotated titles and captions, and 10M+ short videos with original video information. This work presents ACTEr, a unique Attractiveness-Consensus-based Title Evaluation, to objectively evaluate the quality of video title generation. This metric measures the semantic correlation between the candidate (model-generated title) and references (manual-labeled titles) and introduces attractive consensus weights to assess the attractiveness and relevance of the video title. Accordingly, this work proposes a novel multi-modal ALignment WIth Generation model, ALWIG, as one strong baseline to aid future model development. With the help of a tag-driven video-text alignment module and a GPT-based generation module, this model achieves video titling, captioning, and retrieval simultaneously. We believe that the release of the CREATE dataset, ACTEr metric, and ALWIG model will encourage in-depth research on the analysis and creation of Chinese short videos.

The translation of animation titles: A case study on English, Japanese, and Chinese titles

Though the translation of film titles has not been firmly established within translation studies, the existing studies mainly focus on the translation strategies and process analysis from classic theories including Skopos theory and semantic equivalence. Meanwhile, there has been limited research to examine the translation of animation titles. This paper delves into the intricate world of animation titles and their translation dynamics across languages, especially focusing on English, Japanese, and Chinese, employing a methodology that combines data from IMDb.com and chineseanime.org with Weiciyun and Python analysis. The study investigates titles' characteristics and features in each source language and the translation strategies used among them. The findings highlight that English, Japanese, and Chinese animation titles possess distinct structural and semantic attributes. These traits reflect the inherent linguistic norms and cultural preferences of each language. Furthermore, the study uncovers multifaceted translation strategies used to bridge the linguistic gaps among languages, including transliteration, literal translation, and adaptation. As for creative adaptation which has a large percentage of every translation process, it is conspicuous that the characteristics of those translated titles largely remain consistent with the features of the source texts. Also, this study exposes discernible patterns of cultural power dynamics influencing translation strategies, particularly evident in the prevalence of English loanwords and transliterations.

Still on the same page: A gender comparison of the top 100 picture books from the UK and China published 2011–2020

AbstractAs a primary source for the early ages, picture books guide preschool children's gender perception through stories and illustrations. However, previous studies have criticised an overall gender inequality in children's picture books. Compared to the increasing attention on gender diversity in the UK picture book industry, there has been little concern shown about gender diversity in the Chinese picture book market (which has only developed in the 21st Century). This article compares gender representation and gender stereotypes within 200 UK and Chinese bestselling picture books published between 2011 and 2020. It examines a range of aspects including authors' gender, and gendered aspects of book texts and illustrations via content analysis and text mining. Results show (1) there is male dominance in bestselling Chinese authorship, while titles from female authors are more prevalent in the UK list; (2) there is a predominance of male central characters in both bestselling UK and Chinese titles; (3) the narratives in bestselling picture books, especially in Chinese book texts, promote gender essentialism and gender biases in picture books from both markets; (4) that UK titles in translation, as well as other foreign titles, become an essential means of promoting gender equality in the mainstream Chinese picture book market. This study stresses that gender inequality is an international issue and aims to remind all parties in two different picture book industries to work on gender equality in future publishing practice, while showing that translation studies allow us to see how different markets intersect.

Research on Film Title Translation from the Perspective of Polysystem Theory

From the film, we can have access to the customs and cultures of all over the world, and the film title is playing a pioneering role. The more successful the title is, the more attractive it is to the audience. The translation of film titles is more dependent on by audiences in different language and in different cultural backgrounds. Therefore, it is necessary to pay attention to the translation of film titles. This paper intends to study the translation of film titles (Chinese translation of English titles and English translation Chinese titles) through Polysystem theory, and find that culture is an important factor affecting the translation of film titles, in addition to political and patron factors.

Rumor in the Early Chinese Empires, by Lu Zongli, tr. Wee Kek Koon

This book is a translation of a monograph by Lu Zongli, a specialist in early Chinese history and thought, which originally appeared in 2011 under the Chinese title Han dai de yaoyan. A brief review such as this can hardly do justice to the author’s erudition or to this study’s empirical richness. Readers will also benefit from consulting the ‘Introduction to the English Edition’ provided by Mark Edward Lewis, another well-known authority on early Chinese history, which compares and contrasts Lu’s work with Western (anglophone and francophone) scholarship on rumours. Occasional typographical or grammatical infelicities notwithstanding, this is an admirably executed translation which consists of the author’s original preface, Lewis’s introduction, six main chapters, and a new epilogue written by the author in 2019. The basic structure of the core chapters consists of a thorough interrogation of Chinese terms used to describe a range of ‘rumor-like expressions’, followed by a presentation of specific examples within their proper historical contexts and, finally, some discussion of how such categorisations reflected and often dictated the official dispositions and responses of government authorities towards the particular types of unsanctioned speech and information under consideration.

