Original Chinese Text Research Articles

Crossing boundaries in an age of post-translation studies

Abstract The cycle of symphonic songs Das Lied von der Erde was based on Die Chinesische Flöte, a German version of classical Chinese poems. As a result, Die Chinesische Flöte crossed the boundary between literature and music, encompassing intralingual, interlingual, and intersemiotic translations. While comparative textual analysis reveals that these two works made changes to the original Chinese texts, intersemiotic translation illustrates that the borders between verbal texts and nonverbal works are fluid. This post-translation study traces the translation context of Das Lied, maps Die Chinesische Flöte’s transitions between literary and musical polysystems, and traces Das Lied’s afterlife in the creation of new artworks. It concludes that poetry, music, and other art forms can mutually translate, complement, and become afterlives of one another.

On Translation Pitfalls Based on Lefevere’s Theory of Translation Rewriting—Taking CATTI Level 1 Chinese-to-English Translation Texts as Examples

Based on Lefevere’s theory of translation rewriting, the latest CATTI Level 1 Chinese-to-English texts are taken as examples to gradually analyze the pitfalls that arise in translation process. A series of new thoughts and interpretations have been launched on the English translation of Chinese vocabulary and phrases, logic and sentence structure, and colloquial expressions. It is pointed out that translators should link theory with practice, get rid of the constraints of word collocation and structure of the original Chinese text, and find the most suitable solutions according to specific situations, so as to improve the quality of the target text continuously.

창암 박만환의 『여사서』 언해본의 특징과 의의

The purpose of this article is to examine the patterns and significance of the interpretation of 『Yeosaseo』, a Chinese teaching book for women, written by Changam Park Man-hwan during the Enlightenment period. 『Yusisaseo』 is a book of instruction for women edited and annotated by Wang Sang during the Qing Dynasty in China. In 1907, Park Man-hwan translated and published it at Yeongjujeongsa. This paper studied the translation of Park Man-hwan's 『Yeosaseo』 and examined the publication process, the interpretation pattern, and its characteristics. We also looked at the meaning within the context of women's instruction books at the time. In 1907, Park Man-hwan interpreted 『Yeosaseo』 and received verification from Jeun woo. He published it with Yeosaseo with a preface written by Song Byeong-soon and an afterword written by Jeun woo. If you look at the system, the original Chinese text and the Korean translation of the language are placed separately. This method is different from the one that was translated into Korean during the Yeongjo period of the Joseon Dynasty and wrote the sound of Chinese characters. And Park Man-hwan selected only the exemplary deeds of women from the contents of the commentary and translated them into Korean. In particular, the annotations of 『Yeogye』『Naehun』『Yeo Analects』, which contain a lot of didactic content about women and behavioral norms that women should follow, were not explained at all. On the other hand, 『Yeobeomcheoprok』 explained the exemplary behavior of women in detail in the annotations, and Park Man-hwan faithfully explained this. In this way, Park Man-hwan tried to interpret 『Yeosaseo』 focusing on the exemplary examples of women and encourage women to use it as an example and put it into practice. During the Enlightenment period, the need for women's education was emphasized, and many textbooks teaching women were produced, and Park Man-hwan's interpretation of 『Yeosaseo』 was in line with this trend. In addition, women's loyalty and attitude toward the state and wages were emphasized as they recognized women as members of the state, and this trend is reflected in the women's guidebook, and Park Man-hwan's interpretation of the 『Yeosaseo』 focused on responding to social demands and expanding women's consciousness.

