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【Abstract】Intercultural communication is considered to be a significant constituent in translation, an act of culture-specific communication. In the C-E translation, it is a must for a translator first to recognize the cultural factors in a text, and then choose the appropriate way to address them. This paper analyzes the cultural gaps of a poem to demonstrate the importance of cultural factors in translation and provide approaches to deal with these difficulties.
【Key words】Interculturalcommunicationtranslation
Introduction
The concept of culture is fundamental to any approach to translation (Anna, 2002). “Culture is communication; communication is culture” (Edward T. Hall, 1990), states the close connection between cultural and communication, while translation functions as a tool in this process.
The poets of the Song Dynasty drew on a long tradition of poetry in China, but particularly the forms which were prevalent in the Tang Dynasty, especially seen in the works of Li Yu of the Southern Tang Dynasty. One of the new developments was a large increase in the popularity of the Ci form of poetry, a form based on the traditional forms and rhythms, ultimately drawn from popular songs, but with new words. Another development was an increasing fusion of painting and poetry. Many of the Song Dynasty poets were greatly affected by the politics of the time.
This paper studies Song-Dynasty poems, one of which is translated by XU Yuanchong. The focus is put on the cultural issues and translation skills also are analyzed in this paper.
I Cultural Connotation and Translation of Cipai
Cipai, names of the tunes to which ci poems are composed, are basically titles of song dynasty lyrics. The literal meaning of a cipai can be rather obscure, making it difficult to translate. Some are taken straight from earlier poems, and some are clearly of Non-Han origin — mostly songs introduced from Central Asia. Some cipai have alternative names, usually taken from a famous piece of that very cipai.
To deliver the message of cipai in a proper manner and to make a successful intercultural communication, transliteration or the transliteration plus annotation would definite best choices in poems because it will provides readers with an increased burden to read a poem with redundant explanations in the poem and demolish the aesthetic effects of Chinese poem. For these reasons, Chinese translator XU Yuanchong adopts the free translation or “foreignisation”. Famous Cipai he translated include “采桑子”(Gathering Mullberry Leaves), “浣溪沙” (Silk-washing Stream) and “一剪梅”(A Twig of Mune Blossoms) (XU, 2007). In translation of these cipai, free translation is adopted because if they are transliterated with pinyin, it’s possible for the target readers to follow their meanings and connect them to poems.
II Cultural Gaps in Song Poetries
The Oxford Dictionary defines the culture gap as any systematic difference between two cultures which hinders mutual understanding or relations. Such differences include the values, behavior, education, and customs of the respective cultures. The cultural gaps may form some cultural vacancies in translation.
In the poem 台州游 (written by a Song poem HE Zhu), “南国” , ”宫女” ,“商女”, “乌衣” and “白社” are all Chinese terms which cannot find their equivalences in English.“南国” is not a country but refers to the southern part of China, but it’s a poetic statement which only can be explained in English but can’t be replaced with a proper English phrase. Another example is the “商女” is derived from the five music notes of ancient China ”宫商角徵羽”, thus referring the songstress, but this translation leaves the “background information and emotion” behind.
Conclusion
The translator plays an important role in the process of intercultural communication, since he/she has frequently not only to translate sentences, but also to interpret the cultures of the communicants. He serves as the mediator for both sides explaining to them the main rules of behavior and customs of the countries. The translator should pick up an equivalent for the language phenomenon which directly reflects another culture.
Reference：
[1]Anna Ginter, 2002, Studies about Languages, No.3.
[2]Edward T. Hall, 1990. The Silent Language, Knopf Doubleday Publishing Group, U.S.
[3]许渊冲.宋词三百首[M].北京:中国出版社.2007.
【Key words】Interculturalcommunicationtranslation
Introduction
The concept of culture is fundamental to any approach to translation (Anna, 2002). “Culture is communication; communication is culture” (Edward T. Hall, 1990), states the close connection between cultural and communication, while translation functions as a tool in this process.
The poets of the Song Dynasty drew on a long tradition of poetry in China, but particularly the forms which were prevalent in the Tang Dynasty, especially seen in the works of Li Yu of the Southern Tang Dynasty. One of the new developments was a large increase in the popularity of the Ci form of poetry, a form based on the traditional forms and rhythms, ultimately drawn from popular songs, but with new words. Another development was an increasing fusion of painting and poetry. Many of the Song Dynasty poets were greatly affected by the politics of the time.
This paper studies Song-Dynasty poems, one of which is translated by XU Yuanchong. The focus is put on the cultural issues and translation skills also are analyzed in this paper.
I Cultural Connotation and Translation of Cipai
Cipai, names of the tunes to which ci poems are composed, are basically titles of song dynasty lyrics. The literal meaning of a cipai can be rather obscure, making it difficult to translate. Some are taken straight from earlier poems, and some are clearly of Non-Han origin — mostly songs introduced from Central Asia. Some cipai have alternative names, usually taken from a famous piece of that very cipai.
To deliver the message of cipai in a proper manner and to make a successful intercultural communication, transliteration or the transliteration plus annotation would definite best choices in poems because it will provides readers with an increased burden to read a poem with redundant explanations in the poem and demolish the aesthetic effects of Chinese poem. For these reasons, Chinese translator XU Yuanchong adopts the free translation or “foreignisation”. Famous Cipai he translated include “采桑子”(Gathering Mullberry Leaves), “浣溪沙” (Silk-washing Stream) and “一剪梅”(A Twig of Mune Blossoms) (XU, 2007). In translation of these cipai, free translation is adopted because if they are transliterated with pinyin, it’s possible for the target readers to follow their meanings and connect them to poems.
II Cultural Gaps in Song Poetries
The Oxford Dictionary defines the culture gap as any systematic difference between two cultures which hinders mutual understanding or relations. Such differences include the values, behavior, education, and customs of the respective cultures. The cultural gaps may form some cultural vacancies in translation.
In the poem 台州游 (written by a Song poem HE Zhu), “南国” , ”宫女” ,“商女”, “乌衣” and “白社” are all Chinese terms which cannot find their equivalences in English.“南国” is not a country but refers to the southern part of China, but it’s a poetic statement which only can be explained in English but can’t be replaced with a proper English phrase. Another example is the “商女” is derived from the five music notes of ancient China ”宫商角徵羽”, thus referring the songstress, but this translation leaves the “background information and emotion” behind.
Conclusion
The translator plays an important role in the process of intercultural communication, since he/she has frequently not only to translate sentences, but also to interpret the cultures of the communicants. He serves as the mediator for both sides explaining to them the main rules of behavior and customs of the countries. The translator should pick up an equivalent for the language phenomenon which directly reflects another culture.
Reference：
[1]Anna Ginter, 2002, Studies about Languages, No.3.
[2]Edward T. Hall, 1990. The Silent Language, Knopf Doubleday Publishing Group, U.S.
[3]许渊冲.宋词三百首[M].北京:中国出版社.2007.