Reanimating the Socialist Child—Queerly: The Sideways of a Chinese Animation Nezha naohai

Reanimating the Socialist Child—Queerly:The Sideways of a Chinese Animation Nezha naohai Yiman Wang (bio) IN THE BEGINNING—IS SUICIDE, with a sword, by a child, in an animation, in one of my earliest movie memories. I was shocked, captivated, obsessed. Four decades later, merely mentally picturing the scene still arrests my heart, undams my tears. This scene remains so overwhelming because it ambushed me. Growing up in socialist China, going to block-booked movies was a student's obligation. With no trailer, no spoiler, not even offered a poster, I had no interest in a film called Nezha naohai (Prince Nezha's Triumph Against Dragon King, Wang Shuchen, Xu Jingda, Yan Dingxian, 1979). Who is Nezha anyway—a difficult name, sounding odd, barely even sensible as a name. Why should I care about someone with a nonsensible name doing something nonsensical like churning up the sea (the literal meaning of the Chinese title)? Little did I know that this pivotal scene of the child's suicide and subsequent rebirth would become a portal for my appreciation of the queering power within a patently individualistic child hero animated feature. In the theater, I remained unengaged despite all the spectacular scenes of Nezha fighting and defeating the dragons and other anthropomorphized aquatic animals—until the scene of suicide. The freeze-frame extreme close-up of Nezha's large enraged eyes filling the screen drove into my heart the unbearable intensity of memories, despair, defiance, letting go, and grief, even as life is drifting away from Nezha's body. [End Page 176] Along with that shocking image, also ingrained in my sensorium are Nezha's parting words to General Li: "Daddy, I return to you your flesh and bones. You shall not be responsible for what I have done!" This is followed by Nezha crying out into the universe "Shifu!" (Master!) in a wide-angle long shot. In concert with torrential rain, cracking lightning, and rolling thunder, the child unleashes utmost despair and rebels against the blood lineage that locks everybody into relationships of indebtedness, relationships that demand conformity based on one's status as a descendant. To slash this trap, which conceptualizes one's corporeal body as the evidence of one's debt to progenitors, Nezha turns their back on their father, the audience, and the camera and slits their throat, a scene that ends in a freeze-frame. With this finite cut and cut-off, time stops, raindrops hangs still, Nezha's companion deer and human family members are all caught suspended in motion, mouth agape in shock. The rushing background orchestration crescendos, then abruptly falls silent as if in mourning—and anticipation. A child has relinquished their "flesh and bones" to the parent and summarily canceled the debt. Breaking the cosmic silence is a pluck of a Chinese pipa string instrument that cascades into agitated musical notes, as the human-born Nezha gazes at this world one last time. Those mortal eyes fill the screen (in the shot that opens this essay), their one tear congealing rage and grief, electrifying the screen. As the rushing pipa notes give way to mournful violins, Nezha's unrelenting gaze lap dissolves into the companion deer galloping midair in slow motion, followed by a shot of the child's hands groping, oneiric, for huntianling (a long red sash that sweeps the heaven topsy-turvy) and qiankunquan (a gold ring that unsettles the cosmos)—a pair of magic weapons given to them by Shifu. With one last tear rolling down their cheek, Nezha's eyes close. The child-shaped flesh and bones now lie flat, gently licked by the deer who has arrived with the weapons, too late. These magic weapons have enabled Nezha to defeat the dragons and have subsequently been confiscated by their father to forestall more troubles. This scene ends with a lap dissolve, and the child's body is gone, leaving behind a shining bead to be carried by a crane to Shifu. WHAT COULD A CHILD HAVE DONE— that requires a life for atonement, or rather, to save the father from being implicated? Per the film's narrative, Nezha has, with their powerful magic weapons, enraged the children...

