Abstract This article examines the 1905 Chinese translation of The Swiss Family Robinson through an ecocritical lens and explores how ecological themes are adapted and reinterpreted within a non-Western cultural context. The study draws on traditional Chinese literary and philosophical concepts such as 山水 shanshui ‘mountain and water’, 风景 fengjing ‘wind-light’, and 无为 wuwei ‘non-action’ to expound the relationship between humans and nature in translation. By comparing the translation with the original text, this study finds that while the original text presents a utilitarian view of nature, the Chinese version accentuates the aesthetics of the island, elevates it to a utopian space, and emphasizes moral obligations toward nonhuman life. Despite its strong ecocentrism, the translation also reveals a predilection for anthropocentrism and positions human beings as superior to animals. The coexistence of both ecocentrism and anthropocentrism suggests that they are not mutually exclusive. The article also contextualizes these shifts within the tumultuous socio-political landscape of the late Qing dynasty and argues that the translation responds to the broader social milieu of the time. By situating ecological consciousness within the practice of translation, this study forges a link between ecocriticism and Translation Studies. It further demonstrates that ecological awareness existed in historical contexts where it had not yet emerged as a dominant framework, which reveals its embeddedness in cross-cultural exchanges.

Aumolertinib as adjuvant therapy in resected EGFR-mutated non-small-cell lung cancer (ARTS): a double-blind, multicentre, randomised, controlled, phase 3 trial.

This study investigates how Chinese-language immigrant media construct the host country’s image through news rewriting. Focusing on Ouhua News in Spain, a prominent media outlet for the Chinese diaspora, the research employs a mixed-method comparative analysis of 243 original Spanish news articles and their Chinese translations. Drawing on Framing Theory, and Manipulation Theory, the study identifies key strategies of selection and adaptation. Findings reveal Ouhua News ’s prioritization of daily life and community-relevant topics, significant content modifications (omissions, additions, rewording), and a distinct shift towards a more advisory and emotionally positive tone. These strategies collectively reconstruct Spain’s social, political, and economic image to align with the information needs and cultural expectations of its Chinese readership. This research highlights the crucial role of immigrant media as cultural mediators in shaping national images within multicultural contexts, offering insights into cross-cultural communication and the dynamics of social integration.

The subject of this study is the phenomenon of linguistic simplification manifested in Chinese translations of short stories by A.P. Chekhov. The focus is on lexical and syntactic transformations occurring during interlingual transfer that lead to a reduction in lexical diversity, an increase in the proportion of high-frequency vocabulary, and the standardization of syntactic structures. The study relies on a specially created Russian-Chinese parallel corpus containing original texts by Chekhov and their translations by Ru Long and Xue Huan. Particular attention is given to the typological differences between Russian and Chinese languages that influence the ways of expressing spatial, grammatical, and semantic relationships. This research allows for a comprehensive characterization of the mechanisms of simplification as one of the key translation strategies and reveals the features of the formation of the translated language in the Chinese literary tradition. The study employed methods of automatic text processing (MyStem, HanLP), calculation of lexical density (STTR), construction of a parallel corpus of Chekhov's stories in Chinese, automatic segmentation and morphological annotation, as well as frequency analysis of high-frequency words and function and content parts of speech. The scientific novelty of the research lies in the creation of the first Russian-Chinese parallel corpus of A.P. Chekhov's stories, which has become the empirical basis for studying the phenomenon of simplification in translations. A multidimensional model of analysis of simplification has been developed for the first time, combining lexical density, frequency analysis, and syntactic transformations. The use of automatic tools (Python, MyStem, HanLP) allowed for the quantitative identification and confirmation of trends in simplification, expressed in the reduction of lexical diversity, increase in the proportion of high-frequency words, and simplification of syntax, for example, through the transformation of spatial structures. The research confirms that simplification is a characteristic strategy in A.P. Chekhov's translations into Chinese, which is determined by the typological and cultural features of the languages. The results obtained contribute to the development of the methodology of corpus studies and have practical significance for translation studies and linguodidactics.

Rifasutenizol-based triple therapy versus bismuth plus clarithromycin-based triple therapy for first-line treatment of Helicobacter pylori infection in China (EVEREST-HP): a phase 3, multicentre, randomised, triple-dummy, double-blind, controlled, non-inferiority trial.