東武 『格致藁』 「太極圖」의 易理的 이해

Dongmoo Yi Je-Ma (東武 李濟馬, 1837-1900), a Confucian scholar and physician, founded the philosophy of Four Quadrants Structure (四象哲學) and Sasang Constitutional Medicine (SCM, 四象體質醫學) based on the theory of the Four Quadrants Structure (四象限) of the Kosmos. The uniqueness of SCM can be found in the “Zang-bu (臟腑, human body’s internal organs) Seong-li [性理, principle of the nature, Changes of the Zhou Yi (周易)]” which applies theory of the four quadrants structure to the human body and develops it into SCM. His “Zang-bu principle of the nature” is literally a combination of the theory of the principle of the nature and the theory of the human body, and the basis of this medical theory can be found in Dongmoo's representative philosophical work 『Gyeokchigo (格致藁)』 (1880-1893), also “The Diagram of the quadrants structure Kosmos (「Taegeukdo (太極圖)」)” can be found at 『Gyeokchigo』. In other words, Dong-moo has abbreviated the core of his philosophy and medical theory and presented in a single Diagram of the quadrants structure Kosmos. However, it's hard to find any prior research on this Diagram. Even the existing research works are limited to translating the original Chinese text of 『Gyeokchigo』 which explains the Diagram into Korean, and introducing Dongmoo's own commentary. This is primarily due to the lack of in-depth analysis Zhou Yi Principle in 「Taegeukdo」. In addition, there is the difficulty that we cannot easily find a scholarly precedent for the theory of the four quadrants structure of Kosmos, which is the basic theoretical foundation of the Four quadrants structure’s philosophy and SCM. However, since around 1995, integral psychologist Ken Wilber (1949-), who like Dongmoo, who argues the same argument, insists that “the Kosmos=four quadrants structure (四象構造),” that is AQAL (All Quadrant, All Level) has emerged. Wilber's AQAL scheme has been widely discussed in the community. Accordingly, in this paper, I aim to compare the Wilber's AQAL detailed diagrams with Dongmoo's Diagram of the Quadrants Structure of the Kosmos, identify the characteristics of each, and find the clue to the structure of the Zang-bu principle of the nature in the 「Taegeukdo」. Both diagram consider ‘Kosmos = four quadrants structure’ and simultaneously point out the Kosmos as a holarchy structure (multi-level reality). However, Wilber's diagram represents the phenomenal aspect of the Kosmos, whereas Dongmoo's 「Taegeukdo」 presents the principled aspect (Changes of the Zhou) of the structure of the Kosmos.

Study of Chinese and English Discourse in The Three Body problem based on Proximization Theory

Taking Liu Cixin’s science fiction novel The Three Body problem as a research text, this paper conducts a critical discourse analysis of the literary text from the Proximization Theory, and explores the discourse strategies contained in the crisis construction of The Three Body problem. At the same time, by comparing the original Chinese text of The Three Body problem with the English translation, the paper aims to investigate the influence of language shift on the strategy of proximization. It is found that the author constructs the threat of the Three-Body Crisis to humanity through three dimensions: temporal, spatial and axiological; at the same time, the convergence effect of the English translation is enhanced in the spatial dimension compared to the original text, while the effect of the English translation is weakened in the temporal dimension, and the effect of the original Chinese text and the English translation is approximately the same in axiological dimension. This paper extends the scope of Proximization Theory and enriches the research in the field of literary texts into their original languages.

Sophie, Greta, Cuiyuan, and Feminist Desire

Sophie, Greta, Cuiyuan, and Feminist Desire

전통문화와 인공지능의 융합

The purpose of this study is to share the results of the “development of the open technology that supports translation and interpretation of the classics written in Chinese” project such as extraction of corpus, AI translation and human evaluation and present the direction of AI translation of the classics in the future. The extraction of corpus this time focused on improving the accuracy of AI-based automatic translation of geography books. Corpus is a sentence that presents original Chinese text and the corresponding translated text 1:1 in parallel. The development of artificial intelligence reinforcement learning has improved the accuracy of AI-based translation compared to the past and increased the accuracy of AI-based machine translation to over 80% in this project. The extraction of at least 1 million corpora is required in order to perform AI-based machine translation specialized in geography books in the future. In addition, the extraction of high quality corpus is required in more diverse fields including poetry, education, protocols and diplomacy in addition to geography.

생략과 첨가를 중심으로 한 중한 번역 문장 고찰

Although the original Chinese text is concise, the Chinese language is implicit, so the Korean translation is quite long and the visual effect and concise feeling are often reduced. Therefore, when translating Chinese sentences with complex sentence structures and many modifiers into Korean, if subject, object, and possessive surveys must be used in succession, a technique is needed to first omit the investigation between sentence components and words with close combination of meanings. In addition, when Korean is expressed more concisely than Chinese, some parts of Chinese are often omitted. When translating Korean into Chinese, necessary Chinese should be added or appropriately formulated according to the characteristics of Chinese. When translating Chinese into Korean or Korean into Chinese, it should be omitted in some cases and added in some cases depending on each other's linguistic characteristics. This is appropriate and natural only when translated according to the language characteristics of Chinese and Korean, so translators should consider this first and translate.