THE PERCEPTUAL ETYMOLOGY AND THE ORIGIN OF THE OLD TURKİC ‘ÏMGA’ AND ‘IL ÏMGA’ VIA THE NEW THOUGHTS

When it comes to etymology, two methods come to mind: 1. Scientific or linguistic etymology and 2. Folk etymology. However, the Polish linguist Marek Stachowski introduced a new etymology term to the literature: 3.”Perceptual etymology”. Stachowski explains the term, which he coined for the first time in his article titled “Perceptual etymology, or three Turkish culinary terms in Croatian and Slovene, and a Polish social term inteligencja ‘intelligentsia’” published in Studia Linguistica Universitatis Iagellonicae Cracoviensis 138 (4) in 2021, in his article titled “Perceptual etymology. A social aspect of etymological research” published in issue 139 (1) of the same journal in 2022. In this study; unaware of this new term, the origin information of which is explained, 'اِمْغا', 'اَلِمْغا' in the Diwanu Lugati’t-Turk of Kashgari (Barskani) Mahmud and the titles ‘amγa’, ‘il ïmγa’ in Old Uighur letter documents, which mean “guard of the military governor, secretary of state”, which have meanings such as “state treasurer, treasurer, tax collector”, are reconsidered in the context of the concept of “perceptual etymology”. Based on the previous sources, it is accepted that the word was borrowed from a Chinese title, yaya (押牙 / 押衙), from a Middle Chinese pronunciation of *im go dar to Turkish during the Chinese Tang Dynasty. This title is represented by Sir G. Clauson ‘ımğa’, T. Takata ‘ąmäga’, N. Sims-Williams and J. Hamilton ’’mγ’ (amγa) and T. Moriyasu as amγa / ïmγa. Here, the origin information of the title in question will be tried to be explained again through their spellings, historical developments and meanings in old Uighur documents and to be shown that the title is not borrowed into Turkish from Chinese, but from Khotanese Sakan.

A Study on the Translation of the Myths in Hongloumeng from the Narrative Perspective

There is a tradition of incorporating myths into literary works in Chinese literature, and Hongloumeng, the central book in the canon of Chinese literature, is no exception. The whole mythological narrative of the novel is composed of three myths, which contain religious and mythological concepts, such as Buddhist terms and mythological names of the place, as well as ancient Chinese titles of nobility. According to Mona Baker’s socio-narrative theory, translation is conceived as a form of re-narration. The present study approaches the translation of the myths in Hongloumeng by David Hawkes and John Minford from the narrative perspective and finds that the translation deviates from the original narrative in two ways. The narrative about Buddhism and Taoism is suppressed, while that about Christianity is accentuated. The narrative about ancient Chinese nobility is weakened while that about European nobility is highlighted. It is found that the framing of the translated narrative is realized through selective appropriation. The reason for the deviation is the translators’ intention to facilitate the understanding of target readers, as well as their consideration of the relevant existing narratives in English-speaking countries.

Multilingualism in Periodical studies — A Social History Perspective

Multilingualism in Periodical studies — A Social History Perspective

Place references in Chinese music titles since 1912: changing patterns across regions and time

There are strong links between music and ‘sense of place’. This study investigates the connotations and features of the sense of place in songs against the background of social change between 1912 and 2019 in China. From 1912 through 1949, the sense of place was chiefly patriotic. From 1950 to 1979, the influence of socialism resulted in songs that concentrated on historical sites to form place identity. After 1980, the music market influenced the writing of songs about ‘place’. Since 2010, the sense of place has involved the activities of individuals and events within an area that shape the feel and impression of the place, and it is complex and plentiful. The results indicate that the relationships between people and the places they sing about become more abundant and detailed over time, along with a change from each place having a dominant style to a more diverse scenario. Before the opening-up and reform of China in 1979, the sense of place was often a shared collective memory, whereas today, the trend is towards personal songs. Additionally, sense of place is studied in regard to social processes as well as individual music pieces, and the driving force of each period is the response to basic social contradictions.

A Comparative Study of Chinese and Myanmar Honorific Titles

Honorific titles, as an essential part of speech communication, occur in all languages. But due to the cultural diversity, there are many different laws and regularities in the choice of them. This paper is the comparative study of the characteristics of Chinese and Myanmar honorific titles and their pragmatic rules to reduce the barriers in language communication.