Improving Reliability and Consistency in Korean–Chinese Legal Translation : Terminology Control and Error Analysis in Neural Machine Translation

Britain has historically maintained substantial strategic interests in the regions surrounding the South China Sea. Throughout the twentieth century, numerous British departments preserved extensive archives pertaining to the South China Sea issue. These documents serve as essential resources for the academic study of the South China Sea, offering significant historical and legal insights. The translation of British archives concerning the South China Sea issue fulfills not only academic objectives but also significant political and legal functions. Nevertheless, current practices frequently lack a coherent theoretical framework to inform strategic decision-making. This study employs Skopos Theory in the Chinese translation of the British Foreign Office document “Territorial Disputes of China” (1974-FCO-21-1242). It posits that such translation constitutes a purposeful cross-cultural endeavor aimed at providing precise historical sources, bolstering sovereignty claims, and adapting texts for Chinese academic discourse. Through a purpose-driven analysis of lexical, syntactic, and textual choices, the paper illustrates how Skopos Theory effectively guides translators in balancing historical accuracy, political nuance, and reader acceptance. The study concludes that a skopos-oriented approach offers a robust theoretical and practical framework for translating politically sensitive historical archives, with implications for analogous translation projects.

Translator’s Subjectification in Chinese Translations of Ulysses from the Perspective of Paratexts

The influence of Brahmanism on Buddhist thought, is plausible in the Pāli Canon. Words attributed to the Buddha say that he defined himself as Brahmā (AN 4.89) and that he can read the very thoughts of the Vedic god (aham asmi brahmā mahābrahmā DN 1.18, DN 1.221, DN 3.29). There are many other instances in the canon where Buddhists have interpreted terms in ways that did not develop from the context of orthodox Brahmanism. It has been documented even that Vedic Brahmins (who at the end converted to Buddhism) consistently asked the Buddha for the way to realize Brahma(n) (MN 2.206, DN 1.249), a hope also shared by Buddhists to be attained in the afterlife (AN 3.225, MN 2.76–78, DN 2.195), using the same formulas that the canonical tradition records as having been used by the Buddha to describe not his teachings (AN 3.371, AN 4.135) but the beliefs of ancient Brahmins (AN 4.103). Why is Buddhism understood in the light of Brahmanism? Why is Brahminical terminology and religious thought so present in the interpretation of the Buddha’s teachings? This paper discusses the historical influence of Upaniṣadic thought on the development and transmission of Buddhism. Here, I propose two significant theoretical frameworks to understand the development of Indian Buddhism: (1) the Buddha was praised as Brahmā: as the supreme Brahmin, represented by Buddhists as (2) the legitimate knower of Bráhman. Since the times of the Buddha, converted Brahmins, such as Sāriputta, seem to have influenced significantly the transmission of Indian Buddhism. This is reflected in Chinese translations, which portray an earlier interpretation of Buddhism, before the late opposition against Brahminism was established in Theravāda, and the decline of Brahmā and rebirth in the Brahmaloka were relegated in Buddhism as subordinate entities.

The article examines the methods of conveying Russian cultural realities and traditions when translating I.S. Turgenev's works into Chinese. The research aims to identify and analyze the main strategies for representing Russian realities in Chinese translations. The material includes translations of the novels “Fathers and Sons,” “A Nest of the Gentry,” and “A Sportsman's Sketches” by Chinese translators from different periods. Translation transformations used to adapt nationally specific elements of Russian culture are analyzed: descriptive translation, transliteration with commentary, cultural adaptation, and selection of functional equivalents. The evolution of translation approaches from domestication to foreignization is revealed.

Intercultural challenges have gained prominence in Thai higher education due to the influx of Chinese students into Thai universities. This study aimed to examine the intercultural challenges encountered by Thai lecturers when teaching Chinese students and to identify effective teaching strategies to promote active learning in intercultural classrooms within Thai higher education. A qualitative approach was employed, utilizing semi-structured interviews as a guideline for the focus group discussion. The findings revealed that Thai lecturers face key intercultural challenges, including language proficiency, learning behaviors, and attitudes toward learning. Firstly, regarding English language proficiency, Chinese students often struggle in understanding the lessons, which makes them hesitant and less confident in participating in class activities and discussions. Secondly, Chinese students exhibit learning behaviors such as remaining quiet and passive, avoiding interaction, and relying heavily on mobile apps. Lastly, their attitudes toward learning are reflected in their learning behaviors, as they highly value attending classes, grades, and scores. In addition, key teaching strategies for promoting active learning in intercultural classrooms incorporate using simplified English, speaking slowly and repetitively, simplifying lessons, providing Chinese translation in the lessons, asking questions to Thai students before addressing Chinese students, and allowing the use of an online dictionary. The study provides useful teaching strategies for bridging cultural gaps in intercultural education environments of Thailand and helps build a classroom management strategy that supports learning for Chinese students.