The scope of copyright protection and the establishment of tort for an unauthorized use of work in public domain - Supreme Court Decision on June 30, 2021, 2019da268061 -

The scope of copyright protection and the establishment of tort for an unauthorized use of work in public domain - Supreme Court Decision on June 30, 2021, 2019da268061 -

중한 문학번역에서의 의태어 사용 전략 — 중국어 소설 『草房子』를 중심으로

Unlike Chinese, which does not have a separate part-of-speech called a mimetic word, in Korean, a mimetic word is classified separately and is used very actively. However, as mimetic words do not appear frequently in the original Chinese texts, the functions of Korean mimetic words in Chinese-Korean translations are greatly reduced and tend not to be fully utilized.BR Therefore, this study conducted a comparative study by selecting 『Red Roof Tile』, which was translated by Jeong Su-jeong, from the work 『草房子』 by Chao Wenxuen, where Korean mimetic words are actively used.BR As a result of the overall comparison, there were mainly verb phrases, adjective phrases, noun phrases, adverb phrases, and idioms of the original text that can be converted into mimetic words in the translated text. Among them, the conversion of verb phrases and adverb phrases in translations was the most frequent.BR In addition, it was confirmed that the expression of the original text was much more concise when it was converted to mimetic words than when the content of the original text was translated directly, while the effect of more subdivision or emphasis on the expression of the original text was striking in the transmission of information.

Sanfoqi 三佛齊 as a Designation for “Srivijaya”

Abstract Textual evidence for the existence of Srivijaya (variously addressed as a state, kingdom, or empire in southeastern Sumatra) is very limited and rests on inscriptions as well as a manageable number of pre-modern Chinese texts. According to prevailing scholarly conventions, the term Shilifoshi 室利佛逝 (and variants) in early Tang dynasty texts was replaced in the Song dynasty by the term Sanfoqi 三佛齊. This connection allowed for an extension of Srivijayan history from the early Tang in the seventh century to the mid-Song period in the twelfth century. This essay argues that preconceived interpretations of the original Chinese texts identified Sanfoqi with Srivijaya. A survey of the existing Western scholarship allows the conclusion that assumptions made by early scholars of Srivijayan history have transformed into assured knowledge only in the absence of a stricter philological engagement with the relevant texts from the Song dynasty.

A Quantitative Study on the Cohesion Problems in English Majors’ Chinese Translation of English Texts

Cohesion is an important means to achieve textual coherence. In translation instruction, it is important to raise students’ awareness of textual cohesion in order to improve their translation competence. However, few studies have been conducted to investigate the problems of cohesion that may exist in students’ translated texts. This article compares the cohesive devices used in the Chinese texts translated from English by 38 junior English majors studying in a major university in China with those in a reference Chinese version, for the purpose of revealing the cohesion problems that may exist in the students’ Chinese translation and providing reference for translation instruction. The results show that the major problems include overuse of personal reference and conjunction, especially additive conjunction, insufficient use of ellipsis and repetition which are common cohesive devices in original Chinese texts. The problems reveal, on the one hand, that students may still be under the influence of the source language negative transfer, and on the other hand, that they may have insufficient understanding of Chinese textual cohesion and the differences between English and Chinese in this regard.

중세 일본의 논어 훈독에 나타난 조동사 고찰 - 과거·완료의 조동사를 중심으로 -

This paper examines 730 examples of auxiliary verbs indicating the past tense ‘きki’ and ‘けりkeri’ and the perfective aspect ‘つtsu’, ‘ぬnu’, ‘たりtari’ and ‘りri’ in Mubatsu-bon Lunyu Jijie volume 1 (abb. Mubatsu-bon), which is a standard glossed reading in the Medieval Japan.<BR> There are 11 examples of the past auxiliary verb ‘ki’, regardless of whether there are any factors that indicate the past tense in the Chinese original text. Of these 11, there are only 3 examples of ‘ki’ found in Shibunkai Kunten Lunyu. Further, ‘keri’ is used in 1 example only in Mubatsu-bon, but semantically, it is the case where the continuous aspect is expected to be used.<BR> The past tense auxiliary verbs are seldom used in the glossed reading of Lunyu including Mubatsu-bon. This is because the ‘historical present tense’ is used even in the case that describes the past. This is to express vividly the relevant scene, but is also related to the characteristic of the literary style of Kanbun Kundoku whereby Chinese text is translated into Japanese simultaneously to assist with remembering and memorizing the original text.<BR> There are 21 examples of ‘tsu’ (11 examples are used as perfective aspect, and 10 examples are given as emphasis), and 35 examples of ‘nu’ (22 examples are used as perfective aspect, and 13 examples are given as emphasis), 24 examples of ‘tari’ (12 examples are used as perfective aspect, and 12 examples are given as continuous aspect), and 67 examples of ‘ri’ (13 examples are used as perfective aspect, and 54 examples are given as continuous aspect). It is clarified as a result of the analysis that the aspect-related factor, which was discussed in Edwin Pulleyblank (2010), does not always appear in all original Chinese texts. Rather there is no consistent tendency as shown in the fact that Japanese auxiliary verbs of continuous aspect are used in the Chinese particles that express the perfective aspect in some examples, whereas the opposite is also found in some other examples. In terms of a succession of Kundoku, ‘tari’ shows the highest frequency rate, followed by ‘ri’. The other auxiliaries ‘tsu’ and ‘nu’ are seldom inherited.