Etymological Notes on Early Chinese Aristocratic Titles

Etymological Notes on Early Chinese Aristocratic Titles

The Applications of Domestication and Foreignization in the Translation of English and Chinese Movie Titles

Taking domestication and foreignization as the research object, this paper is meant to explore the applications of domestication and foreignization in English and Chinese film titles. Firstly, it probes into the main factors that have influence on the translation of film titles, namely ways of thinking, aesthetic concepts, business values and translators’ understandings of the cultural background of the source language. Secondly, by introducing translators like Venuti, Fu Lei, Qian Zhongshu and Eugene Nida, the paper demonstrates domestication and foreignization, and then discusses them in the film titles. Finally, the paper elaborates the reasons and examples behind domestication and foreignization and a combination of the two. According to the study, the usage of domestication or foreignization is closely connected with the linguistic characteristics and cultural background of English and Chinese. Besides, these two translation strategies reinforce each other and are closely interwoven.

Stalled at Friendship Station: Under Ancient Desert Skies, the Socialist Silk Road, and Cinematic Collaboration on the Eve of the Sino‐Soviet Split

This article contributes to an emerging history of socialist world cinema by uncovering the forgotten story of a Sino‐Soviet cinematic collaboration from 1957–58: a film expedition that travelled the route of a proposed railway line linking Almaty in Kazakhstan, via Xinjiang, to Lanzhou in western China. At the height of the Sino‐Soviet “honeymoon” in the 1950s, this 2,800km “Road of Friendship” was celebrated as a revival of the ancient Silk Road for an age of industrialized, international socialism. Co‐produced by the Moscow and Shanghai scientific‐popular film studios, the film had two directors, the Soviet veteran Vladimir Shneiderov and the Chinese novice Qin Zhen. The film they created appeared under two names: while its Chinese title, Almaty‐Lanzhou (Alamutu‐Lanzhou), spoke in neutral tones of connection and modernization, the Russian title, Under Ancient Desert Skies (Pod nebom drevnikh pustyn'), evoked the exotic allure of a motor expedition along the traces of the Silk Road. My excavation of the Road of Friendship and the film that celebrated its construction offers a case study in the aspirations and limitations of Sino‐Soviet collaboration in the mid‐1950s. In particular, the history of both railway and film illuminate the role of Xinjiang as a frontier region where the ideals of internationalist collaboration confronted a longer history of imperial contestation between the Russian and Chinese states in Central Asia. Grounded in archival materials, this reconstruction of the project foregrounds both the politics and the poetics of collaboration: both the production history of the film, and the way that the film itself stages and performs its own ideals of collaborative “friendship.” Collaboration, it becomes clear from the film and its production materials, was both an important ideal and a fraught business. The Road of Friendship itself, meanwhile, fell victim to the Sino‐Soviet Split of the early 1960s. The two sides were supposed to connect at the town of Druzhba (Dostyk, “Friendship”) on the Sino‐Soviet border, but the Chinese branch only reached Druzhba in 1990—just in time for the collapse of the USSR. Today the Lanzhou—Almaty rail route constitutes a central link in China's Belt and Road infrastructure initiative, another reimagining of the Silk Road for twenty‐first‐century global capitalism.

A deep neural network model for fashion collocation recommendation using side information in e-commerce

A fashion collocation recommendation model is a useful tool to enhance customer experiences and increase cross-selling in e-commerce. Prior research efforts focus on using titles and images to build the model. However, accessible side information in e-commerce, such as textual descriptions, purchase data and category information of items, generally bear valuable information regarding this task. This study seeks to develop a fashion collocation recommendation model that leverages accessible side information in e-commerce. First, a knowledge graph is built to model the purchase data and category information of items and an approach is subsequently proposed to learn the knowledge embeddings in the knowledge graph. To cope with the challenge of Chinese titles, a model is developed to encode the Chinese titles into vectors. Finally, a fashion collocation recommendation model combines the knowledge embeddings of the knowledge graph and the encoded titles to compute the probability of fashion collocation between items. The experiments are conducted on two datasets. Compared with baseline models, our model obtains nearly 6% and 1% AUC improvement in TIANCHI and POG dataset, respectively. The experimental results demonstrate that our efforts to leverage side information to improve fashion collocation recommendations are feasible and effective.