"Kafka on the Shore" is the tenth full-length novel published by Haruki Murakami in 2002. With its sophisticated dual-narrative structure and unique character portrayal, it has won wide acclaim and has been translated into multiple languages for publication. For literary works, due to the differences in structure and expression habits between different languages, the choice of translation methods may have a certain impact on the presentation of character images, thus making the translated version show a "character image" that is slightly different from the original work. For instance, the protagonist "ナカタ (Nakata)" in the novel experienced an "event of soul-body separation" during his childhood. His trait of being "half-human and half-soul" adds a touch of weirdness and mystery to his image. He always uses his own surname "ナカタ" to refer to himself. However, in the two Chinese translation versions and the Mongolian translation version, the self-referential term "ナカタ" is translated as "Zhongtian Wo" (Zhongtian I), "Wo Zhongtian" (I Zhongtian), "Наката би" (Nakata I) and "Наката" respectively, rather than the commonly used self-referential term "I". An example is: 「あの、ここにちょっと腰を下ろしてかまいませんか？ナカタはいささか歩き疲れましたので」 "Excuse me, is it okay if I sit here for a while? Zhongtian Wo am a bit tired from walking." "Excuse me, may I sit here for a moment? Wo Zhongtian am a little tired from walking." "Энд сууж болох уу? Нэлээн алхсан тул Наката ядарчхаж." (Note: The Mongolian sentence retains its original form as it is part of the quoted translated content; its literal meaning is "Can I sit here? Nakata is tired because of walking a lot.") It can be seen from these translated versions that different translators adopted different strategies when handling "character language" (personal pronouns), thereby conveying different "character information". Such differences may cause slight or even significant changes in the character's image in the readers' minds. The reproduction and adaptation of a character's unique linguistic style in different languages, as well as the degree of consistency between this reproduction and the character image in the original work, constitute an interesting issue worthy of in-depth exploration.

Based on Eugene Nida’s functional equivalence theory and taking into account the temporal-spatial limitations and multimodal features inherent in film and television subtitling, this study methodically investigates the translation strategies of the English subtitles for “NeZha 2.” According to studies, the film effectively handles culturally diverse components and emotionally charged speech by employing approaches such as creative translation, cultural adaptation, and re-creation to achieve functional equivalency. This film stresses audience reception in the target language while keeping cultural authenticity over its predecessor, “Ne Zha: Birth of the Demon Boy.” It optimizes translation expression through techniques like rhythmic restructuring, imagery conversion, and emotional resonance. Overseas audience feedback indicates that the subtitles effectively conveyed core emotions and spiritual essence, though barriers remained in understanding certain culturally loaded terms. Based on this, this paper proposes that Chinese film subtitle translation should establish a strategy system oriented toward cultural communication and centered on emotional resonance, seeking a balance between cultural fidelity and audience reception to enhance the global dissemination effectiveness of Chinese stories.

Henry’s short stories are celebrated for their humorous and vivid language, reflecting the local condition of late 19th-century America. His work has captivated readers worldwide since their publication. Maggie’s gift is one of his masterpieces and reflects his unique language style. At the same time, the Functional Equivalence Theory as a classical theory of translation also can be used to deal with the problems in the process of translating. Guided by Eugene Nida’s Functional Equivalence Theory, this paper conducts a comparative analysis of two Chinese translations of different eras by Wang Yongnian and Cui Shuang in order to explore how the translators accurately convey the author’s thoughts and emotions. Therefore, the readers can understand the unique charm of the original literary style. According to the research, both of the translators’ work achieved the goal of the functional equivalence excellently in their unique ways, representing the reading aesthetics of readers in two different eras.

Abstract The translation of comics has been widely considered a marginal subfield in translation studies, and so far, there have been a limited number of relevant studies in international scholarship. Standing out as a unique pictorial book, Scott McCloud’s Understanding comics: the invisible art sparkles with its rich and vivid account of the principles and processes of cartoon creations. The book has been translated into two major Chinese versions – one by Hao-Yi Zhu from Taiwan and the other by Min Wan from Mainland China. This paper uses a pragmatic approach to conduct a comparative study of the two Chinese translations by examining the translation strategies employed respectively by Zhu and Wan for rendering the paratexts in the book. It specifically investigates how such differently used translating approaches serve to achieve pragmatic equivalence at lexical, syntactic, and discursive levels. In particular, speech act theory, relevance theory, and intersemiotic translation are reorganized to construct the theoretical foundation for the discourse analysis and reveal some implications from this case study. This is the first research study to investigate two Chinese translation versions of the same English comic book in parallel using a cognitive-pragmatic approach, contributing to translation studies with a new research paradigm.