Хуурч Бүрэнбаярын хуурдан хэлсэн “Гурван улсын үлгэр”-ийн эхийн харьцуулсан судалгаа

Oral tales, which are known as “tales of the fiddle” (quγur-un üliger or bengаsün-ü üliger) derived in the eastern part of Inner Mongolia, are well-inherited to this day and have been the focus of many Mongolist scholars since long ago. Although many international scholars studied the tales of the fiddle from different perspectives, there is a lack of study on lexicological components in the tales of the fiddle. In this paper, author chose the “Romance of the Three Kingdoms (in Mongolian: γurban ulus-un üliger; in Chinese:三国演义)” which was performed by Bürenbayar bard (quγurči, Lit: the fiddle player) as a research object. It was broadcasted by the Khulun Buir Radio Committee for a total of 62 hours length in August 1984. The author considered these materials as oral sources (transcriptions of audio recordings) for his research and conducted a comparative lexical analysis between the original Chinese text and other Mongolian translations. The Chinese source of the “Romance of the Three Kingdoms” contains 209 stanzas (192 poems, 2 hymns, 2 panegyrics, 2 eulogies, 10 songs, 1 children's tale), 3 of which correspond to the selected tale of the fiddle. In addition, the vocabulary items of the bards and some words of the local dialect were compared with the words used in two other translated versions of the "Romance of the Three Kingdoms", which were translated by Temget and D. Boldbaatar translated from Chinese into Mongolian. In this article, the author not only summarizes the study of the “Romance of the Three Kingdoms” and its translation into Mongolian, but also compares Burenbayar's tale of the Fiddle with other Mongolian translations of the “Romance of the Three Kingdoms” in terms of lexical components and features of poetry, and it was determined that the tale of the fiddle originated from Temget's translation of the Romance of Three Kingdoms.

On the Printed Fragment in Classical Mongolian Script from the Collection of IOM, RAS

The Institute of Oriental Manuscripts of the Russian Academy of Sciences possesses a xylographed fragment in classical Mongolian script with a handwritten text on the reverse side (call mark G 110 recto), which was obtained in 1909 during P. K. Kozlov’s expedition in Khara-Khoto. The printed text in classical Mongolian script with several interlinear glosses in Chinese and a page footer (of the transcription of the Chinese name of the chapter and the page number) was read by the Soviet Orientalist N. Ts. Munkuyev more than 50 years ago. Munkuyev dated it by the XIV century based on the paleographic peculiarities. Moreover, based on the official history Yuan shi, he supposed that the text might be a Mongolian translation of the legislative code Da Yuan tong-zhi and suggested two possible versions of original Chinese name of the chapter, out of which an incorrect one was unfortunately chosen. Since Da Yuan tong-zhi was not preserved in full and the major part of the written monument including the chapters of interest were lost, it was impossible to find the text in scope, and the mistake in the reconstruction of the chapter name also could not be detected. However, in 2002 in South Korea a part of Zhi-zheng tiao-ge code was found, which was promulgated in 1346 and was intended to replace the outdated Da Yuan tong-zhi. In one of his previous articles, the author has shown that both codes were built according to a general pattern elaborated as far back as the Tang epoch (618–907). This enabled reconstruction of the name of the chapter mentioned in the fragment. Fortunately, the surviving part of the Zhi-zheng tiao-ge code contains the required chapters, and the Chinese glosses in the fragment allowed us to find the original Chinese text, which turned out to be a document dated 1303 and, according to the date, was evidently included in both codes. The article also contains the Chinese text of the document and its annotated translation.