Correction to: Effects of Homogenization Treatment on the Microsegregation of a Ni–Co Based Superalloy Produced by Directional Solidification

In the original publication of the article, the Chinese title and author names appeared inadvertently in the Ref. [24].

The Foreign Policy Doctrine of Traditional China

The article is a continuation of the cycle of theoretical works by Oleg E. Nepomnin (1935–2020) published in previous issues of the “Oriental Courier” [Nepomnin, 2019, 2020, 2021]. Oleg Nepomnin was among the most brilliant theorists of the development of Eastern societies. The author considers the foreign policy doctrine of traditional China as an integral part of China’s social perceptions of the world order. Based on the concepts of “world–cosmos” and “world-society”, the Chinese foreign policy doctrine was based on the fundamental idea of the oneness of the world order. In the “world of men”, world laws were embodied by the Chinese emperor — the Son of Heaven — and Chinese statehood. Next to China and its emperor, there could be no equal states and no equal monarchs. In this view of the world, China had borders and the Celestial Empire had none, implying the worldwide scope of the power of the Son of Heaven. On this ideological basis emerged the foreign policy dichotomy “civilized centre — savage periphery”, or “China — barbarians”. The author examines the origins of this influential concept from antiquity to the fall of the empire in China in the 20th century. A “tribute” system of interaction with other states was a logical continuation of ideas about the world order in China and its place in it. But the author stresses that despite China’s desire to maintain the illusions of a functioning “tribute” system, strengthen the prestige of imperial power and carry out monopolistic state trade with “barbarians”, “barbarian” embassies themselves often arrived in China with purely pragmatic goals: to establish trade, receive rich gifts from the emperor, elevate official status, get investiture and the Chinese title. In fact, China lost its status as the hegemon of the ‘tribute” system and the “Centre of the Universe’ after the Opium Wars in the 19th century. China was relegated to the level of the “sick man of Asia”, although the “tribute system” itself continued to function long after that. Even as the “Chinese world order” rapidly collapsed in the 70–90s of the 19th century, and previous Chinese “tributaries” were turned into colonies and semi-colonies of the capitalist West, Beijing’s rulers clung frantically to the “tribute” system. Up to the fall of the empire, the Manchu rulers could not get rid of the burden of traditional notions of China as the “Centre of the Universe” surrounded by the periphery and “barbarian rebellion”.

Research on Named Entity Recognition Technology for Chinese Titles

Aiming at the problem that the feature extraction of Chinese title data is insufficient in the process of named entity recognition and the marking data is difficult to obtain, this paper presents a CNN-BiLSTM-CRF model. The model trains large-scale corpus to generate word vectors with semantic information and trains the character vectors in words through CNN to generate character vectors containing character features, the word vector and the character vectors are merged as the input of BiLSTM network. Through the BiLSTM network, the front and back texts features are fully extracted, and CRF is used to restrict the relevance of tags. In addition, this paper proposes an algorithm based on active learning. This algorithm uses the proposed model construction committee to select the samples with large amount of information to mark, which effectively reduces the amount of data annotation.

ETNIS TIONGHOA DALAM DINAMIKA MASYARAKAT KEPULAUAN KEI

This research is entitled Ethnic Chinese in the dynamics of the Kei Islands community. The problems that will be studied in this study are as follows: 1) How is the process of entering the Chinese community in the Kei Islands, 2) How is the interaction between the Chinese community and the local community in the Kei Islands. To get answers to these problems, the research method used is the history which consists off our stages, namely heuristics, verification, interpretation, and historiography using theories and other relevant social science concepts. The objectives of this study are: To explain the process of the arrival of the Chinese community in the Kei Islands and their interaction with the local community and their role in the governmental, economic and socio-cultural aspects of the Kei Islands. Thus, it is hoped that this research can enrich the historiography of the Kei ethnic Chinese in Maluku, which is still relatively small. From this research, it is known that the Chinese people in the KeiIslands have existed for a long time and are able to interact with local communities well. This can be seen from the use of the in digenous Kei clan by the Chinese community as well as the application of local culture in their lives even though these practices go hand in hand with the original Chinese traditions. Until now the Chinese community plays an important role in various sectors of life in Kei both in the economy and politics. This can be seen from the Chinese title Kei and some politicians of Chinese descent and even the former regent of the Kei Islands are of Chinese descent. Thus the Chinese peoplein Kei have considered them selves as kei people.