This paper examines the evolving habitus of English translators/subtitlers working on films (1984–2024) by Chinese fifth-generation directors Chen Kaige and Zhang Yimou. An analysis of 32 films shows a significant shift: initially dominated by native English speakers from the cultural industries or the Chinese studies circle, currently, the field of Chinese film translation has attracted native Chinese speakers with film industry or audiovisual translation (AVT) experience. The decreased reliance on foreign language experts and a corresponding increase in the selection of source-situated translators/subtitlers indicate a divergence from the norm of translating into one’s first language. The reasons behind this divergence lie in the influence of the marketisation of China’s film industry, the filmmakers’ increasing focus on the domestic market—especially after the pandemic—and the professionalisation of AVT in China. Employing Bourdieu’s theory, this study analyses the translators’/subtitlers’ educational backgrounds and career trajectories, focusing on their experience with the Chinese language and China. It identifies three phases in the evolution of their habitus: target-culture translators/subtitlers in the early centralised era, industry-experienced translators/subtitlers after the film marketisation, and domestic translators/subtitlers since the pandemic. Lay summary Zhang Yimou and Chen Kaige are two of the most prominent filmmakers in the contemporary Chinese film industry, widely recognised as leading figures among the Chinese fifth-generation directors, also known as Chinese New Wave auteurs. Their groundbreaking collaboration on The Yellow Earth (1984), created shortly after their graduation from the Beijing Film Academy, marked a turning point that brought Chinese cinema onto the international stage. Since then, both directors have achieved global renown, producing numerous influential works.To explore how their films have been made accessible to English-speaking audiences, I examined the end credits of 17 films by Chen and 25 by Zhang, focusing on those credited with English subtitling, often labelled as “English Subtitles,” “English Translation,” “English Subtitle Translation,” “Translation,” or “Translator” etc. Through this process, I discovered 46 individuals involved in translating or subtitling these works, of whom 19 were identified for further analysis based on online profile searches. I then researched the linguistic skills, educational backgrounds, and professional experiences of these 19 translators or subtitlers to understand their development trajectories through the lens of Bourdieu’s concept of habitus. A translator’s habitus is the disposition guiding their decisions, shaped by childhood, education, and the pursuit of capital within the field.This analysis revealed a shift in subtitling practices—from relying primarily on native English speakers from the culture industry or Chinese studies circle to recruiting native Chinese speakers with Chinese film industry experience or translation expertise—a change that reflects a broader trend in Chinese film subtitling. This evolution challenges the conventional norm of translating exclusively into one’s native language. In examining this norm’s breach, I considered several factors: the increasing marketisation of the Chinese film industry, the recent emphasis on the domestic film market, the growth of Chinese film and television translation companies, and the establishment of industry-specific translation associations. Lay summary Zhang Yimou and Chen Kaige are two of the most prominent filmmakers in the contemporary Chinese film industry, widely recognised as leading figures among the Chinese fifth-generation directors, also known as Chinese New Wave auteurs. Their groundbreaking collaboration on The Yellow Earth (1984)—with Chen serving as director and Zhang as cinematographer—shortly after their graduation from the Beijing Film Academy, marked a turning point that brought Chinese cinema onto the international stage. Since then, both directors have achieved global renown, producing numerous influential works.To explore how their films have been made accessible to English-speaking audiences, I examined the end credits of 17 films by Chen and 25 by Zhang, focusing on those credited with English subtitling, often labelled as “English Subtitles,” “English Translation,” “English Subtitle Translation,” “Translation,” or “Translator” etc. Through this process, I discovered 46 individuals involved in translating or subtitling these works, of whom 19 were identified for further analysis based on online profile searches. I then researched the linguistic skills, educational backgrounds, and professional experiences of these 19 translators or subtitlers to understand their development trajectories through the lens of Bourdieu’s concept of habitus. A translator’s habitus is the disposition guiding their decisions, shaped by childhood, education, and the pursuit of capital within the field.This analysis revealed a shift in subtitling practices—from relying primarily on native English speakers from the culture industry or Chinese studies circle to recruiting native Chinese speakers with Chinese film industry experience or translation expertise—a change that reflects a broader trend in Chinese film subtitling. This evolution challenges the conventional norm of translating exclusively into one’s native language. In examining this norm’s breach, I considered several factors: the increasing marketisation of the Chinese film industry, the recent emphasis on the domestic film market, the growth of Chinese film and television translation companies, and theestablishment of industry-specific translation associations.