The Concept of “Contemporary Place Names” in the Tibetan Translation of the Da Tang Xiyu Ji

The Da Tang Xiyu ji (Тhe Great Tang Records on the Western Regions) was translated into Tibetan by the Mongolian scholar Gombojab (Mgon-po-skyabs) of the Qing dynasty (16441912), using the original Chinese text of the Qianlong Tripitaka, also called the Dragon Tripitaka. In the manuscript copy kept at Otani University (Kyoto), interlinear explanatory notes of the contemporary place names are found. The notes on the Central Asian place names might reflect the new geographical knowledge that Chinese society obtained after Qianlongs campaigns against the Dzungars. In the present paper, the author discusses some of these notes. As the notes are not accurate and contain much misunderstanding, it is hard to use them as research sources. Nevertheless, they reveal the scope of knowledge of the time and deserve attention.

Review: Where Dragon Veins Meet: The Kangxi Emperor and His Estate at Rehe

Review: <i>Where Dragon Veins Meet: The Kangxi Emperor and His Estate at Rehe</i>

Literary Quotations in Bilingual Dictionaries: A Case Study of a Nineteenth-century Dutch–Chinese Dictionary

The phenomenon of literary quotations in dictionaries finds its origin in the days when the search for equivalents was intertextual rather than interlingual based. For both monolin­gual and bilingual dictionaries the purpose of literary quotations is to supply evidence of usage and illuminate the meaning of the relevant headword, with the difference that for bilingual dic­tionaries this is done via translation. This article examines this phenomenon in a nineteenth century Dutch–Chinese dictionary by analysing sample sentences that the compiler has extracted from original Chinese texts. Discussion of examples from different types of text will probe the function­ing of the quotations and the intention of the compiler. The inclusion of the quotations in the dic­tionary appear to be the result of both linguistic and cultural intention, in the sense that they are revealing of the syntax of Chinese but also aspects of Chinese culture. These findings will contrib­ute to the understanding of the practice of the inclusion of literary quotations in bilingual dictionaries and the role of the compiler in introducing foreign cultural aspects.

МОНОГРАФИЯ И.В. БЕЛОЙ О ДАОССКИХ ЖЕНСКИХ ПРАКТИКАХ ШКОЛЫ ЦЮАНЬЧЖЭНЬ (РЕЦЕНЗИЯ НА КНИГУ)

In the monograph “The Teachings of the Primordial Lady Sun Buer: Taoist Teaching for Women” (Moscow: Ganga, 2020, 352 pp.), I.V. Belaya considers the Taoist female practices of the Quanzhen school, a topic that has not been studied at all in Russian science. Sun Buer is presented both as a historical person and as an object of religious worship. Also, the monograph provides an overview of Taoist writings, one way or another connected with the name of the mentor Sun Buer. An especially valuable part of the book is a complete translation from the classical Chinese written language of the collection of poetic works “Teachings of the Primordial Lady Sun Buer”. It includes “The Feminine Mastery of Inner Alchemy” ( Nü gong nei dan ) and “The Sequence of Mastering the Skill of Female Tao Path” ( Kun dao gong fu ci di ). I.V. Belaya's monograph contains a number of important theoretical provisions related to the study of Taoist “internal alchemy”, in particular, “female alchemy” ( nü dan ) and acquaints the domestic reader with the original Chinese texts on “female alchemy”.

On the Formal Equivalence of Translating Classical Chinese Drama &amp;lt;br/&amp;gt;—Centered on the English translations of the Northern Drama &amp;lt;i&amp;gt;Han gong qiu&amp;lt;/i&amp;gt; of the Yuan Dynasty

The Northern drama (zaju) of the Yuan Dynasty has distinct formal characteristics in terms of script structure, arias and speaking lines, musical modes and song suites, as well as the linguistic register and metrical requirements. By comparing the three English translations of the Northern drama (zaju) Han gong qiu with the original Chinese text, there appear several deficiencies in presenting the capacity of performability and readability of this text, which includes the misplacing of the literary status of the songs and dialogue, the omitting of the musical modes and metrics. The formal feature exemplifies the “significant form” and poses an indispensable part of the content of Yuan Zaju.