Abstract This article traces the history of Chinese translations of Spanish Renaissance literary works, offering a systematic review of the translation and dissemination of major authors and their works over the past century. Focusing on canonical authors from the “Golden Age” – the core period of the Spanish Renaissance – such as Juan Ruiz and Cervantes, the study examines their Chinese renditions, including the works of translators, translation sources, and the influence of seminal texts such as Libro de buen amor (The Book of Good Love), Don Quixote , and Lazarillo de Tormes (The Life of Lazarillo de Tormes). Special attention is given to the characteristics of key translations produced during different historical periods, including an analysis of the unique value of Yang Jiang’s translation of Don Quixote , and an exploration of the translation history of diverse literary genres, such as picaresque and pastoral novels, and drama. In addition, the paper investigates the dissemination of Baroque literature in China, highlighting the vital role of anthologized translations in promoting Spanish Golden Age poetry. By mapping the transmission and reception of these works, the study sheds light on the broader cultural impact of Spanish Renaissance literature in China and provides a rich body of documentary evidence for future research on Sino-Spanish literary exchange.

Abstract This article explores the intercultural significance and creativity of translation in the global dissemination of Chinese culture. It argues that translation is not merely a linguistic transformation, but a process of cultural transformation. Beginning with the German translation of one of Feng Zhi’s sonnets, it illustrates how translation can draw upon philosophical resources within a specific linguistic-cultural context. The article then introduces the theoretical foundations of transculturality ( Transkulturalität ) and transculturation , examining how translation fosters literary innovation across cultures. Furthermore, the article argues that translation serves as a mediator between heterogeneous cultures, creating a “third space” that is neither original nor target culture. Concepts such as ju zhi yi tu 橘枳易土 are used to explain mechanisms of grafting and transformation in translation. Finally, the article draws upon examples from the Chinese translation of Buddhist texts, family history research, and the cross-cultural adaptation of modern philosophy to propose that translation is a vital means of responding to modernity and shaping future cultural forms – a decentralized pathway for knowledge reproduction and reimagination.

Literary translation inherently involves the translator’s subjectivity and the selection of cultural strategies, with domestication and foreignization being the two core approaches. Against the background of China’s pursuit of more equitable cultural dissemination, this study focuses on the creative dimension of literary translation from the perspective of domestication. Taking excerpts from James Joyce’s The Dead as the source text, the research integrates Vermeer’s Skopos Theory, Schleiermacher’s and Venuti’s domestication theories, and Chinese theories such as Xu Yuanchong’s Three Beauties Theory. It conducts a comparative analysis of two existing Chinese translations (by Wang Fengzhen and Wang Zhiliang) and presents the author’s own translation practice. The study explores how to exert translator subjectivity and apply creative techniques under the framework of domestication to balance the original text’s artistic value and the target readers’ cultural adaptability. Research findings indicate that domestication, when guided by clear translation purposes, can effectively convey the emotional tension and cultural connotations of the source text. The study also reflects on limitations such as insufficient comparative cases and proposes directions for further improvement. This research aims to enrich the academic discourse on literary translation creativity and provide practical insights for promoting cross-cultural communication and Chinese cultural dissemination.

Large Language Models (LLMs) excel in translation, among other things, demonstrating competitive performance for many language pairs in zero- and few-shot settings. But unlike dedicated neural machine translation models, LLMs are not trained on any translation-related objective. What explains their remarkable translation abilities? Are these abilities grounded in “incidental bilingualism” in training data? Does instruction tuning contribute to it? Are LLMs capable of aligning and leveraging semantically identical or similar monolingual contents from different corners of the internet that are unlikely to fit in a single context window? I offer some reflections on this topic, informed by recent studies and growing user experience. My working hypothesis is that LLMs’ translation abilities originate in two different types of pre-training data that may be internalized by the models in different ways: Local and Global. “Local learning” makes use of bilingual signals present within a single training context window (e.g., an English sentence soon followed by its Chinese translation in the training data). “Global learning,” in contrast, capitalizes on mining semantically related monolingual contents that are spread out over the LLMs’ pre-training data. The key to explaining the origins of LLMs’ translation capabilities is a continuous iteration between Local and Global learning, which is a natural and helpful consequence of batch training. I discuss the prospects for testing the “duality hypothesis” empirically and its implications for reconceptualizing translation, human and machine, in the age of deep learning.